ONE LIFE (2024): The Extraordinary Story from Fairly Ordinary Presentation

One Life harbours an extraordinary story but struggles to reach its full potential that could have it standing shoulder to shoulder with Schindler’s List. The latter was directed by one of the great filmmakers who broke the stratosphere with its murky and granite cinematography and iconic music (among other elements) whereas this sits firmly under the uninspired filmmaking of BBC FILMS and a lack of auteur vision from John Hawes. That’s not to kick Hawes down, as the strengths he brings are substantial, but this really could have been more than it is and that seems to be the case for many British films under a name like BBC Films or Pathé these days. 

Still, it’s a decent watch with stellar performances in the section where heroic Nicolas Winton is fighting tooth and nail to get Czech Jewish children to safety; Johnny Flynn had once struck me as someone doomed to never escape the stuttering buffoon of romcoms but I’m glad to see him in a role where he almost disappeared into. The same is true for Helena Bonham Carter as the crazy lady type is lifted to reveal an actress worth better recognition. 

But Anthony Hopkins carries the film’s emotional core - the more I think about it, no other actor brings me to tears like Hopkins. It is because, in a role he is actually interested in, every fibre is working to the utmost authenticity and he’s wonderful as always. It’s the interview scenes toward the end where the movie finds its footing and had the hairs stand up. Had the rest of the film been like that, it would have been a more interesting experience