Bright Young Things

Stephen Fry is such a prodigious polymath that it's no surprise what a good fist he's made of his directorial debut. That's not to say it's wholly successful; the characters are so shallow that it is hard to warm to them, although it should be pointed out that this is not necessarily a fault. Indeed, it's refreshing these days to find a film in which characters are not trying to ingratiate themselves. Emily Mortimer is exempt from this observation in any case, as she's just so adorable - and is it just me or does she look a dead spit for the young Mary Steenburgen?

I found not only the camerawork but the lighting extremely gaudy, sometimes offputtingly so. However, Fry is admirably adventurous in some of his camera sweeps, not playing it safe as some inexperienced directors do.

As to the performances, it is true that Simon Callow hams it up quite outrageously (although he still wrung a couple of chuckles out of me), and I found Michael Sheen's uber-camp queen rather wearing, until his scene at the end which I thought he handled well. I know I'm not the first person to say this, but it bears repetition: Fenella Woolgar is a revelation in this film, conveying the insouciance of the upper class effortlessly (and the scene after the "orgy" with the stern family is priceless). James McEvoy was excellent too.

Oh, and by the way, to whomever described Evelyn Waugh as "herself one of the beauties of the age" - you may have been joking, but in case not, Evelyn Waugh was in fact a curmudgeonly man who would no doubt have snorted to hear himself thus described!

As one of the best assets humanity can boast to count among itself, Stephen Fry has delighted the world across a vast array of media, firmly establishing himself as one of my very favourite entertainers. How then, you ask, could it have taken me so unforgivably long to sample his Bright Young Things?

Having just penned the novel from which the film takes its name, Adam Symes is crestfallen to have it taken from him by customs as contraband literature. He returns to his life of yuppie indulgence (if indeed the film's '30s/'40s setting will permit the usage of that term) where he is variously delighted and disappointed by the tide-like fortunes of his financial situation, and the uncertainty concerning his ability to wed his beloved Nina.

Beginning with an expository reporter attempting to gain access to a lascivious and drug fuelled party, Bright Young Things launches us into the wild party lifestyle of its central cast of characters. The cocaine and absinthe combinations proclaimed by Nina as boring impress upon us the extent of the inter-war indulgence of the London youth. Things are somewhat slow to start, though the positively delightful and flowery banter of Fry's script keeps us both amused and entranced by the language of the era. Humour comes spouting from the supporting cast: the likes of Fenella Woolgar and Michael Sheen lend more laughs than the main acts themselves, who are generally left to present the dramatic front of the movie. Without doubt the film's best factor is the scene in which the hopeful Symes visits his father-in-law-to-be, a crackpot lunatic played splendidly by Peter O' Toole. As the running time finds itself elapsed, the drama begins to more firmly announce its presence to us, the stakes yet again raised and the outcome looking ever more bleak. The problem is that this never reaches a sufficient and acceptable zenith. No point of conclusion is reached wherein the characters seem to transform beyond the horrid snobs they began life before our eyes as, a shame given the potential this may have had. Not, that is to say, that the characters are unlikeable. In spite of their vices they grow upon us and become endeared to us, though we look on like disappointed parents, hopefully awaiting the time when they will learn the folly of their ways and grow up, a time the film never presents, or at least not expressly enough. I understand the novel on which the film is based takes this more desired route, the film's distance from this perhaps the product of Fry's wishes to carve his own story. In any case, despite the slight disappointment of the lack of redemption, the film is consistent in its humorous and dramatic elements, which blend together to give a decent slice of entertainment.

Almost certainly less good than it could and should have been, Bright Young Things feels like it fell at the last hurdle. That said, it was never at the front of the race. A perfectly competent debut from Mr Fry, one cannot disagree that the film holds its own.

What a fantastic movie, delightfully charming, unrelentingly affable and irresistibly likable. Brilliant acting, excellent realisation and direction; this movie was a joy to watch. A bittersweet love story interwoven with a hilarious array of eccentric English upper class characters from the early 20th century.

Watch out for many faces in small but unforgettable parts, I especially adored Dan Aykroyd's, Michael Sheen's and Jim Broadbent's characters. Fenella Woolgar was also perfect and immensely likable in her role as the dazed and confused but eternally cheerful and optimistic eccentric. Emily Mortimer was flawless as the English rose stuck between marrying money or sticking with her penniless true love. There was palpable chemistry between her and Stephen Campbell Moore's character, which made the whole story work for me.

And of course Peter O'Toole steals the film with barely five minutes of total screen time, but that's the kind of talent he was gifted with. Watch it if you enjoy witty dialogue, period pieces and don't you dare miss it if you're a Stephen Fry fan. He is a very funny man and his direction which remains always affectionate towards the characters he's portraying in his movie, was impressive given he's better known as an actor and writer.

If you liked this movie, you would also like:

• Enchanted April - A Month By The Lake - Widows Peak - In The Bleak Midwinter - A Room With A View

All of these are in my list of top ten favourite films of all time. Bright Young Things just misses the mark to join them, but it's definitely in my top twenty.

I was one of the voices of the angels in this film. It is interesting and light hearted. I must say that it presents an interesting view on high society in England that I would guess rings true even now after having lived in the country for multiple years. The characters are considerably well developed and one does feel a connection to at least one character as they view the film. The story is an entertaining one to those of us that are interested in life throughout the nineteen twenties and thirties. It gives a very intimate view of life changes in the younger crowd of that era in the twentieth century. Good to watch, oh, and if you ever meet Mr. Fry...he is an interesting character...

"Bright Young Things" is a mostly effective satire, with some jarring seriousness thrown in, of "Masterpiece Theater" Jazz Age costume dramas for its first seven-eighths.

Set in the same period as "Gosford Park," its conflicts are just within the sexual and financial eccentricities of the empty-headed leisure and wannabe leisure class, where titles don't match income or outflow.

It is more of a visual evocation of Noel Coward songs and incorporates some of his numbers, as well as original sound-alike songs. The frolics have some similarities to the simultaneous Weimar Republic portrayed in "Cabaret."

Stephen Campbell Moore as the protagonist is almost too good in his film debut, as his character's captivatingly serious eyes and demeanor conflict with his insouciant company, particularly Emily Mortimer as his dispassionate lover, though that justifies the stuck-on denouement, that even without having read the Evelyn Waugh book this is adapted from, "Vile Bodies," I can tell didn't have this too neat and comeuppance tying-up.

The most pointed parts of the movie are its acid documentation of the birth of the tabloid gossip press, including Dan Ackroyd as a Canadian press baron with a more than passing resemblance to today's lords of Fleet Street. James McAvoy is very good as a more upper-class betraying precursor to his scandal-seeking scion reporter in the mini-series "State of Play," and manages to seem like a real person, unlike so many of the characters who are just types or plot conveniences.

The production design and costumes are delightful.