Complete list. :-(
First love burns brightest.
In 1818, high-spirited young Fanny Brawne finds herself increasingly intrigued by the handsome but aloof poet John Keats, who lives next door to her family friends the Dilkes. After reading a book of his poetry, she finds herself even more drawn to the taciturn Keats. Although he agrees to teach her about poetry, Keats cannot act on his reciprocated feelings for Fanny, since as a struggling poet he has no money to support a wife.
Who knew a man stroking a woman's hand could be so sexy? I've seen this movie seven or eight times now and it never fails to invade my soul and senses with its beauty and glorious sadness. It's the cinematic equivalent of smelling a lovely perfume, gazing at a field of lilac bushes or tasting a delicious wine...everything about it is full of sensuous texture and utter longing...longing to be touched, longing to be inspired, longing to love and create art. It leaves a mark on every part of your being and, like a person's first love, is incredibly difficult to forget about once it's over. You don't know until the end of the movie how tightly it wound itself around your heart.
Though my knowledge of poetry is woefully minimal, it seems that anyone capable of reading and understanding reference can grasp, if not the elegance of structure (or lack thereof--I truly couldn't say) or the nuances of its language, at least the surface of the emotional content of a poet like Keats. Regardless of whether that resonance is earned through intimate knowledge or simply stimulus/response, as with all forms of art and media, it doesn't entirely matter in the moment of reaction. Like avant garde film, I am left simply trusting my instincts and hoping for some glimpse of insight.
Campion's romantic biopic is a lovely portrait, using nature (a common enough theme in what little Keats I have read) and…
I tend to dislike watching movies with my girlfriend’s family as they quickly hide behind iPads, reading the film’s synopsis, yelling how the plot will turn out when I’m still enjoying the picture. That’s what happened today as well, apart from the fact that I wasn’t caring that much about what I was seeing this time. It was boring. Four out five scenes didn’t add anything to the story and for something that holds an eighty plus metacritic score I was really expecting more from the actors and screenplay. Didn’t help much that the final minutes were missing from the recording, obliging me to watch the finale from a French stream (I don’t speak or understand French sufficiently, so I guess it came in handy that the plot was yelled at me earlier).
Jane Campion's film about the love affair between young poet John Keats and his neighbor Fanny Brawne is both achingly sad and tenderly romantic, delicately presented with patience and reserved sensuality. It is beautifully photographed, the outdoor scenes especially are shot with the sort of sensitivity a wildlife photographer might employ to avoid startling his subjects. The screenplay serves the story well... the relationship lasted about four years and is presented here with admirable faithfulness to existing documentation of Keats' illness and premature death, but without the fragmented, episodic feel that often results from such a time span. Reserved pacing and restrained emotion seem to reinforce our impressions of polite society of the period but only intensify the wrenching, heartbreaking climax of this doomed romance.
"Bright star, would I were steadfast as thou art —
Not in lone splendour hung aloft the night
And watching, with eternal lids apart,
Like Nature's patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth's human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors —
No — yet still stedfast, still unchangeable,
Pillow'd upon my fair love's ripening breast,
To feel for ever its soft swell and fall,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever — or else swoon to death."
I always did really admire Campion's period pieces. For me they could always put…
Heated poetry recitations exchanged between longing gazes and chaste kisses. Just give it to Campion for her refusal to compromise thematic depth and labour two hours with this lushly filmed, micro-detailed little beauty. I found Bright Star to be mostly sublime. While there's a far more substantial focus on Keats' verse as opposed to a blossoming romance, that still doesn't completely disallow Campion in creating other ideas to express her passionate visual medium. None of that is more evident than during one of Keats' occasional absences: Brawne lies on her bed grieving for his return so flush with the fervor of first love. A breeze ruffles through an open window, rippling under her skirts as sunlight gently plays across her…
I wanted to love this movie, I really did. It's got beautiful cinematography (as I've seen from many a tumblr gif), it's got John Keats, and it's got Ben Whishaw. And yet I found this bright little period drama slightly above average at best.
There wasn't enough substance there. I knew that our two lovebirds were in love, but I couldn't feel it. Maybe I'm just tired of films portraying love in the "let me show you they are in love" way instead of choosing to show why they are in love. I want to understand what it is that makes those two (or more!) specific people choose each other above anyone else. I don't want any fiction going down…
Fanny Brawne falls in love with John Keats and interrupts his friendship with Charles Brown.
BRIGHT STAR is unwatchable. I’m not sure it was the subject matter or the tone. I’m not trying to beat the movie up. I loved Janes Campion’s THE PIANO and ANGEL AT MY TABLE. Whatever made those movies engaging and enthralling is not in effect here. Perhaps if I knew more about Keats and Brawne, I’d be more susceptible. I never had this problem when I saw IMPROMPTU.
Sometimes ago we tried to watch this as a family and we couldn’t. Instead we turned it off and found ZERO HOUR! on TCM. It’s the basis for AIRPLANE! Now that was what I looking for! I want to see Dana Andrews and Sterling Hayden arguing over microphones and flight patterns.
Over and out.
Un drame biographique d'une beauté visuelle indéniable, mais j'en sors tout de même un peu déçu. Ça demeure quand même fade malgré des moments forts. Abbie Cornish illumine la chose.
Shall we awake
and find all this is a dream?
There must be another Life.
We can't be created
for this kind of suffering.
Una joya, la amé.
literally the most beautiful and upsetting film of my life
The story of John Keats and his romance with Fanny Brawne. The movie succeeds in being very moving and visually stunning. However, the romance comes off as a very unhealthy obsession at times. The pacing is pretty slow and while the movie is very pretty, I'm not sure I'd recommend. I must admit it's above average and that I don't regret watching it. However, it's not one I'd actively recommend.
My review is here:
Deeply romantic and heartbreakingly sad love story between the poet John Keats and Fanny Brawne. Although I did not find the poet symphatetic, I enjoyed the film and its beautiful setting. Fields of flowers blue, yellow and gold, butterflies and all those fancy dresses! A well made period piece.
Undeniably beautiful, but Keats is so poorly characterized (and acted, for that matter) that it really dampens the effect.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
movies directed by women,
regularly updated with new releases