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Any film of Brideshead Revisited will inevitably be compared with the 1981 mini-series, and will suffer from the comparison. Evelyn Waugh’s fresh was so rich and detailed that any attempt to depict it in a mere 2 hours or so will be wanting. I am a fan of the mini-series, which I have watched countless times, and I want to earn it certain that there are many things about this version that I earn very appealing: the spend of Castle Howard, the ravishing acting by Michael Gambon, Emma Thompson, Hayley Atwell, Ben Whishaw, and Matthew Goode, and the shapely sets and costumes.
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Unfortunately the need to compress the account distorts powerful of what Evelyn Waugh intended. By making the treasure affairs between Charles Ryder and Sebastian and Julia Flyte occur nearly simultaneously instead of Charles first loving Sebastian and then years later falling in fancy with Julia, Waugh’s message of spiritual and emotional growth is blunted. More troubling is the lack of determined emphasis on Christianity and Roman Catholicism. Whereas in the book and the mini-series Lady Marchmain is a tragic, sympathetic figure, the film emphasizes her hauteur and coldness. This has larger immplications than objective a inequity in interpretation, since Lady Marchmain in broad section represents the Church. Furthermore, I am especially disappointed by the ending. In the book and mini-series we observe an affirmation of both recent and enduring faith, while the film is far more equivocal.
Despite these reservations, I do value this film and intend to inspect it many times. While Waugh himself would be disturbed over some of the modifications (he would call them distortions), this unusual interpretation of his work is glowing in its gain correct, and its ambiguities are a challenge which allows us to re-examine our have beliefs.
When I first heard of this film I found it hard to imagine how anyone could succeed in cramming the complex sage of Brideshead Revisited into the 120 shrimp format that seems to be the norm for cinema these days, maybe as a favour to audiences suffering from attention deficit disorder. Mild, I didn’t demand worthy from Pride & Prejudice the movie, yet found myself enjoying that stunning well, so I took my chances with Brideshead too. But this time the experience was rather less satisfying, to place it mildly.
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For someone familiar with the colossal, intricate, subtly tinted canvases of Waugh’s book and the phenomenal TV-series, this is like seeing a rapidly copy executed in improper strokes and garish colours. Within 20 minutes from the launch Charles and Sebastian aren’t objective friends, they actually appear to be lovers. The glad thing is plastered on plot too thick and goes far beyond anything suggested by Waugh. The intention the storyline is distorted, it makes it seems as if Sebastian starts drinking out of frustration over Charles’s rejection of him in favour of his sister Julia. This is a result of the coarse conflation of elements from Waugh’s fable, which uproots its refined psychological dynamics. Indeed, subtlety is nowhere to be found; the Flytes in this movie are a dazzling coarse bunch, and Sebastian’s Oxford circle too has none of the aristocratic manners and sophisticated wit we would demand from them.
There are in this film many more scenes that made me cringe than in any movie I recently watched: the Flytes gathering around a statue of the Virgin Mary, singing the Salve Regina; Lady Marchmain coming to the house of Charles’s father and throwing an emotional scene; all appearances of Anthony Blanch, period (mercifully shrimp to only two) ; Charles buying Julia from Mottram for a few paintings; Sebastian making a scene at his sister’s coming out ball; et cetera.
The casting doesn’t support. Matthew Goode is a likeable Charles Ryder, but plot too feeble and confident, with the added dilemma of him being rather more exquisite than Sebastian, who is played by the gaunt, scary-looking Ben Wishaw. Wishaw completely misses out on the complicated combination of superiority and vulnerability in Sebastian’s deeply shocked character, indeed, seems to utilize most of his screentime throwing fond looks at Charles (which is objective about the reverse of what happens in the current legend) . Hayley Atwell’s Julia lacks any sense of grandeur or style, and is reduced to miniature more than a petulant schoolgirl; I couldn’t for the life of me imagine why Charles would topple in fancy with her, there is no chemistry at all between the characters. I’m distinct Emma Thompson could have made something astounding out of Lady Marchmain had she been given the accurate lines, but alas; here she is fair a gorgon, who, like others characters too, may surprise you by suddenly going psychotherapist, explaining to Charles that he is so desperate to be liked. None of the subtle emotional blackmail that Claire Bloom so masterfully weaved into her performance in the series. Most other characters could have been dispensed with altogether; with their organic ties to the anecdote severed, figures like Blanche, Ryder’s father, Boy Mulcaster, cousin Jasper, Cordelia, Samgrass, or Celia form mere token appearances.
So what you are left with is a bunch of fairly good-looking, nicely dressed people cavorting in fine surroundings. No cliché is spared. We don’t honest go to Venice, no, of course it has to be the Carnival and the Lido. Castle Howard is always a pleasure to watch at but hardly an novel choice (and I don’t understand by the life of me why everybody is constantly arriving at and departing from the garden front – maybe so as not to disturb the business of tourism? We do not once recognize the other side. The house was faded powerful more fully in the TV-series.) Surprisingly, the series despite its 4:3 ratio generally has a far more cinematic feel to it than this film, which often looks made-for-TV. No doubt some will argue that such comparisons are unfair and the film should be judged on its enjoy merits alone; I disagree. Factual up to the final scene, the entire point of Waugh’s tale is lost. Anyone who films the work of a enormous author takes on a responsibility towards that work, and the makers of this film have definitely failed in that regard, i.e., they objective mangled it.
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