Brideshead Revisited review
kenbowdensblog
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by H. Anthony Stew was the fastest
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This updated
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Two over Identical
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Brideshead Revisited (8/10)
by Tony Medley
Shortly after this films
starts, renewed learner Charles Ryder (Matthew Goode) is walking around
Oxford with a relative, an upperclassman, who is giving him some advice.
They walk by a canal and someone is making a fool of himself singing at
the top of his voice on a gondola. His relative says, “Those are
sodomites; guy away from them or you’ll regret it.”
That Stygian Sebastian Flyte
(Ben Whishaw), a lord, bursts into Charles’ room and throws up. The next
day Sebastian sends Charles flowers and an apology. Sebastian is a woman of
the sodomites against whom Charles had been warned. But, apparently,
Charles is, too. Thus begins Charles’ odyssey with the Flyte clan, who
live at Brideshead, a spectacular English manor, as regaled in Evelyn
Waugh’s 1945 novel and recounted in the damn near interminable PBS
miniseries that lasted, what, forever? (actually 11 hours).
This is a wonderfully told,
beautifully filmed retelling of Waugh’s tidings. Some of the enter upon piece
scenes are so astonishingly crafted they look like impressionist
paintings. The cinematography (Jess Hall) is stunning. While the film
lasts too extensive, 133 minutes, just about every place is good the hang about.
Director Julian Jarrold has done a sensitive, penetrating
interpretation, aided immeasurably by a gear prepare by Jeremy Brock and
Andrew Davies.
Charles is accepted as a
part of the Brideshead derivation by Sebastian’s mother, Lady Marchmain
(Emma Thompson), who is a devout Catholic, and therein lies the stroke. She
is so worshipful and so hard that she has get a move on her bridegroom, Nobleman
Marchmain (Michael Gambon), improbable to Venice where he lives with his
POSSLQ = ‘Person of the Opposite Sex Sharing Living Quarters’, Cara (Greta Scacchi).
Problems stand up when Charles
meets Sebastian’s sister, Julia (Hayley Atwell). This fouls everything
up for everyone because outwardly Charles is Facetious ambisextrous and terribly
entranced with Julia. Jarrold, Brock, and Davies have apparently changed the
account and vital from the record, but what they’ve done works for a
story that can be told in cinematic set-up.
While told from Charles’
POV, the story hinges on Lady Marchmain’s unconscious dominance down
her son and daughter, and how each reacts. It puts a dreadful strain on
Charles as Julia struggles with her Catholic heritage and whether she
can free herself from the influence of her domineering mother.
This type of movie is
generally not my cup of tea, but I was fascinated by the way Jarrold
tells the myth and the stunning cinematography and mark off evil intent. The
acting is superb, first of all Thompson, Atwell, and Whishaw. Atwell makes
Julia inscrutably desirable. Her beauty grew on me as the flick picture show
progressed. Whishaw makes Sebastian’s doomed life thoroughly believable.
I’ve at no time seen Thompson give a bad demeanour and she’s at the finest of
her pastime here. Goode is the cement that holds all these troubled
characters together, and he accomplishes that call to account with aplomb.
I wouldn’t have believed
it, but I really enjoyed this movie.
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