Il matrimonio di Lady Brenda

An 18th-century English writer, Lady Mary Wortley Montagu, once wrote (putting Alexander Pope in his place): "Satire should, like a polished razor keen, wound with a touch that's scarcely felt or seen". This is exactly what Evelyn Waugh's novel A Handful Of Dust does and the film, in my view, fully does the novel justice. Waugh's satire here is very underplayed, very understated and very funny, but none the less utterly lethal for all that. Charles Sturridge and his fellow screenwriter's have, as far as I can see, stuck extremely close to the novel, which is no bad thing as Waugh was an extremely economical writer and there would be little point in trying to gild the lily. Although Waugh wrote his novel as a young man, his thorough dislike of modernity - which he regarded as insincere cant - in every shape or form is already apparent and he mercilessly sends up its more vicious aspects. But Waugh was too intelligent just to hate for hate's sake: it was the loss of admirable qualities in favour of 'progress' which upset him. So in the novel and film Tony Last behaves well to everyone despite a great many people, not least his 'modern' wife Brenda, treating him appallingly badly. He is loyal, values tradition, honest, accommodating and indulgent and in return loses everything. Brenda is conventionally sweet but is simply a self-centred monster who lives without a thought for anyone, and always gains what she wants. One reviewer here complained that 'nothing' happens in the film. Not a bit of it. A great deal happens but everyone is so polite and well-brought up that no one, not even Tony, questions the huge injustice of it all. If you are reading these reviews while considering whether to see this film, bear in mind the quotation with which I started my contribution: Satire that's 'scarcely felt or seen'. That will give you the key to enjoying a very good film indeed. (NB The full quotation putting down Pope runs: "Satire should, like a polished razor keen, wound with a touch that's scarcely felt or seen. Thine is an oyster knife, that hacks and hews, the rage but not the talent to abuse.")

I decided to watch this purely on account of the magnificent cast, not realising it was another Evelyn Waugh adaptation. Maybe if I'd known, I wouldn't have bothered because I absolutely HATED Brideshead Revisited, also directed by Charles Sturridge. Perhaps the necessary compactness of a film adaptation compared to the lumbering drawn-out length of the Brideshead TV-series is what made it work for me.

What a magnificent film this is: sensitively directed, beautifully shot and the amazing cast absolutely spot-on. The understated performances of James Wilby and Kristin Scott Thomas as the two doomed main characters are just perfect to make this strange story come to life. The stellar supporting cast all add up to a feast of fine acting.

In my opinion, AN UNDERRATED MASTERPIECE.

A story that raises many questions, even good ones, but gives only a few answers. A great cast, James Wilby is for example excellent as Tony Last, goes to work in this beautifully filmed melodrama set in the early thirties i UK and Brazil. The period feeling is great and so are the settings. The story is built up around a doomed marriage, but it is hard to really understand why. There is a lot of smoke here but no real fire until the late and great Sir Alec Guiness comes to work in the last 30 minutes creating a frightening illiterate fan of Charles Dickens. But superb acting on all hands and high class camera-work is not enough although the film is worth watching especially if you have a love for British culture and history, and don't we all...

A really good book cannot be entirely simulated adequately on screen. There is too much going on underneath, too many subplots, too much conversation and description to undertake in two hours. Choices made by production folk determine which direction the film will go, generally accenting one plot line of or other and allowing the rest to fall to the wayside. HOD does a fine job with the route it takes, darkly stating the consequences of empty lives which rely on artifice for sustenance. These creatures were not creating their lives so much as feeding their idea of existence without exploration. The result is tragedy but the tragedy was already in existence. The actions of the trapped subjects simply began to reflect their emptiness. This doesn't make for a happy movie but it is instructive if one chooses to see the lessons. And as art, the acting, direction and cinematography are quite fine.

At the end of this film, one wants to wash one's hands of the unmitigated cruelty pervading the atmosphere. The deliberate pace of the thirties setting (beautifully portrayed using the right houses, and suitable sets and costumes) ensures that every nuance of behaviour is clearly understood by the audience, and this is the great strength of the film. As I haven't read the book, but believe this is a faithful adaptation, I can commend both Charles Sturridge and the superb actors for translating what must be a difficult, but brilliant, novel by Evelyn Waugh, not only into an impressive film, but one that conveys thirties morals and social privilege in a way that rings true for today's 21st century attitudes.

I think this is the best performance I have ever seen by James Wilby. Cuckolded by his wife (Kristin Scott Thomas in a fantastic debut performance), suffering from the death of his only son, he turns from a kind and gentle husband to one who wreaks revenge on his wife by cutting off all financial support. His agony over his son is exactly restrained in the manner of the period, his embarrassment over setting up the grounds for divorce by being caught in flagrante, his bewilderment when one would think he should be released from torment but is trapped by a vindictive eccentric (Alec Guinness, as usual, quite amazing) in the middle of the jungle, after nearly dying of fever, is a tour de force. This is his film, but Kristin Scott-Thomas (who was the original reason I watched this film in the first place), is simply delightful as the spoil, bored wife who can't resist Rupert Graves's boyish charm and dilettante lifestyle. No wonder Robert Altman chose her for Gosford Park; she is made for these roles. Her character's brittle insouciance, total selfishness and insensitivity, her lack of concern for her husband and son while she pursues alleviation from boredom with Rupert Graves, is reminiscent of Daisy Buchanan's behaviour in The Great Gatsby. Kristin Scott-Thomas shows a sophistication and acting aplomb which is breathtaking.

Rupert Graves is convincing as the shallow man-about-town sponging off others but seducing charming to the ladies; Judi Dench gives a lovely cameo as his bourgeois mother; Cathryn Harrison is good as Millie, who is supposed to provide the evidence for the divorce; and Alec Guinness in one of his final roles, is chillingly menacing.

I recommend this movie to anyone who enjoys a good story well told, excellent acting, and a period setting.