In 1818, Fanny Brawne (Abbie Cornish) lives near London with her family when she meets the poet John Keats (Ben Whishaw). Fanny is frivolous on the surface, enjoying fashion and flirting, but she is drawn to Keats. Keats’ little success in his chosen profession is an obstacle to marriage but their love blossoms anyway. Soon, though, everything becomes overshadowed by the consumption that is taking Keats’ life.

CRITIQUE

Though the era of Regency England has long been dominated on screen by adaptations of Jane Austen, there is another literary legacy from around the same time that hasn’t been given as much exploration but begs for cinematic treatment -- the Romantic poets. This film is an example of what material these writers can offer audiences to enjoy. Bright Star mesmerizes with its rapturous and literate romance, stunning look, and fine performances.

In 1993, Jane Campion established herself as one of the finest female directors working with the period romantic drama The Piano. After a misstep, it is fitting that she reasserts her considerable talent with another period romance. These two films are different, however, and it is in the changes that Campion slyly reveals her versatility.

First, the nature of the central relationship of each of the films serves as contrasts. Whereas The Piano was a bit startling in its explicitness, the interaction between Keats and Fanny is chaste and innocent. (And yes, that is quite Austen-like.) The key is that each approach is made through Campion’s technique to feel exactly right for the material. The position Fanny attains for Keats -- as a source of inspiration for him, or his muse, if you will -- is such that it is made more potent through its pureness.

The fact that Campion also wrote the screenplays for these two films means these successes are due to her talent. Second, the wild landscapes of The Piano give way here to England’s flowering fields and stately drawing rooms, and Campion took full visual advantage of both.

Another strong aspect about Bright Star is the chemistry between Abbie Cornish and Ben Whishaw. Cornish lends a kind of forcefulness to Fanny that seems necessary to the character once the film ends, and even the character’s moments of melodrama just seem impassioned instead of silly. Further, she completely nails the final emotional scenes. Ben Whishaw, in contrast, is a quieter presence, but he portrays the feeling of introverted intelligence a genius like Keats would exhibit. Even more, viewers will recognize several strong character actors filling out the rest of the cast.

Superbly written and acted, the true-life period drama Bright Star will give viewers sighs of romance and tears of emotion.

THE VIDEO

Bright Star is presented in anamorphic widescreen. The lush visuals Campion affords her film are wonderfully viewed at home. The theatrical picture and colors are transferred so beautifully that you may sometimes feel you are looking at an Impressionist painting.

THE AUDIO

Bright Star is presented in English Dolby Digital 5.1 Surround and this presentation is particularly nice for the recitations of Keats’ work in the film and during the closing credits. There are no other language tracks, though, and the only subtitle available on the disc is English.

THE EXTRAS

Deleted Scene: Keats’ intensely jealous nature is the central theme of this scene between he and Fanny shortly after he moves out on his own early in his illness. The scene is wonderfully acted, especially by Whishaw, but is a bit too mean-spirited compared to the rest of the finished film. This is the best deleted scene I’ve seen in quite a while.

Becoming Keats and Fanny: It’s only two minutes long, but this interview with Campion is worth watching. It’s wonderful to hear her intelligently discuss the two lead actors and their characters. The best bit is when she describes the interaction between Keats, Fanny, and Keat’s best friend Brown (played by Schneider) as a love triangle with Keats at the center because Brown had such deep love for Keats as a friend.

Setting the Scene: This is another interview with Campion, interspersed with on set footage, this time three minutes long. She talks about much of the production values, mentioning how costume designer Janet Patterson also did the production design and a bit of her costuming process. Campion praises the location they found Hyde House, which she says kept giving them “glories” to use and winds up by telling people to live their dream by finding a way to make work feel like play.

An Inspiring Romance: Another two minute interview with Campion, and this one focuses on the idea of the romance and how it brought about poetry. Campion wisely feels that the universality of the romance will overcome any audience trepidation about the poetry.

FINAL THOUGHTS

Bright Star is romantic and tragic, full of excellent writing and acting, and not to mention beautiful direction from one of the foremost female directors working. Even some male viewers might allow themselves to get caught up in the language of the Romantic poets and the beauty of the production values. The value added to this disc by the bonus features is significant as well.