A Month in the Country

This is a true gem of a film. Only those however who have an empathy for the destruction of World War One, and a sensitivity about how moving religious themes can be, will really appreciate the aspects of the film which make it timeless. It is deliberately slow and careful in its pace, and the contrasts between Church and Chapel, working and upper class, and social mobility makes it a film I have always found very moving. The use of the Schubert Mass as a musical backdrop at key points emphasises the cathartic journey Birkin makes. Indeed, his visit to the church as an old man demonstrates the way he has been cleansed of the mud of Flanders.

It's a love story about rebirth and self healing. The foundation of the plot seems very simple: a young man comes in a town to clean the wall of a church. With a subject like that it could be absolutely boring...but it's not. "Emotion" could be the word to describe it all, though "repressed emotion" would be even more accurate. It's a delicate movie, with thousands of details you might not see the first time; it's deep and truly is a masterpiece in its genre.

Of course to appreciate it you must love repertoire movies. It's not a blockbuster movie...far from that. You must be in a slow mood I guess to enjoy it.

This is the kind of movie I would like to keep in my collection: isn't it a pity that "anonymous" has probably sold his tape already? (I cannot find it in Montreal!)

13. A MONTH IN THE COUNTRY (drama, 1987) Birkin, a young WW1 veteran, arrives in the sleepy town of Oxgodby assigned to paint the church. He suffers from nightmares since being shell-shocked. Birkin meets the beautiful Alice (Natasha Richardson), the wife of the local pastor. Though they're immediately attracted to each other, they know they can't be together. But his love for Alice proves a happy respite from his war ravanged life.

Critique: To doze off in a sleepy afternoon watching 'A Month in the Country' feels almost like being there. This beautifully shot, nostalgic look at youth's lost moments, conjures up deeply felt emotions. The town of Oxgodby seems to exist between reality and fantasy. Slowly slumbering away in its own ambiance, unaware of the world around it. Where dreamers go, and weary travelers stumble on their way.

Pat O'Connor's doughty direction may get a bit tedious at times, but it has to be taken in the context of the film's setting (1920s England). Though some scenes do lag in pace, this does not take anything away from the film's dreamy (dark) undertones which are its strong points.

Character conflict is its weakest, however, since most of the characters react passively to the town's underhand prejudice. The best enduring quality is Birkin's lost-love relationship with both the town and Alice.

QUOTE: "God? What God? There is no God?"

I think this is the most-watched movie in my collection. Its strong passions are beautifully understated by the entire ensemble, which is the thing that I appreciate most in this film. All the cast are excellent, including the children (and I must add a special appreciation for Jim Carter, who has played opposite Firth in at least two other films that I know of), but this is an absolute tour de force for both Colin Firth and Kenneth Branagh. The viewer seems to share the pain and humiliation borne by the sufferers of "shell shock". Their encounters with the joy and grief inherent in the life and people of a small Yorkshire village are both poignant and humorous.

The slow pace enriches the character development and story. It mirrors the patient process of both leading characters' pursuits: Firth's character uncovers a medieval church mural slowly and carefully, as Branagh's seeks and uncovers a mysterious grave. Both work with an audience of curious local villagers by day, and wrestle with their personal demons by night. Slowly new bittersweet relationships develop as the summer progresses. I pity the impatient of this world who can't focus their attention long enough to take in or appreciate the rich content of the performances, the subtle direction, the beauty of both the cinematography and the music.

This movie is a gentle and uplifting experience each time it is viewed! A movie to be savored. I highly recommend it!

This pastoral English period piece must be one of the quietest anti-war movies ever made, with a single gunshot heard throughout the entire film (except for the brief battleground flashback before the opening credits), and fired only by a sportsman. But its effect is no less traumatic on the shell-shocked protagonist: a veteran of The Great War taking refuge, after the Armistice, in an isolated English village, far away (except in his nightmares) from the trenches. Hired by the local church to excavate a medieval mural above the alter, he uncovers, in no particular order: an age-old mystery; a bittersweet attraction to the vicar's young wife; a kinship with another ex-soldier (Kenneth Branagh, pre-'Henry V') and, finally, some of the dignity he lost in battle. Don't expect any grand gestures from the leisurely told story. Any positive response to the film will depend entirely on a tolerance for such anachronistic virtues as forbearance, charity, and forgiveness.