April
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The Aftermath (2019)
There are many reasons a beautifully made film like The Aftermath (2019) ends up critically panned. Some describe it as slow, melodramatic, and predictable, but such labels often reflect unfulfilled viewer expectations rather than an ill-conceived or poorly executed film.
Set in 1946, the plotline is straightforward with few surprises other than its final moments. It opens with British Colonel Lewis Morgan (Jason Clarke) and his wife Rachel (Keira Knightley) arriving in the devasted city of Hamburg to restore law and order, as well as to root out remaining Nazi sympathisers. The thoroughly middle-class Morgans have requisitioned a stately mansion owned by architect Stephan Lubert (Alexander Skarsgárd) and his rebellious daughter Freda (Flora Thiemann). Lewis is a compassionate man who cannot bear to send the Luberts to a squalid refugee camp and invites them to stay in the attic, setting the tension lines that drive the film. When someone remarks that more bombs were dropped on Hamburg in one week than were dropped on London in one year, we enter an inverted moral paradigm where the line between victory and vanquished turns grey.
The slow start has a purpose. Few films respectfully explore the humiliation of defeat and many viewers would ask ‘why should they’? The Aftermath dwells on prolonged moments where the victor strolls in and takes over the home of the vanquished; where a population is deliberately starved to keep them compliant; where a once-proud culture must confront its inner demons. Deep unresolvable grief permeates the city as well as the lives of the Morgans and the Luberts. Both lost loved ones and the times are not sympathetic to healing. In the middle of this swirling emotional vortex, a classic ‘Lady Chatterley’s Lover’ sub-plot becomes the narrative device for rebuilding lives.
This film stands out in the war-drama genre because of its nuanced portrait of the immediate aftermath of the Allied occupation of Germany. It reeks of period authenticity in ways that only British films can do. The stunning cinematography captures the horror of the immediate post-war period without the usual reliance on the tropes of military casuality and destruction. Knightley and Clarke’s performances are outstanding, while Skarsgárd adequately fills the role of a grieving, if over-confident, romantic antagonist. As happens so often, Knightley’s commanding presence and extraordinary range of emotional versatility stamps her ownership all over the film.
If history is only written by winners it will always only be half-true. The Aftermath is an essay about the other half, blending sufficient historical insight into a romantic drama to hold our interest without emotional sledgehammers. There are minor lapses of pace, maybe a narrative digression or two that dilutes momentum; but overall, this is a satisfying film that takes an uncommon view on unexplored cinematic territory.
Director: James Kent
Stars: Keira Knightley, Jason Clarke, Alexander Skarsgárd, Flora Thiemann
CineMuseFilms 
This was one that got away in a crowded marketplace at the cinema for me. I was really moved by the directors’ prior offering, an adaptation of Vera Brittain’s ‘Testament of Youth’; so hoping to catch this when released on streaming platforms. Thanks for the usual balanced and well written review.
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Nice to hear from you Paul. Track this one down; its worth the effort.
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Will see this today!
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I was going to go see this but heard it was garbage. I should trust my own instincts and not listen so much to other’s opinions.
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As you know, the commentariat hunts in packs; one bad review triggers an avalanche. Please drop back and share your thoughts after seeing it Cindy.
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Will do, Richard.
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Not expecting much after seeing the low meta score, it came as a happy surprise to find I was enthralled every minute. I found the acting credible and the look of the film authentic. Alexander Skarsgård made a terrific romantic lead, blessed as he is with his Nordic good looks. Not much acting talent required of him which may have been a good thing because a bravura performance may have been a distraction.
I appreciate what you’ve said regarding a perspective from both the winners and losers Richard, and this holds true. I must admit to feeling a little dismissive at the complaint about the number of bombs dropped on Hamberg considering all that we know about the course of the war. Fortunately the feeling was fleeting and passed in a nanosecond.
Fairly conventional storytelling as movies go and yet it was competently made and I cared very much about the three characters involved.
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Fortunately I saw the trailer before I saw any reviews. The trailer had all the makings of a movie for me. I thought it was extraordinary. I have read letters of family members that lived in Hamburg during and just after the war. The footage of the building carnage, of people in rags searching for food and fuel put visuals in my head for things I’d read about. I loved this film. And your review does it due justice.
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Glad you saw it Linda. I liked the way it avoided the usual triumphalism where victors claim all the glory; it shows more nuance than most in the war-genre.
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Great summary Anita, thank you. Glad you saw it.
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Thanks very much Richard. I also enjoyed your latest review of “Sometimes. always. Never.” a film that’s appealed to me as well in its own, quiet way.
Now I’d like a review of Korean film “Burning”! Do I ask for too much? 🙂
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I thought I would enjoy this but was so disappointed ruined for me by the dreadful costumes. Rachel would not have been wandering around that freezing house in a short sleeve jumper or gone to a dance in a backless dress with a tiny fur cape and survived being out in the woods. Not artistic license just stupid costume design.
When Stephen started playing a record on the gramophone I almost walked out, only stayed to see what else was wrong.
He played one of the ‘Four Last Songs’ by Richard Strauss.
Composed in 1948.
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