I cannot think of another screen adaptation that treats its source with similar indifference, almost contempt.
Brideshead Revisited (2008)
Rated: PG-13 [See Full Rating] for some sexual content
Runtime: 2 hrs 14 mins
Theatrical Release: Jul 25, 2008 Limited
Box Office: $5,486,995
Synopsis: Though director Julian Jarrold's adaptation of the Evelyn Waugh novel BRIDESHEAD REVISITED spans decades and continents, it's a taut film that never drags and can excite contemporary audiences. Matthew Goode (MATCH POINT) stars as lower-class Londoner Charles Ryder, an aspiring artist... Though director Julian Jarrold's adaptation of the Evelyn Waugh novel BRIDESHEAD REVISITED spans decades and continents, it's a taut film that never drags and can excite contemporary audiences. Matthew Goode (MATCH POINT) stars as lower-class Londoner Charles Ryder, an aspiring artist who is beginning his studies in history at Oxford in the 1920s. A chance encounter with dandyish aristocrat Sebastian Flyte (Ben Whishaw, PERFUME) changes the course of his life. The two embark on a close, intense friendship that is further complicated by the introduction of Sebastian's beautiful sister Julia (Hayley Atwell, CASSANDRA'S DREAM) and his overbearing, extremely religious mother, Lady Marchmain (Emma Thompson). BRIDESHEAD REVISITED follows Charles from the carefree '20s through the beginning of World War II, focusing on his complicated relationship with the upper-class family and their estate, Brideshead. Along with ATONEMENT's Joe Wright, Jarrold (BECOMING JANE) represents a new era of British period filmmaking. Both men bring a modern sensibility to their work that makes their films feel fresh and sexy, though they never lose authenticity. Jarrold employs some handheld camera work and quick-cut editing in BRIDESHEAD REVISITED, two techniques that separate his film from others in the genre. Fans of the book--and the 11-hour 1981 miniseries--may bristle at the film's relatively brief running time, but screenwriters Andrew Davies (the BBC classic PRIDE AND PREJUDICE) and Jeremy Brock (THE LAST KING OF SCOTLAND) have distilled the story into the essentials. BRIDESHEAD REVISITED deftly works with the conflicts of class, religion, and desire and, with its artful costumes and gorgeous settings, is essential viewing for fans of the genre. [More]
Genre: Dramas
Starring: Matthew Goode, Ben Whishaw, Hayley Atwell, Emma Thompson, Michael Gambon
Screenwriter: Jeremy Brock, Andrew Davies
Producer: Kevin Loader, Robert Bernstein, Douglas Rae
Composer: Adrian Johnston
Reviews
This is a beautiful production that doesn't succeed due to a major casting blunder and how the story switches focus in the final act.
This is that rare film version of a book that captures the essence of the work, while at the same time bringing its own point of view to the table.
It is all very civilized with people retaining their manners even as they verbally shred an individual's dignity or remind them of their station in the social order.
Whishaw's Sebastian is a creature not completely of this earth. Watching the matriarchal and religious pressures weigh on his thin shoulders is almost too much to bear.
Boiled down to a manageable 2 1/4 hours, the story becomes uneven and the thematic development lopsided.
Jeremy Brock's screenplay hits the high spots, but leaves many characters - particularly the status-striving Charles - sketchy and incomplete.
You could wish for more, but for that there's still the epic-length miniseries. If you want just two hours of mournful, lovely melodrama of manners, this is a fine choice.
Thompson, though, is marvelous; with understated precision and grace, she makes every word count. Also excellent is Michael Gambon.
What's missing from Goode's performance and from the film as whole is the layer upon layer of accumulated motive -- the gradual evolution of a man's complex desires and even-more-complicated fears.
The fine acting benefits from luxury casting (Thompson and Michael Gambon as Sebastian's separated parents) and the intensity of Goode and Atwell.
When the increasingly anguished and dipsomaniacal Sebastian exits the story, he takes much of our interest with him.
Jarrold's reduction of the story is so archetypal that it's indistinguishable from soap opera.
The film, a distinctly secular take on Waugh’s religiosity, is far more interested in the battle of blind faith vs. rigid unbelief and its devastating effects.
...more fun than expected, and in its own middlebrow way, peculiarly true to Waugh's own vision.
Its scope is broad -- it has three flashbacks in the first 10 minutes before sticking with the 1920s and 1930s -- but its focus is sharp.
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