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Jane Campion, Bright Star
10/08/2009 For all intents and purposes, I should not have liked this movie. Costume dramas and period pieces are rarely my cup of tea, and scripts that meander with a clouded sense of purpose typically force me to frequently check my watch in hopes that it will all be over soon. That was the case in 2007 with Atonement, but, fortunately, history did not repeat itself here. I can’t say I knew too much about either of the leads going into this. Ben Whishaw I recognized only from his appearance in I’m Not There, turning in a fine performance that was regrettably overshadowed by the likes of Cate Blanchett, Christian Bale and Heath Ledger. As for Ms. Cornish, prior to today, the only time I heard of her name was when news leaked that she may have been the cause for the split between Ryan Phillipe and Reese Witherspoon. It will be hard to forget either actor after this. Almost instantly, there’s something about Cornish as Fanny Brawne that sucks you into the story. She comes off as both fierce and charming, while harboring an additional degree of apparent vulnerability. It’s hard not to hang on every gesture she makes, and when a highly emotional scene presents itself, Cornish nails it. An Oscar nomination is all but guaranteed. Likewise, it takes no effort to believe Whishaw is John Keats, and it takes even less to like him. I suspect more leading man roles will soon present themselves to him. In terms of plot, the film seems less interested in developing a strongly structured story than to show the relationship between Brawne and Keats, and the struggles that ensue. Ordinarily, a script like this might have been problematic, but in the hands of writer/director Jane Campion, there’s an effortlessness to the whole presentation that matches the poetic independence of the two figures at the center of the story. Paul Schneider (who some may recognize from Lars and the Real Girl) provides a worthy antagonist as Mr. Brown, constantly warning John of his new lady love, while occasionally showing signs of an ambiguous fascination with her. Great as both Cornish and Whishaw are, Schneider arguably plays the most interesting character in the film. The acting isn’t the only attraction the film has going for it. Greig Fraser’s gorgeous cinematography provides a feast for the eyes, particularly in outdoor settings. Notable instances occur when Fanny and John walk through tall weeds on the docks, and again when Fanny and her siblings stroll through a field of lush purple flowers. Mark Bradshaw provides a melancholy, hypnotic and ultimately affecting score with composition pieces that enhance several scenes beyond their general duties. His music, coupled with Alexandre de Franceschi’s sharp editing, allows the film to flow with a certain easiness to it that lends itself to the pensive nature of the picture. It’s nice to see Campion back in top form again after a few past titles that failed to connect. Most will likely claim The Piano is still her masterpiece, but from where I’m sitting, her latest effort is her most enjoyable and artistic outing yet. Comments [post a comment]Comments are closed |
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Friday, February 10, 2012
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