Film
Film review: The Aftermath
Linda Marric finds a post war romance charming but flawed
March 2, 2019 22:59
Linda Marric finds a post war romance charming but flawed
March 2, 2019 22:59In James Kent’s new film The Aftermath, Keira Knightley stars as the lonely wife of a British army officer who falls for a German widower in this well intentioned, if slightly contrived romantic drama set in Germany in the aftermath of the Second World War.
Adapted from Rhidian Brook's novel of the same name, The Aftermath offers the chance to reacquaint ourselves with the Jewish director whose debut feature Testament of Youth, an adaptation of Vera Brittain’s WWI war memoir, was one of the most critically acclaimed films of 2014.
The year is 1946 and Rachael Morgan (Knightley) has arrived in the embattled city of Hamburg to join her officer husband Lewis (Jason Clarke) who has just been put in charge of tracking the remnant of an underground Nazi Party. Unbeknownst to Rachael, the grand home which has been requisitioned to act as the couple’s new living quarters once belonged to Stefan Lubert (Alexander Skarsgård at his brooding best), a handsome architect who recently lost his wife in an air raid.
Still harbouring resentment towards all Germans after a painful loss at home, Rachael takes an instant dislike to Stefan, and is incandescent with rage when Lewis informs her that both he and his troubled teenage daughter Freda (Flora Thiemann) will be staying on the property until he is cleared of any Nazi involvement.
Gradually, Rachel and Stefan start to realise that they have more in common than just their love for the beautiful Steinway piano which sits proudly in the Luberts’ tastefully furnished lounge. Left alone in the house whilst Lewis is away on important military matters, the two can’t resist temptation and embark on a passionate affair which convinces Rachael once and for all that her marriage is over.
Kent offers a fairly conventional, and at times, frustratingly predictable film which could have benefited greatly from a more robust storyline. Although handsomely made and beautifully acted, The Aftermath sadly suffers from its inability to ring completely true.
And whilst the horrors of the Holocaust are often referenced, there is a definite lack of gravitas, especially in some of the more ham-fisted exchanges between Stefan and thuggish intelligence officer Burnham (Martin Compston) about the architect’s past.
Knightly, who seems to have acquired somewhat of a national treasure status of late, gives a robust performance in a role which isn’t a million miles away from her usual repertoire of frail costume drama heroines.
On the whole, The Aftermath doesn’t stray too far from the epic love story trope, but still manages to make a valid commentary on the importance of forgiveness and reconciliation. And while the narrative is peppered throughout with references to other films, from Brief Encounter to The Piano, it’s clear that Kent is still able to leave his own stamp on this charming, if a little flawed production.
