Bright Star

There is nothing to equivocate about here... This movie was made for a specific audience: You either have a poetic, romantic soul, or you don't. For me, I found it truly tender, and moving. (Marry me Abbie Cornish!) But, what I appreciated most, was the lack of manipulative music scoring. I felt transported, and immersed by the simple joys of natural sounds. Sounds that are obliterated (most of the time) in our modern world...

This is such as to make us ask ourselves when we last had on screen a love story we could believe in. (In the Mood for Love, maybe? 2001?) That, or more exactly the believability part of it, is truly saying something when the principal characters are so prone to recite poetry extemporaneously, not only the poet who wrote it, but also the smitten one who, having invested in a copy of Endymion "to see if he's an idiot or not," has committed his words to memory: incontrovertible evidence of love.

A picture-perfect illustration of a tragic love story. The bond which grows between the 2 characters is subtle and it's never obvious who is going to make the next move. Just like in real life. The character of Brown really makes this into more of a love triangle - think Jules et Jim. The images and sounds are beautiful, and the story, although slow-paced, is never boring for a second. Well done, Ms Campion!

Refined, but also smartly earthbound. The exchanges don't feel like distant literary or historical material, but like deeply felt words shared between realistic, recognizable people. Campion occasionally captures beautiful images with her camera, but more often she's using it with measured storytelling skill, figuring out the most effective way to clearly tell her story and find the cleanest ways to cut through to the inner workings of her characters.

This really is a movie that I could have easily rated a 50 or 60, or an 80 or 90. I love period pieces or something close to portraying history accurately, but this definitely focused on the depressing aspects--which probably reflected on the subject matter pretty accurately. I mean, Keats died at 25 and Fanny carried his torch for the rest of her life. But this is beyond tragedy, it's just plain depressing. But then again, maybe we need to look at that. Not for everybody to say the least.

8/11/9 - Hmmmm. Too long, badly paced, lots of mediocre performances (though Cornish and Schneider both shine), fails to explain anything about any of the characters other than Keats and Brawne, which is frustrating if you lack the requisite knowledge. But it's beautifully shot, and very sweet, and has some great moments. Worth seeing if you've an interest in the characters or really enjoy period drama (this could have easily been on BBC1 over a couple of weeks).

slow, boring and sad movie. although the little red haired girl was really adorable.

Visually beautiful. But 19th century British romance is so frustrating.

A very rote period piece, adhering far too closely to a standard template. There are some beautiful, lyrical moments but not all that many of them. Some of it is actually very dull. In most respects it was just so unremarkable. Cornish and Whishaw both deliver above-average performances, but not superlative in any way. The film is most impressive in its aesthetic aspects: gorgeous photography, a lovely score, and fine costuming. I just wish the story was more compelling or uniquely told.

I really liked the score, which was used sparingly, and the costumes were a shoo-in for the Oscar nomination in 2009. The performances are just fine but I had a hard time connecting with the characters. I suppose that it's part of the profession of a romantic poet to feel very deeply so I imagine that the overblown emotions in the film give an accurate portrayal of Keats' life. Give it a shot if you're into poetry.

What starts out as a captivating focus on 19th century life and love, eventually descends into a static and completely uninteresting lump of sap. It all goes downhill once the romance truly begins. Abbie Cornish, on the other hand, is a revelation in the role of Fanny. She and the costumes make it basically worth seeing.

The cinematography is impeccable and the acting superb, but the story seems a bit too familiar and borderline boring.

The rare film about the life of an artist that is itself a work of art.

The photography and performances are just absolutely stunning despite, or perhaps because, how simple the story may be.

It took a while for the film to get its hooks into me. Campion delivers a solid period piece that rivals her best work ("The Piano"). Whishaw and Cornish turn in rich performances, full of nuance, and complement each other perfectly. But it's Campion who deserves most of the praise, a seasoned director who after so many years hasn't lost her ability to tell a engaging story. It's only after we're brought back to our world that you realise what a great film this is. Wholeheartedly recommended.

A moving, understated period film expertly crafted by one of the best female directors in the industry. What sets this apart from other costume dramas is its avoidance of too much sentimentality. Campion makes sure that the characters' emotions are outwardly expressed in graded doses and always only during moments when they are needed to be expressed. Thus, it steers clear of mushy or schmaltzy territories. In fact, the film's most powerful scenes are in those moments of quiet and restraint.

Well acted costume drama with a decent mix of witty lines and pretty costumes. Its tone has something unique about it and I can see why it might be special to others, it's a good doomed romance story. But it doesn't speak to me, and with the film's subject being one that needs emotional engagement I could only muster moments of actual enjoyment in a sea of distanced appreciation and disappointment.

Visually marvelous, but none of the characters felt natural at any point and there wasn't much more to catch my interest than a Keats poem here and there.

Looks painterly and I thought the whole thing was tenderly done

Depressing and mopey, however beautiful. I'm glad I didn't live in this time period.

It's very pretty, but I didn't feel like it was ever really beautiful. I liked the beginning (Paul Schneider's Billy Connolly impression and the antagonism between his and Cornish's characters provided a surprisingly light tone), but the second half becomes a bit mushy and the central characters are over-romanticised to the point of gagging, and though the compositions are lovely, the images have a lazy Instagram-filter-esque blue-black colour palette. I liked it but it could have been better.

#14#, rw2, liked, Abbie.C/9a5, rewatch(2) }*{ #11#, ratings, story, Abbie.C

A beautiful (not to be confused with pretty) film filled with passion, poetry and romantic longing.

An otherwise straightforward romance is buoyed by spectacular cinematography, and a natural chemistry between Cornish and Whishaw. Literary/poetry geeks will probably love this, but even an illiterate pleb willing to give a 19th century romance a chance should be impressed.

Worst period film ever. I think I should never watch a Jane Campion film again. What a boring life and what a boring direction.

The cinematic aspects, such as the use of nature imagery and the photography in general, to some extent outshine the characterisation. What starts as a lively yet meditative reflection on the beauty of life, nature and language, becomes a little more conventional and less interesting as the undeniably tragic narrative takes centre stage.

A stunningly gorgeous, sensuous, tactile film that is also extraordinarily concise. So much is shown rather than told; Campion has a lot of trust in her audience. It works to great effect, as the pervasive silence helps you feel the central characters' lack of agency in their respective situations. Charles was an excellent counterpoint. Also an impressive film for the clarity of its depictions of falling in love, unrequited love, lovesickness, loving someone who is far away, etc.

A well-crafted movie, competent in both direction and acting. Featuring some great cinematic shots of nature and trees and fences and buildings and things that I may want to contemplate for a moment and perhaps write a few stanzas in reflection thereof. The film on the whole, however, failed to fully captivate me.

81.000

As predictable as it was slow. A shame really as it looked awesome from the trailer and the PSI.

Sadly, Campion fails to deliver entirely the directing level she had in The Piano. The leading role is superbly interpreted by Abbie Cornish, but the film's problem is that we're not convinced that the poets are ... real. I wasn't emotionally caught unless SHE cried or laughed; never let in to fully understand the minds of her surroundings, having to cling on to HER project only. Still, the cinematography is astonishing. Colors and style underline the plot in ways I'm not sure I've seen before.

"A thing of beauty is a joy for ever," Keats wrote. "Its loveliness increases; it will never pass into nothingness." I don't think it crass to suggest that a modern motion picture such as this can be one of those things of beauty. And I am hopeful that more than a few people will find this perceptive, intellectual film to be a joy in an entertainment industry fraught with mindless explosions, salacious plotlines and crude dialogue. It certainly brings Keats and his work to glorious life.

A sensuous film of awe-inspiring beauty, which would seem visually overwrought if the film's subject was not one of the great romanticists. Cornish and Whishaw are both wonderful in their roles. The movements of the story is nothing new, yet the film is so well made that its cliches can be forgiven.

7??????/??????????????

If it's a perfunctory period romance, it's a very well-made one nonetheless, and as a fan of the "genre," I found little to complain about. Excellent photography, and a touching romance.

"And don't come back. There's no autumn around here." (Toots, talking to a single brown leaf)

Campion's poetic cinematography isn't enough to save this one. Echoing the poetry of Keats, there's some beautiful use of natural imagery throughout however the main relationship of the film lacks depth and the pacing is incredibly awkward. Cornish does a respectable job as a strong female lead in an era where women were able to become more independent, however Ben Whinsaw portrays Keats as such a mopey, depressive character that it's hard to root for either him or his relationship.

Visually - this film is romantic poetry captured on celluloid. Every thing of beauty in this film brings a joy forever. Flowery colors of spring, close-ups of hands and faces, there are scenes where you can see the breeze, and it is beautiful. Story itself is nothing special. Frankly, it gets a bit dull. Even though the subject matter is bound to bring tears to many sensitive viewers, it never manipulates emotions. Soundtrack by the young composer Mark Bradshaw deserves special mention.

A romance without any real passion and a drama that isn't that dramatic. Not everyone has an interesting life story apparently, or this was just a dull telling

The story is so cliche, but the way it is told is just breathtaking. It is not overly melodramatic (I hate that), the acting is superb, cinematography and music are beautiful yet subtle.

"Through a lush filmic vernacular, Campion shows how these two figures were not only fiercely devoted to their work but also kindred spirits." - Ed Gonzalez

Well made period piece full of lingering beautiful shots. But the story is a little dull.

79.750

Jane Campion's direction is as refined as her screenplay, and she gets the most out of her cast -- especially Abbie Cornish -- in this understated period drama.

Keats isn't my favorite poet, but telling this story from an idealistic young woman's point of view is brilliant. Inspiring.

I liked The Piano and Ben Whishaw, but this movie bored me to death.

Luxuriates in an ocean of beauty and melancholy and like a true Romantic it carries this feeling into the horrors of death.

Campion captures each moment with a rare, understated beauty that brings forth a real sense of romance and longing without the mawkish broad-strokes of the usual Hollywood fare. I'm thoroughly convinced she's one of the finest directors of our time. If only her screenplays were equally elegant.

The scene where Fanny finds out that John has died...ripped the breath right from me. That was one of the most agonizingly REAL mournful cries that I've ever heard.

As someone who completely adores John Keats, I can't completely write off this movie. That's the number one reason why I found it as enjoyable as I did. Someone who doesn't know of him or doesn't particularly enjoy his writing may not feel the same way. Personally, I found myself completely wrapped up in the story. At times, yes, it was slow, but in the end it was engaging and easy to fall in love with their story. (Or, you know, Keats himself. Is that strange?)

Simple story telling but done with great performances and stunning costuming. Both Cornish and Whishaw are strong, but I came away thinking of Paul Schneider's portrayal of Keats' overprotective friend the most. He is infuriating and then makes an incredibly reluctant journey to become quite broken.

Beautifully shot--particularly the interior shots of Cornish sitting near windows. Not a great story or particularly insightful examination of Keats and his poetry and ideas. Still, I found the scenes of love and heartache satisfying.