Wiedersehen mit Brideshead

Is this film a worthy interpretation of "Brideshead Revisited"? Well, up to a point, Lord Copper, as another one of Evelyn Waugh's characters was wont to say.

First, scriptwriter Andrew Davies, a past master of adaptation of great and not-so great literary works, has put the focus on the Charles and Julia love story rather than the Charles and Sebastian 'romantic friendship' as Cara, Lord Marchmain's Italian mistress puts it. The religious aspect is dealt with almost incidentally.

Second, Lady Marchmain, as played by Emma Thompson, is a very grim person with total emotional control over her children and whose particular Christian beliefs means that she is indifferent to their suffering as to her this life is a mere precursor to the glorious afterlife – the same attitude as a 9/11 hi-jacker in fact. She has none of the sweetness that Claire Bloom brought to the 1981 TV series.

Third, some of the performances owe a good deal to those in the TV series, especially Matthew Goode as Charles who has an uncanny likeness to Jeremy Irons. And of course Castle Howard reprises its role as Brideshead. Some characters were reduced to ciphers; for example Bridey who played by Simon Jones stole several scenes in 1981 but the part is reduced to a non-entity here. Michael Gambon, a consummate actor, gives us a new take on Lord Marchmain to compare with Lawrence Olivier's earlier version.

Overall, though, I was left with the impression this film has not much to say which is new. Like the recent feature film version of "Pride and Prejudice", it gives a broad outline of the story but misses out much of the rich context provided by the minor characters. Oh, read the book instead.

I haven't read Evelyn Waugh's famous 1945 novel or seen Granada's acclaimed 1981 television adaptation. so I approached the story fresh, as indeed will most viewers of this quintessentially England tale of the repressive nature of religion and class. I understand that the adaptation by Andrew Davies and Jeremy Brock has taken some liberties with the original, more subtle narrative, but this is inevitable in a work of just 133 minutes compared to the 11 episodes of the television series.

Directed by the English Julian Jarrold who made "Becoming Jane", the film has many strengths. There are wonderful locations in Oxford, Venice, Morocco and above all Castle Howard in North Yorkshire standing in - as in the television version - as the eponymous country house that is almost a character in itself. The script contains some fine lines - often very cutting and very cruel. Above all, there is some accomplished acting, both from veterans Michael Gambon and Emma Thompson as Lord and Lady Marchmain and newcomers Ben Whishaw and Hayley Attwell as their son Sebastian and daughter Julia and Matthew Goode as Charles Ryder, a young artist who falls in love in different ways with both Sebastian and Julia as well as their home and style.

Sadly, however, ultimately the whole film seems somewhat pedestrian and leaves one feeling strangely cold and disconnected.

Every once in a few decades something like Brideshead comes along. No wonder anyone would want to try to relive that magic! So now there is Brideshead the movie. That means the director had to grasp the original TV show in two hours, so no other choice than a 'The Best Of' compilation remains, it seems.The disadvantage of it is, that what is left out suddenly becomes painfully missing.

All of us who have watched the TV series know it is virtually impossible to surpass it, in film or TV production. Nevertheless, I tried to watch it without prejudice. Overall not a bad movie, but no, not the magical resonance the original had.

All I can do is summarize in details the pluses and minuses of the film versus the TV production so here it goes:

The fathers from original were two of the best actors of the century; John Geilgud (Shakespeare) and the (incomparable) Laurence Olivier. Geilgud plays brilliantly the teasing but not totally indifferent father, who seems stop Charles from the insipid surroundings in the summer but finally lets him go. In the TV series the actor is more serious, and the fun is not there. Laurence had probably one of the best performances of all, and clearly echoes his naughtiness as he portrayed in A Little Romance then a few years earlier. His unpredictability which finally makes him decide for his daughter is well done, especially considered his playground was virtually no more than a static death bed! And then the scene where he is offered a ride in a car down the steps, which he refuses since he doesn't want to admit it might be his last.

Matthew Goode does quite a good job as a substitute of Jeremy Irons. I like especially his ambivalent apparition (homosexual, heterosexual, both, or doesn't it matter?). But he lacks the wonderful narrating voice of Irons, which research has shown to be one of the best around. In the film the romance between Charles and Sebastian's sister is elaborated much more. Partially I agree with this choice. In the original not enough scenes were implanted for credibility, except probably the scene where Charles lights her cigarette. They were virtually strangers meeting again on the cruiser years later and nevertheless they seemed to suddenly hit it off. The sister was not what stood Charles' and Sebastian's friendship in the way. The filmmakers choose for more stress on their impending romance. I think the TV original did this better; it was the family that Charles became part of, and Sebastian's indifference to love that became unsurpassable problems. In original the mother was almost invisible, with the exception of some quotes on her son like 'I don't understand it', which summed it all up. We do not need the dialog in the film where she explains herself, and wonders why her kids hate her. Understatement is much more powerful, also in the scene 'I'll say no more' between Charles and Julia, in which it becomes clear religion has driven them apart. One sentence can be enough.

All this was at the cost of stress Sebastian could have had, and got in the TV original. Most of the magic of Brideshead was simply Anthony Andrews' performance. Worse, the movie clearly alludes to a homosexual relationship, which it did not need to be. Sebastian was a love object, and could be loved by anyone, in any way. But then again, it might be hard finding someone that could deliver the line about Sebastian as Irons narrated: 'his beauty, arresting'. Charm was the problem, the danger. That missed in this film. It was charm that nearly got Charles astray, as told by the queer friend years later in his atelier. The film omitted this important scene, where that friend tried to warn Charles for Sebastian. At the time we all thought it was a nasty remark, but later on he seemed to be right. Or was the charm not an illusion after all? The film simply did not have enough time to build up the charm Sebastian surely had in the TV original. In the TV series Charles was shown first with boring friends, and it then became shortly a coming of age story, where he got introduced in a more fun crowd with Sebastian. This phase delivered some of the best scenes of the story, with his queer friend talking loud over the campus, or Sebastian dressing up as a man with mustache. Sebastian showed Charles other worlds, which real or not, were unforgettable. The film had to rush this too much, and therefore the introduction scene with the spring eggs lost its magic.

One of the few pluses was much less stress on Cordelia, the little girl. But the minus was she acted as an indirect narrator of the importance of religion. Now it had to be compensated for in dialog with the mother and Julia, which was in TV better since there meaning came out of things not said.

Many things I missed, but you can not cram all in two hours. But lines like 'I would like to remember Sebastian, how he were that summer, when we walked through the enchanted place' should have been told again.

The end was nicely done, with Charles finally not pinching candlelight, symbolic for the charm of that family that was still alive in him. I liked there the Irons narrative though 'Was it all vanity? Etc.'

I would say, it was a brave attempt, something like making a remake of 2001, or Casablanca or Breakfast at Tiffany's, and the acting was all well done. Also camera work, and story adaptation. But who can surpass Anthony Andrews, or Jeremy Irons, or Gielgud or Olivier?

Among many of the most prestigious literature selections, not to mention mini-series, Brideshead Revisited not only wasn't on my radar, I didn't even know if it would be the kind of well-regarded literature or mini-series I intended to watch. But as this newly revised picture, now a mere 136 minutes vs 10 hours, it looked interesting if only as a kind of "handsomely made" picture (you know the kind, along the lines of Atonement for recent comparison). I was also intrigued by the allure of a huge, sprawling mansion here called Brideshead, as it reminded me of Alain Resnais's film Last Year at Marienbad and how memories and recollections and lost love and hope is explored in the spaces of this dark, cold region of exquisite luxury. Some of that is explored in this film, and some of it... isn't.

It's for the most part a fairly tragic story of a young man, Charles (Matthew Goode, charming and suave but also subtle and down-beat, a really fine turn), who enrolls at Oxford and meets a meek/'fey' guy named Sebastian, and through him he's introduced (reluctantly in point of fact) to Sebastian's family, including his sister Julia, and his very cold and strident mother (Emma Thompson). Sebastian really wants Charles all for himself - it's a friendship that goes just a nose-hair's length into admitting homosexuality but never really goes that far despite all appearances to the contrary - but he becomes apart of the fold, and as well falling deeply in love with Julia against 'other' wishes (mostly the matriarch's over Charles's religion).

There's a lot of the fragility of the bourgeois on display here, the arrogance and detachment that's shown very closely by the director for maximum effect. Unlike a Resnais he's not about to get too experimental with the camera; he's a careful craftsman more often than not, allowing for just enough wonderment of the whole Brideshead atmosphere to really sink into how it could be a double-edged sword of perception. And as is bound to happen with material this sprawling (at one point time jumps back 10 years, then ahead 4 years, until we kind of know where we are), a lot seems to be cut out. While it altogether makes a coherent and entertaining enough picture, I wonder how much more of a benefit this would make as an epic, where we are absorbed more fully with the Oxford school or Charles and Sebastian or even the parents (who, thankfully, are played wonderfully here by cold-as-ice Thompson and fascinatingly guilt-ridden and subtle Michael Gambon), or how the wealth structure even works here.

Indeed, I found myself not so much involved with the Charles/Sebastian stuff, even as it's fairly well-acted and well-shot enough, as I was with the themes of religion raised in the picture. This caught me off guard and hinted at something deeper being expounded upon. Yet, again, we get just tastes of what's offered more than likely in the original text, tastes that are powerful like a 'last-rites' argument, and the tortured state of being raised from the cradle with an intense, overbearing Catholic conscience.

No love story can be altogether gratifying in which the central choices are decided by the mother of the woman in love, even less, when she is the mother of both lovers, and has faith that she is protecting their everlasting spirits. That is what seems to be the predicament in Evelyn Waugh's novel, now adapted into a stagnant film in which one is not invited to feel or react due to its own lack of feeling or solidly portrayed consequence.

This film version focuses on forbidden love and the death of purity, set before WWII. Matthew Goode, who was excellent as the villain in The Lookout, becomes spellbound with a noble family, first because of his friendship with a charming, provocative, apparently homosexual contemporary, and then his sister. The fluctuation of Goode's obsessions suggest the decay of a self-indulgent upper crust in England flanked by the two World Wars, related in the course of his recurring stays at the Brideshead estate. What's more fundamental to Waugh's story is the harsh Catholicism of the family, as imposed by their matriarch, played by Emma Thompson, the high point of the film by far. Their religious beliefs are confronted by the son's homosexuality, the daughter's adulterous liaison with Goode, and Goode's atheism.

There are two curious fathers in the film. Michael Gambon is one, still legitimately married sure enough, but is ostracized, living in a Venetian palazzo with his mistress, Greta Scacchi in an unexpected comeback. Goode's father is a definite oddball who lives enclosed in a London house and seemingly favors playing chess with himself to talking to his son.

The main character is a penniless, virtually parentless youth drifting through an alien social system. Goode plays him featurelessly really, a nondescript motor for the other characters. Ben Whishaw steals all of his scenes as the gay son. The daughter could definitely have been portrayed more warily. The actress, Hayley Atwell makes the most of her I suppose, but why would she marry the revolting and unbearable suitor instead of Goode?

I am sure that the reason this film is not very effective at all is because so much background and source material is condensed and maybe sacrificed into such a shorter running time. But why are so many other adaptations effective in spite of this factor?