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An uplifting escape like that provided by movies is essential during times of global mobilization, and the unique perspective provided by women is essential during these times. Both are especially important when death is lurking around the corner and chin-up optimism is in short supply, as is the case at any given moment. That is the rousing message conveyed by “Their Finest,” which attempts to marry a ’30s-style workplace screwball comedy with a misty-eyed World War II drama and, with the exception of a few shaky moments, mostly succeeds in doing so.
The big news here is that Danish director Lone Scherfig has finally produced a worthy femme-forward follow-up to her sly coming-of-age tale from 2009, the Oscar-nominated “An Education,” with another portrait of a young woman adjusting to life in London during a period of social upheaval. “An Education” was nominated for an Academy Award in 2009. Instead of a British schoolgirl in the 1960s, Catrin Cole (a radiantly rosy-cheeked Gemma Arterton) is a displaced Welsh lass in 1940, trying to find a way to pay the rent during the Blitz, when many men were away fighting in the war on the Continent at the time. Ellis (Jack Huston), her lover-boy companion who has been hampered by a previous conflict, is a struggling artist who does not have a steady source of income of his own.
Catrin’s ability to write well earns her a position in the Ministry of Information’s film division, where she improves propaganda scripts that are intended to boost morale and instill pride in the military. Original assignment: inventing women’s dialogue (dubbed “the slop”) for use in war-related short films. She is soon recruited to assist in the development of a feature-length civilian rescue mission adventure set during the Battle of Dunkirk, which stars two attractive patriotic twin sisters who rise to the occasion as boat-commanding heroes. Catrin works as a Rosie the Riveter, instead of in a factory, and instead of a power tool, she uses a typewriter to complete her tasks. While she is not initially compensated at the same level as “the chaps,” she soon earns the respect of her male colleagues and is frequently credited with saving the day with the perfect plot fix or line adjustment.
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With increasing chaos and rubble-filled streets in the world outside their offices as shrill air-raid sirens, swooping German bombers and earth-shaking explosions are commonplace, and neighbors, friends, and family members can be killed without warning, the world outside their offices is a frightening place. Not that there isn’t a tinge of romance in the air. Catrin and cynical fellow scribe Tom (Sam Claflin, who previously played tribute Finnick in the “Hunger Games” franchise, but who has been given a mature makeover with specs and a’stache) exchange competitive sparks as they mutually peck away on their keyboards in this film. The love triangle that is presented in “Their Finest” is unquestionably not the most interesting aspect of the story, as it is clear that Ellis neither supports nor is good enough for Catrin in the story. More amusing is the transformation of her and Tom from bitter rivals to a well-oiled team who complement one another at work and in their personal lives.
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In spite of a limited budget, the film crews, both Scherfig’s and her fictional one onscreen, create beautiful backdrops for the story. The seaside locations that serve as stand-ins for Dunkirk provide a scenic respite from the horrors of home, and the glimpses into the primitive filmmaking techniques used to create the effects are fascinating to see. The outbreaks of violence are equally impressive, as when a horrified Catrin stumbles upon a bloodied body among scattered store mannequins while dust obscures the scene of carnage.
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The supporting cast is a special effect in and of itself, as various stellar British actors, including Richard E. Grant, Eddie Marsan, and Jeremy Irons, parade through the film. But no one does his job quite like the lanky slice of wry known as Bill Nighy, who plays an aging matinee idol who takes advantage of the fact that younger thespians are otherwise engaged in other projects. Nighy’s performance as Ambrose Hilliard, the star of a pre-war detective series, is consistently excellent, whether he’s cooing up to Catrin in order for her to pump up his self-sacrificing role as drunken Uncle Frank, patiently coaching the real-life American war hero in the cast (Jake Lacy, leadenness personified) who is used as bait for Yankee ticket buyers, or leading a sentimental group sing-a-long in a pub.
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The film’s leading lady, Rachael Stirling, plays a Ministry expert in charge of making sure the film doesn’t go off the rails. She dresses in natty Marlene Dietrich-style menswear and gives off Eve Arden vibes throughout the film—and on several occasions, she hints that she is proudly lesbian. Meanwhile, Helen McCrory keeps up with Nighy as Sophie, his flinty yet flirty middle-aged Polish agent, who steps in after her brother (Marsan) is killed by a bomb in the first episode of the series. It would have been nice if Arterton, who can pretty-cry with the best of them and accepts proffered hankies with grace, had instilled Catrin with a little Jean Arthur-esque snap and crackle, but her character’s calm confidence in herself more than makes up for the lack of more overt displays of spunk.
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In the world of filmmaking, “authenticity” is a buzzword. This is true for Scherfig, too, who has surrounded herself with an all-star cast of female talent, including screenwriter (whose script is based on a book by a female author), producer, composer, editor, production designer, and a slew of other roles. Authenticity can also be found in two late-arriving tragic outcomes, one of which is surprising and the other which is not. They are deserving of recognition as well-earned emotional high points.
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