(Adam White’s article appeared in the Telegraph, 7/3; via Pam Green.)
Spare a thought for the Benedict Cumberbatch of an alternate end-of-2017. Having said goodbye to Sherlock, fresh from the global success of Doctor Strange and still basking in the glow of his first Oscar nomination in 2016, Cumberbatch was well and truly on his way to securing that elusive Academy Award.
All courtesy of an eagerly anticipated new drama, and this time with no pesky Eddie Redmaynes waiting in the wings to steal his “charming English toff” thunder. But then Harvey Weinstein happened.
Washing up in on July 26, amid bafflement as to why it’s been sat on the shelf for quite so long, is The Current War, a Cumberbatch Oscar-bait vehicle somehow even stuffier than The Imitation Game, yet coated with none of the same chocolate-box sheen.
Instead it arrives under a cloud of ill-repute. Today better recognised as Weinstein’s last stab at awards-show glory, The Current War fell victim to the Weinstein sexual misconduct allegations within weeks of its initial festival screening in 2017, transforming into a starry, Old Etonian bargaining chip to help Weinstein out of a legal bind. And left behind was a director desperate to pick up the pieces.