07/22/17

“Let Right Be Done!”

A classic film’s lesson in liberty

July 21, 2017

May I recommend one of my candidates for the Ten Greatest Movies list—The Winslow Boy? What the 1948 British film (not David Mamet’s 1999 remake) has going for it is a brilliant director, Anthony Asquith—who ranks with such luminaries as Carol Reed, Alfred Hitchcock, John Huston, or Jean Renoir—and a stellar cast, which includes some of the most skilled actors in movie history, from Cedric Hardwicke on down, all at the top of their form. But above all these advantages, the movie’s animating spirit is its script, by Terrance Rattigan and Anatole de Grunwald from Rattigan’s play, which grippingly dramatizes a principle at the very heart of Anglo-Saxon liberty—a principle that today’s America badly needs to relearn.

The Winslow Boy–and his father

The story, set in 1912—when director Asquith’s father, H. H. Asquith, was Britain’s Liberal prime minister, and World War I was brewing—is simple, and it won’t spoil the movie for you if I sketch its outline. Twelve-year-old Ronnie Winslow gets expelled from Osborne, the prestigious boarding school for cadets headed for Royal Navy commissions, for allegedly stealing five shillings. Though the sum is trivial, the alleged breach of the code of officers and gentlemen is not. His father, Arthur, a newly retired Wimbledon bank manager played by Hardwicke, solemnly asks him if he is guilty—twice—and when the boy twice asserts his innocence, his father, who raised him to tell the truth, vows to vindicate the boy’s honor, whatever the cost.It proves immense. In his quest, which lasts until after Ronnie turns 14, Arthur sacrifices his health, much of his savings, and the happiness and future of his solidly respectable and eminently likable upper-middle-class family. He meets obstacles at every point. The school’s commandant tells him that, as he had no doubt of Ronnie’s guilt after hearing the details of the theft, he has no second thoughts about summarily expelling the boy, without any formal procedure or even someone to advise Ronnie or speak in his defense. He won’t reconsider the evidence or say what it was. A visit to the Admiralty Commission to threaten a lawsuit gains Arthur only a haughty declaration that he needn’t bother: a subject of the king can’t sue the king’s representatives, for the law holds that the king can do no wrong.

True enough, his solicitor tells him; but nevertheless Magna Carta, the thirteenth-century charter of English liberties, declares that “no subject of the King may be condemned without a trial,” so perhaps Arthur should ask his MP to denounce the wrong done to Ronnie in Parliament. Good advice: for the MP, seeing a chance to win favorable press as a defender of justice, is glad to oblige. Reporters readily take the bait and make the Winslow case a national cause célèbre.

The uproar catches the interest of Sir Robert Morton, England’s most eminent—and expensive—barrister, masterfully played by Robert Donat as a complex mix of eloquence, cold hauteur, ruthless intelligence, and deep but hidden feeling, a legal version of Jane Eyre’s Mr. Rochester. Morton drops in at the Winslows’ house on his way to dinner with a duchess, politely introduces himself, and mercilessly cross-examines Ronnie, until the boy stammers with confusion and his family (along with the audience) wonders if he’s been telling the truth. But after such browbeating, the great man abruptly announces that he’ll take the case, for he thinks Ronnie is innocent. Continue reading

07/23/16

Why Are Voters So Angry?

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Summer 2016

They want self-government back.

Haunting this year’s presidential contest is the sense that the U.S. government no longer belongs to the people and no longer represents them. And this uneasy feeling is not misplaced. It reflects the real state of affairs.

We have lost the government we learned about in civics class, with its democratic election of representatives to do the voters’ will in framing laws, which the president vows to execute faithfully, unless the Supreme Court rules them unconstitutional. That small government of limited powers that the Founders designed, hedged with checks and balances, hasn’t operated for a century. All its parts still have their old names and appear to be carrying out their old functions. But in fact, a new kind of government has grown up inside the old structure, like those parasites hatched in another organism that grow by eating up their host from within, until the adult creature bursts out of the host’s carcass. This transformation is not an evolution but a usurpation.

What has now largely displaced the Founders’ government is what’s called the Administrative State—a transformation premeditated by its main architect, Woodrow Wilson. The thin-skinned, self-righteous college-professor president, who thought himself enlightened far beyond the citizenry, dismissed the Declaration of Independence’s inalienable rights as so much outmoded “nonsense,” and he rejected the Founders’ clunky constitutional machinery as obsolete. (See “It’s Not Your Founding Fathers’ Republic Any More,” Summer 2014.) What a modern country needed, he said, was a “living constitution” that would keep pace with the fast-changing times by continual, Darwinian adaptation, as he called it, effected by federal courts acting as a permanent constitutional convention. Continue reading