Bright Star
Famous men and women live epic lives, it seems, in one way or another, if only for the impact they’ve had on humanity both during and, if not more importantly, after their own lifetimes. Many of these notables received little approbation during their lives (in some cases none or, worse, public censure). But they wrote, or painted, or served in some capacity toward themselves and their fellow human beings in such a way that their spirit and life’s work could go unnoticed for only so long. John Keats is one of these unhappy few, who, during life, received little acclaim, only to be currently recognized, as one placard during the film states, as ”one of the greatest Romantic poets.”
At a relatively young age, Keats (Ben Whishaw) devoted his life to poetry. He and a patron-friend, Charles Brown (Paul Schneider), secluded themselves as often as possible in order to open their minds to inspiration, to visit the muse as frequently as time and nature would allow. Keats, it seems, was visited more often than Brown, a fact of which Brown was certainly very much aware, something he told Keats on more than one occasion. Soon, Keats has fallen in love with Fanny Brawne (Abbie Cornish). After some time of romantic rapture, he develops an illness that will ultimately lead to his demise. This film tells that story, their story, a story of love, of poetry, and the unfortunate adage that all good things must end.
Jane Campion is no stranger to solid, well-crafted films. The Piano received 8 Oscar nominations (including Director, Picture, Cinematography), not to mention a win for Best Screenplay. This film, too, is very well written, and delivers some notable moments of inspired cinematography, offering us a chance to view the story from an unexpected angle or height, through a different pair of eyes. Indeed, the entire film is gorgeous, airy and light, exhibiting stunning intentionality in its use of color, and the costumes are an enormous success.
Campion has put together a very noteworthy film, a period love story that doesn’t bore or shamelessly seduce. Ben Whishaw is a compelling Keats, subdued in manner yet powerful in his grasp of life and language. Opposite him is Abbie Cornish, playing Fanny, the smitten young girl with an eye for the life of a seamstress; however, she isn’t as good as Whishaw, and, at times, it shows. Interestingly, it is often difficult to differentiate her choices from the choices of the character, leaving one to question whether the poor course of action falls on Campion or Cornish, something to be possibly revealed simply by reading the script in a handful of particular spots.
Bright Star is a good film. Its only notable drawback is Cornish (or is it Campion?), but even this isn’t so bad as to spoil what the film has going for it. Keats is a captivating figure, and Whishaw does a splendid job of being simultaneously both vulnerable and concealed, and Campion’s camera work adds a certain level of intrigue or sheer curiosity in a number of scenes. All in all, it is an enjoyable yet heartbreaking story of love and loss, and of a life that was cut far too short, which has since moved anyone with the pleasant fortune of reading his work. If you have a predilection for period films or quasi-biopics, you will enjoy this one, too.
Rating: 3/4 Stars