That Good Night is a film that came and went without much fanfare, remaining a relatively obscure piece of cinema that many people don’t realize exists, even though it’s a true gem of a film. Eric Styles created one of the most heartfelt odes to life in the form of his adaptation of the little-known stage play devised by N. J. Crisp and Sir Donald Sinden (who originally played the role on stage), who tell the story of an elderly novelist coming to learn that he doesn’t have much time left after years of suffering from a mysterious illness that he has kept secret from his family and friends, and decides to surrender to reality and make amends where they’re needed, before venturing “into that good night”, the one inevitability that we all with have to face at one point or another. A beautifully poetic film that is filled with a melancholy that we don’t find very often, and constructed with such a meaningful heartfulness, That Good Night is a powerful film, a warm and steady embrace that asks some of life’s more difficult questions, weaving together deep existential concepts with a more simple story of overcoming the fear of not knowing what awaits on the other side, and whether it’ll be worth leading whatever lives we chose. It incites some provocative conversations, puts the viewer through the emotional wringer and gradually deconstructs the mentalities surrounding death – all while being a stunningly beautiful and incredibly earnest testament to one man’s realization that it’s impossible to live forever, at least in the traditional sense.

This film work of unflinching humanity that manages to both be a heartbreaking story of a man venturing towards his demise, as well as a rousing celebration of life and its inherently bilateral nature of being composed of both insurmountable challenges and poignant joys. Styles has made something truly a special, a small and intimate drama that has more than enough heart embedded in it to justify every choice made in bringing it to the screen, and its willingness to take the viewer on an emotional journey that will place us in a difficult position at many times, but all for the purpose of showing us the inevitable realities of life, and helping us accept not only that it will eventually end, but that there is very little reason to worry about death, since it’s far more important to cherish the smallest moments of life that make it meaningful, since those are usually what we will remember the most in those final moments, as well as defining the legacy we leave behind. It’s not always the easiest film to watch, but the director ensures that every choice made is one that reflects both his intricate understanding of the concepts that make up the foundation of the film, as well as a willingness to engage with the broader socio-cultural context that surrounds these conversations, looking at issues relating to the ethics of ending one’s life, and the morals of leaving those behind, especially without giving them a chance to say goodbye, which is an almost universal struggle that many have felt when losing a loved one.

Any film that centres on a character realizing they’re dying is going to have the added challenge of looking beyond the specific plot, and commenting on the circumstances surrounding their eventual demise, especially when conversations surrounding the ethics of ending one’s life before the suffering becomes too much to handle is embedded deeply in the story, becoming a major plot point in and of itself. In this regard, That Good Night acknowledges the important subject matter that informed it, and makes it very clear that, while this may be a very difficult film to watch for anyone who has experienced the slow and painful loss of a loved one, that there is a purpose to the harrowing detail in which it tells the story of the main character’s gradual disintegration. There’s an argument to be made towards the possibility of That Good Night being one of the greatest exemplifications of the Kübler-Ross model of the Five Stages of Grief, the well-known maxim usually used to understand the process of receiving distress, life-altering news, and how one deals with the tumultuous emotions.

This isn’t lost on Styles, who takes Crisp’s powerful story, and transforms it into one of the most achingly beautiful odes to life of recent years, a peculiar distinction for a film so intent on showcasing the fragility of life. One always has to admire an artist who can tackle the concept of death in a way that doesn’t come across as either overly bleak or unnecessarily flippant, but finds a healthy balance between the deep sadness that overtakes someone who is in close vicinity of death (whether in relation to a loved one or to themselves), since life is not always about feeling one emotion or the other. It’s a complex process to not only realize how volatile life is, but actually accept that it has to end at some point – and while it’s far from the definitive text on how to deal with one’s eventual passing (it’s not likely that any work of art can lay claim to such a bold concept), That Good Night does very well in ensuring that it comments on the deeper issues with poise and honesty, avoiding overt sentimentality, but also not fixating on the brutal experience of mourning, whether it be the preemptive struggle of coming to terms with one’s death, or knowing that eventually, we’re going to have to say goodbye to those that they love. As much as many of us yearn for perpetual life, it has to come to an end, which seems to be the central message of this film, which is delivered with a blend of haunting honesty and gentle sincerity. 

Art imitating life is always a fascinating experience, since it allows us to ponder the extent to which one influences the other. In terms of That Good Night, it’s more bittersweet, since this serves as the final performance given by Sir John Hurt, inarguably one of the finest actors to ever work in the medium. Considering this film was made towards the end of Hurt’s life, during which he was struggling with his own personal illness, we can see a lot of his struggles represented in the character of Ralph Maitland. However, this isn’t a case of an elderly actor playing a role in such a way that draws on our sympathy, instead being a riveting portrayal of a man working through his own complicated relationship with his impending death, asking all the difficult questions while trying to manage the doubtlessly overwhelming emotions that come with knowing the horizon is going to cease to recede every soon, as Ralph very succinctly says midway through the film while announcing that he won’t be around much longer. Hurt was never an actor to be put down by anything thrown at him, and even when a role such as this hits very close to home for him, the actor proves his endless talents by taking on the part of Ralph with a conviction that has rarely been witnessed as earnestly and with as much sincerity as it was here. It’s one of the esteemed actor’s finest performances, especially in how he captures the spirit of a man working tirelessly to leave a legacy, while still trying to forge a path for himself, especially in the midst of another shocking (but far more cheerful) revelation that makes him eager to hold off on surrendering to his demise quite so soon.

Crotchety but with a heart of gold, Hurt’s performance is one of his finest, since he ventures deep into the soul of this character and finds the idiosyncrasies that may not have been there in the original text, but instead come through as a result of the role being played an actor who always understood the assignment he was given. It’s a simple performance in theory, but made gorgeously complex and vivid through Hurt’s incredible portrayal, each scene he is on screen coming across with a ferocious intensity that proved, despite being ravaged by age and health problems, that the same fiercely brilliant actor was present right until the very end, which he showcases with such enormous precision and honesty throughout this film. That Good Night is almost entirely designed as a vehicle for Hurt, and it’s the kind of late-career performance that reminds us of why these actors are so esteemed in the first place – and while his passing is a great loss for the world of cinema, he was given the opportunity to bid farewell to the medium, and his legions of admirers, which very few actors are given to the opportunity to do. It only helps that his performance is impressive enough on its own terms, so even removing the sentimentality of the real-world parallels, he still delivered an absolutely staggering performance of a man questioning his existence, which only becomes more difficult as he heads towards the end of it.

Despite the serious subject matter, That Good Night is an oddly life-affirming film. The fact that it centres on death is only marginal to the endless array of more positive qualities embedded deep within the fabric of this story. If there is one message this film conveys better than any other, it’s the hackneyed concept that life is for living – worrying about death is only a waste of time, since it will happen to all of us. The film gently takes us from moment to moment, giving us insights into the last months in the life of the main character, and how his relationship with those around him – whether his caring wife, his estranged son who has only recently re-entered his life, or even the charming neighbourhood ragamuffin with whom he strikes up a strong friendship. It’s a beautifully poetic story of a man coming to terms with his death through a combination of introspection and looking at the world through the less-cynical eyes of his younger counterparts, who seem to see life as something that shouldn’t be limited by fears of death, but celebrated for its ability to give us an endless array of experiences that we can hold onto until it’s our time to go. Talking about death is never an easy task, but with a solid foundation, and an abundance of heart, Style and his cast manage to interpret this film and traverse its extremely tricky subject matter to become a truly poignant glimpse into the final stage of a life that may not be ending too soon, but still had so much to offer, as evidenced throughout the film.

That Good Night is a tender, heartfelt ode to the many questions one may have when it comes to thinking of the prospect of death. It’s certainly admirable that Styles openly avoids relying too heavily on implication, using it only when it is absolutely necessary (such as the case of “The Visitor”, a looming figure played by Charles Dance, whose function in the story is made clear relatively fast), and instead focusing on referring to even the most harrowing concepts in a way that is honest and explicit, rather than hiding behind a veneer of euphemistic ramblings. The candour that defines this film is one of its most admirable qualities, as is its ability to be truthful without becoming too heavy-handed. It’s a delicate balance of psychological ruminations and existential angst, tied together with a kind of genuine tenderness that makes for a profoundly moving film. Anchored by an incredible performance by one of the greatest actors of his generation, and told with the honesty and precision of a well-composed philosophical journey, That Good Night is as deep and sincere as the poem from which it gets its title – and like Dylan Thomas, this film comments on the uneasy relationship between man and his environment, while still finding the inherent beauty in every situation. It’s a powerful film, and one that serves as a fierce reminder of the value of looking beneath the surface, regardless of the situation we find ourselves in, since we may encounter something surprising that only adds to the rich, unexpected nature of a life that is fleeting, but still filled with an abundance of beautiful moments that make it thoroughly and undeniably worthwhile.