Brideshead Revisited (2008)

User Rating:

6.8/10   

Director:

Julian Jarrold

Writers:

Andrew Davies (written by) and
Jeremy Brock (written by) ...

Release Date:

25 July 2008 (USA)

Genre:

Drama | Romance

Tagline:

Love is not ours to control

Plot:

Based on Evelyn Waugh's 1945 classic British novel, Brideshead Revisited is a poignant story of forbidden love and the loss of innocence set in England prior to the Second World War.

Plot Keywords:

Catholic | England | WWII | Box Office Flop | Gay Interest

Awards:

10 nominations

Cast

Matthew Goode	...	Charles Ryder
Thomas Morrison	...	Hooper
David Barrass	...	Ship's Barber
Anna Madeley	...	Celia Ryder
Sarah Crowden	...	Lady Guest
Stephen Carlile	...	English Lord
Peter Barnes	...	American Professor
Hayley Atwell	...	Julia Flyte
Patrick Malahide	...	Edward Ryder
Richard Teverson	...	Cousin Jasper
Joseph Beattie	...	Anthony Blanche
Ben Whishaw	...	Sebastian Flyte
Roger Walker	...	Lunt
Mark Field	...	Boy Markaster
Mark Edel-Hunt	...	Oxford Student

MPAA:

Rated PG-13 for some sexual content.

Runtime:

USA:133 min

Country:

UK

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital | DTS

Certification:

USA:PG-13 | UK:12A | Ireland:12A | Australia:PG | Netherlands:12 | Singapore:M18 | Denmark:A | New Zealand:M | Portugal:M/12 | Hong Kong:IIA | Finland:K-11 | Sweden:7

Filming Locations:

Art Deco Palm Court, Park Lane Hotel, Piccadilly, London, England, UK

Company:

2 Entertain

Trivia:

David Yates was set to direct this film, but had to step aside from the director's chair to direct Harry Potter and the Order of the Phoenix (2007) instead. While Yates was attached, Paul Bettany, Jennifer Connelly and Jude Law were cast in the roles of Charles, Julia and Sebastian respectively. It was also announced that Chatsworth House in Derbyshire would be used as Brideshead.

Goofs:

Factual errors: In Lord Marchmain's deathbed scene, Fr. Mackay imparts absolution while Charles Ryder and members of the family are in attendance. Absolution is never imparted in public in this way. The others would have been asked to step out. Moreover, the Latin form of the absolution given, although it is the correct traditional one, is badly mispronounced and contains several errors in the details of the Latin text.

Quotes:

[First Lines]
Charles Ryder: [Internal monologue while walking out of Brideshead Castle] If you asked me now who I am, the only answer I could give with any certainty would be my name: Charles Ryder. For the rest: my loves, my hates, down even to my deepest desires, I can no longer say whether these emotions are my own, or stolen from those I once so desperately wished to be. On second thoughts, one emotion remains my own. Alone among the borrowed and the second-hand, as pure as that faith from which I am still in flight: Guilt.

Movie Connections:

Version of "Brideshead Revisited" (1981)

Soundtrack:

Rumba

Differing Religious Convictions Driving People Apart

No love story can be altogether gratifying in which the central choices are decided by the mother of the woman in love, even less, when she is the mother of both lovers, and has faith that she is protecting their everlasting spirits. That is what seems to be the predicament in Evelyn Waugh's novel, now adapted into a stagnant film in which one is not invited to feel or react due to its own lack of feeling or solidly portrayed consequence.

This film version focuses on forbidden love and the death of purity, set before WWII. Matthew Goode, who was excellent as the villain in The Lookout, becomes spellbound with a noble family, first because of his friendship with a charming, provocative, apparently homosexual contemporary, and then his sister. The fluctuation of Goode's obsessions suggest the decay of a self-indulgent upper crust in England flanked by the two World Wars, related in the course of his recurring stays at the Brideshead estate. What's more fundamental to Waugh's story is the harsh Catholicism of the family, as imposed by their matriarch, played by Emma Thompson, the high point of the film by far. Their religious beliefs are confronted by the son's homosexuality, the daughter's adulterous liaison with Goode, and Goode's atheism.

There are two curious fathers in the film. Michael Gambon is one, still legitimately married sure enough, but is ostracized, living in a Venetian palazzo with his mistress, Greta Scacchi in an unexpected comeback. Goode's father is a definite oddball who lives enclosed in a London house and seemingly favors playing chess with himself to talking to his son.

The main character is a penniless, virtually parentless youth drifting through an alien social system. Goode plays him featurelessly really, a nondescript motor for the other characters. Ben Whishaw steals all of his scenes as the gay son. The daughter could definitely have been portrayed more warily. The actress, Hayley Atwell makes the most of her I suppose, but why would she marry the revolting and unbearable suitor instead of Goode?

I am sure that the reason this film is not very effective at all is because so much background and source material is condensed and maybe sacrificed into such a shorter running time. But why are so many other adaptations effective in spite of this factor?