BRIDESHEAD REVISITED

	An adaptation of Evelyn Waugh's acclaimed novel about love and the loss of innocence prior to World War 2.	score 3+	moviereview rates films from 1 (unwatchable) to 5 (unmissable)
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Cast Ben Whishaw, Matthew Goode, Hayley Atwell, Emma Thompson, Anna Madeley Director Julian Jarrold Screenwriter Andrew Davies, Jeremy Brock Country UK Rating / Running Time PG / 133 minutes Australian Release October 2008 Official Site (c) moviereview 2006-2008

“If you asked me who I am, only with certainty could I say my name”. Sebastian Flyte is a piece of grit around which the pearl of Brideshead Revisited was born, and is Evelyn Waugh’s greatest tragedy. In 1981’s benchmark TV series, Flyte turned Anthony Andrews into a household name while co-star Jeremy Irons became a superstar. Now it’s the turn of Ben Whishaw (Perfume) and Matthew Goode (Match Point) in the first feature film adaptation. Set in the run-up to World War 2, Brideshead Revisited is a painful examination of the loss of innocence. In his first year at Oxford, Charles Ryder (Goode) befriends the somewhat festive, teddy bear toting aristocrat Sebastian (Whishaw). Despite vastly differing backgrounds and a proximity many would frown upon, the boys become firm friends. Charles offered Sebastian escape from a religiously conservative, dominating mother. Sebastian offers Charles access to a world beyond his dreams and, in time, his sister Julia. Did I mention that the boys fall in love? Jarrold’s robust production coaxes considerable warmth out of the story’s cold heart. For despite its evergreen hue of 1930’s England, Bridshead Revisited is a sorry tale of conflict between family, sexuality and God. Despite exhortations that “drinking is not a hobby,” sadly it is and one that slowly turns Charles toward Julia as Sebastian falls, irretrievably, from grace. Whishaw’s nuanced performance captures Flyte’s grief stricken complexity with painful ease. Likewise Emma Thompson who, as the family’s insufferable matriarch, is riveting. Less convincing is Goode who lacks a certain edge to make the effective transition from wide-eyed innocent: clunkers like “Darling, this is fate!” don’t help. While the TV series remains irreplaceable for some, Jarrold’s commendable effort, despite an inclination toward pulling emotional punches, makes good use of a superior story, a strong script and sumptuous design that creates a rich cinema experience. // COLIN FRASER