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 film shot for one day in Rome. Keats' funeral procession was the last scene to be filmed and the only scene of the film not shot in the UK. This exterior location, in Piazza di Spagna, is the actual residence Keats stayed, and died, in. It now houses the Keats - Shelley House museum. See more »
(at around 1h 16 mins) After Fanny Brawne says "You would have it that I kill Mr. Keats with affection?" Mr. Brown says "Perhaps you will," but the audio doesn't match up with his mouth movements. See more »
I still don't know how to work out a poem.
A poem needs understanding through the senses. The point of diving in a lake is not immediately to swim to the shore but to be in the lake, to luxuriate in the sensation of water. You do not work the lake out, it is a experience beyond thought. Poetry soothes and emboldens the soul to accept a mystery.
I love mystery.
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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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