User Reviews

How old-fashioned this story seems amidst the coarse and expedient ways of today!

Though the movie is called "The Winslow Boy," it's less about the 14-year-old kid than courage and persistence of his family. When the lad is falsely accused of stealing a five-shilling postal order, and gets ejected from British naval school, it's considered impossible to challenge the decision, but they do it anyway, to their great financial detriment.

All kinds of bad economic things happen to the clan, but they stay the course, almost to the point of firing their unswervingly loyal housekeeper of a quarter-century.

There are wonderful performances here by Robert Donat (so sadly to die at only 53) as the dapper, bewigged lawyer who defends the accused, Cedric Hardwicke as the brave and perspicacious patriarch, and Margaret Leighton as the elegantly feminist daughter in the brood. She's not exactly besieged with marriage offers, but takes her knocks with sagacity. Her final scene with Donat is exquisite!

The message of this film is timeless and important. How many of us sacrifice our principles when they become inconvenient! Here's a reminder to stick with the plan, and deal with the pain.

And eating away at the edges of the tale are signs of nascent technology -- i.e., the gramophone and cinematograph -- offering gifts but heralding our cultural erosion.

So very, very much to appreciate and think about here...

It has been said that the various public sensations in the period before World War I were the last times that public attention and anger could be brought forth in defense of the individual who seemed to be wronged. This was true in France from 1894 to 1906 om the Dreyfus Affair, and in Russia in 1911 - 1913 in the "Blood Libel" trial of Mendel Beiliss. One might consider later events (Sacco - Vanzetti, the Rosenbergs, Caryl Chessman) showed similar outbursts of indignation could occur long after World War I was over, but the turn of the 20th Century seemed very fruitful in these cause celebres.

Terence Rattigan, like all good dramatists, knew that you could squeeze much dramatic juice out of a good, real judicial drama. He would do a play based on the tragedy of the Rattenbury - Stoner murder trial of 1935. He would also do a wonderful extra-judicial drama called "The Winslow Boy" based on a 1910 - 1914 cause celebres that rocked Edwardian England. It was the Archer - Shee Case, with the family name changed to Winslow for the purposes of Rattigan's stagecraft.

Martin Archer - Shee was a young naval cadet who was at the Naval War College when he was wrongly accused of stealing postal money orders from his fellow classmates. He was expelled from the school as a result, protesting to all he had not done this. His father believed him, and got England's premier barrister, Sir Edward Carson, to help force a government reversal of this disgraceful action.

Carson is best recalled for his masterful (but tragically effective) destruction of his old college mate Oscar Wilde at Wilde's first trial against the "slander" of the Marquess of Queensbury in 1895. But he was far better than that incident (which he always secretly regretted - he saw Wilde years later as a poverty row derelict in Paris). If you doubt this, check into his excellent prosecution (as Attorney General) of the wife-murdering poisoner Severin Klosowski ("George Chapman", the "Borough Poisoner") in 1903. He did oppose the Home Rule Movement of Parnell and his successors, but Carson loved his native Ireland and hated the 1922 division of the island into Eire Free State and Northern Ireland. He would try (with Kevin O'Higgins of the Southern Irish Government) to restore the two sections together, but O'Higgins' assassination in 1927 ended that attempt.

Carson's best features came out in his defense of Martin Archer - Shee. He refused, despite repeated dismissive behavior of the Asquith government, to give up protesting their high-handed behavior to the boy. The fact was the government's proof of Archer - Shee's criminal activities was weak: a young cadet was known to have cashed the stolen postal orders, but the identification with Archer - Shee was feeble at best. In the end he managed to manipulate the government (weakened by a serious scandal of it's own involving the Marconi Wireless Company) into reviewing the actions. In the end the decision of the Naval authorities had to be reversed by the House of Commons in a special vote, and then a trial was held in which Archer - Shee was acquitted. World War I was soon upon Europe. Martin Archer - Shee joined the army and died in Flanders Fields.

Rattigan was not the only one to see the dramatic possibilities of the story. Alexander Woolcott wrote about it several times, and even attempted to edit a volume of the "Notable British Trials" series on the case. But Rattigan had to humanize the story even more.

First the name of the family is changed to "Winslow", and the spotlight is on Martin's father. Arthur Winslow is played by Sir Cedric Hardwicke, who is actually a kind hearted man behind his stern Edwardian facade. He is more concerned with his older boy Dick's (Jack Watling's) interest in the "Bunny Hop" dance craze over his studies at Oxford than with the younger, more sensible "Ronnie" (Neil North). The social ostracism of the disgraced family, effecting the engagement of his daughter Katherine (Margaret Leighton) and the standing of Dick at Oxford, forces Winslow to go to "Sir Robert Morton" (Robert Donat as Carson) for the justice he demands. Donat does not appear in the film until nearly half the film is done - but he dominates the second half while Hardwicke dominates the beginning. It is like the passing of a torch.

Donat's performance is a trifle stiff - but that is what Carson occasionally came across as. He is humanized in one way that is historically inaccurate - a romance blossoms between him and Leighton that did not between Carson and anyone in Archer - Shee's family. Still that is underplayed. Instead we watch how he will not be silenced by the indifference of the government in power. In particular the First Lord of the Admiralty (Walter Fitzgerald) and the Attorney General (Francis Sullivan). The former pretends to be more concerned in his golf game than the honor of a little boy. By the way, the play and film does not mention the name of this individual: it was Winston Churchill.

The film is a wonder - and oddly enough does not have the conclusion occur in the courtroom, but has a character describes what happened. But it all works well, and gives the audience a good feeling. Occasionally justice is done!

This is one of those pictures that sacrifices cheap thrills for a subtle, meaningful drama of ideas, which guarantees that it will never be made with quite this quality again.

One example: Terrence Rattigan intentionally eliminates what would certainly have been the most exiting scene--showing the outcome of the trial--just so he could maintain focus on how each character reacts to the verdict and how personal sacrifices paid off in pursuit of what is right.

While on that subject, I should note what was even more oblique in the plot was the failure to show (either to the characters or to the audience watching the movie) any evidence proving Winslow's guilt or innocence! And yet the movie still satisfies.

The real hero, as this picture shows, believe it or not, is the English rule of law, as established by the Magna Carta, that allows any citizen who is charged with a crime to defend himself in a court of law. Something you would never expect that a mere movie could do so well.

RonLev Philly

One of my favorite movies, "The Winslow Boy" is a perfect showcase for the talents of that great doomed actor, Robert Donat. The actor's lovely melancholy and the character's passion shine through the glacial composure of the upper class barrister, and Donat is beautifully matched by Margaret Leighton. Recognizing in each other their own integrity and passion for the point of social justice involved in the case, Donat and Leighton ever so delicately find their way to an unspoken understanding. It is the British banked-fires school at its best, spoiled in the 1999 version by Rebecca Pidgeon's snotty performance.

Here, though, as good as Leighton and Cedric Hardwicke are, the star is clearly Robert Donat, bringing his own exhausted pallor and haunting voice to a number of impassioned speeches and deliciously witty one-liners.

The Winslow Boy is, without doubt, a great film; in my humble opinion it is one of the greatest films ever made.

The story of Cadet Ronnie Winslow is a true one although the real name of the cadet was George Archer-Shee; Terence Rattigan, a playwright of the greatest quality, no doubt changed the name for reasons of propriety. Archer-Shee was accused of stealing a postal order while a cadet at Osborne Naval College and dismissed from his post; his father decided to challenge the dismissal and a battle royal ensued. While the real case had differences to the film, the essence was the same and Rattigan's play and the associated film tell the story in a way that fully demonstrates the drama, pathos and prejudices of the times.

The casting is impeccable and the performances outstanding. Sir Cedric Hardwicke as Ronnie's father is superb and Robert Donat as the great counsel, named as Sir Robert Morton in the film but actually Sir Edward Carson, could not have been bettered; his admittedly theatrical exmination of the boy before he accepts the case is sensational. That Donat is now largely forgotten is a tragedy, as is his early death. Margaret Leighton, another who died tragically young, is beautiful, strong-willed and brilliant as Ronnie's older sister who gives up her romance for the cause and eventually falls for Donat. The supporting cast is, without exception, wonderful if slightly elderly for some of their roles. Marie Lohr, Jack Watling, Francis L Sullivan and the rest are all superb. The atmosphere of the day, created by music hall interludes as well as by the overall surroundings, is perfect.

I've watched this film more times than I can remember but it never palls. The casting, script and acting are all of the highest quality; it is a perfect 10 out of 10

A number of films have been made about great courtroom dramas. Some have been over basic human rights. And a few have been made about the challenges and efforts to get human rights cases to court. "The Winslow Boy" is all three of those things. The last was the most difficult and trying. Based on a true story, this is a masterful tale of family love, honor and integrity. But, it's one that shows the sacrifices, tribulations and dissensions among family members.

It is not a film about justice. It is about right. Justice falls within the law, but right is a higher aspect of life, humanity and civilization. And that is wonderfully articulated in this film. "Let right be done," could be another title for the film.

Besides the drama, this story is laced with humor throughout. It is masterfully handled so that the serious aspect is never forgotten. The humor is interspersed among the cast and relates to other things of the day. Popular music and phonographs, the suffrage movement, styles and dress of the day allow for some light respites in the family's two-year wait and worry about the case.

The story takes place in England. It is based on the George Archer-Shee discharge of 1908 that was tried and settled in 1910. The names of the characters have been changed, and some of the characters in the film are different from those in the actual case. But the details of the case are about as they occurred. That includes the final statement from the Attorney General.

Sir Robert Morton is based on Sir Edward Carson, a politician and one of Britain's brightest barristers of the time. Where Morton is single in this film, Carson was married. The Archer-Shee family in the film is the Winslows. The wrongly accused Ronnie Winslow in real life (George Arche-Shee) had an older half-brother but not a sister. The addition of Catherine Winslow in this film provides for some excellent discussions and witty dialog, as well as a subtle, underlying romance.

The cast for this story is superb. One can't imagine better choices for all the lead roles. Or any better performances. Robert Donat, one of the greatest actors of all time, plays Sir Robert Morton. He gives his character an air of aloofness that comes across clearly as snobbery. But, as the story unfolds he changes ever so slowly and later explains to Catherine Winslow why his detachment is intentional. Margaret Leighton is superb in the role of Ronnie's sister. Catherine also is an intellectual favorite of the father, Arthur Winslow. Cedric Hardwicke fills that role superbly. He has just retired from a major bank position. He suffers from severe arthritis, but is determined to clear his son's name.

Marie Lohr is excellent as Grace Winslow. She's at first, a trusting and caring mother, but then worries more about the family's comforts and social standing than about her son's honor. She has a long line of dialog in which she expresses her dismay over the case so disrupting their family. Jack Watling is very good as brother Dickie Winslow. His easygoing, modern attitude as a college student at Oxford is a contrast to the other characters and shows a diversity among family members. And, Neil North is superb as Ronnie. It was his first role in film, and his only substantial one of just ten movies. North was an antiques dealer with a very short career in acting as a boy. But, he returned to film more than 40 years later to play the First Lord in the 1999 remake of "The Winslow Boy."

Other characters are important in the story and are played superbly as well. Desmond Curry (Basil Radford) is a solicitor and friend of the Winslows who helps them secure Sir Robert Morton to handle their case. Frank Lawton is very good as John Watherstone, Catherine's fiancé. He eventually leaves her over the Winslow's persistence in pursuing the case. Kathleen Harrison is excellent and has one substantial line as Violet, the family's maid of 25 years. The rest of the cast excel in their roles. Most notable are Francis L. Sullivan as the Attorney General, Walter Fitzgerald as the First Lord, Nicholas Hannen as Colonel Watherstone, Ivan Samson as Captain Flower of the Naval Academy, Ernest Thesiger as handwriting expert Ridgeley Pierce, Evelyn Roberts as the Member of Parliament Hamilton, and Kynaston Reeves as Lord Chief Justice.

The real George Archer-Shee story is a very interesting read. It has a sad outcome with World War I. But, it included a government settlement to the family for its hardships in this injustice. It was a sizable amount. Sir Robert Morton alludes to compensation for the family in the end of this film. And, the movie leaves the audience with a happy thought of a blooming romance around the corner between Sir Robert and Catherine Winslow.

This highly entertaining and enjoyable film gives audiences a look at some top British actors of the day. It's a wonderful story with superb acting all around.

Here are some favorite lines. For more poignant and clever dialog, see the Quotes section under this IMDb Web page of the film.

Sir Robert Morton, "It has a certain ring about it, hasn't it? Let right be done."

First Lord, "In certain cases, private rights may have to be sacrificed for the public good."

Catherine Winslow, "But brute stubbornness may not be such a bad quality in the face of injustice."

Sir Robert Morton, "I'm very glad to hear it. Both of those activities would be highly unsuitable in that hat."

Lord Chief Justice, "You are prejudicing your case by these interruptions." Sir Robert Morton, "Oh? Do you really think so, my Lord?"

Brilliantly directed by Anthony Asquith (who in private life was actually the son of the British prime minister who is severely criticized in the movie), this engaging film has the advantage of an engrossing screenplay by Terence Rattigan, which was firmly based on Rattigan's own 1946 stage play.

Aside from a let-down climax that not only occurs off-camera, but is disappointingly narrated by Kathleen Harrison, this is a superbly realized version of the stage play, expertly opened out to include some really engrossing extra material in not only its court scenes (involving that charismatic heavy, Francis L. Sullivan, in his most dominating stance, and Ernest Thesiger in one of his most engagingly ineffective), but also includes some lively episodes in both the House of Commons and a wide collection of London's music halls.