Verano en febrero: Una historia real

Once I got past the 'machine-knitted' hand-knits and the Mills and Boon score . . . perfectly watchable. Don't expect to be informed about artistic life or how to learn to draw and paint. I have got to say I think Emily Browning was miscast; though delightfully dinky and looking marvellous in her lace blouses and smocks . . she did not convey privileged entitlement or fragile mentality very well, not exactly wooden but leaning towards wet lettuce leaf. I feel a proper Cornish artist boho would be perfectly happy to be in love with two lovely men . . so bit of a plot hole there. The actress that played Laura Knight was perfect. Although location spotting was fun and authentic . . nothing else was. It seemed to lack real Cornishness . . a huge failing for me. Had I been directing I would have gone even more up the cheesy Mills and Boon route with it. Sorry but I was disappoint.

It's beautifully acted and shot. Christopher Menaul, the director behind Belonging, Feast of July, Above Suspicion, 1st Night, Treatment and Punters, brings us this blob of nothingness. It's a true tale of love, liberty and scandal amongst the Edwardian artists' colony in Cornwall. I thought this film was fantastic in some ways and terrible in others. There's something for everyone here, though the two male leads were overcast. I refuse to totally dismiss this, because I find it quite engaging. The film's screenplay is tight and well-written, and worthy of praise. An intelligent script, with direction that does it justice. As a final rating, it receives 7 out of 10 from this reviewer.

This film tells the story of an artists' colony in Cornwall, where two artists fall for the same woman.

I like both Dominic Cooper asks Dan Stevens, but this is not enough to make me like this film. The story is slow and rather uneventful. Even the nude scene feels out of place, and should not have been in the film. Why the woman makes that crucial mistake that costs her her life is beyond me. The only upside is that the scenery is very beautiful. Other than that, there is little to like about this film.

Okay so this is no masterpiece but 5.3 out of 10 is rather harsh, the story is what it is (based on book around true events), its not shot or acted overly badly (although I must admit I'm not totally convinced by Emily Browning) and the scenery and paintings are attractive which in turn means, I think at least, its not a bad way to spend just under two hours of your time.

Why has is been so badly review then, I have no idea I happen to quite like it not because its monumental, makes me cry with sadness or leap with joy, but because it quietly and affectively tells a story worth being told. Perhaps the bad reviews reflect more of disaffection with the story rather than the vehicle of its portrayal. Either way if you like period dramas and have the time on your hands give a go and see what you think.

We think of Alfred Munnings as someone born old - the reactionary curmudgeon grimly rejecting everything new in art. So a romantic tale of the young Munnings joining a Cornish artists' colony in 1912 makes an appealing topic, even though the film turns out to be little more than escapist wallpaper.

The screenplay is drawn from a novel based on real events, with the future Dame Laura Knight as the moving force behind the group, played with gusto by Hattie Morahan. Her patronising of gypsy communities may be called... well, patronising, but it lends colour to this film, along with the equine theme, giving us not only a dramatic race-meeting down on the beach, but also some well-deserved exposure for Munnings' acclaimed horse-paintings.

Artists' communes are always incestuous, and the main story is a love-triangle, with Munnings and his friend Gilbert competing for the hopelessly unstable Florence Carter-Wood, played in a suitably minor key by Emily Browning. A discreet view of a local artist's model emerging naked from the sea brings out the insecurity in Florence, who stands in front of the mirror anxiously comparing her own endowments. Later, when she is shown Munnings' portrait of her, proudly displayed at the Royal Academy, she attempts suicide because his portraits of other women are also on display. By now, Munnings and Florence have married, but the non-chemistry between them is painfully obvious. Gilbert's relationship with her is far more harmonious. But he is just off to the war, as the end-titles helpfully notify us.

The producers are obviously trying to achieve a Brideshead touch, but the characters are not sharply drawn, and we are mainly just drifting in an agreeable atmosphere of rocky coves, gypsy violins against the surf, passionate poetry recitals and credible period dialogue, not without appropriate elements of coarseness.

Laura's husband, the eminent Harold Knight, is somewhat thrown away. And one of the poems ends with the words 'Summer in February', which are left hanging there as the title of the film, though their meaning is hard indeed to fathom. IMDb mentions a running-time of 100 minutes, so my HD version at 82 must be missing some scenes. It is certainly missing professional post-production - ye gods, the audio is something like two seconds out of kilter with the video!