The Railway Man (film)
|The Railway Man|
Theatrical release poster
|Directed by||Jonathan Teplitzky|
|Based on||The Railway Man
by Eric Lomax
|Music by||David Hirschfelder|
|Edited by||Martin Connor|
|Box office||$22.3 million|
The Railway Man is a 2013 British–Australian war film directed by Jonathan Teplitzky. It is an adaptation of the autobiography The Railway Man by Eric Lomax, and stars Colin Firth, Nicole Kidman, Jeremy Irvine, and Stellan Skarsgård. It premiered at the 2013 Toronto International Film Festival on 6 September 2013.
During the Second World War, Eric Lomax is a British officer who is captured by the Japanese in Singapore and sent to a Japanese POW camp, where he is forced to work on the Thai-Burma Railway north of the Malay Peninsula. During his time in the camp as one of the Far East prisoners of war, Lomax is tortured by the Kempeitai (military secret police) for building a radio receiver from spare parts. The torture depicted includes beatings, rape, and waterboarding. Apparently, he had fallen under suspicion of being a spy, for supposedly using the British news broadcast receiver as a transmitter of military intelligence. In fact, however, his only intention had been to use the device as a morale booster for himself and his fellow prisoner-slaves.
Years later, and still suffering the psychological trauma of his wartime experiences, with the help of his wife Patricia and best friend Finlay, Lomax decides to find and confront one of his captors who had escaped prosecution as a war criminal. Lomax returns to the scene of his torture after he has tracked down Japanese secret police officer Takashi Nagase, "in an attempt to let go of a lifetime of bitterness and hate". When he finally confronts his former captor, Eric first questions him similarly to how his captors interrogated him years before. The situation builds up to where Eric nearly whacks[clarification needed] Nagase, but instead breaks furniture in anger. Soon afterward, Eric pushes the officer into a human cage, where many POWs were previously kept.
Nagase soon reveals that the Japanese (including himself) were brainwashed into thinking the war would be a victorious one for them, and that he never knew the high casualties caused by the Imperial Japanese Army. Eric eventually frees Nagase, throws his knife into the nearby river, and then returns to Britain.
After an indefinite period of time, Eric returns, with Patricia, to Thailand. He meets up with Nagase once again, and after exchanging and accepting each other's apologies, the two become friends. The epilogue relates that Nagase and Eric remained friends until their deaths in 2011 and 2012, respectively.
- Colin Firth as Eric Lomax
- Jeremy Irvine as Young Eric Lomax
- Nicole Kidman as Patricia Lomax (née Wallace)
- Stellan Skarsgård as Finlay
- Sam Reid as Young Finlay
- Hiroyuki Sanada as Takashi Nagase
- Tanroh Ishida as Young Takashi Nagase
- Micheal Doonan as Doctor Rogers
While he was working on the screenplay, co-writer Frank Cottrell Boyce travelled to Berwick-upon-Tweed in Northumberland with Firth to meet 91-year-old Lomax. Firth said of the film: "I think what is not often addressed is the effect over time. We do sometimes see stories about what it's like coming home from war, we very rarely see stories about what it's like decades later. This is not just a portrait of suffering. It's about relationships ... how that damage interacts with intimate relationships, with love."
On Rotten Tomatoes, a review aggregator, the film has a score of 66% based on reviews from 109 critics. The consensus reads: "Understated to a fault, The Railway Man transcends its occasionally stodgy pacing with a touching, fact-based story and the quiet chemistry of its stars." At Metacritic, the film received a score of 59/100 based on 33 reviews, indicating "mixed or average reviews".
Kidman, Firth, and Irvine were all praised for their roles. Katherine Monk of the Montreal Gazette said of Kidman: "It's a truly masterful piece of acting that transcends Teplitzky's store-bought framing, but it's Kidman who delivers the biggest surprise: For the first time since her eyebrows turned into solid marble arches, the Australian Oscar winner is truly terrific", and finished with: "Coupled with some dowdy clothes and a keen ear for accents, Kidman is a very believable middle-aged survivor who will not surrender to melodrama or abandonment". Ken Korman, who agreed with that assessment, stated: "Kidman finds herself playing an unabashedly middle-aged character. She rises to the occasion with a deep appreciation of her character's own emotional trauma." Liam Lacey of The Globe and Mail stated, "Firth gives the performance his all as a man trapped in a vortex of grief, shame and hate, but as in Scott Hicks's Shine, which the film occasionally resembles, there's an overtidy relationship between trauma and catharsis".
|Best Film||Chris Brown||Nominated|
|Best Adapted Screenplay||Won|
|Frank Cottrell Boyce||Won|
|Best Cinematography||Gary Phillips||Nominated|
|Best Original Music Score||David Hirschfelder||Won|
|Best Sound||Gethin Creagh||Nominated|
|Best Costume Design||Lizzy Gardiner||Nominated|
|ACS Awards||Mill Award for Cinematographer of the Year||Gary Phillips||Won|
|ASE Award||Best Editing in a Feature Film||Martin Connor||Nominated|
|FCCA Awards||Best Film||Chris Brown||Nominated|
|Frank Cottrell Boyce||Won|
|Best Actor||Colin Firth||Nominated|
|Best Actress||Nicole Kidman||Nominated|
|Best Editing||Martin Connor||Nominated|
|Best Production Design||Steven Jones-Evans||Nominated|
|Best International Film||Nominated|
The film grossed $4,415,429 in the US, and $17,882,455 outside internationally, for a combined gross of $22,297,884.
Philip Towle from the University of Cambridge, who specialises in the treatment of POWs, awarded the film three stars out of five for historical accuracy. Reviewing the film for History Extra, the website of BBC History Magazine, he said that, while he had no problem with the representation of the suffering of POWs or the way in which the Japanese are portrayed, "the impression [the film] gives of the post-war behaviour of former POWs of the Japanese is too generalised..."
Towle also points out that the meeting between Lomax and his tormentor was not unexpected, but rather there had been correspondence leading up to it. He writes that the film may not have made it clear: the railway was basically finished, and by the time of their rescue "...the main dangers to the POWs came from starvation and disease, Allied bombing and the looming threat that all would be murdered by the Japanese at the end of the war".
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