Perhaps “Brown versus Brawne” is a better name for the new film, “Bright Star.” Although focused on the relationship of
poet John Keats and
seamstress Fanny Brawne, some of the more enjoyable movie moments show Keats’ friend, Mr. Brown and Ms. Brawne dueling with words. A relationship between these apparent adversaries would have been a natural development. Instead, Fanny rapidly becomes enamored with Mr. Keats. Initially cool towards the poet, Fanny quickly changes her attitude after witnessing Keats’ affection towards his dying brother. This altered view seems more the result of infatuation than deep love. Abbie
Cornish portrays Fanny as a girl/woman, attempting to liberate herself from her era’s conventions. This curious mix of self-indulgence and sensitivity is the most defined character.
Generally, the part of Fanny does not demand strong emotional output; however, there are a few moments when Ms. Cornish’s capable performance is intense. Ben Whishaw is a low-key Keats, perhaps somewhat odd for a man who produced emotion-driven, romantic poetry. Either the screenplay inhibits the actor’s presentation or Mr. Whishaw has little chemistry with Ms. Cornish. Peripheral characters, such as Fanny’s younger brother and sister add some texture to the drama, but the talented young actors are underused. Additionally, Mrs. Brawne, ably portrayed by Kerry Fox, is rather ineffectually written, either unwilling or unable to offer her daughter a strong opinion.
As Mr. Brown, Paul Schneider gives a notably strong performance.
The characters may shine but technically, “Bright Star” glows. Visually stunning, scenes alternate from building interiors to expansive exteriors. Carefully filmed moments underline the simple beauty of meadows and forests, and butterfly wings like small framed vignettes. Ballet lessons enliven the Brawnes’ generally unsophisticated, middle-class existence. Most of “Bright Star” proceeds deliberately with few dramatic ripples in the cinematic stream. A few moments of tension pierce the film’s veil of inhibition, perhaps mirroring the era it depicts. Like dust moving through sunlight, a sense of melancholy settles throughout the film, leading to its predictable conclusion.