As much pressure as there is when making a period film to keep contemporary viewers interested, extra hurdles are added when the period film based on one of the most critically acclaimed books of the twentieth century. And the anxiety doubles when it was also adapted into what most devotees assumed was the definitive take on the source material in a wildly popular, classic twelve-hour British miniseries. In taking on Brideshead Revisited, instantly one runs the risk of being labeled a copycat as well as going against conventional wisdom of “if it ain’t broke, don’t fix it,” but by employing celebrated, award-winning screenwriters Andrew Davies (Mr. Adaptation himself having penned updated versions of some of literature’s most beloved works) and Last King of Scotland scribe Jeremy Brock, the filmmakers hoped to tackle that problem head on. However, in telling the story of the poor underdog Charles Ryder (Match Point’s Matthew Goode) who gets tangled up in the lives and loves of the wealthy but ill-fated Sebastian Marchmain (Ben Whishaw) and his headstrong sister Julia (Hayley Atwell), the results are mostly mixed.
Sumptuously photographed and with amazing attention to detail, including filming in Yorkshire’s awe-inspiring tourist attraction, the Castle Howard which had first doubled for the Marchmain’s home Brideshead in the prior television adaptation, Becoming Jane director Julian Jarrold’s sophisticated film is sure to rake in Oscar nominations in the fields of art and costume design as well as a probable nomination for Emma Thompson as the devoutly Catholic, domineering Marchmain matriarch.
And while no doubt one has to admire the intelligence of such a gorgeous work, especially in its daring summer release opposite mindless comedies and special effects driven superhero films which will definitely come as a much needed quiet treat for film reviewers everywhere to heap praise onto the movie, I felt like it kept viewer’s emotions at an arm’s length. Never shaking the museum feel that proves so daunting for period works-- much like another critically loved classic book turned Miramax film, The Wings of the Dove, I had a hard time becoming invested in this rather icy tale. This was especially difficult when considering that—while Charles is positioned as its hero—frequently, he’s the most unlikable character onscreen and often we’re left wondering just whom is using whom when it comes to his dealings with the Marchmains. While one never has to unconditionally love a lead character, the question then becomes whether or not you feel invested in the person’s plight and with Charles, most of the time, I didn’t.
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