marieltrokan
The grace of non-intervention is the disgrace of intervention. The disgrace of intervention is the disgrace of help.The disgrace of help is the disgrace of no injury. The disgrace of no injury is the grace of injury. The grace of injury is the grace of violence.Violence is intolerable. Grace is inspiring. Inspiring intolerance is uninspiring tolerance. Uninspiring tolerance is the illusion of non-inspiration and the illusion of tolerance. The illusion of non-inspiration is the reality of inspiration and the illusion of tolerance is the reality of intolerance.A reality of inspiration is a history of inspiration, which is a non-history of non-inspiration. A non-history of non-inspiration is a non-experience of non-inspiration. A reality of intolerance is a history of intolerance. A history of intolerance is a non-history of tolerance. A non-history of tolerance is a non-experience of tolerance.The experience of inspiration is the experience of intolerance - the literal experience of being inspired is the literal occurrence of violence.Authority is inspiring - censorship is inspiring.Censorship is the lack of style - the lack of style is inspiring
acmur
I saw this film on release and turned away. The miniseries was too powerful still to accept another rendition.I revisited this Brideshead today and was moved powerfully. A briefer visit to be sure. Harder edges sharpened by that familiar and glorious house. Lord and Lady Marchmain more ruthlessly struck with far fewer strokes (bravo both). Julia in Venice and Charles' failure to understand or heed Cara's warning to "tread carefully" creating a more personal responsibility for the devastation of Sebastian.How much time do you have for a visit? For a full day outing go to the miniseries. Having so said, I will certainly take a side trip to this shorter gem again.
manueltb
Even though the music, photography, set design and acting are very good, this movie was a disappointment for me. The plot has been skillfully manipulated. In this version, Julia's character has become a victim of a distorted protestant vision of catholic faith, and Lady Flyte is just a selfish, self-centered and fanatic mother. All the beauty, the hope and the humanity of the original is lost, leaving just tortured and melancholic characters who live a sort of impossible love. Of course there is no references to God's grace, personal conscience, repentance, charity, duty or the importance of the family. At the end, it remains only an obscure pseudo-reflection on guilt, that is supposed to be related with the scriptwriters' deformed idea of what the Roman Catholic religion is.
Armand
interesting for cast and not exactly for adaptation itself. because it seems be a run. and the price is, first, the lost of nuances. than, the fall by novel because its competition is not only with the book but with a real good series.solution for a wise verdict is to ignore its source. in this case, all seems be better. a slice from an old world,a cold religious confession, a dominator character, destiny and choices, love story and a bitter return. after its end, for not remain only with memories about a nice film, the decent choice is to read the novel. not for confrontation with the movie. only for use the chance to be part from a seductive, delicate, refined space. and for explore a beautiful literary style.
AD
