La ricerca della salvezza personale del leggendario poeta di guerra del 20° secolo Siegfried Sassoon attraverso le sue esperienze con la famiglia, la guerra e i suoi scritti.La ricerca della salvezza personale del leggendario poeta di guerra del 20° secolo Siegfried Sassoon attraverso le sue esperienze con la famiglia, la guerra e i suoi scritti.La ricerca della salvezza personale del leggendario poeta di guerra del 20° secolo Siegfried Sassoon attraverso le sue esperienze con la famiglia, la guerra e i suoi scritti.
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- Sceneggiatura
- Star
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- 9 vittorie e 19 candidature totali
Recensioni in evidenza
It's not a biography, it's not really about war, or love, or living a closeted life during a specific period in UK history; it's not about aging; it's not about poetry, or trauma. The title suggests it might be about guidance, blessing, or redemption, but in regard to what, I can't really say.
It's also about all of those things, depending on the minute. The movie changes focus quite a few times, and I found that incredibly frustrating. After two and a half hours, I did not leave with any firmed-up impression of Sassoon, or the basic intention of the film.
Having said that, the lead actor and the rest are all perfectly enjoyable to watch, the dialogue is organic, and aside from spliced-in war footage, it is pleasing to the eye. It's a good choice for watching on demand or otherwise at home. But it's not a movie that lingers.
In that sense, the whole film is definitely sentimental, nostalgic... and gently bitter (as oppose to bitter sweet). Even the scenes of horror from WW1 are somewhat veiled with distinctively old fashioned verses of Siegfried Sassoon. For some reason most scenes with special effects (the scene where Siegfried dropping his medal being most noteworthy) feel so dated too, as in 90's film or a student project of SiFi.
My biggest issue in enjoying the film was that I gradually lost empathy with Siegfried. He starts off as gentle, smart young man, restrained but with lucid enough self-awareness and noble idealism of a youth. Then he dips in relationships with pretty but frivolous guys, predictably gets hurt by them, and then opts for a more conventional life of marriage and child in the selfish hope that the wife and son may give him the light he craves for. And then he ends up a bitter, distant, irritable and irritating old man, who vents out to his poor wife and suffering son, practically the only people left around, for their failure to become the light he wanted them to be.
Now, it's not entirely his fault alone. The horror of the war that scarred him for life and the intolerant society that kept him from acting upon his true love have a lot to answer for. Even his shallow, egoistic post-war lovers are largely because such bold 'crazy' ones were the only people who could live somewhat openly as gay in the repressive British society.
Nevertheless Siegfried had so many privileges - his uppercrust background, artistic talent, social recognition, and few but supportive friends. Despite of it all, he makes choices against his own truth and heart, and ends up a bitter resentful old man. His last ditch attempt to God wouldn't give him the solace he craves for.
I guess that is actually the message of the film - how giving up one's true heart and truth, whether by one's own will or circumstances, can leave one just a shell of oneself. And what's the worth of a poet when he can't speak his truth?
Overall it left me somewhat unsatisfied after 2 hours of run despite of its many enjoyable and charming virtues. I suspect Terence Davies himself has never quite overcome the pessimistic view he manifested in his early trilogy.
After the war Siegfried has a brief affair with Ivor Novello (Jeremy Irvine), shown here as the uber-bitch in London's far-from-discreet gay set. Siegfried has a longer but equally unhappy affair with upper-crust socialite Stephen Tennant (Calam Lynch), the model for Sebastian Flyte in Evelyn Waugh's BRIDESHEAD REVISITED. Unhappy with homosexual life and converting to Catholicism, Sassoon marries. Flash-forward to his later life shows Sassoon (now played by Peter Capaldi) at odds with his wife and their son.
Throughout the movie Davies inserts horrific glimpses of battle casualties which never cease to haunt Sassoon. His poems are voice-overed from time to time, although two poems of Owen's make it clear that Sassoon was somewhat Second Division in comparison.
This is a beautifully shot movie, and all the cast perfectly evoke the look and feel of the 1920s and 30s, but the scriptwriter's prevailing tone is depressing. Male lovers and a wife all fail to bring happiness to Siegfried Sassoon. A life unfulfilled; a glum movie.
All of the performances are 1st rate, the cinematography is exquisite, the production design is breath taking, and the dialogue is some of the best I've heard in a film in a very, very long time. Thanks to Mr. Terence Davies for making such an extraordinary movie.
Lo sapevi?
- QuizSeven of Siegfried Sassoon's poems were narrated in the film: Concert Interpretation, Died of Wounds, When I'm among a Blaze of Lights, To my Mother, To my Brother, Attack, and Invocation.
- BlooperSassoon did not discard his M.C. medal as shown in this film. He tossed away the medal's corresponding ribbon. The medal itself was inherited by Sassoon's son George.
- Citazioni
Dr. Rivers: Why not?
Siegfried Sassoon: Too afraid, too inhibited. Shamed by an inner corruption. Or perhaps it's simply because of... What's the phrase? "The love that dare not speak its name."
Dr. Rivers: You are not alone in that respect.
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- Luoghi delle riprese
- Chillington Hall, Port Lane, Brewood, Wolverhampton WV8 1RE, Regno Unito(Interiors and outdoor scenes)
- Aziende produttrici
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Botteghino
- Lordo Stati Uniti e Canada
- 201.093 USD
- Fine settimana di apertura Stati Uniti e Canada
- 50.970 USD
- 5 giu 2022
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- 847.418 USD