Theresa May may be the British Prime Minister but it is Fiona Maye who is the eminent High Court judge in London presiding with wisdom and compassion over ethically complex cases of family law in the film version of Ian McEwan’s acclaimed novel, THE CHILDREN ACT.
Ironically, this fearless bastion of Family Law has ruled against a family of her own and her work commitment has pushed her marriage to American professor Jack to tipping point. When Jack, so considerately and urbanely tells Fiona that he is considering having an affair, Fiona is left stunned, and finds herself unable to make a case for her own marriage.
She’s rather too busy ruling on the case of Adam, a brilliant boy who is refusing on religious grounds the blood transfusion that will save his life. Adam is nearly eighteen but still legally a child. Having heard emotive arguments from Adam’s parents and hospital staff, Fiona halts proceedings and takes the unusual decision to visit Adam in hospital, so that she can see for herself the extent to which Adam is aware of the possible consequences of his refusal of a transfusion.Back in court, Fiona rules in favour of the hospital, and Adam is forcibly transfused. This act creates a transference of allegiance in the boy from family and faith to Fiona, a sort of stalking Stockholm Syndrome of sorts that puts at risk her emotional and professional probity.
Despite its title THE CHILDREN ACT is very much an adult film, rich in human character, ethics, and jurisprudence. Adapted by the author with a screenplay that retains the novel’s narrative excitement and suspense, THE CHILDREN ACT integrates imagination with intelligence.
The eminent actress, Emma Thompson, who seems to attain a fuller greatness with every performance, is superb as Fiona, a woman of great wisdom and intellect whose career has negatively geared her marriage, a form of neglect she would not tolerate in her professional rulings.
The brimming pool of talent director Richard Eyre has sourced runs deep. Stanley Tucci exudes effortless patience with frank honesty as Jack, cuckold to career, as he yearns for the physical intimacy that has been jettisoned.
Jason Watkins as Nigel Pauling, Fiona’s fussy and faithful clerk, is a brilliant characterisation in loyalty and obligation.
Fionn Whitehead as the troubled youth, Adam, fixated on Fiona, simmers with benign sinister distress.
Complex and thwarting any petition for puerility THE CHILDREN ACT is an easy act to follow thanks to the fine craftmanship of writer, director, cinematographer, designers and cast.