IMDb > Carrington (1995)
Carrington
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Carrington (1995) More at IMDbPro »

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Carrington -- The story of the relationship between painter Dora Carrington and author Lytton Strachey in a World War One England of cottages and countryside...

Overview

User Rating:
6.8/10   4,022 votes »
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Down 52% in popularity this week. See why on IMDbPro.
Contact:
View company contact information for Carrington on IMDbPro.
Release Date:
10 November 1995 (USA) See more »
Genre:
Tagline:
She had many lovers but only one love.
Plot:
Period piece. Very visually beautiful. The relationship dynamics are compelling and insightful. Full summary » | Add synopsis »
Awards:
Nominated for BAFTA Film Award. Another 8 wins & 6 nominations See more »
User Reviews:
"How do you spell ‘intangible'?" See more (49 total) »

Cast

  (in credits order) (verified as complete)

Emma Thompson ... Dora Carrington

Jonathan Pryce ... Lytton Strachey

Steven Waddington ... Ralph Partridge

Samuel West ... Gerald Brenan

Rufus Sewell ... Mark Gertler

Penelope Wilton ... Lady Ottoline Morrell

Janet McTeer ... Vanessa Bell
Peter Blythe ... Phillip Morrell

Jeremy Northam ... Beacus Penrose

Alex Kingston ... Frances Partridge
Sebastian Harcombe ... Roger Senhouse

Richard Clifford ... Clive Bell

David Ryall ... Mayor
Stephen Boxer ... Military Rep
Annabel Mullion ... Mary Hutchinson
Gary Turner ... Duncan Grant
Georgiana Dacombe ... Marjorie Gertler
Helen Blatch ... Nurse
Neville Phillips ... Court Usher
Christopher Birch ... Dr. Starkey Smith
Daniel Betts ... Porter
Simon Bye ... Fly Driver
Marzio Idoni ... Gondolier
rest of cast listed alphabetically:

Eva Gray ... Dancer (uncredited)

Directed by
Christopher Hampton 
 
Writing credits
(in alphabetical order)
Christopher Hampton 
Michael Holroyd  book

Produced by
Francis Boespflug .... executive producer
Philippe Carcassonne .... executive producer
John McGrath .... producer
Ronald Shedlo .... producer
Chris Thompson .... associate producer
Fabienne Vonier .... executive producer
 
Original Music by
Michael Nyman 
 
Cinematography by
Denis Lenoir 
 
Film Editing by
George Akers 
 
Production Design by
Caroline Amies 
 
Art Direction by
Frank Walsh 
 
Costume Design by
Penny Rose 
 
Makeup Department
Christine Beveridge .... hair stylist (as Chrissie Beveridge)
Christine Beveridge .... makeup artist (as Chrissie Beveridge)
Elaine Davis .... hair stylist
Elaine Davis .... makeup artist
Norma Webb .... hair stylist
Norma Webb .... makeup artist
 
Production Management
Rosanna Roditi .... production manager: Italy
Chloe Sizer .... post-production supervisor
 
Second Unit Director or Assistant Director
William Booker .... third assistant director
Guido Cerasuolo .... second assistant director: Italy
Tim Lewis .... second assistant director
Guy Travers .... first assistant director
 
Art Department
Peter Adams .... construction run-around
Brian Aldridge .... dressing props
Robert Betts .... painter (as Lee Betts)
Dennis Bosher .... draughtsman
Roger Bowles .... draughtsman
Alan Chesters .... construction manager
Leigh Chesters .... trainee carpenter
Susanna Codognato .... art department: Italy
Ciaran Donnelly .... carpenter
Judy Ducker .... production buyer
Martin Duffy .... chargehand carpenter
Peter Duffy .... carpenter
Brian Eke .... carpenter
Christopher Evans .... decorative artist
Davide Fadda .... art department laborer: Italy
Nick Ferguson .... pastiche artist
Jim Foran .... construction supervisor
Barry Gibbs .... property master
Jane Gifford .... pastiche artist
Claire Grainger .... design assistant
Fred Gray .... pastiche artist
David Gruar .... stagehand
Michael Gunner .... chargehand painter
Rebecca Holmes .... design assistant
Simon Hutchings .... painter
Gary Ixer .... stand-by propman
Matt James .... painter
Malcolm Keen .... painter
David Ned Kelly .... stand-by carpenter
J.A. Lenman .... painter
David Mears .... painter
Martin O'Connor .... props run-around
Graham Osten-Lee .... carpenter
Darryl Patterson .... storeman
Brian Rielly .... painter
Nicky Risso-Gill .... draughtsman
Raffaele Scarpa .... art department laborer: Italy
Andy Semple .... assistant art director (as Andrew Semple)
Bob Sherwood .... stand-by props
Mike Sotheran .... painter
Jim Stanes .... graphic artist
Alison Stewart-Richardson .... design assistant
Warren Stickley .... dressing props
Terry Weaver .... painter
Michael Webb .... stagehand
Darryl Paterson .... props storeman (uncredited)
 
Sound Department
Jason Adams .... assistant sound editor
Ed Colyer .... foley mixer (as Edward Colyer)
Felicity Cottrell .... foley artist
Graham Daniel .... sound re-recording mixer
Sarah Ellis .... assistant sound editor
Peter Lindsay .... sound mixer
Dennis McTaggart .... sound editor
Ray Merrin .... sound re-recording mixer
Mervyn Moore .... boom operator
Zivi Ronen .... sound room trainee
Jupiter Sen .... adr editor
Jupiter Sen .... foley editor
Jason Swanscott .... foley artist
Ted Swanscott .... adr mixer
 
Camera and Electrical Department
Bill Beenham .... rigger
Regis Benedettelli .... labourer grip: Italy
Flavio Bertini .... generator operator: Italy
Stefano Biscaro .... grip: Italy
Neil Carr .... chargehand rigger
Luca Casagrande .... labourer electrician: Italy
Tommaso Dabala .... electrician: Italy
Martin Evans .... best boy
Kevin Fraser .... grip
Jill Furmanovsky .... still photographer
Dario Gardi .... electrician: Italy
Darren Gatrell .... electrician
Fred Harris .... camera operator
Fred Harris .... grip
Pam Hegerty .... rigger
Pascal Lagriffoul .... focus puller
Luis Lazo .... still photographer
Reg Lockwood .... rigger
David Morani .... gaffer
Tim Murphy .... rigger
Peter Robertson .... Steadicam operator
Xandy Sahla .... assistant camera (as Alex Sahla)
Virginie Saint-Martin .... clapper loader (as Virginie St. Martin)
Michael Seymour .... rigger
Steven Spud Slater .... rigger
Michele Turchetto .... grip: Italy
Al Watson .... generator operator
Paul Wells .... electrician
Andrea Chiozzotto .... electrician: Venice (uncredited)
 
Costume and Wardrobe Department
Jill Avery .... wardrobe mistress
Kirsten Hecktermann .... assistant costume designer
Loredana Nicolao .... seamstress: Italy
Adrian Simmons .... wardrobe master
 
Editorial Department
James Marsh .... first assistant editor
Bridgette Williams .... cutting room trainee (as Bridgette Corbett)
Paul Ensby .... color timer (uncredited)
 
Music Department
Bruce White .... viola (uncredited)
 
Transportation Department
Mike Beaven .... unit driver
Jed Bray .... unit driver
Dave Carpenter .... makeup bus driver
Tom Daly .... driver: honeywagon
Alfio Galli .... transport: Italy
Fred Harris .... truck driver
Enyo Mortty .... unit driver
Gary Palmer .... dining bus driver
Tony Redman .... unit driver
Sid Romain .... driver: minibus
Brett Walker .... motorhome driver
Simon Walker .... motorhome driver
Tony Walker .... driver: construction department
Ian Weatherly .... wardrobe driver
Ian Young .... roadtrain driver
 
Other crew
Patricia Barr .... unit nurse
Tor Belfrage .... assistant: Mr. Hampton
Tim Bricknell .... production runner
Furio Buranella .... craft service: Italy
John Clifford .... stand-in: Mr. Pryce
Nick Daubeny .... location manager
Michelle Davies .... floor runner
Dominique De Langes .... production assistant: Italy
Penny Eyles .... script supervisor
Daniela Foà .... crowd marshall: Italy
John L. Hargreaves .... production consultant
William Hobbs .... fight arranger
Stuart Hopps .... choreographer
Bobbie Johnson .... production accountant
Deborah Leakey .... assistant accountant
Annie Livings .... stand-in: Miss Thompson
Tamara Morris .... caterer
Richard Moxon .... legal advisor
Tori Parry .... production coordinator
Albert G. Ruben .... insurance
Ann Runeckles .... assistant: Mr. Shedlo
Chloe Sizer .... assistant: Mr. McGrath
Reshad D. Somauroo .... production trainee
Mark Somner .... location assistant
Fabio Vianello .... production runner: Italy
Mark Waddell .... film grading
Joan Washington .... dialogue coach
Ron Watkins .... location liaison (as Ronnie Watkins)
Tony Tucker .... marine coordinator (uncredited)
 
Thanks
Frank Bloom .... special thanks
Susie Brown .... special thanks
Joanna Carrington .... special thanks
Harvey Edgington .... special thanks
Teresa Grimes .... special thanks
Philippe Hartmann .... special thanks
Roger Heath .... special thanks
Jane Hill .... special thanks
Janet Ibbotson .... special thanks
Phil Joanou .... special thanks
Barry Krost .... special thanks
Mike Newell .... special thanks
Aline Perry .... special thanks
Bill Stephens .... special thanks
Stewart Till .... special thanks
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for strong sexuality and language
Runtime:
121 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
During the press tour for the movie, star Emma Thompson told reporters how she enjoyed doing nude scenes, particularly since she was not a standard Hollywood "hard-body".See more »
Quotes:
Lytton Strachey:I don't know what the world has come into: women in love with buggers and buggers in love with womanizers...See more »
Movie Connections:
Soundtrack:
Stomp DanceSee more »

FAQ

This FAQ is empty. Add the first question.
56 out of 59 people found the following review useful.
"How do you spell ‘intangible'?", 22 March 2000
Author: Malcolm Lawrence (Malcs) from Seattle

"How do you spell ‘intangible'?" Dora Carrington asks of Lytton Strachey midway through this film as she sits writing at her desk. How do you spell intangible, indeed. Carrington tells the story of people who tried, in their own way, and at a time when society did not encourage such experiments, to acknowledge openly what most of us are aware of but still reluctant to discuss: that a great many differences exist between love and desire.

Carrington is one of the great epic romances, but a romance where sexual congress between the two who are passionately in love with each other has nothing whatever to do with the deep wells of feeling they share with each ther. Like The Unbearable Lightness Of Being and Out of Africa, Carrington is a film that dares to examine the difference between desire and love, and looks at an adult subject in an adult way. As opposed to Hollywood's usual matter-of-fact insistence that love is a game with a win/lose dialectic simplistically painted in broad stokes, Carrington traces, rather, the fact that love is indeed a mystery which must be acknowledged and honored for the way that it can bring out the best in both people rather than a way of keeping emotional score.

Emma Thompson is able to bring out the awkward, self-effacing aspects of Dora Carrington all the way down to the pigeon-toed stance the way the real life Carrington apparently stood. With all the impatience of a little girl who wishes that one day she'll wake up and finally find herself to be a sophisticated woman, she worships Lytton for his "cold and wise" attitude, his ability to see straight through the conventions of the time, and adopts him as her emotional mentor.

She's an artist whom everyone in the Bloomsbury set knew, even though she never really considered herself a part of the circle, unlike Lytton, whom everyone swarmed around for his scorched earth policy of anti-Victorian insights and rapier wit. Carrington, it would appear, spent her whole life trying to figure herself out, like any true artist, and Thompson very ably transmits that lost quality throughout the film: even as she gains her confidence socially, sexually and artistically, the motivations of her heart she would never let be pressured, no matter how much physical affection and attention she needed. Which I think is an important distinction to make.

A virgin many years past the point of reason, it is as if Carrington bought in to the sexual revolution of the flapper era between the world wars and the way it tried to repeal the oppressiveness of Victorian morals, learning how to cultivate and appreciate the sensual needs of the body, but deep down realized that a healthy, vigorous sex life with a plethora of partners does not necessarily mean more love, but simply more sex. As Carrington points out in the film, with Lytton she was able to be herself in all her confusion and joy, and without the obligatory pressures of regular sexual performance was able to find in Lytton the only person she ever really felt emotionally comfortable with. Echoing that great line of TS Eliot's in Four Quartets, of a "love beyond desire."

Jonathan Pryce, as Lytton Strachey, has the honor of portraying one of the best screen roles of all-time. Like Rex Harrison's Henry Higgins, or Liza Minnelli's Sally Bowles, his performance as Lytton is so fully realized that his character becomes unprecedented. Incorporating the attitude of, say, a bearded Oscar Wilde, Pryce's Lytton takes no prisoners and is disgusted by what he sees around him: the behaviour of the upper classes he finds himself eventually skirting is embarrassingly inexcusable to his ethically conscientious grounding. English boys are dying, he scowls, for their right to shamelessly frolic on the lawns of garden parties.

When Lytton moves in with Carrington they both want commitment (with a small c), but also personal freedom. This ambiguity toward each other is parallel to their ambiguity toward the concept of fame, which they both courted in a very teasing way, but soon grew to realize that there is a lot more to be said for secure domesticity (no matter how loosely defined) than their behaviorally adventurous artistic peers. Because Carrington is intelligently written, directed, and acted, however, we do not see the behavior of each of them as simply willful and spoiled, but as part of the contradictions they need to stay individuals in a culture, and at a time, where the conventional notions of love and sex were strictly regimented.

Jonathan Pryce plays Lytton with a sort of detachment that is supposed to come from the character's distaste for commitment.

What's most surprising about this epic romance is that given the amount of territory it traverses (seventeen years) at an almost leisurely pace, it clocks in at only a hair over two hours, but when those two hours are over, you certainly feel as if you've been somewhere, seen something, been privy to so many more truths and realizations than you'll see in any other standard film about a romance. What we have here is a paradox: an old-fashioned story about an avant-garde arrangement. An intelligent, thoughtful love story, told with enough care and attention that we really get involved in the passions between the characters, not the algebra surrounding them.

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