Keira Knightley's latest period drama to follow Colette comes in the form of James Kent's The Aftermath, based on Rhidian Brook's novel of the same name. Set in a post-war Germany, 1946, the film finds itself straddling two different genres: a soapy romance and a thoughtful drama and character study. Perhaps disappointingly for most, the former wins out and the lukewarm, melodramatic love triangle that plays out won't convince non-genre fans that this is a piece to swoon over.
When Rachael Morgan (Knightley) arrives in the ruins of Hamburg to be reunited with her husband Lewis, she is stunned to discover that she will be sharing her new home with a German widower, Stefan Lubert, and his daughter: the grand homes' previous owners before its repossession by the British control commission. With this unique dynamic at play, grief gives way to passion and betrayal. Co-starring Alexander Skarsgard and Jason Clarke alongside Knightley, The Aftermath is a beautifully-shot and well-acted period piece with promise - but rarely becomes anything more than a middling, soapy romance.
Joe Shrapnel and Anna Waterhouse's adapted screenplay is as cloying and predictable as they come. Every moment of this 108-minute drama feels really rather derivative, with the narrative beats measured and unstimulating, pulled from superior entries into the crowded sub-genre. Whereas a tighter focus on the tragic circumstances and hostile environment they are surrounded by may have embossed the film with a greater texture that would've allowed these characters to seem like more unique, compelling creations, the emphasis on the affair wastes that potential. It's a well-worn story and so there's nothing for audiences to really dig their heels into.
Thankfully, the performances are decent enough. It could be rather easy to underestimate Keira Knightley due to the frequency of these roles she undertakes - but she seldom churns out the same performance. She imbues Rachel with emotion, aided by the slow reveal of a personal tragedy that still haunts her. Knightley could do this role in her sleep and yet she still commits to the women she embodies, despite their familiarity to us. Her presence may not help the film unshackle itself from the superlative romance-dramas it reminds you of but that's not due to a lack of effort on her part.
Alexander Skarsgård is utterly charming here, conveying real sensitivity as a man grieving not only the death of his wife but life on the "losing side", as well as the sacrifices it has lead to. You find yourself siding with Stefan and empathising with his situation due to the strength of Skarsgård's performance. Clarke is very much left to his own devices, with little substance to his character until the final twenty minutes or so - but with little time to develop a strong connection or compassion that has otherwise gone unexplored, there's little power to his character or performance.
Magnificent production design and gorgeous costumes enrich The Aftermath with stunning period detail that ensures it looks every inch the part. Through lighting and framing, cinematographer Franz Lustig captures the coldness of Hamburg's harsh environment and effectively contrasts it with the warmth and tenderness of the affair at the film's centre. It heightens the desire within these more delicate scenes, abd Kent's serviceable direction make this well-photographed piece attractive to the eye. Martin Phipps' score may not break any new sonic ground but it is an elegant composition nevertheless.
The Aftermath's decision to streamline its focus into the soapier elements of its love triangle means more compelling sub-plots pass it by as it indulges in genre tropes and predictable narrative beats. Our cast give it their best effort and it's both tasteful and lustful enough to appease genre fans - but those looking for something with more texture may be underwhelmed by this melodramatic, frothy romance without the weight it needed to truly succeed.
5.5/10
Summary: Gorgeously-photographed and well-acted, Keira Knightley is ever-impressive in The Aftermath but a derivative story and underdeveloped script mean that this is a strictly for the (period romance) fans affair.
Thankfully, the performances are decent enough. It could be rather easy to underestimate Keira Knightley due to the frequency of these roles she undertakes - but she seldom churns out the same performance. She imbues Rachel with emotion, aided by the slow reveal of a personal tragedy that still haunts her. Knightley could do this role in her sleep and yet she still commits to the women she embodies, despite their familiarity to us. Her presence may not help the film unshackle itself from the superlative romance-dramas it reminds you of but that's not due to a lack of effort on her part.
Alexander Skarsgård is utterly charming here, conveying real sensitivity as a man grieving not only the death of his wife but life on the "losing side", as well as the sacrifices it has lead to. You find yourself siding with Stefan and empathising with his situation due to the strength of Skarsgård's performance. Clarke is very much left to his own devices, with little substance to his character until the final twenty minutes or so - but with little time to develop a strong connection or compassion that has otherwise gone unexplored, there's little power to his character or performance.
Magnificent production design and gorgeous costumes enrich The Aftermath with stunning period detail that ensures it looks every inch the part. Through lighting and framing, cinematographer Franz Lustig captures the coldness of Hamburg's harsh environment and effectively contrasts it with the warmth and tenderness of the affair at the film's centre. It heightens the desire within these more delicate scenes, abd Kent's serviceable direction make this well-photographed piece attractive to the eye. Martin Phipps' score may not break any new sonic ground but it is an elegant composition nevertheless.
The Aftermath's decision to streamline its focus into the soapier elements of its love triangle means more compelling sub-plots pass it by as it indulges in genre tropes and predictable narrative beats. Our cast give it their best effort and it's both tasteful and lustful enough to appease genre fans - but those looking for something with more texture may be underwhelmed by this melodramatic, frothy romance without the weight it needed to truly succeed.
5.5/10
Summary: Gorgeously-photographed and well-acted, Keira Knightley is ever-impressive in The Aftermath but a derivative story and underdeveloped script mean that this is a strictly for the (period romance) fans affair.