The platonic relationship between artist Dora Carrington and writer Lytton Strachey in the early 20th century.
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Nominated for 1 BAFTA Film Award. Another 7 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Mark Gertler
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Phillip Morrell
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Beacus Penrose
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Sebastian Harcombe ...
Roger Senhouse
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Clive Bell
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Mayor
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Military Rep
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Mary Hutchinson
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Storyline

The story of the relationship between painter Dora Carrington and author Lytton Strachey in a World War One England of cottages and countryside. Although platonic due to Strachey's homosexuality, the relationship was nevertheless a deep and complicated one. When Carrington did develop a more physical relationship with soldier Ralph Partridge, Strachey was able to welcome him as a friend, although Partridge remained somewhat uneasy, not so much with Strachey's sexual orientation as with the fact that he was a conscientious objector. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

She had many lovers but only one love.


Motion Picture Rating (MPAA)

Rated R for strong sexuality and language | See all certifications »
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Details

Country:

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Language:

Release Date:

10 November 1995 (USA)  »

Also Known As:

A festőnő szerelmei  »

Box Office

Gross:

$3,242,342 (USA)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

'Christopher Hampton' finally got to direct the script he'd been sitting on since 1976, but only because original helmer Mike Newell opted to direct Donnie Brasco (1997) instead. See more »

Quotes

Dora Carrington: If only I wasn't so - plural. Especially when people seem to want me so - conclusively.
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Soundtracks

When this lousy war is over
Trad. Arranged and Performed by Laurence Payne
© DORA Productions LTD
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User Reviews

Look to find the Bloomsbury Passion
14 June 2000 | by (Virginia Beach) – See all my reviews

Viewer, do not believe others when they say this is a Merchant and Ivory knockoff. It has many of the same elements, to be sure, but M-I serves up confections, and here is something more interesting.

Imagine an intelligent screenwriter's first choice: whose story is this and what form must the telling take as a result? This is Carrington's story. She was an introspective painter who never exhibited -- thus we have a meditative, rather longish development. But you'll note that this is not just to revel in any lushness. What's done here is that each scene is a sequence of many small shots, each exquisitely framed, but shown less long than one can absorb. This is how Carrington would see the narrative, and it is a rather clever approach to centering it in her eye, if you can center down and read the pictures.

You also see her bias in many of the decisions related to the mechanics of the plot: her appearance changes little in 17 years; her affairs are always seen, but those of Lytton are not; and we are denied fascinating details (her father's death, the famous gatherings of the intelligently eccentric Bloomsbury Group) that she would have considered unimportant.

As the presentation is visual, Emma Thompson must dramatize physically, and so she does. Some of her character's most awkward moments have Emma in almost caricatured postures, much as one imagines one's self in retrospect as clumsy.

The test of a film is whether it transports you to an unfamiliar place and embeds a strange experience that sticks. The emotional and sexual situation here is bizarre and unfamiliar, but if you just take it as a pretty, competent film with a story, it won't work. If you take is as a film about her world, from her world, there's an additional rewarding dimension.

But go relaxed. The theme here is the existential angst between the fact you can passionately love someone and know that you will NEVER be able to provide some key factor they need, something basic in their life. An unsettling reminder.


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