This film has been one of my favorites for years. However, as mainstream films such as the "Indiana Jones" sequels continue to propagate, "The Winslow Boy" seems more and more special.The members of the Winslow family love, respect, and trust each other. These people have integrity. They are complete human beings with fears and doubts. They make sacrifices and they do the right thing.The last half hour of this movie contains so many scenes that are just right...perfectly written and perfectly acted. Dickie visiting the house and telling his father that he has enlisted in the army. Kate informing her father that her ex-fiancé is engaged to another. Desmond proposing to Kate, saying "The facts are these. You don't love me and never can. I love you and always will. These are facts I am willing to accept." Kate and Mr. Winslow learning of the outcome of the case from Violet, their faces reflecting the pain and fear of possibly losing the case, then the joy of hearing that they've won. (No, they're not jumping for joy, but the joy and relief is on their faces, nevertheless.) Sir Robert reading the Admiralty's final words absolving Ronnie, then collapsing in the chair from exhaustion. Kate apologizing for having misjudged him. And of course, the final scene between Kate and Sir Robert. RN: Miss Winslow, I hope I shall see you again. One day, perhaps, in the House of Commons, up in the gallery. KW: Yes, Sir Robert, in the House of Commons one day, but not up in the gallery. Across the floor, one day. RN: You still pursue your feminist activities? KW: Oh, yes. RN: Pity. It's a lost cause. KW: Oh, do you really think so, Sir Robert? How little you know about women. Good-bye. I doubt that we shall meet again. RN: Oh, do you really think so, Miss Winslow? How little you know about men.What a great ending to a great film.

A drawing room, period, study of manners, domestic drama, if you will... The drama is admittedly light, centring on the impact of a teenage son's expulsion from naval college and the truth or otherwise of this occurrence. Strangely enough, you never get to learn whether the boy was actually guilty or not of his "crime" - although he gets off, it's never fully resolved and could be attributed to the superior advocacy of his attorney - sadly still a predilection in modern society. However the dramatic content could have been increased with some kind of courtroom climax, or confession, but now I'm arguing with the original play, hardly the fault of David Mamet or his actors. The Edwardian, pre War "golden - era" is nicely evoked with the big house, coterie of servants and upper - class manners of the family, although contemporary influences such as suffragetism (strongly) and the approaching war (mildly) are referred to. I'm not sure Mamet properly and fully brought home the "sensational" aspect of the Winslow case on the British public, even as I appreciated his subtlety in demonstrating this via newspaper hoardings, contemporary cartoons and the like. He does however marshall his acting troupe well. Nigel Hawthorne shines as the patriarch who sacrifices the wants and needs of his wider family for the sake of clearing his son's name. I didn't get the impression that it was the family name he was defending and genuinely believe it was for his youngest son's future which concerned him, which is as it should be. I'm not quite sure however that Hawthorne seems just too old to have fathered the boy. The rest of the cast play very well although some of their roles seem stereotypical and perhaps more could have been made of the interfamily tensions...but again that takes us back to Rattigan's source material. Mamet this time, quite rightly eschews all opportunity to contemporise the play and his cinematic devices are subtly reined in, no overlapping dialogue or sharp cross-cutting here. I liked the utilisation of the swinging garden gate at the start of the film, letting in the "bad" from outside, which recalled to mind J.B. Priestley's "An Inspector Calls". How often English dramatists seemed to write about the so called idyllic society of the upper classes breaking down...nothing lasts forever it seems. Anyway, in summary, a wordy piece, well shot, well played but ultimately probably best enjoyed as a stage play.

During the Edwardian period in England, a family is newly in turmoil. The youngest and very dear son has been accused of theft at his school and expelled. The boy swears his innocence to his father & family so the patriarch begins a court proceeding to clear his son of any wrong doing. A rising young attorney (Jeremy Northam) is found willing to accept the defense of the boy. The publicity is intense, making the older sister's wedding engagement in jeopardy. Will the family continue to try and prove their son's case or will circumstances make them give up the fight?This is a beautiful movie, in many ways. The cast is stellar, but, especially, the handsome and intelligent Jeremy Northam excels in his role as the attorney. The sister's role is also portrayed very well and her feisty yet genteel character is extremely attractive. The sets are lovely, the minor characters deft, and the costumes are superb. Mostly, though, the script and direction are of the highest caliber, showcasing what is good and noble in a family with exceptionally high morals. Do you want good character building films without any objectionable scenes, which are also highly enjoyable? This one should make the top ten list every time.

Subtlety, restraint and reserve are the hallmarks of this beautifully crafted version of a classic piece of theater. The characters are all flawlessly created by a cast of brilliant actors. Jeremy Northam is amazing in everything he does but never better than in this film where he plays a politician who takes the case with reservations and then sticks with it risking his own future by his courageous stand in defense of a young boy who seems guilty but swears he is innocent. The sacrifices each person in the family makes to uphold the family honor and name is an inspiration and the sexual chemistry between Jeremy Northam's character and that of Catherine Winslow who plays the feminist older sister of the title character is like a smoldering ember about to burst into flame.