Inspired by Christopher Isherwood's 1976 autobiography of the same name Christopher and his Kind accomplishes it's greatest challenge in depicting the events and sights that would eventually inspire 1972's Cabaret, without actually imitating or reiterating the iconic Oscar-winner. BBC2's first-class feature-length dramatisation of Isherwood's formative years brilliantly presents the characters, proceedings, and atmosphere of 'thirties Berlin in embryonic form. The wonderfully witty screenplay smartly focuses on the Isherwoods' first travels to Berlin in 1931 and 1933, where both the romanticised sexual freedoms and the threat of fascism are seamlessly integrated into this snapshot of the inter-war years. Told retrospectively from an aging Isherwood, the film begins with the barely-published author taking the train to Berlin, at the urging of friend, WH Auden. Wisely, Isherwood is never portrayed as just a writer or observer, only briefly seen at the typewriter, and the film overcomes many of the obstacles in creating dramas based on writers to the extent that the publication of Isherwood's book 'Sally Bowles' remains just a passing reference, and receives little fanfare. Matt Smith is effortlessly perfect in the role of Isherwood displaying the ease with which Isherwood integrates himself into the sexual underground and 'divine decadence' of the club scene. If it was Smith's hope that this performance would inspire audiences to temporarily forget about his other BBC work then he has surely succeeded. Smith is perfectly accompanied by Toby Jones, as his rough-trade-loving neighbour and an impeccable Lindsey Duncan as his thoroughly British mother. Imogen Poots occupies the most difficult role as the proto-Sally Bowles, Jean Ross, all green fingernails and lousy torch-songs, a gift for any actress. Isherwood leaves Germany when it becomes clear that to stay would be fatal and unsuccessfully attempts to bring his German boyfriend back to Britain. The film closes with a brief post-war reunion between the two former lovers, and the difference between the two is made clear. Heinz, his German lover, is now married with a child and Christopher, as we know, is on the verge of being embraced by a burgeoning gay movement and meeting the man with whom he'll spend the rest of his life.

Christopher and His Kind is not a heartfelt, moving film about homophobia and homosexuals being persecuted by the Nazis. However, it is a movie about a gay writer who travels to a war- torn Berlin all for the sake of boys. The main character, Christopher, goes to Berlin in search for freedom (and gay, gay sex) from his safe hometown of London giving up being a doctor in return for sexual freedom and promiscuity. <br/><br/>Is it vain, you may ask. Yes. Is it reckless? Completely. Is it completely stupid considering there&#39;s a war going on in Berlin? Of course. And does Christopher completely ignore this and go on crusading and falling in love? Yep. To understand this movie you must first understand Isherwood, there is a reason why they chose Matt Smith and not bloody Johnny Depp. You should watch this movie and see for yourself, it&#39;s humor and optimism set on a backdrop of war and genocide. If you want a poignant, moving story on homosexuality in the midst of the Nazis, go watch something else. This is a lighthearted look into Christoph Isherwood&#39;s mind and motives, a biography, not a history book.<br/><br/>TL;DR: It&#39;s funny, it&#39;s gay, it&#39;s insightful and inspiring. It&#39;s not heartfelt, moving or depressing, but it is kind of incredible.

A somewhat engaging film that recounts the Berlin years of Christopher Isherwood&#39;s diary. I&#39;m not a Doctor Who fan, so I was more distracted by the fact that Matt Smith looks nothing like Christopher Isherwood, nor does Imogen Poots look anything like Jean Ross, but they both give adequate performances. The film mainly plays upon two brief love affairs and the trials and tribulations of Isherwood&#39;s boarding house neighbors, with Toby Jones giving a great performance as an immoral conman with a penchant for S&amp;M-- frankly his character was the most interesting in the film. In the end, like most biographies, it only touches upon great matters like Hitler&#39;s rise to power, the plight of the gay men of Berlin and the coming world war. Ultimately, it was a fragmented film without a plot.