The Portrait by Andrew Winfield
PROLOGUE
A screen shows a compilation of photographic images of Winston
Churchill during World War II it is underscored by patriotic music
'Land of Hope and Glory'. This dissolves into the following
scene.
SCENE 1
WHITEHALL - 9 May 1945
We hear the soundtrack to Pathé News report with the familiar voice
of a news reader from the 1940s
NEWSREADER: Just two days following the declaration of the end of the
War in Europe, the people of London continue their celebrations.
Crowds in Whitehall gave a rapturous reception as the Prime Minister,
Mr Winston Churchill, appeared on the balcony of the Ministry of
Health. He continues to inspire his people. Thank you Mr Churchill.
Thank you!
We hear the start of the speech in darkness. As the speech continues
CHURCHILL is picked out in a spot. He is 70 years old. Bright-eyed,
vibrant, mobile and smiling. Optimistic and heroic. His speech to the
people of London is being given to a gathered crowd in the open air.
CHURCHILL: My dear friends, I hope you have had two happy days. Happy
days are what we have worked for, but happy days are not easily worked
for. By discipline, by morale, by industry, by good laws, by fair
institutions by those ways we have won through to happy days for
millions and millions of people.
You have been attacked by a monstrous enemy but you never flinched
or wavered. Your soldiers were everywhere in the field, your airmen in
the skies and never let us forget our grand Navy. They dared and
they did all those feats of adventure and audacity which have ever
enabled brave men to wrest victory from obstinate and bestial
circumstances.
And you people at home have taken all you had to take which was
enough, when all is said and done. You never let the men at the front
down. No one ever asked for peace because London was suffering.
London, like a great rhinoceros, a great hippopotamus, saying: 'Let
them do their worst. London can take it.' London could take
anything. My heart goes out to the Cockneys. Any visitors we may
happen to have here today and many great nations are represented
here, by all those who have borne arms with us in the struggle
they echo what I say when I say 'Good Old London!'
In every capital of the victorious world there are rejoicings tonight,
but in none is there any lack of respect for the part which London has
played. I return my hearty thanks to you for never having failed in
the long, monotonous days and in the long nights black as hell.
God bless you all. May you long remain as citizens of a great and
splendid City. May you long remain as the heart of the British
Empire.
Cheers as CHURCHILL waves and gives the V for Victory sign as the
light fades to black
MUSIC fades in under the latter part of the above speech Zadok the
Priest
SCENE TWO
WHITEHALL July 1954
An office on Whitehall. Standard. Ordinary. Aloof. A desk and several
chairs. Boring bookcases. Dominating the scene is a framed copy of the
famous Yousuf Karsh photograph of Winston Churchill taken in 1941
reputedly the most reproduced photograph of all time.
A door opens and GRAHAM SUTHERLAND enters. Early 50s, well dressed in
a suit. Slight in build. He is nervous as he looks around the room.
His eye eventually falling on and studying the photograph.
The door opens again and in walks CHARLES DOUGHTY. Member of
Parliament. Also early 50s. Business-like and efficient. He doesn't
fluster easily.
DOUGHTY: Mr Sutherland?
SUTHERLAND: Yes.
DOUGHTY: Charles Doughty. (They shake hands). Good to meet you. Do
sit. Draughty.
SUTHERLAND: I'm sorry?
DOUGHTY: These Whitehall chambers. All draughty.
SUTHERLAND: It's fine.
DOUGHTY: For the visitor maybe. For the virtual residents, deeply
uncomfortable. Now. I won't waste your time further and I do
apologise for the cloak and dagger nature of the summons, so to call
it. It's good of you to come along.
SUTHERLAND: Delighted and intrigued.
DOUGHTY: Good. Pleased. I doubt you are unused to the 'around the
houses' approach.
SUTHERLAND: It has been known.
DOUGHTY: Being the Palace of Westminster you will understand that
everything has to be carried out in a swathe of bureaucracy. The
simplest actions require a committee, motions, white papers the
lot. And all in triplicate. You are fortunate to work in a rather less
formal world.
SUTHERLAND: Possibly.
DOUGHTY: I often think that spending one's day daubing paint on
canvas must be akin to the Life of Riley.
SUTHERLAND: There is maybe a little bit more to it than you think.
DOUGHTY: Quite so.
SUTHERLAND: You ought to try it one day.
DOUGHTY: Maybe I will. A good way to spend one's retirement
An awkward pause
DOUGHTY: Yes, well now. Portraits. We have seen some of your work.
SUTHERLAND: I have only completed a few portraits up till now.
DOUGHTY: Indeed so. Somerset Maugham, Lord Beaverbrook Very
good.
SUTHERLAND: Thank you.
DOUGHTY: Why so few?
SUTHERLAND: Wasn't something I was drawn to, if you excuse the pun.
I only came to it in the last few years. I never set out to be a
professional portrait painter. Landscapes mostly. I was an official
war artist. Mainly on the Home Front.
DOUGHTY: Of course.
SUTHERLAND: A number of religious commissions.
DOUGHTY: Indeed.
SUTHERLAND: Somerset Maugham was the first. I turned it down
initially. It was something of an experiment. We agreed that if it
didn't work there was no pressure to exhibit it andwell, it might
just be left in a cupboard. Destroyed even.
DOUGHTY: Heaven forbid.
SUTHERLAND: Yes. The thought of that sends shivers down my spine.
Luckily it turned out alright. He was very pleased.
DOUGHTY: Which must have spurred you on.
SUTHERLAND: I gained a certain level of confidence from it, yes.
DOUGHTY: Good. Well, we are very impressed.
SUTHERLAND: Pardon me. But who is the 'we'?
DOUGHTY: Oh I do apologise, once again. I am merely a mouthpiece. The
Secretary of a Special Committee from both the House of Lords and the
House of Commons. I believe you know Jennie Lee, one of our Committee
Members.
SUTHERLAND: Indeed I do.
DOUGHTY: Yes. Good. I know you will understand, I am sure, the
sensitivity of what I am about to discuss with you.
SUTHERLAND: Of course.
DOUGHTY: The Committee has been given the responsibility of organising
some special celebrations. On 30 November, the Prime Minister will
reach his 80th birthday. We have discussed, ad nauseam, the ways in
which we can mark this momentous occasion. We have decided on a
portrait. A portrait of Winston Churchill. We would like to offer you
the commission to paint the portrait. It is to be painted in his
familiar surroundings of the House of Commons. It will be his to keep
for his lifetime and thereafter it will hang here at Westminster. A
large portrait. A full length portrait. To have a public unveiling,
probably in Westminster Hall, in front of the members of both Houses.
Possibly broadcast live on the BBC. All in front of the subject
himself. A portrait of the man.
Silence
DOUGHTY: I sense you would like some time to give the matter some
thought.
SUTHERLAND: Well, yes indeed. There is much to consider. I won't
need long to make the decision. Is the Prime Minister happy with the
choice of myself?
DOUGHTY: As yet he knows nothing of the commission. He much prefers to
have such matters presented to him on a plate. He will be very happy
with the whole idea I am sure.
SUTHERLAND: You don't think he will object.
DOUGHTY: I took the liberty of speaking to Lord Beaverbrook who knows
the Prime Minister well. He said the idea was a splendid one.
SUTHERLAND: Oh, well, that is encouraging. As I say, I can come to a
decision fairly swiftly.
DOUGHTY: Good. A week. The fee is 1,000 Guineas and represents
donations from the joint Members.
SUTHERLAND: May I say how very flattered I am to be called upon to
take on this commission.
DOUGHTY: Indeed. Though flattery is the artists' modus operandi is
it not?
SUTHERLAND: I paint what I see.
DOUGHTY: Of course.
SUTHERLAND: My approach to a portrait is to portray as accurate a
description of the sitter as I can.
DOUGHTY: Which is exactly what we are looking for. Well, I won't
keep you further Mr Sutherland. (He hands over an envelope) The
details of the commission are within. They are not too precise. We
have no intention of interfering in the technical aspects of the
painting. I realise that we are now in mid-July there is an
immovable deadline. Not a very wide window. So if you are happy to
take the commission, we would need your agreement by next week please.
If you have any further questions, you know where to find me.
SUTHERLAND: Thank you Mr Doughty.
DOUGHTY: I look forward to hearing from you Mr Sutherland. England
expects!
Fade to black
MUSIC PURCELL; Rondeau from Abdelazer Suite
SCENE THREE
A LECTURE HALL
A lectern stands in a spot. SUTHERLAND moves into the spot. Possibly
display some of his war paintings.
SUTHERLAND: At first it was difficult to decide what function I might
undertake as a war artist and I couldn't properly call myself one
for some time. My first job was to make drawings of camouflaged
aeroplanes. I couldn't make much of them, I am afraid. After that I
was sent to a gun testing site near Melton Mowbray and again I tried
to find my way towards making something of the subject this time
guns, gun barrels and breach blocks. But I did nothing with any kind
of heightened feeling.
Moving to Swansea, I had the first sight of the possibilities of
destruction as a subject. The architecture was florid and Victorian.
At first I made as complete a record of what I saw. I hadn't yet
begun to feel a sense of what these remains really looked like. Later
some were to become like great animals who had been hurt.
My feeling at the beginning of the war from the point of view of my
work was one of being thrown down in a totally unfamiliar field. There
was I who, up to then, had been concerned with the more hidden aspects
of nature But now I was a paid official a sort of reporter
and naturally not only did I feel that I had to give value for money,
but to contrive somehow to reflect in an immediate way the subjects
set me.
Fade to black
MUSIC HOLST; I Vow to Thee My Country
SCENE FOUR
DOWNING STREET July 1954
The Prime Minister's office. A warm, full room with armchairs, a
desk and chairs. DOUGHTY enters and waits, uncomfortably. He looks
around the office. A portrait of the Queen takes his attention: it is
a 1951 photographic portrait by Yousuf Karsh. The door opens slowly.
The bulky figure of SIR WINSTON CHURCHILL enters. He is 79, showing a
few signs of a stroke he suffered in 1953. He walks slowly. He is not
that man he was in Scene One.
CHURCHILL: Sit, Doughty.
DOUGHTY: Prime Minister
CHURCHILL: Now, what is all this nonsense that you need to see me
about.
DOUGHTY: Your forthcoming birthday Prime Minister.
CHURCHILL: What of it?
DOUGHTY: We have been thinking about how to mark it. It being of
significance.
CHURCHILL: We? We? Who is 'We'?
DOUGHTY: I am merely the mouthpiece for the Committee set up to
organise your birthday celebrations.
CHURCHILL: So now we set up committees to organise tea parties.
Whatever next?
DOUGHTY: But this is rather special Sir.
CHURCHILL: All birthdays are special when you get to my age. They
should all be celebrated!
DOUGHTY: Indeed Prime Minister. I doubt many of us will still be
working when we are 80.
CHURCHILL: I never quit. Working keeps you going. In the face of
battle, one never quits.
DOUGHTY: You are an example to us all Prime Minister.
CHURCHILL: Flim flam. Now get on with it man.
DOUGHTY: The Commission Committee; members of both Houses, have asked
me to request whether you would be willing to sit for a portrait which
we would like to present you with as a birthday present.
CHURCHILL: Is it not a little vain to request a picture of oneself as
a gift? Fascinating to offer a gift that the giver is more or less in
the dark about until it is opened by the receiver.
DOUGHTY: Rather exciting I should think.
CHURCHILL: I have sat for portraits before. They are not all
exciting.
DOUGHTY: We have suggested Graham Sutherland to undertake the
commission Prime Minister.
CHURCHILL: Should I know him?
DOUGHTY: (Handing over a portfolio of pictures) These are examples of
his work Prime Minister. I think you will agree he is a fine
craftsman.
CHURCHILL: One artist appraising the work of another. No guarantee of
objectivity there. Like me assessing the performance of Mr Attlee.
Max!
DOUGHTY: Prime Minster?
CHURCHILL: Max Beaverbrook. Yes, I like that. Full of the real man.
DOUGHTY: It's a splendid likeness.
CHURCHILL: You know Max?
DOUGHTY: Not as well as yourself Prime Minister.
CHURCHILL: Then you won't be able to appreciate at least 90% of the
work.
DOUGHTY: You have painted portraits Prime Minister?
CHURCHILL: I paint portraits of the wonderful English landscape whose
face is as complex and changing as any human. Thankfully she tends to
be a compliant and a still sitter and doesn't turn around to you
afterwards and tell you that your painting is a dud.
DOUGHTY: Yes, that's very good Prime Minister.
CHURCHILL: Painting a portrait or a landscape, the artist merely
translates what he sees on to the canvas in whatever medium he cares
to use. The skill is convincing the beholder that your vision works.
Accuracy is only a part of the challenge and possibly the least
significant.
DOUGHTY: Alas, I am not well versed in the rules of art.
CHURCHILL: There are no rules, Don't believe the theorists. Paint
with the eyes.
DOUGHTY: I will have to try it when I have the time.
CHURCHILL: I am Prime Minister and First Lord of the Treasury. I have
the time!
DOUGHTY: I will look into it Prime Minister.
CHURCHILL: So you wish to report back to your Committee I suppose.
DOUGHTY: As soon as possible Prime Minister. Will you accept our
present? Maybe you wish to discuss it with Lady Churchill?
CHRUCHILL: It isn't necessary. Go ahead. Instruct your artist.
Arrange the sittings with my Private Secretary.
DOUGHTY: That is very kind of you Prime Minister. Mr Sutherland is
currently abroad, but hopefully will be able to arrange a meeting by
mid-August.
CHURCHILL: Get on with it then man. Better be bloody worth it!
DOUGTHY leaves. The lights fade down and then up again on Churchill
sitting in spot, writing a diary. The words are heard as a voice
over.
CHURCHILL: This is to be the first portrait of me for some time. I
find myself strangely nervous about what to expect. The man Sutherland
is a talent that is certain and Max was full of praise when I brought
him up in conversation. But still I have doubts. I shouldn't. What
an honour to be lauded in this way. What a chance to show everyone I
am here and here to stay. I have that vigour that my detractors feel I
have lost, sapped by years on the treadmill of life and fighting the
foe. They can see me anew. Caught forever as the leader they know me
to be and the complex and humble man I know I am. Banish those doubts
Winston and enjoy the affection of those who wish to proffer gifts in
celebration. I will not fade away.
Lights fade to Black
MUSIC VAUGHAN WILLIAMS He Who Would Valiant Be
SCENE FIVE
CHARTWELL August 1954
Churchill's studio at his home in Kent. A chair has been set on a
raised platform, in readiness for the sitter. SUTHERLAND enters with
his sketching materials and spends time looking around the room.
Fascinated. He spends some time looking out of the window. As he does
so he hears the voice of DOUGHTY who offers him some final words of
advice these come as a Voice Over.
DOUGHTY: (Voice Over) Patience will be your key. The Prime Minister is
prone to mood swings as you may know. He may not always be the perfect
sitter. His mind runs along so many tracks at the same time, so he may
sometimes appear a little preoccupied. Distant. Please do not let this
worry you. Plough on regardless. You may have heard this quote from
his friend Lord Beaverbrook; "What a creature of strange moods he is
- always at the top of the wheel of confidence or at the bottom of an
intense depression.” Rather sums him up I think. So, you will have
something to cope with apart from the painting itself. I am, though,
sure you will get on, and find him as fascinating and engaging a
sitter that you could ever wish for. I would ask you to also bear in
mind that the Prime Minister had a stroke last year. This is not
widely known so I would appreciate your discretion in this matter. He
has made a remarkable recovery, but it has taken a certain toll on
him. Under no circumstances let him know you are aware of this. Thank
you. Please arrive on 26th at 12 noon and ask to be taken straight to
his studio. Good Luck.
The door opens and in walks CHURCHILL in casual attire. He is bright,
chirpy and enthusiastic.
CHURCHILL: I hope I have not kept you long Mr Sutherland, I was
attending to my goldfish! Welcome to Chartwell Mr Sutherland. This is
my studio. What do you think of it?
SUTHERLAND: It's a wonderful space Prime Minister.
CHURCHILL: Isn't it. I have a feeling we will get to know each other
rather well on this little adventure. This is my world. My creative
enclosure. I thought you would like to use this room for your work. It
will give you a leg up for what you are about to undertake. I hope it
will serve the purpose.
SUTHERLAND: That's very considerate of you Prime Minister, but I
would have been happy with anywhere in your house.
CHURCHILL: Stuff. You will be able feed off the intense artistry that
sometimes takes place in here. An artist must be comfortable in their
surroundings. I am always comfortable here. You too will be at your
ease I am sure. Drink?