Darkest Hour

Inconsistent relationships fail to establish the foundation for a meaningful narrative.

An Oscar-worthy and robust performance from Gary Oldman fails to save Darkest Hour from the pangs of an anemic narrative structure. Portraying Prime Minister Winston Churchill during the opening days of World War II, he grows out of his delusions and saves England from Nazi tyranny (Main Character Resolve of Changed](https://subtxt.app/storypoint/main-character-resolve/changed "Main Character Resolve of Changed - Storypoint - Subtxt") and [_Story Outcome of_ Success)—

—the reason why remains a mystery.

Main Characters grow out of their justifications when a competing, alternate perspective challenges the way they do things. An abundance of contentious arguments find a voice through Chamberlain and Halifax (Ronald Pickup and Stephen Dillane, respectively), but these function as objective logistical counters to Churchill’s headstrong approach—not subjective emotional disputes.

King George VI (Ben Mendelsohn) stands ready to fulfill the all-important Obstacle Character Throughline. As does Churchill’s wife, Clementine (Kristin Scott Thomas). Unfortunately, the narrative fails to provide these two with the appropriate point-of-view necessary to challenge and influence Churchill through his growth.

The right kind of influence

Churchill’s throughline is the one thing the narrative of Darkest Hour accomplishes with high effectiveness. The Prime Minister’s challenge—the one thing he suffers through on his own—is his reputation (Main Character Throughline of Universe](https://subtxt.app/storypoint/main-character-domain/Universe "Main Character Domain of Universe - Storypoint - Subtxt")). With a history of defeats and questionable decision-making, Churchill directs his efforts towards his life’s as-yet-to-be-written most great chapter ([_Main Character Issue of_ Fact, Main Character Focus of Proven](https://subtxt.app/storypoint/main-character-focus/proven "Main Character Focus of Proven - Storypoint - Subtxt"), and [_Main Character Direction of_ Presumption). His preference for vagueness in matters of details and substance is a direct result of these past failures (Main Character Problem of `Deviation) and indicates why he can so easily delude himself.

The counter-balance to the Main Character struggling with these specific issues is an Obstacle Character steadfastly obsessed with what is most important. A Main Character Domain of Universe calls for an Obstacle Character Domain of Mind. A Main Character struggling with Issues of Fact needs an Obstacle Character Issue of Value. This relationship is how a narrative balances the two opposing points-of-view and how it makes an argument for the strength of one over the other.

Unfortunately, Darkest Hour fails to attach this perspective to King George or Clementine consistently. Clementine’s scolding of Churchill’s behavior towards his assistant is one successful instance. King George’s re-affirmation of his rightful place in England and his refusal to leave is another. These moments whisper and lose their effectiveness because of the significant distance between them.

A lack of heart to balance all the yelling

As a result of this insufficient and inconsistent alternate perspective, a meaningful relationship that grows out of the dissonance between the two also goes missing. Darkest Hour lacks heart, the kind of spirit that rests within the Relationship Story Throughline. Flashes of intimacy appear briefly between husband and wife and between subject and King, yet flutter away before gaining ground within the narrative.

The result is a narrative half-baked and relying exclusively on the performance of one man to make its presence known. Darkest Hour is a brilliant re-enactment of Britain’s final days leading up to the war, and nothing more. Without a sufficient alternate perspective to challenge Churchill to grow and a relationship to support such an argument, the narrative loses integrity and diminishes its attempt at gravitas.