Brideshead Revisited Review
Posted by Chad Webb on 08.27.2008
This is a British costume drama. Be forewarned as you decide to click.
Matthew Goode: Charles Ryder
Emma Thompson: Lady Marchmain
Michael Gambon: Lord Marchmain
Ben Wishaw: Sebastian Flyte
Felicity Jones: Lady Cordelia Flyte
Hayley Atwell: Julia Flyte
Greta Scacchi: Cara
Ed Stoppard: Bridey Flyte
Jonathan Cake: Rex Mottram
Directed By: Julian Jarrold
Written By: Andrew Davies and Jeremy Brock
Release Date: July 25, 2008
Running Time: 2 hours and 14 minutes
PG-13 for some sexual content.
Brideshead Revisited is not a sequel in any way, despite the title. It is actually an adaptation of a classic novel by Evelyn Waugh. Like any translation from page to screen, this one will have plenty of detractors due to how much content from the book had to be cut, snipped, and deleted. As a matter of fact, the less you know beforehand about this story, the better your experience will be. As a British period drama, potential viewers should know what to expect, and as such, it is a commendable effort. As an adaptation, it has some problems.
The film opens shortly before the start of World War II with Charles Ryder (Matthew Goode) bumping into a former love named Julia Flyte (Hayley Atwell) while onboard a ship. This encounter prompts a flashback ten years when Charles had just become a student at Oxford. His dorm has an unfortunate location, and this causes him to meet Sebastian Flyte (Ben Wishaw) in a very strange way. Sebastian is a peculiar young man, who spends most of his time drinking. The two immediately form a friendship, but there are an abundance of differences between them, not limited to religion and class. With little to occupy his time back home, Charles jumps at the offer to join Sebastian at his family’s mansion, Brideshead, for the summer break. He stunned at the beauty of this house, and soon falls for Sebastian’s sister Julia as well. The two flirt, but Lady Marchmain (Emma Thompson) makes it clear that they have no future. Eventually, Charles accompanies Julia and Sebastian to Venice to visit their father (Michael Gambon). While living it up, the relationship between this trio takes a turn that will affect them forever.
Aside from glancing at attractive cardboard displays and poster as I walked through local theaters, I had no prior knowledge of this story. I had also not seen the mini-series which starred Jeremy Irons. It is worth mentioning that the running time for that 1982 production was near 11 hours, whereas this film rests at 2 and ¼ hours. So obviously hefty portions have been axed. This will upset purists, but the integrity, intelligence, and passion of the tale seems to have been upheld as far as I can discern.
The fascination with any effort from this genre, whether it be a war romance like Atonement, or a mystery such as Gosford Park, lies primarily with the acting. Watching these thespians strut around in vibrant costumes can be hypnotizing and even exciting. Matthew Goode was born in the U.K. so this type of fare was undoubtedly what he trained on, but he has proven to be a versatile actor in Match Point and The Lookout. He appears in Watchmen next summer. As Charles Ryder, his job is to carry the audience through a decade. He is a wonderfully subtle enigma, who allows the supporting cast to augment his movements and expressions. Goode has few powerhouse lines, but his presence is pungent and memorable.
The scene stealer is without a doubt Ben Wishaw. He is one of the most underrated performers of this generation. With his past two roles in Perfume and I’m Not There, he has proven to have a promising career ahead of him. Sebastian Flyte’s unconventional mannerisms, lingering tone, and habitual consumption of alcohol allow Wishaw ample room to shine, and takes advantage of it. It is an Earth-shattering performance with vigor, sophistication, and lightheartedness. His sister Julia was portrayed by Hayley Atwell, who delivered an admirable turn in Woody Allen’s Cassandra’s Dream.
Emma Thompson is no stranger to this category with Sense and Sensibility and Remains of the Day on her resume. The two-time Oscar winner is amazing as Lady Marchmain. She commands the screen with such passion and authenticity. Michael Gambon is not given a great deal of time as Lord Marchmain, but one can sense that he was married to Emma Thompson’s Lady Marchmain. Gambon is fantastic, and truthfully is underused.
The relationship which Charles and Sebastian share remains in a gray area as the two sample various bottles of wine, sit under trees, and enjoy the Brideshead ground, but it is further complicated when Charles becomes smitten with Julia. It is in the chemistry and escalation of these three individuals that film embraces its positive qualities. Instead of falling into a cliché, the story threads take thought provoking twists. Sebastian’s jealousy, Julia’s reluctance, and Charles’ inability to stand firm are superb to watch unravel.
The core theme is religion, specifically the fact that Lady Marchmain and Julia are unyielding believers in the Catholic Church, while Charles is an atheist due to the passing of his mother. The time spent with his odd father, who prefers to play chess by himself, only helped this choice of faith. The author of the novel Waugh, might not care for the editing, but since important topic is maintained, could not have been totally disappointed.
Some characters and timeframes definitely suffer because of the length, but Director Julian Jarrold approaches this hurdle with determination and confidence. He is not as gifted in handling weighty novels as Joe Wright (Pride and Prejudice, Atonement), but he does grasp the significant areas, and highlights the gripping portions of the story. The skipped pieces were probably better left that way. Brideshead will make as big a splash as his previous offerings, Kinky Boots and Becoming Jane, but the filmmaker has honed his skills proficiently since elevating from television in 2004. The Academy would be foolish to miss the superb costume work from Eimer Ni Mhaoldomhnaigh, and the cinematography of Jess Hall is breathtaking. He jumped from Hot Fuzz to this. Weird.
Brideshead Revisited is aimed at a precise group of people, but it would also be a fitting film for anyone recently introduced to the genre. Pictures of this ilk accentuate the potency and aptitude of young performers brilliantly, and Brideshead is filled with rich, juicy depictions. The writing of Andrew Davis and Jeremy Brock is outstanding in terms of supplying unforgettable conversations and lasting lines. It presents the cast with ammunition they need to blow the audience away. One such line still gets to me. “God is your invention. Whatever you want, he does.”
The 411: Brideshead Revisited is a good film, not a great one, but there is still plenty to take away from watching it when you're in the mood. The acting from Ben Wishaw, Matthew Goode, Emma Thompson, Michael Gambon, and others is marvelous. The locations are gorgeous, the writing is adept, and the direction is refined. Chances are this is on its way out of limited release, and will be in that limbo period between theater and DVD for awhile, but check it on your list as a solid rental when it arrives in stores.
