Benedict Arnold, A Question of Honor, step by step, maybe skipping some, portrays Benedict Arnold's (Aidan Quinn) rise in the patriot forces, under George Washington (Kelsey Grammar), during the Revolutionary War of 1776. Without Arnold receiving due recognition for winning the Battle at Saratoga, it remains the pinnacle battle, that provides for the Continental Army's freedom, in America. Surprisingly, the movie was filmed in Ireland, but looked very early American. Peggy's ( Flora Montgomery) relationship to John Andre (John Light), a commanding leader to the British forces, is weak to say the least, portraying her as an inexplicably unfaithful woman, one whom you might say is a traitor herself, ironically, to the poetic poignancy of an impassioned British soldier.
Her transition to falling for Benedict occurs quite customarily for the time period, at a dance, in Philadelphia. Exchanging British witticisms, it is clear that Quinn can deliver a more convincing dialogue, pleasing sight and sound. In this scene, Peggy delivers, but Quinn pales in comparison, maybe lack of true interest or confidence, for the flair such particular delivery authentically requires. It is as if he begins walking up a flight of stairs, tiredly without purpose, and before reaching the top to the next level, begins to slowly walk back down, unable to realize his own ability. He never reaches his destination, that of speaking his own lines more characteristically of a truly charmed nature, born of British descent. Such waning attempt diminishes from the more engaging reality we anticipate, if not expect in this scene.
Peggy's transition from British love, John Andre, to American lad, Benedict Arnold falls as easily, as turning a book page. What falls short is her due explanation to John Andre, now left only to piece together his own broken heart. Not only does the portrayed, dedicated courtly man of manners loose his love to Benedict, but looses his job and his life, hung in a Patriot spectacle. Arnold has his own problems, and honestly, love determined Peggy only becomes whimpering Peggy. Rather than encouraging Arnold to negotiate his wishes with Washington, like most Patriot wives would do, she persuades his heart to defend the Loyalists, obviously her heart's home, but out of truth or convenience. Her own switch of patriotism is as nimble and sudden as her heart's desire for love fulfilled. Rather than any artifice, it merely reflects weak convictions, that which we could all do without. At Peggy's self-seeking, comfy, cozy heart, in the midst of war, Benedict appears the buffoon, for not maintaining the new American decorum. Granted Washington is not perfect and communications between people regarding events falter at times, but that should have only encouraged Benedict to stay true to the new land, defending and developing the honor of his new country.
When Peggy and Benedict return to England, she weakly awaits in the carriage, while her husband and other man, gun duel, as the custom for the husband to defend his name's honor, when his wife has been unfaithful. We see no reason or action of events that might culminate in some more realistic credible affair. We just think, "Oh Peggy must have done it again, by gosh." And there she sits, like a coward in a carriage, while her husband might end up loosing his life, just to defend his pride, at her expense.
But as one can imagine a historian saying, "history is history." One might as well say, "No use crying over spilled milk." Peggy's nature is annoying and could be in part, accountable for changing the events of history. Nevertheless, this film over all, at its core, attempts to be grounded. It is played out engagingly with heart and soul, familiar to us in Quinn, and surprisingly by Grammar, in such fitting adaptation of George Washington, no small shoes to fill. Due to such important historicism, this film is an interesting and educational piece to watch, and learn.
Her transition to falling for Benedict occurs quite customarily for the time period, at a dance, in Philadelphia. Exchanging British witticisms, it is clear that Quinn can deliver a more convincing dialogue, pleasing sight and sound. In this scene, Peggy delivers, but Quinn pales in comparison, maybe lack of true interest or confidence, for the flair such particular delivery authentically requires. It is as if he begins walking up a flight of stairs, tiredly without purpose, and before reaching the top to the next level, begins to slowly walk back down, unable to realize his own ability. He never reaches his destination, that of speaking his own lines more characteristically of a truly charmed nature, born of British descent. Such waning attempt diminishes from the more engaging reality we anticipate, if not expect in this scene.
Peggy's transition from British love, John Andre, to American lad, Benedict Arnold falls as easily, as turning a book page. What falls short is her due explanation to John Andre, now left only to piece together his own broken heart. Not only does the portrayed, dedicated courtly man of manners loose his love to Benedict, but looses his job and his life, hung in a Patriot spectacle. Arnold has his own problems, and honestly, love determined Peggy only becomes whimpering Peggy. Rather than encouraging Arnold to negotiate his wishes with Washington, like most Patriot wives would do, she persuades his heart to defend the Loyalists, obviously her heart's home, but out of truth or convenience. Her own switch of patriotism is as nimble and sudden as her heart's desire for love fulfilled. Rather than any artifice, it merely reflects weak convictions, that which we could all do without. At Peggy's self-seeking, comfy, cozy heart, in the midst of war, Benedict appears the buffoon, for not maintaining the new American decorum. Granted Washington is not perfect and communications between people regarding events falter at times, but that should have only encouraged Benedict to stay true to the new land, defending and developing the honor of his new country.
When Peggy and Benedict return to England, she weakly awaits in the carriage, while her husband and other man, gun duel, as the custom for the husband to defend his name's honor, when his wife has been unfaithful. We see no reason or action of events that might culminate in some more realistic credible affair. We just think, "Oh Peggy must have done it again, by gosh." And there she sits, like a coward in a carriage, while her husband might end up loosing his life, just to defend his pride, at her expense.
But as one can imagine a historian saying, "history is history." One might as well say, "No use crying over spilled milk." Peggy's nature is annoying and could be in part, accountable for changing the events of history. Nevertheless, this film over all, at its core, attempts to be grounded. It is played out engagingly with heart and soul, familiar to us in Quinn, and surprisingly by Grammar, in such fitting adaptation of George Washington, no small shoes to fill. Due to such important historicism, this film is an interesting and educational piece to watch, and learn.