Vera Brittain’s account of her traumatic youth during WWI is given the big screen treatment by documentary film-maker James Kent and Calendar Girls (2003) writer Juliette Towhidi. While their adaptation is meticulously detailed and produced with a rich authenticity, it is sporadically weak and oddly un-cinematic. The era is captured by impressive production design yet Kent’s vision is lacking the artistry to effectively evoke Brittain’s inner conflicts and the gruelling, horror of war.
Vera Brittain (Alicia Vikander) and her relationships, her high society status, are efficiently conveyed along with her stern ambition to study English Literature at Somerville College, Oxford, and win her father’s approval to do so. Vera’s determination to overcome obstacles hints at the mighty spirit and indomitable character within especially when those she holds dear become victims of the war. When Brittain’s ambitions wither into triviality, she abandons her dreams to become a VAD nurse, helping soldiers wounded in combat.
Despite the great dramatic clashes, turmoil and character complexities, Kent and Towhidi’s adaptation is agreeable but somewhat inert due to a torpid, stagnant vision and unfocused screenplay. The first act unfolds as perfect Sunday afternoon cinema with a buoyant Merchant Ivory Englishness but fails to rattle and rivet with the final third’s war turmoil. Brittain, as portrayed by Vikander, reveals remarkable aptitude, especially when tending to both wounded English and German soldiers on the front. Brittain’s life and struggles are more than deserving of a platform but here that complicated story has not been adapted in the manner that it deserves to be.
The era is fantastically fashioned through impressive costumes and performances, especially from Alicia Vikander as Vera and Dominic West as her father. Yet the character of Vera feels strangely closed and unexplored. As a result, Testament of Youth entertains but ultimately fails to engage on the level it needs to, especially as the film progresses.
The performances are fantastic but the script and direction lack the power and punch that the character and story need to emphasise Brittain’s psychological and physical conflicts. As a result, Testament of Youth is worth a watch but its intimate feel might be better suited to TV. Alternatively, interested parties should seek out the 1979 TV mini-series adaptation.
Daniel has awarded Testament of Youth three Torches of Truth
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