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Brilliant Drama, about love and suffering
pendrell-231 December 1999
This is possibly the best character study made in their last ten years. Taken from a biography of Lytton. This tells an emotionally complete tale of Dora Carrington and her love for Lytton. There is great drama here right from the start. Lytton is a homosexual writer who fancys young men. Dora is a painter who does not want to sleep with her "friend", because she believes its just for the physical (Which the film later shows to be true). Initially Dora is put off by Lytton (as is the viewer) but later as she says to him, She is burdened by one of the most self abasing loves for him. He also in turn loves her. But as he states they can do nothing about sleeping together. This is the contrast which is kept up throughout the whole film. All of Carringtons lovers physically love her body, and one of them even loves her (in a selfish way). But Lytton and Carrington love each other without sex, and their love is the strongest. As with the best Drama's, the character development never stops the whole way through. Each character is so well drawn and acted (Special credit must go to Emma Thompson and Jonathon Pryce, although the rest of the cast is also good) that you know how they are feeling even when it is not directly said or implemented. there is spoken and unspoken conflict in every scene. The two main characters are already in conflict while being in love. She loves him and he loves her but he is only attracted by men. Great drama manages to have conflict in every scene, and this one does. Great music from Micheal Nyman manages to capture the sentiments of this film especially well. So many more things could be said about the excellent narrative structure and lovely cinematography. But to be safe I will simply keep with my opening line. See Carrington. It does not pander to the audiences or ever become exploitational. It is a rare movie where the climax to the film is so fitting that you really can feel the emotion involved in these final frames. This is a film not to be missed.
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"How do you spell ‘intangible'?"
Malcs22 March 2000
"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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Delicately portrayed amorous eccentricity as only the British can do
Tabarnouche24 November 2002
If you require the overdone loudness, violence and aggressivity of an American film (Training Day comes to mind), you'll need to take an extra dose of Ritalin to get through this film. (That advice could have been useful to a few of the previous reviewers, in fact.)

For those who don't have to be hit over the head, though, this film is a riveting masterpiece about the varied forms human love can assume--and a reminder that subcultures, like the Bloomsbury Group, have always given social norms a wide berth. British society has long tolerated eccentricity, especially when discreetly indulged, of which the nuanced contours of relationships among the literate in early-20th-century Britain provide an excellent illustration. Combine this refreshing glimpse of consensual mores with outstanding interpretations by Thompson and Pryce, and with fidelity to historical fact, and you've got two delightful hours of first-rate cinema on your hands.

And not an exploding car or a vengeance-driven, gadget-laden military operation against a demonized third-world country anywhere to be found. Amazing. And bravo. 9 out of 10.
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Love in its many forms
josiegrrl19 December 1999
When love comes, it doesn't always come in a form that allows its fullfillment, as Dora Carrington knows. Her lifelong love of Lytton, a man for whom romantic love only knows a male face, is both a source of great anguish and great joy. Emma Thompson portrays Dora with great sensitivity, depicting her other loves and lovers as genuine yet never enough to supplant her love of Lytton. In our society the love of "one and only" can be an oppressive ideal that few can attain, and Hollywood is its loudest proponent. This movie allows for a well thought out exploration on of the many other faces of true love. Superb acting, direction, editing, costuming, the works. I highly recommend it.
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High class and high quality.
Hermit C-21 September 1999
Emma Thompson in a period piece--I would bet that's a pretty good movie, and 'Carrington' did not disappoint me. It concerns the unusual relationship of writer Lytton Strachey (Jonathan Pryce) and painter Dora Carrington (Thompson) in their insular world of upper-class friends and other artists in England between the Great Wars. When we first meet Strachey he's a fastidious homosexual of thirty-six going on seventy-six. He mistakes Carrington, with her bobbed hair and masculine clothes, for a boy. Despite this inauspicious beginning, they soon find themselves fascinated with each other, then the fascination turns to love. Their non-sexual relationship endures in spite of her marriage, their other lovers and their lover's lovers. As the years go by, a flow chart might help out the viewer trying to remember who's who.

As you might surmise, this film is not for everyone. There are some who will dismiss the whole group as "immoral" or as an effete corps of impudent snobs, but we won't be that narrow- minded and judgemental, will we? If you allow yourself into 'Carrington's' world I think you'll find it rewarding. It's full of good actors but I believe its success is largely due to director Christopher Hampton's screenplay. It's a full two hour movie without the benefit of car chases, explosions or kickboxing matches, so it's a big plus to have something nice to look at for all that time. We can thank cinematographer Denis Lenoir and production designer Caroline Ames for that.
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Art for art's sake
kwft620-radio1 May 2005
A movie that asks the question, how did it ever get made? Absolutely not a chance that it was made for profit. Once I stopped asking the question, I could enjoy the superior cinematic quality of all the elements that elevate a film to a work of art. I suppose it must have been exhibited in a theater, somewhere, though getting it booked must have been quite an accomplishment for its backers. I caught it on cable which allowed me to sip on a brandy while the film took its time unfolding in a style that I would describe as a splendidly animated coffee table book.

I am moved to comment on Carrington to express my gratitude to its makers.
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art and fluid sexuality
didi-54 September 2003
"Carrington" has Christopher Hampton's great stamp on it and the fine performances of Emma Thompson (as the lead, artist Dora Carrington), and Jonathan Pryce (hilarious as Lytton Strachey). Also in the cast are Sam West, Jeremy Northam, Steven Waddington and Rufus Sewell, all entangled in some way with Carrington and all the time the love of her life is the one man she can't fully have.

Her story is a tragic one and extremely moving, with a lot of twists and turns along the way. Lots of sections are explicit while others are brilliantly understated, particular concerning Carrington and Strachey together. Light relief is provided with scenes including the conscientious objector hearing. We also get an insight into what makes Carrington tick as an artist, what inspires her and makes her grow.

My favourite scene of all though is Carrington, alone in a garden watching all the lovers in the house switching off the lights in their rooms until she sits in darkness.
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Look to find the Bloomsbury Passion
tedg14 June 2000
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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The bafflement of love
burgan620315 March 2006
One thing regarding Christopher Hampton's film "Carrington" that bears noting for potential viewers is that previous knowledge is helpful. If you don't have any sort of idea who Dora Carrington and Lytton Strachey are, or the avant-garde world in which they moved, then the movie will seem very obscure and disjointed.

Regarding the movie, it is odd and melancholic, but richly intelligent and rewarding, particularly with repeated viewings.The cinematography is attractive without being showy. Michael Nyman's score is haunting and uniquely beautiful.And the casting is perfect, particularly Jonathan Pryce as the ironic Bloomsbury butterfly Strachey, and Emma Thompson as the strangely alluring Carrington, who's heart beats fiercely with love for him, despite the fact that neither of them will ever be able to do anything about it.

My personal favorite scene is when they are sitting under the tree, and Carrington tells Lytton how she feels, and he understands.They are both so peaceful and content.
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What price, love?
fred-houpt18 June 2007
Warning: Spoilers
I had no previous knowledge of Dora Carrington before I found this film. I had learned about the Bloomsbury artists so many years ago I had forgotten their place in history. To say that this story is odd is a gentle understatement. Carrington was someone you would more likely place in the hippie era of the 1960's rather than England of pre World War One. On the other hand, the bohemian artists in Europe had the luxury of acting out some pretty odd relationships; they had fine examples of large living in the previous century - think Lord Byron and a bit later Oscar Wilde and you'll understand.

I ended up so smitten by this film that I bought a bio on Carrington and it was worth the effort because the film leaves out so much of what made up her psyche. I'd even argue that the film as good as it is can be confusing because we don't know why she is the woman she is. Carrington carried two distinct imbalanced relationships up to the moment she met Lytton Strachey. She loathed and hated her mother and adored and clung to her father. Electra complex, anyone? Leaving Freud aside (and there is a deep irony in this comment: Lytton's brother became a well known Freudian analyst) Carrington was unprepared for the rush of emotions that Strachey caused in her heart. As an openly gay, brilliant intellectual and important writer, he would have been the last on her list of attractive men. But, love deals odd darts to the heart. After nearly clipping his beard off in his sleep as a planned retribution to his impulsive kiss, she paused, stared down at his placid face and fell madly and deeply in "love". The rest of the movie completes their extremely odd relationship. The important fact is that she never lost any of the intense love for this gentle spirit. She accepted that Lyton was more interested in men, shared lovers with him, opened her heart to anything except separation from him. We can argue that she had transferred her father love to Strachey but of course it becomes a label that in the end will not satisfy the mystery of her heart.

There is much to be said about this film. Emma Thompson completely embodied Carrington as totally as an actor can. Aside her was Jonathan Pryce who portrayed Strachey so perfectly that it left those who knew Strachey amazed. The ambiance and rapport between the main actors kept the passion of their evolving love always front and center. We get glimpses of Carrington's torment over Strachey but we never really know the ultimate motivations. What is so overwhelming about this film is that when Lyton finally succumbs the heart break to Carrington was too much for her to carry. It removed her will to live without him to love. I have rarely been so moved by a love affair like this. The music by Michael Nyman is so perfectly evocative of the waves of Carrington's love that the soundtrack seems completely meshed with the story. In the end, watching Carrington make her final choice we are as devastated as she was at her loss of Strachey. As a love story it is intense, very complicated and twisted, as a relationship between man and woman it is as odd as they come. In the end we decide that love at this level is a connection of heart and emotion and commitment that is blind to shape and form and opinions of others. It is a link that is mysterious but tangible. One can only weep in acknowledgment that if we had loved someone that deeply we too would have wanted the escape she chose. An astoundingly profound meditation on love. Phenomenal supporting actors. Superb but heart rending.
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A Buried Treasure That Depicts a Refreshingly Unconventional Relationship
jzappa7 October 2008
The same day I watched this, I watched Prick Up Your Ears right before it. Not only are they both period biopics set in England, but they have a profound chronicle of love in common. Having watched both movies consecutively, it brings me to meditate on the lives and perspectives of creative people. There is a refreshing, Rilke-esquire way of thinking that they follow in their lives. What if everyone followed their heart, and nothing but?

Carrington is a buried treasure that depicts the relationship between painter Dora Carrington and author Lytton Strachey in WWI England, a beautiful existence of cottages and countryside. Even if platonic because of Strachey's homosexuality, the relationship was all the same a profound and complex one. When Carrington did form a more physically intimate relationship with a soldier, Strachey made do accepting him as a friend, while the soldier stayed rather edgy, not so much with Strachey's sexual orientation as with the reality that he was a conscientious objector. Yes, there is inescapable trouble linked to the bond between Carrington and Strachey. Yes, there is more pain and guilt than there are good times. But what if they had buckled to social expectations, convention, tradition? What if they didn't follow their hearts? By the end of the film, one realizes that the true heartbreak is caused by how much they wound up guarding their feelings in spite of following them, and in spite of the nature of their incompatible sexualities.

You could never find a better fit to play Dora Carrington. Emma Thompson is perfectly cast, wise and set aside and completely natural. She is natural in the way she looks and natural in the way she carries herself. When we first see her, when Strachey is first introduced to her, we misinterpret the first impression of her, a quiet, reticent tomboy. Carrington, like Thompson, is beautiful but maintains selfhood over everything else. Thompson understands that that is why Carrington refuses her body to her lover early in the film. She never quite seems to grow comfortable with sex no matter her progression in that inevitable field of her life. She in some sense is like a child in spite of her intellectual prowess and her disregard for recognition of her work as a painter. Her impatience for complicated situations causes her to ride roughshod over the feelings of those to whom she finds herself to be closest, and when she finds that in her penchant for the immediate, she learns the harsh truth that she has not been embracing her greatest moments.

Her primordial flaws come at the expense of Strachey, played by Jonathan Pryce, who seems to love the breezy theatricality of the role, a clear eccentric from his first moment, who gives the impression of being completely aloof and prissily high-maintenance. He seems not to take anything seriously, even his unwavering position as neutral in the issue of the war. He is one of those odd and nonchalantly insubordinate older men that make spectators laugh, but part of him quietly enjoys being a source of entertainment. Part of him is terribly troubled by his only minimal success as a writer. Somewhat like Carrington, he still seeks sometime companions more conducive to his most rudimentary needs, and in one instance, we see him laid bare, very unlike his cold and elitist temperament. In this moment, he and Carrington realize that no matter how often they fluctuate on each other's terms, they are each other's shoulders to cry on, and as they have felt as awkward as they've ever let themselves become around anyone else, they feel, whether consciously or not, that they can be completely themselves in each other's company.

Their leisurely lifestyle becomes intensely infectious, as is the atmosphere, which is not only wonderful because of the English countryside but because there is an indescribable feel to the contrast of the cinematography, which is not grainy nor is it clear and bright. Maybe it pertains to the same disregard for orthodoxy as Carrington and Strachey. Maybe it is that it doesn't conform to the expectation that historical England be depicted with lushness, nor does it conform to the precondition that a story full of sorrow be depicted with gloom.

Michael Nyman's moving and wonderful music score has a similar effect as Howard Shore's music in a David Cronenberg film, a suitably blending pulse of the hearts and lives of the story yet haunting and emotional. Had the film gone without Nyman's music, it might not have had the moving power behind its unaffectedly real and wise, not to mention true, story, and we might not have loved its two central characters. And maybe we love them for similar reasons why they love each other.
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A strange love affair among the famous.
Clarissa-529 August 1999
It is difficult for the average person to appreciate what is going on in this film. Nora Carrington, a painter, loved Lytton Stachey, the famous essayist, with complete devotion. But, because of his homosexuality, he could return only a spiritual love. Though he wanted to marry her, he never did, apparently to leave her free to find a normal life with another man. And while she did marry, her love for Stachey overrided any affection she had for her husband or any of her other lovers.

It must be very difficult for most people to understand the love relationship between these two people. Only those who have encountered or experienced a similar love could understand it.

I found this film very rewarding. My main criticism is the choppy editing which abruptly flits from one scene or even one location to the next. The acting of Emma Thomson and Jonathan Pryce is quite good. Pryce's role particularly is a departure from his usual work. I had trouble recognizing him because of the makeup.

The film has tweaked my interest in pursuing more of this real-life story.
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No, she accepted. It was ghastly.
Andy (film-critic)25 September 2004
I would like to go back for a moment and dig deeper into the idea of full circle. I caught this idea as I was watching this film, and I thought it was amazing the way the director showed this transition. The first person, outside of Lytton, that Carrington falls for is a man who is only interested in a physical relationship. Although she claims she is not interested in him sexually, it is at this time in Carrington's life, she is interested in a man's mind, not what is under his pants. She breaks off this relationship to live with Lytton, a man who can give her the intellect that she desires. As Carrington grows older, she finds comfort in physical relationships. In fact, the majority of this film is about physical relationships. Carrington is never hesitant to jump into the arms of another man. A part of me thinks that she is constantly trying to find another Lytton out there, but there is another part of me that says that she was just trying to get the physical from men, because she had the perfect man at home (Lytton of course). So after being with a man that only wants to have a physical relationship, she jumps into the arms of a soldier. One that is great with the physical, amazing towards Lytton, and perfect for Carrington. As this comes to a surprising end, we see her jump into a relationship that was purely sexual. There was no interaction between the two except for when they were on his boat having sex.

Carrington experiences the best sex of her life with this man, but it again ... much like the others ... comes to a complete halt when he tells her that he is not really interested in her sexually. Odd, isn't how this films started with Carrington and her first boyfriend. We have come full circle.

If we were to look at this film in a symmetrical angle, we would notice a circle outside with Lytton in the direct center of this circle. The circle would represent Carrington's life. All around the circle would be the men that she has been with, while Lytton would be her stability point. All throughout her encounters with other men she always is able to find comfort with her center figure ... Lytton. If you watch this film closely, you will notice that there is only one point in the movie where Carrington goes outside the circle. It is when she is having a party at her house. Carrington goes outside only to sit down on a stump that happens to be facing the house. She is able to see all the windows in the house, and all of her past lovers with their new ones. Even Lytton with his new boyfriend.

This is the moment that we see Carrington thinking about her life. Seeing what she has been a part of, and watching it somewhat crumble down. This is her only moment outside of the circle that she has built. Lytton is the foundation to this circle, and it is obvious that without Lytton everything around Carrington must crumble as well.

That my friends, is how you build a love story.

Grade: *** out of *****
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extremely well-acted
fred-833 September 2000
I dont know what it is about these Brits, they somehow (almost) always manage to pull these movies off, and it all seems so effortless. Remains of the day, Sense and sensibility, Howards end, they´re all so well made that I find myself drawn into the narrative right away and simply have to follow it to the end. While not being anything spectacular, this fine movie share these qualities. It´s extremely well-acted (especially Jonathan Pryce), absorbing, and moving. If you also have a soft spot for period drama and enjoy the movies I´ve mentioned, this is also one for you. The only thing I found slightly distracting was one actors similarity with Jim Carrey (!). I only wish we could make as good films in Sweden, with this level of writing and acting, because its virtually non-existent at the moment. 4 out of 5.
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Pleas give this movie a chance.
vernon27 August 2000
If one approaches this movie from the position of a homophobe or from one who has intolerance of different ways that people choose to conduct their emotional lives, then it will not appeal.

The film has faults - it is sometimes too episodic and the motivations of some characters are unclear. However, it is a different look at the love between a man and a woman - a love that was denied sexual expression.

Rather than objecting to the "promiscuity" of the main characters, I was touched by the emotional honesty that existed between them - whether they were having sex or not.

The artistic era in England, after the First World War, was a fascinating time. We might have something to learn about emotional honesty from those in this story.

Dora Carrington was a very interesting woman and and Emma Thompson portrayed her unending love for the gay Strachey in the best work I have seen from her.

So, do give this film a chance, and try to approach it with that elusive (for some) open mind.
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This is the best movie I ever saw.
tgugiu19 July 2004
This movie is a wonderful story about an "impossible love affair" between a British Bloomsbury writer and Dora Carrington, a promising painter. It's the least conventional story I encountered in a movie. I don't recommend it to those who have very strong moral beliefs. The casting is exceptional. Emma Thompson and Jonathan Pryce (Best Actor Award, Cannes) are here at their highest performances. The movie was also awarded with "Prix Special du Jury" at Cannes, 1995. Those who love Schubert's music will also be pleased to see this film, because Hampton makes here large use of the Adagio from Schubert's Quintet in C Major.
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thump-thump, thump-thump
pir-117 June 2002
you can feel life in the pulse of the seconds as they tick by unaccounted-for and forget them completely. this film is about lives as they cross-section, pull out the wires, and plug them in elsewhere. it's about concentric love triangles. the realism of it all, the down-right unshakable believability with which everything happens leaves you totally hooked. there would be nowhere else to go, and this would be a mike leigh film, except... that the premise is so surreal. (despite it's being based on - and largely sticking to - historical fact) and in the end, the tension between this believability and impossibility as they pull away from each other is so strong that, as the viewer, there's enough space to crawl inside it for 2 hours. i cried through the credits. the last time a movie put me in a place like this was boys don't cry, in a theater full of other people in precisely the same state. (we all sucked in our breath at the same moment at the end.) it's a film that, if you let it -- and it doesn't hurt to know a bit about lytton and carrington beforehand -- will take you somewhere magical. where virginia woolf no doubt went, on tip-toes at the edge of the precipice, before the end of a novel, just before the the rocks would crack, leading the way down the cliffside into breakdown. watch this one with care and love. -pir
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superb acting
hazel-1028 August 1999
I love all of those english dramas.....and Carrington is a very good one . I first saw the movie when I was 16...and it really made an impression on me . Espesially the great acting...Pryce and Thompson are outstanding...and the tragic true story.made me realise that people really take their lives for love . Recommended...highly recomended
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Loved it!
nikedoodles19 February 2002
I had never heard of Lytton Strackey or Dora Carrington for that matter. This movie so captivated me that I want to read a book by Lytton and look into Dora's work. I thought the movie captured the very difficult feelings thaty Lytton and Dora must have had. To be a woman in love with a gay man? A gay man in love with a woman? Plus the early 1900's version of "swingers" that era definetly all a big personal risk. Great movie, I would definetly recommend
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Zé-218 June 2001
Beautiful love story. This movie shows that life is a surprise, and we need to be happy and let people being happy, cause anything is possible and we need to keep our mind wide open to allow life going on. Nice texture, nice people, location,.. Emma, as always, great, and the others excellent.
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Wonderful movie that doesn't sing it's own praises.
lukebone4 May 2000
"Carrington" is an amazing movie that doesn't try to reach beyond its grasp. It tells a story about how people can be drawn to one another in life-changing ways without having a sexual relationship. At the same time it brings sex, and thoughts of sex, and thoughts about obligations of sex, into the story. It doesn't make any decisions, but it puts the cards on the table. Which is a wonderful and rare thing in film. Ask the questions...don't supply the answers. Jonathon Pyrce won the Cannes award and he is awesome. But it's Emma Thompson who gives the film levels and heart and ideas. The set direction is one of the most subtle, yet amazing designs. It tells volumes about the characters, but doesn't overcome the other elements being presented.
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Fine acting
perfectbond26 April 2004
I really appreciated the performances in Carrington. I recognized Jonathan Pryce (Tomorrow Never Dies) and Emma Thompson (Much Ado About Nothing) of course but the rest of the cast was largely unknown to me. My conservative Christian outlook has instilled in me an instinctive apprehension for homosexuals though I sympathize with the fact that it must be difficult for such individuals to live in a world that is oriented towards straight people. But that aside the story was quite moving. The devotion of Ms. Thompson's character for Carrington is quite touching despite the fact that the relationship isn't all she can hope for. I don't know how much of the film is historical fact and how much is artistic license but it was overall quite worthwhile. Recommended for mature audiences. 7/10.
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One of the best movies ever made!
kssw1m1ax26 July 2001
I love this movie!!! The first time I saw it, I was totally captivated and had to go and buy my own copy. I have lost count o the amount of times that I have sseen this particular film. The acting in this movie is remarkable and Emma Thompson gives an amazing and believable performance as Dora Carrington. Jonathan Pryce, whom I had never heard of before this movie, is wonderful as well as the gay Lynton Stratchy.

The plot of the film is quirky and orignal, and the cast of supporting actors is good too. Jeremy Northam and Steven Waddington are extroadinary as Dora's lovers. I highly recommend this film
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A Beautiful Film
clkirk-130 March 2004
I was annoyed to see the only posting here was so negative and narrow-minded. I thought it was a beautiful and sad story -- and a true one -- about two artists who spent many years living together, and loving one another, despite his attraction only to men. She accepted his inability to make love to her because she cared for him so much, and their relationships with other partners caused her a lot of pain. If you're an intelligent person who can empathize with others who don't share your particular worldview, and if you appreciate fine acting,> you will enjoy this film.
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Depressing, but fantastic.
lost_companion15 September 2004
Emma Thompson's performance in this film about Dora Carrington, a talented painter during the early 1900's, was absolutely incredible. However, I left the room feeling very sad. Carrington is a very sad character. Watching the film I was led to believe that she basically let all those men do whatever they wanted to her because she just didn't care. She only cared about Lytton, her homosexual friend and the subject of her real, passionate love.

This film is fantastically acted and is absolutely enthralling. But the anal sex scene was a little too much for me to handle without crying.

I do recommend it, however, because of the superbness of it. It's just amazing. However, not for the faint of heart.

Maybe I just like Emma Thompson too much.
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