![]() The big tactical tweak was Richarlison in the No 9 role, with Son wide left. As such, it was not even a surprise when he sent out an ultra-attacking lineup, Richarlison recalled at the expense of Giovani Lo Celso, Pape Sarr back, too, with Dejan Kulusevski shifted again into a central attacking midfield role. Postecoglou has said on numerous occasions that he is “unwavering” in his commitment to the way he wants to play. That said, for the fifth time in 15 days he went with the same 10 outfield players at the start. There was a sliver of good news for Howe when he was able to recall Sean Longstaff and Callum Wilson to the substitutes’ bench and he would get them both on. It had been billed in some quarters as the selection crisis derby and the scoreline in terms of unavailable players was 10-8 to Newcastle. Next up for them is the make-or-break Champions League game at home against Milan on Wednesday. They have taken only five points on their travels – Eddie Howe said it was indefensible – and it feels as though his injury-ravaged squad is running on fumes. Newcastle were determined to bounce back from the midweek defeat at Everton but their away-day woes continued, a stoppage-time goal by Joelinton the most hollow of consolations. He had added a well-taken second goal and only the hardest of hearts could not smile, given his injuries and mental health issues this season. ![]() ![]() Richarlison heard one of the loudest cheers of the day when he was substituted towards the end. Son now has 10 goals and four assists in the Premier League this season. But it was the Spurs captain’s assists for the first two goals, the second turned home by Richarlison, that made the difference. It is more of a holiday romance and the well-intentioned performances lead nowhere.Son finished with the goal that he deserved, swept home from the penalty spot after he had been upended by the Newcastle goalkeeper, Martin Dubravka. But there is no real commitment to this idea in the drama. As Stefan says, it is “Stunde Null, Year Zero, everything can start again”. As a love story, the film is supposed to derive a kind of energy from the devastation itself, a sense that with everything flattened, things can be reimagined. She is almost a darker version of the chatty, insensitive Dolly Messiter in Brief Encounter (1946). Mrs Burnham loves to gossip, though with an edge of shrewdness and spite. Rachel is in the habit of taking tea with an expat acquaintance in Hamburg, Susan Burnham ( Kate Phillips), the wife of a boorish intelligence officer, played by Martin Compston. Freda meets up with Albert ( Jannik Schümann), a menacing young man from the town, and it is eerily like Liesl, the 16-going-on-17-year-old widower’s daughter in The Sound of Music, having her covert assignations with telegram boy Rolf, with his sinister loyalties. And other parts of the film seem borrowed, too. It is reminiscent of Suite Française – though not quite as glib as that other prestigious period production about postwar love and guilt, The Reader. ![]() But, even if it did look plausible, there is something too easy in the way the horrors and guilt of the second world war are slathered in this tragi-romantic syrup. The pair’s first kiss is lacking in the despairing passion that it is supposed to radiate. The emotional flashpoints of this secret love are frankly forced and unconvincing. And these lonely souls are drawn together. And so, with an awful inevitability, Lewis is away all day neglecting his wife’s emotional needs, and leaving her to brood over the beautiful Steinway in the house. In theory, Stefan and Freda should be packed off to a camp, but Lewis has the grace to be embarrassed about this, and allows Stefan and Freda to live in the attic, with Stefan permitted to do humble work in the garden. The Morgans have the right to requisition un-bombed German houses as their living quarters and they are assigned the beautiful home of Stefan Lubert (Skarsgård), sensitive architect, widower and non-party-member and his difficult teenage daughter Freda (Flora Thiemann). With him, Lewis has brought his beautiful, emotionally brittle wife Rachel (Knightley) who is trying her best to confront the secret pain in their marriage, about which Lewis is in denial. He is there to administer the postwar settlement, to keep order among the fractious civilian population – traumatised by the devastating British bombing – and to supervise the “denazification” process, the purpose of which is to root out unrepentant Hitlerites. The year is 1946 and Colonel Lewis Morgan (Clarke) is part of the British military posting in Hamburg, a decent man but emotionally cold.
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