In 1920s and 1930s New Zealand, Janet Frame grows up in a poor family with lots of brothers and sisters. Already at an early age she is different from the other kids. She gets an education ... See full summary »
Ruth's been brainwashed by a guru in Delhi, India. Her parents in Sydney hire a specialist in reversing this. Ruth is tricked to return to Australia and is isolated in an outback cabin with the specialist. It gets messy.
An American girl inherits a fortune and falls into a misguided relationship with a gentleman confidence artist whose true nature, including a barbed and covetous disposition, turns her life into a nightmare.
A poet falls in love with an art student who gravitates to his bohemian lifestyle -- and his love of heroin. Hooked as much on one another as they are on the drug, their relationship alternates between states of oblivion, self-destruction, and despair.
It's 1818 in Hampstead Village on the outskirts of London. Poet Charles Brown lives in one half of a house, the Dilkes family the other. Through association with the Dilkes, the fatherless Brawne family knows Mr. Brown. Mr. Brown and the Brawne's eldest daughter, Fanny, don't like each other. She thinks him arrogant and rude; he feels that she's a pretentious flirt, knowing only how to sew (admittedly well as she makes all her own fashionable clothes), and voicing opinions on subjects about which she knows nothing. Insecure struggling poet John Keats comes to live with his friend, Mr. Brown. Miss Brawne and Mr. Keats have a mutual attraction to each other, but their relationship is slow to develop, in part, since Mr. Brown does whatever he can to keep the two apart. Other obstacles face the couple, including their eventual overwhelming passion for each other clouding their view of what the other does, Mr. Keats' struggling career, which offers him little in the way of monetary ...Written by
The Hyde House and Estate in Hyde, Bedfordshire substituted for the Keats House in Hampstead. Jane Campion decided that the Keats House (also known as Wentworth Place) was too small and "a little bit fusty". See more »
The large blue butterflies featured in the 'butterfly' sequence are tropical and would not have been found in Britain at that (or any other recent) time. See more »
beautiful cinema work cannot avoid this film slipping into boredom
It must be quite frustrating for somebody who invested so much art and cinema know-how into making this film, and I suspect holds a lot of passion and tenderness for the heroes and for their times to read such feedback. I cannot however hide the facts. I liked a lot of things in Jane Campion's last film. Almost each scene is a visual masterpiece in setting, in colors, in placement of the actors, in the angles of the camera. It's a beauty to watch. But one does not come to the movies as he comes to a museum, and even for a visit in a museum two hours of continuous beauty without a break are tiring. The actors are well chosen, they are fresh faces and yet beautiful (Abbie Cornish) and expressive (Ben Whishaw' John Keats), and the film also brings the most adorable red-haired kid actor I have ever seen (the name is Edie Martin). Characters develop, and people speak, and fall in love, and love falls apart, and life falls apart, and there is a lot of poetry in all this, loudly read poetry, but then one does not come to the movies as he comes to a poetry reading. Some action is needed, some suspense is deserved - and this is exactly what 'Bright Star' is lacking in my opinion. We know everything that can and will happen in the film from the start, and the only unknown the film can offer is how fast or how slow the 119 minutes will go. Well, they were quite long for me by the end of the film.
Jane Campion is back to the period movies genre which made her most famous with 'The Piano'. In-between she made a couple of films in other genres ('Holy Smoke', 'In the Cut') which I liked more than the average critic and IMDb viewers opinion. I looked that the situation is reversed with 'Bright Star'.
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