Talking Movies

March 3, 2019

Notes on The Aftermath

Keira Knightley’s new post-war romance was the film of the week much earlier today on Sunday Breakfast with Patrick Doyle.

The Aftermath seems to be attempting to surf on the eddies left by Atonement, but this is a far more muted drama, and its startlingly more explicit affair comes out of nowhere. Indeed one imagines that pages 55 and 75 has been stapled in reverse order in the shooting script. Knightley’s character lost her son in the Blitz, Alexander Skarsgaard lost his wife in the firebombing of Hamburg. Yet there is no reason for her jumping from ‘I hate the Germans, they killed my son’ to jumping Skarsgaard. But if only it had come after the film’s best scene, where Knightley plays the piano. The first time she has properly played since her son died, using the copy of Debussy’s Claire de Lune inscribed by Skarsgaard’s dead wife. As Skarsgaard’s daughter joins in, and all are then reduced to tears by Knightley’s broken monologue about her dead son Skarsgaard sits down to comfort her. That scene should precede their affair…

Listen here:

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