The defence The Sentimental Softie
“Sincerity is not manipulation.”
The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.
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Christopher and His Kind
Drama · Romance · TV Movie · 2011
In 1931, budding author Christopher Isherwood goes to Berlin at the invitation of his friend W. H. Auden for the gay sex that abounds in the city. He falls for street sweeper Heinz, paying medical bills for the boy's sickly mother, to the disapproval of her other son, Nazi Gerhardt.
Movie details
Christopher and His Kind
2011 Drama · Romance · TV Movie 1h 30m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.3 / 10
Community rating
In 1931, budding author Christopher Isherwood goes to Berlin at the invitation of his friend W. H. Auden for the gay sex that abounds in the city. He falls for street sweeper Heinz, paying medical bills for the boy's sickly mother, to the disapproval of her other son, Nazi Gerhardt.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Christopher and His Kind?
For the defence
The Sentimental Softie
“You came to feel something, and you will.”
Read their case For the prosecution
The Cool Ironist
“Feeling things is a little embarrassing.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Where it lives
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Names above the title
The people responsible.
Cast & crew
Directed by
Geoffrey Sax
Written by
Kevin Elyot
Matt Smith
Christopher Isherwood
Imogen Poots
Jean Ross
Lindsay Duncan
Kathleen Isherwood
P
Perry Millward
Richard Isherwood
Toby Jones
Gerald Hamilton
Pip Carter
W. H. Auden
Alexander Dreymon
Caspar
Court is in session
Put Christopher and His Kind on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Cool Ironist
“The strings are showing.”
Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.