When the kinetic Rory moves into his room in the Carrigmore Residential Home for the Disabled, his effect on the home is immediate. Most telling is his friendship with Michael, a young man with cerebral palsy and nearly unintelligible speech. Somehow, Rory understands Michael, and encourages him to experience life outside the confines of home.
Charming Brendan Block dates Miranda Cotton and gets seriously committed. But she dumps him, claiming he invaded her privacy. A few weeks later, Brendan gets engaged to Miranda's sister and... See full summary »
Charlie Colquhoun is a journalist whose career is floundering. As a teenager, he fathered a daughter, Tommy, who was committed to foster care as an infant. Seventeen years later, Charlie, ... See full summary »
A fool and his money. In the 1930s, Adam Fenwick-Symes is part of the English idle class, wanting to marry the flighty Nina Blount. He's a novelist with a hundred-pound advance for a manuscript confiscated by English customs. He spends the next several years trying to get money and to set a wedding date: he trades in gossip, wins money on wagers then gives it to a drunken major who's suggested he bet on a horse in an upcoming race. Adam tries to get the money back, but can't find the major. Meanwhile, Nina needs security, friends drink too much, and general unhappiness spoils the party. Then war breaks out. Is Adam's bright youth dimming with the fall of an empire? Written by
"Bright Young Things" is a mostly effective satire, with some jarring seriousness thrown in, of "Masterpiece Theater" Jazz Age costume dramas for its first seven-eighths.
Set in the same period as "Gosford Park," its conflicts are just within the sexual and financial eccentricities of the empty-headed leisure and wannabe leisure class, where titles don't match income or outflow.
It is more of a visual evocation of Noel Coward songs and incorporates some of his numbers, as well as original sound-alike songs. The frolics have some similarities to the simultaneous Weimar Republic portrayed in "Cabaret."
Stephen Campbell Moore as the protagonist is almost too good in his film debut, as his character's captivatingly serious eyes and demeanor conflict with his insouciant company, particularly Emily Mortimer as his dispassionate lover, though that justifies the stuck-on denouement, that even without having read the Evelyn Waugh book this is adapted from, "Vile Bodies," I can tell didn't have this too neat and comeuppance tying-up.
The most pointed parts of the movie are its acid documentation of the birth of the tabloid gossip press, including Dan Ackroyd as a Canadian press baron with a more than passing resemblance to today's lords of Fleet Street. James McAvoy is very good as a more upper-class betraying precursor to his scandal-seeking scion reporter in the mini-series "State of Play," and manages to seem like a real person, unlike so many of the characters who are just types or plot conveniences.
The production design and costumes are delightful.
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