Sounds like a horror movie doesn’t it? But no, it’s the latest British produced period drama, only this time sans Keira Knightley. Based on Evelyn Waugh’s classic novel, it’s the memoirs of Charles Ryder and his tale of love and innocence lost through dealings with the aristocratic family who own the Brideshead estate. Set between the two world wars, it’s designed as an epic romance and lives up to half of that description while being less successful with the other.
Like all high-class historical dramas, the formal aspects of production are absolutely swank, in a very refined way of course. The sets and costumes are meticulously recreated and give the story a sense of realism that grounds the melodramatic elements. Tastefully picking this out is cinematography of the old fashioned, classical style. It makes for a lavish spectacle on the big screen. It would make a great enhancement to a more compelling story, but unfortunately it doesn’t have that to work with.
What’s really missing from this period romance isn’t a well-constructed sense of time and place; it’s an engaging central romance. Charles (Matthew Goode) and his big crush Julia (Hayley Atwell) never really get across a simmering passion beneath rigid social conventions, which is a hallmark of elite examples of this cinematic style. Technically, their individual performances are hard to fault but they never create a dynamic together that engineers a deeper emotional involvement. The two most interesting characters, and convincing performances, come from self- destructive homosexual Sebastian (Ben Whishaw) and the predictably excellent Emma Thompson as the iron-willed matriarch. It’s a pity these two are only supporting characters, as the moments they are phased out seem to coincide with the story losing steam.
The recent run of quality Keira Knightley featured productions have raised the bar for other period pieces. Brideshead Revisited can barely clamber over it.
