Johnny Flynn performs quite well here as the young stockbroker Nicholas Winton who arrives in Prague just as the Nazis annexe the Sudetenland. He is horrified by the child poverty that he sees and decides, perhaps naively, to work with his British Refugee Council colleagues to try and expedite their removal to a safer and altogether earthier environment. Fortunately, his mother Babette (Helena Bonham Carter), herself from immigrant stock, is no slouch when it comes to doorstepping officials in Whitehall and soon has convinced the authorities to agree a fast-track mechanism that will enable him to get the children back to the UK provided they have guaranteed foster homes and the fairly massive sum of £50 as a guarantee. He returns to London and a massive public awareness/fundraising campaign ensues - as do eight trains carrying over six hundred children to safety. We are told this story via a series of flashbacks from the modern day Winton (Sir Anthony Hopkins) who now lives peacefully with his wife Greta (Lena Olin) in Berkshire. He is perusing a scrapbook he has left in a drawer for forty-odd years in which he has photographs and details of many of those passengers on the "Kinder" trains. His friend from back then (Jonathan Pryce) manages to put him in touch with Betty Maxwell - the wife of the wealthy publisher Robert, and next thing he is on British television's most popular "That's Life" programme that regularly reached 18 million people on a Sunday evening. This appearance poignantly introduces him to one survivor, his next sees that snowball into some sixty or so who owed their life and liberty to the efforts of Winton and his colleagues - whom he is always very clear to ensure are never forgotten. I recall watching this programme back in the day and the dramatisation is no less moving than the original broadcast. Sir Anthony offers us a considered performance - demonstrating a shy family man who rejects the trappings of fuss and celebrity because he sees his behaviour as nothing special. Doing the right thing. His efforts are touching and understated and nicely dovetail with the rather pushy and forthright Bonham Carter fighting tooth and nail against red tape in 1939. As an insight to Nazi tyranny it also works subtly. We see very little actual violence, but we see a squalor and hopelessness that robs the soul of hope as depressingly as the situation robs their stomachs of food. The film looks good and is sparingly scripted allowing our own imagination to do much of the thinking here.
