Brideshead Revisited (C+ or 2.5/4 stars)
A forbidden love triangle marks the plot in the evocative 'Brideshead Revisited', directed by Julian Jarrold. While stationed at Brideshead Mansion during WWII, Capt. Charles Ryder (Matthew Goode) recalls (in flashback) his involvement with the aristocratic family who used to live there. At that time, he befriends Sebastian Flyte (Ben Whishaw). But he's then taken by Sebastian's sister, Julia (Hayley Atwell). Charles becomes infatuated with both. And so sets the stage for 2+ hours of emotional, physical, & religious hardships for all involved. There's plenty to admire in 'BR'. I particularly liked the 1st hour. But the movie is too languorous. And given the film's length, I still feel as if we don't get to know these characters as well as we should have.
The movie begins wonderfully in a very dream-like, melancholic way. Charles, a celebrated painter, thinks he sees someone he knows while aboard a magnificent cruise liner. He follows a beautiful woman to her cabin. She turns, saying "Hello Charles". And the film goes black; flashbacking us to 10 yrs. ago. At this point, I was rubbing my hands in anticipation of watching a scintillating saga unfold. During his 1st day at Oxford University, Charles meets (in an unorthodox way) the often-drunk & eccentric Sebastian. Though quite different in class, upbringing, religion, & possible sexual orientation, they become fast friends. Over the summer, Sebastian invites Charles to his family's vast estate at Brideshead. Coming from a lower-class lifestyle, and having a flare for art, he becomes obsessed with the intricate beauty of the mansion ... and also with Sebastian's sophisticated sister, Julia.
Before taking off for a Venetian holiday, Charles gets to meet their regal, pleasant-enough, but devout Roman Catholic mother, Lady Marchmain (Emma Thompson). You see, Charles in an atheist. Marchmain does her best to respect Charles' beliefs. And knowing that he's quite close to her son, asks him to look after Sebastian; that his drinking is getting out of hand. Well, disaster strikes in Venice. Charles loves Sebastian. But his physical affections are for Julia. Julia likes Charles, but can't do anything about it, as she is attached to her mother's domineering wishes for her to lead the perfect Catholic life. Sebastian becomes jealous, his alcoholism continues. And Charles, Julia & Lady Marchmain are thrust into a swirling melodrama concerning the differences which divides them all.
My problem with this film stems from the characters unsaid reactions to these divides. Charles must be upset that the repression of Catholicism has caused Sebastian (a sinner) to go into seclusion. He'd also be upset that religion keeps him from being with Julia. But while we watch this movie from Charles' point of view (mainly), we're never given any kind of pay-off or explanation of what he's truly thinking. Is Sebastian the love of his life? Is it Julia? Or is it Brideshead? Does he befriend Sebastian & Julia only to advance his own class status? Really, it could be all or none of the above. But we never know. Unfortunately for us, Charles & Julia never get the nuanced foundation (early in the film) to warrant all the fuss about them for the last hour. And the fact that the film outstays it's welcome without properly developing these 2 characters makes it all the more frustrating.
Now, there are things to enjoy, here. The plot is intriguing; both complicated & mournful. Rarely are alcoholism, sexuality, bad marriages, art, & religion paid this much acute attention to in film. The costumes & production design are impeccable. The musical score is absolutely gorgeous. Emma Thompson, Ben Whishaw, & Greta Scacchi (in a supporting role) lend great performances. Their portrayals are both understated & clever. I've enjoyed Matthew Goode in the past, but I do think the film's undoing (along with its length) is his emotionally-distant portrayal of Charles, and/or the directing of said performance. Too many times were characters glancing at each other; or yammering on about things that we should have been watching happen. i.e., when does Lady Marchmain 'realize' she's too stringent with her kids? etc. 'Brideshead Revisited' is not bad. But because all of these dramatizations never surface for us onscreen, it falls far short of greatness. I wanted to feel as tormented as these characters apparently are, but they didn't give me anything to agonize over.
The movie begins wonderfully in a very dream-like, melancholic way. Charles, a celebrated painter, thinks he sees someone he knows while aboard a magnificent cruise liner. He follows a beautiful woman to her cabin. She turns, saying "Hello Charles". And the film goes black; flashbacking us to 10 yrs. ago. At this point, I was rubbing my hands in anticipation of watching a scintillating saga unfold. During his 1st day at Oxford University, Charles meets (in an unorthodox way) the often-drunk & eccentric Sebastian. Though quite different in class, upbringing, religion, & possible sexual orientation, they become fast friends. Over the summer, Sebastian invites Charles to his family's vast estate at Brideshead. Coming from a lower-class lifestyle, and having a flare for art, he becomes obsessed with the intricate beauty of the mansion ... and also with Sebastian's sophisticated sister, Julia.
Before taking off for a Venetian holiday, Charles gets to meet their regal, pleasant-enough, but devout Roman Catholic mother, Lady Marchmain (Emma Thompson). You see, Charles in an atheist. Marchmain does her best to respect Charles' beliefs. And knowing that he's quite close to her son, asks him to look after Sebastian; that his drinking is getting out of hand. Well, disaster strikes in Venice. Charles loves Sebastian. But his physical affections are for Julia. Julia likes Charles, but can't do anything about it, as she is attached to her mother's domineering wishes for her to lead the perfect Catholic life. Sebastian becomes jealous, his alcoholism continues. And Charles, Julia & Lady Marchmain are thrust into a swirling melodrama concerning the differences which divides them all.
My problem with this film stems from the characters unsaid reactions to these divides. Charles must be upset that the repression of Catholicism has caused Sebastian (a sinner) to go into seclusion. He'd also be upset that religion keeps him from being with Julia. But while we watch this movie from Charles' point of view (mainly), we're never given any kind of pay-off or explanation of what he's truly thinking. Is Sebastian the love of his life? Is it Julia? Or is it Brideshead? Does he befriend Sebastian & Julia only to advance his own class status? Really, it could be all or none of the above. But we never know. Unfortunately for us, Charles & Julia never get the nuanced foundation (early in the film) to warrant all the fuss about them for the last hour. And the fact that the film outstays it's welcome without properly developing these 2 characters makes it all the more frustrating.
Now, there are things to enjoy, here. The plot is intriguing; both complicated & mournful. Rarely are alcoholism, sexuality, bad marriages, art, & religion paid this much acute attention to in film. The costumes & production design are impeccable. The musical score is absolutely gorgeous. Emma Thompson, Ben Whishaw, & Greta Scacchi (in a supporting role) lend great performances. Their portrayals are both understated & clever. I've enjoyed Matthew Goode in the past, but I do think the film's undoing (along with its length) is his emotionally-distant portrayal of Charles, and/or the directing of said performance. Too many times were characters glancing at each other; or yammering on about things that we should have been watching happen. i.e., when does Lady Marchmain 'realize' she's too stringent with her kids? etc. 'Brideshead Revisited' is not bad. But because all of these dramatizations never surface for us onscreen, it falls far short of greatness. I wanted to feel as tormented as these characters apparently are, but they didn't give me anything to agonize over.