Une poignée de cendre

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.

WARNING: POSSIBLE SPOILER

Evelyn Waugh was one of the most stylish writers of his generation and the deceptively simple prose of his early mordant satires ('Decline and Fall', 'Vile Bodies') stands up very well today. 'A Handful of Dust,' written during the break-up of his first marriage to Evelyn Gardiner ('She-Evelyn') is more personal and less comic, and more concerned with the consequences of the characters' lack of personal morality. This film version by Charles Sturridge, who was earlier jointly responsible for a fine TV version of 'Brideshead Revisited,' is a worthy attempt to do justice to the novel, but perhaps he need not have bothered.

The film follows the novel as published in England – a US edition had a different, happy ending - though for space reasons some incidents are omitted (eg the drunken night at the sleazy 'Old Hundredth' club). Tony Last (James Wilby) is a pleasant young dim Tory gentleman, the proud owner of Hetton Abbey, a pile of Victorian Gothic bombast, and the attentive but slightly baffled husband of Lady Brenda (Kristen Scott-Thomas), elegant, aristocratic, and bored to death after seven years of country life. They have a cute six-year old son, John Andrew (Jackson Kyle), who seems to relate better to his nanny and riding instructor than to his parents, who are equally awkward with him. A young man called John Beaver (Rupert Graves) invites himself to stay, and Brenda, despite Beaver's vacuity, decides to have an affair with him, renting a small flat in Mayfair from Beaver's mother (Judi Dench) for the purpose.

Then an accident occurs which prompts Brenda to reveal her affair to Tony (almost everyone else in their circle knows of it already) and leave him. Tony, having met an explorer named Messinger, sets off with him to Guyana, South America, in search of a lost city, but the expedition falls apart and Tony is rescued by Todd (Alec Guinness), a part-white man living with the Indians. Todd wants someone to read him Dickens, and Tony finds himself a prisoner.

The re-creation of life at Hetton; mists over the park, the huge, overdecorated house (Carlton Towers, Yorkshire, is a perfect match for the fictional Hetton Abbey), the attentive servants, the elegant meals, house parties, Sunday morning at church, the ritual of foxhunting etc, is all beautifully done. We see why Brenda is bored (even if Anjelica Huston's character does drop in by plane), but it is not so easy to see why Brenda takes after Beaver. Jock (a wooden Pip Torrens), young MP, friend of the family and an old boyfriend of Brenda's, seems a much more likely choice, obsessed as he is with the politics of pig-farming. Kristen Scott-Thomas is fine in the role of Brenda but the script lets her down a little. As Tony, James Wilby projects just the right air of amiable, good-natured dimness. We feel sorry for him even as his unlikely fate assumes an air of inevitability. A youthful Rupert Graves gives us a callow and colourless Beaver, egged on by his ambitious mother.

The change of scene from England to Guyana is somewhat abrupt, though signalled in the script, and it's almost as if we are watching a different movie. This is not necessarily the filmmaker's fault as Waugh backed an earlier short story of his 'The Man Who Loved Dickens' into the first two-thirds of the novel, which is a kind of prequel to the short story. Yet the events of the whole novel bear close correspondence to Waugh's own experiences, his marriage break-up mentioned above, and a journalistic trip he made to Guyana as a kind of therapy. Unlike the unlucky Tony, Waugh returned from the jungle to tell this, and several other mordant tales.

Here the film-makers were not able to give visual expression to Waugh's mood. Perhaps different music might have helped – the theme for 'Brideshead' was perfect. For the most part the actors were well-cast, but they were pinned down by the close adherence of the scriptwriters to the novel's dialogue.

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.

but well worth the time. The actors are perfection while the story is allowed to tell itself with crushing realism. This isn't a movie that is going to make you smile much but it will probably make you think.