sekgraham There is very little that is factual or worthwhile about this film. Churchill was not only a key architect of D-Day, he was central to its success. He was not the dithering, raving fool relegated to the sidelines of launching Operation Overlord as portrayed here.The story of an angst-ridden Churchill, hysterically raving against the Normandy invasion and being soundly chastised by Eisenhower and Montgomery, is pure fiction posing egregiously as "history". There is little to commend this film as it laboriously drags itself through one of the most momentous periods in true history. The characters do not reveal their true nature but are simple, badly drawn (and highly erroneous) caricatures, the story telling is pure torture and its irrelevance to a meaningful interpretation of history and the men who made it cannot be understated.I cannot help but find it offensive that this movie could ever have been made under the title of Churchill, as if this is the definitive interpretation of the man. It is a travesty, adding nothing of value to the volumes of historical analyses that have taken him as their subject.

yakster1 You would think by this time we would know everything there is to know about Churchill and then this comes along. As a huge admirer of Sir Winston I managed to see this on ITV in Canada, not as easy as one might assume even in this day and age. The acting is top notch with every character and having seen many stoke victims, Michael Gambon nails the speech and movement impediments that come as a result. There have been a few complaints of adding the fictional character of nurse Millie Appleyard but I have a copy of Lord Moran's diaries and in referring to them after viewing this he makes many references to several nurses during this period but never by name. She is just a composite character in order to establish some continuity, something that has been in movies since forever. Having stood in his study in Chartwell, filming it there just added another air of authenticity. This would be a welcome addition to a decent trilogy along with The Gathering Storm and Into the Storm.

l_rawjalaurence Set in 1953, Charles Sturridge's drama concentrates on one of the major political secrets of the Fifties - the stroke experienced by Prime Minister Winston Churchill (Michael Gambon), the news of which was kept from the public sphere through the machinations of his private secretary Jock Colville (Patrick Kennedy) and the powerful media barons led by Max Aitken, aka Lord Beaverbrook (Matthew Marsh).There is a good story to tell here about politics, and the concept of releasing information on a "need to know" basis, something beloved of Sir Humphrey Appleby and his fellow civil servants in YES MINISTER. Concepts of "truth" and the public interest really do not matter; so long as the wheels of government keep running in the way they have always done, then everyone is happy. It was one of the lessons of this incident that the Conservatives and their civil servants realized that they could govern without Churchill, or his deputy Sir Anthony Eden (Alex Jennings).Unfortunately this production misses just about every opportunity to reflect on past history. Instead Sturridge transforms it into a soupy family melodrama with echoes of THE KING'S SPEECH. Gambon makes a fair stab at Churchill, even though he looks nothing like the Old Man; but Lindsay Duncan, as Clemmie, looks to be impersonating Vanessa Redgrave (who memorably played the same role in THE GATHERING STORM (2002)) rather than developing a performance of her own. Although she protests a lot about her love for Winston, she seems more preoccupied with keeping her errant offspring under control, led by Randolph (Matthew Macfadyen) and Diana (Tara Fitzgerald). None of them, it seems, are very happy with their lives, and take every opportunity to voice their discontents. In the end we feel rather sorry for the old boy, not just because of his desire to continue in power, but because he has to contend with such an appalling family. Stewart Harcourt's script doesn't really know whether to sympathize with Churchill or to criticize him for his self-absorption. Great man he might have been; but he seems to have been neglectful of his family. In the end Harcourt abandons this issue and opts instead for the traditional happy ending where Churchill makes a great recovery from his illness and gives a speech to the party conference in Margate.The script is full of anachronisms; and although Sturridge makes strenuous efforts to hold our interest by using heritage film conventions such as cutaway shots of old vehicles, interior scenes with orange lights focusing on the characters' faces, and exteriors of Chartwell (where much of the production as filmed), the drama as a whole fails to come to life.If viewers want to find out more about Churchill's life from recent films, they would be better advised to dig out THE GATHERING STORM (2002) and its sequel INTO THE STORM (2009).

Paul Evans A look at the later life of one of Britain's most famous Prime Ministers, Winston Churchill, running the country at 78, having recently had a stroke, is taken home by wife Clemmie to have absolute peace away from Cabinet. Desperately ill, he is Nursed by the wonderfully capable Nurse Millie Appleyard.I have to say I am at a loss to read such poor reviews for Churchill's Secret, I too waited with huge anticipation for this drama, and I have to say I wasn't disappointed. A lavish production, a great story seldom told, I thought this was rather captivating. The part where Clemmie tells Millie about the death of the child was heartbreaking, but incredibly well acted.What a phenomenal combination Michael Gambon and Lindsay Duncan are, two of my all time favourites, each showcasing their true majesty. Gambon added a gravitas, a stubbornness, and somehow a fragility into Churchill, when he is on screen, it's simple, you watch him. Lindsay Dunca, too, just awesome as his concerned, but very British wife, Clementine. Add the likes of Romola Garai, Bill Paterson and Tara Fitzgerald, and there was only really going to be one outcome.Jonathan Smith's novel, brought beautifully to life by Stewart Harcourt and co. Worth the wait, and well worth seeing. It was moving, with a slight dash of humour, interesting, a brilliant piece of drama.9/10