Keats in love
Dir. Jane Campion
Starring: Abbie Cornish, Ben Whishaw
Grade: A-
Films about musicians, singers or actors must be godsends to filmmakers. I think of “Ray,” “Walk the Line,” “Great Balls of Fire” and the rest of the rock and roll biopics. But try making a film about a writer — think you can? Well, then try to make a film about a poet! Not too easy, I imagine. But that’s precisely what master filmmaker Jane Campion set out to do with “Bright Star,” and in doing so, she crafts cinematic poetry of undeniable beauty.
The Plot
“Bright Star” takes its title from John Keats’ poem (“Bright star, would I were stedfast as thou art . . .) and tells the story of the doomed poet himself (Ben Whishaw) and his love affair with the young and feisty Fanny Brawne (Abbie Cornish). The story is, ostensibly, about the relationship between young people in love. But through Campion’s lens, the story becomes more about two people in love with the idea of love and all it promises. The two first meet when the Brawnes, led by their mother (Kerry Fox), a young son named Samuel (Thomas Sangster), Fanny, and a younger sister lovingly referred to as Toots (Edie Martin), visit the home were Keats and his collaborator, Charles Armitage Brown (Paul Schneider) live. Fanny endeavors in fashion, Keats in poetry. By the time she meets him he has published his epic poemEndymion, which is not selling well and garnered a mixed critical reception. Fanny has Toots purchase her a copy to confirm whether or not Keats is the real thing. The poem begins famously with the line: “A thing of beauty is a joy for ever.” Fanny seems captivated. She is also drawn to the tragedy in Keats’ life as she learns of his dying brother’s Tom condition. Through loving, yet calculating, gestures toward Tom, Fanny makes her way into Keats’ heart and they are soon utterly and completely in love, despite the chagrin of Keats’ friend Brown and the concern of Fanny’s mother, who would like to see her with a more suitable (i.e., rich) love interest. There are ups and downs in the relationship, mostly driven by Keats’ poor financial situation and deteriorating health. But there are moments of cheer joy and longing, like a sunny afternoon walk on the heath, a room full of butterflies or a chorus of male voices performing Mozart’s Gran Partita.
The love affair is rightfully portrayed with an unabashed sense of romanticism. Anything else would have done a disservice to the story. Campion explores the reverberations of love, as the happiness Fanny experiences makes her appreciate more those around her. There is one scene in particular where Fanny tells her young sister that she loves her which is one of the most beautiful I’ve ever seen. It is shot simply and lasts less than half a minute, but it stays with the viewer as much as the lavender flowers that populate the middle section of the film do. It also took me back to one of Campion’s earlier efforts, “An Angel at my Table” (starring Ms. Fox), which lovingly explores the relationship between various sisters. It is almost a Campion motif – from “Angel” to“The Piano” to “Holy Smoke” – to honestly show that full arc with cruelty at one extreme and love at the other which makes us human.
The film’s ending is as inevitable and as tragic as that of almost every great artist. What makes it special, however, is Campion’s restraint because she understands that, even when the artist is gone, the art remains.
The Performances
As in any Campion film, the performances are sublime. Abbie Cornish makes an indelible impression as the spirited Fanny. She is the type of young person who longs for happiness but is also drawn toward the tragedy of longing. At times, she appears as much in love with her sadness as with Keats. Whishaw is magnetic as Keats. Indeed, he is simply hypnotic in each scene he appears in. Gaunt and reserved, he is a brooding bundle of emotions, always on the verge of imploding. Whishaw plays Keats as a man with the constant pressure of death and greatness upon his shoulders, a person aware of his destiny and resigned not to fight it, but to let events progress as they may. This sense of inevitability and helplessness is palpable not only in the writing and directing, but in this actor’s fantastic performance.
The supporting cast is likewise effective. Schneider creates what could be the most obnoxious character in modern film history. His Brown is seemingly obsessed with his young friend, but this obsession is driven by his ability to recognize Keats’ talent. Think of him as a less psychotic Salieri. Kerry Fox as the Brawne matriarch is loving and independent, qualities which surely make her more amenable to her daughter’s situation. The young children, played by Martin and Sangster, are funny and moving in turns, never playing the one-dimensional kids Hollywood is so fond of.
Overall
Despite the many enchanting moments, “Bright Star” at times suffers from a lack of traditional plot development. At times, I wish I knew more about Keats, of his upbringing and his family. This is, however, unsurprising, as the film deals with a difficult protagonist. I do realize this is not a biopic (thank God), but rather a snapshot of peoples’ lives at a particular moment in time.
Confronted with obstacles that naturally come into play when portraying a historic figure who is today recognized as one of the greatest Romantic poets, if not the best, Campion still finds a way to communicate Keats’ artistry and personality in a way that is rarely seen on the screen. She has taken the most introverted of art forms (and artists) and made it relatable to audiences that may or may not be familiar with the work. This is an achievement in and of itself.
Above all, Campion has succeeded in telling a love story that, even though painfully familiar to any serious moviegoer, manages to feel new and innovative.
Lawyer by day, blogger by night.