One Life / Maestro

On average my wife and I go to the cinema at least once a week. Recently we saw two films, which for me at least, provided a complete contrast to each other.

The first was One Life, concerning Nichols Winter, who was instrumental in saving the lives of 555 children, mainly Jewish, from that part of Czechoslovakia, which remained following the Nazi occupation of the Sudetenland in 1938, after Britain and France betrayed that unhappy country at Munich, and the takeover of the rest of the nation in March 1939.

Although, as some have pointed out, he was not alone in the enterprise, and some colleagues were in a physical danger that he was not, it was only because of his persistence in what he saw as a moral crusade, that the funds, and permissions were obtained

The film vividly portrays the fear that those innocent children felt, as they were bullied by the cowardly members of the so called master race, and forced to say goodbye, probably for ever to their parents and loved ones. Winter never gave up, until the crushing of Czechoslovakia was complete, and due acknowledgement was made to the sterling help of his mother in achieving what was possible. The scene when, in the studios o f the TV programme That's Life, Winter was introduced to a studio audience consisting of men and women who owed their lives to him, actually portrayed by descendants of those people, brought tears to my eyes. The film starred Sir Anthony Hopkins, Johnny Flynn as Sir Nicholas, with Romola Garai, Sir Jonathan Pryce, and Helena Bonham Carter in the cast.

I cannot recommend this film too highly, and, at a time when ignorant youngsters demonstrate against Israel, and shout that the Jews should be in camps, should be required viewing in schools.

The other film was Maestro, a biographical account of the American musician Leonard Bernstein. He is described as a conductor, composer, pianist, music educator, author, and humanitarian, yet, if true, this film reveals a very different side to his story.

He, and those with whom he associated, are shown as being pretentious pseudo intellectuals, openly taking drugs, and jumping into each other's beds, of either sex, while pretending to be so moral in their societal opinions. Bernstein constantly talks about love, yet kisses men in a sexual manner in front of his wife, and, when attending the theatre with her, nevertheless sits there holding hands with his latest male lover.

This sort of thing may be acceptable, even supported by a section of our modern society, but for me it was extremely distasteful, and conveyed a strong feeling of the hypocrisy that those who wanted to do as they please, hurting others, such as his loyal wife, while protesting that they were so progressive and tolerant. Bradley Cooper, a popular American actor, takes the part of Bernstein, while Carey Mulligan, the English actress, portrays his wife, a woman who put up with far more than she should have done.

The disparity between Nicholas Winter, a self effacing modest man, who actually saved hundreds of children's lives, and Bernstein, who comes across as entitled, selfish, and totally immoral, is striking. Anyone intending to go to the cinema should chose One Life, over Maestro every time.