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Love Story<br />
Richard M. Langworth<br />
“The Gathering Storm,” a film for<br />
television produced by BBC Films<br />
and HBO Inc., starring Albert Finney<br />
as <strong>Winston</strong> <strong>Churchill</strong> and Vanessa<br />
Redgrave as Clementine. Script by<br />
Hugh Whitemore, directed by<br />
Richard Loncraine. 90 minutes. We<br />
have eight brand new reviewer’s videotapes<br />
(USA format), $40 postpaid in<br />
USA, elsewhere enquire; make<br />
payable to The <strong>Churchill</strong> Center.<br />
<strong>Churchill</strong> films seldom engender<br />
unanimity among reviewers, but<br />
everyone in the room watching the<br />
preview, by kind invitation of the<br />
British Consul in Boston, had the same<br />
reaction: astonishment at just how<br />
good this film is. Even in a cynical and<br />
antiheroic age, filmmakers still can<br />
recreate what Lady Soames calls “The<br />
Saga” without reducing her father to a<br />
flawed burlesque or a godlike caricature.<br />
With the exception of one huge<br />
gap in the story line, “The Gathering<br />
Storm” is a masterpiece.<br />
BOOKS, ARTS<br />
&CURIOSITIES<br />
Unexpectedly in the male-dominated<br />
world of the 1930s, but perhaps<br />
intentionally in 2002, the greatest supporting<br />
roles are female. Clementine<br />
<strong>Churchill</strong> is one of these. Badly misplayed<br />
by Sean Phillips in the “Wilderness<br />
Years” documentary two decades<br />
ago (FH 38), Clemmie gets justice at<br />
the hands of Vanessa Redgrave.<br />
Redgrave not only looks the<br />
part—<strong>Winston</strong> <strong>Churchill</strong>, who should<br />
know, says the resemblance is uncanny.<br />
But scriptwriter Hugh Whitemore has<br />
also provided her with exactly the right<br />
lines as she cajoles, scolds, wheedles<br />
and encourages her husband. “I often<br />
put myself in Clemmie’s shoes,” wrote<br />
Diana Duff Cooper, “and as often felt<br />
how they pinched and rubbed till I<br />
kicked them off, heroic soles and all,<br />
and begged my husband to rest and be<br />
careful. Fortunately, Clemmie was a<br />
mortal of another clay.” (FH 83:13).<br />
Equally compelling is Ava (Lena<br />
Headey), the beautiful wife of Ralph<br />
Wigram (Linus Roache) a Foreign Office<br />
official who, as Martin Gilbert revealed<br />
in the official biography, risked<br />
his career to bring <strong>Churchill</strong> secret<br />
documents on Germany’s rearmament.<br />
Devotedly Ava bears her husband’s<br />
strain, her deep concern for a son suffering<br />
from cerebral palsy, and the<br />
worst that politics can throw at her.<br />
Angered by Wigram’s aid to<br />
<strong>Churchill</strong>, a government toady named<br />
Pettifer (in life Walter Runciman, President<br />
of the Board of Trade) visits Ava<br />
with a threat: if Ralph doesn’t stop<br />
helping <strong>Churchill</strong> he will be transferred<br />
abroad, leaving Ava and the boy alone<br />
in London. She promptly tells him to<br />
do his worst and throws him out.<br />
This is an overdue tribute to a little-known<br />
heroine. Ava Bodley married<br />
Ralph Wigram in 1925. After Ralph’s<br />
death from polio in 1936 she wrote to<br />
WSC: “He adored you so & always<br />
said you were the greatest Englishman<br />
alive.” In 1941 she married John Anderson,<br />
later Viscount Waverly, Home<br />
Secretary and later Chancellor of the<br />
Exchequer in <strong>Churchill</strong>’s wartime government,<br />
for whom the Anderson Shelter<br />
was named. <strong>Churchill</strong> was devoted<br />
to Ava, and when Anderson died in<br />
1958, Martin Gilbert reports, Sir <strong>Winston</strong><br />
telephoned her from Chartwell:<br />
“After commiserating with her on Lord<br />
Waverly’s death he was silent for a<br />
while, then said to her with what<br />
sounded like tears in his voice, ‘For<br />
Ralph Wigram grieve.’”<br />
Albert Finney, who plays <strong>Winston</strong>,<br />
is ten or fifteen years too old and<br />
looks more like WSC’s late nephew<br />
Peregrine. But his mannerisms and pale<br />
blue eyes are right, and he grows on<br />
you, despite unnecessary toilet scenes<br />
and red velvet siren suits worn round<br />
the clock. Finney overplays the role—<br />
every <strong>Churchill</strong> impersonator does except<br />
Robert Hardy. He’s no Hardy, but<br />
Finney is all right. Again Whitemore’s<br />
script comes through: here and there is<br />
a snatch of words <strong>Churchill</strong> spoke in<br />
different contexts (e.g., a 1939 broadcast,<br />
recast as a Commons speech in<br />
1936). But the flow is so seamless that<br />
only the determined critic will notice.<br />
The rest of the casting is good:<br />
not perhaps so physically exact as in<br />
“The Wilderness Years,” but convincing<br />
and finely directed by Richard<br />
Loncraine. Sarah <strong>Churchill</strong> should<br />
have had a flame red wig to hide that<br />
mousy hair, and Brendan Bracken also<br />
starts too dark-haired, though his mop<br />
reddens as the crisis mounts!<br />
Randolph is too young and silly;<br />
Nigel Havers was a better Randolph in<br />
the 1982 version. Derek Jacobi makes<br />
a lifelike Stanley Baldwin. Sir Robert<br />
Vansittart (Tom Wilkinson) is the uneasy<br />
Undersecretary of State for Foreign<br />
Affairs, balancing loyalty to his<br />
government with fear for his country,<br />
saying of <strong>Churchill</strong>, “he demands total<br />
loyalty,” and implying that it’s worth it.<br />
The opening scenes at Chartwell<br />
in 1934 play like Manchester’s prologue<br />
to his second volume of The Last<br />
Lion, providing a penetrating look at<br />
the household down to “Mr. Accountant<br />
Woods,” who pronounces Win-<br />
FINEST HOUR 115 / 32