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Too much of everything

So much average

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Exactly the movie you think it is, but not the movie you want it to be.

"The poet John Keats is dead!" we would all react differently, undoubtedly with pity and sadness but not her. Fanny's first and last love was a true poet's soul and she reacted on that with painful tears. This movie made me cry as well. But the life of a poet was far more rich with adventures, inspirations and of course love! The movie completely made me wish to have the same love story and to fall in love with a poet.The acting is natural and good. I loved this movie because of the beauty and harmony it brought to me. Every scene was full of professionalism and was done with deep humanly feeling. Every frame felt like painting worth sitting in. most of the scenes were decided Sensitively and gracefully.this makes the movie worth watching.The director knew what young love is,moreover how a poet can love and she did not hesitate to put that magic on the screen. The music was also charming. Mozart made the atmosphere light and airy. My favorite scene involves Fanny with the butterflies. As those creatures resemble freedom and carelessness, so was the couple's love. Bright Star - the title of the movie means hope. Fanny Brown has been the only hope for John Keats in his last years of life. Not even temporary separation or death could stand in between the lovers,because their love shone as bright as the stars at night.

I was literally stunned by this film, Campion has crafted another masterwork, and I found myself intensely relieved that I saw it in the comfort of my home rather than in a theatre. As breathtaking as I imagine it would be on the big screen I am sure I would have been removed from the theatre sobbing uncontrollably. At home I even had to pause the film several times because I just needed a break from it, yet I'd go back to it quickly, I was entirely pulled in to the story. Abbie Cornish is a revelation, I'd just seen her in Limitless, unrecognizable as the same actress. The costumes are so memorable I immediately began sketching one of her jackets to replicate (and I've never done that before from watching a period film). The art direction was haunting - like perfect still-life paintings. Fanny's little sister Toots, played by Edie Martin, delighted me every time she appeared on screen. The poetry itself, and how seriously it was taken by the characters, took me back to a seemingly simpler time and I immediately began pulling out long forgotten poetry volumes (my garden hasn't looked the same to me since seeing Bright Star).Bright Star is a must-see.

"Bright Star" is a filmed biography of the poet John Keats, concentrating on his romantic relationship with Fanny Brawne during the last three years of his life. The story opens in 1818 when Keats and Fanny are introduced to one another while he is staying at the Hampstead home of his friend Charles Brown, and ends with his death from tuberculosis in Rome three years later. The title is derived from a sonnet by Keats named "Bright star, would I were stedfast as thou art". (I keep the original spelling). The poem is believed to have been inspired by that romance and, although the reference in its opening line is clearly to a literal star, not a metaphorical one, Fanny has become known as Keats's "bright star".Recent years have seen a glut of films based on the novels of Keats's older contemporary Jane Austen, and these may have served as the inspiration for another film with a literary theme set against a Regency background. The film was directed by Jane Campion, who has made a number of other films with a literary or historical background, such as "An Angel at My Table" (a biography of the writer Janet Frame), "The Piano" (set in 19th century New Zealand), and "Portrait of a Lady" (based upon a novel by Henry James).As portrayed by Abbie Cornish, Fanny is a young lady of good family, obsessed with fashion and with creating dresses, hats, and other garments for herself. She is also flirtatious and seemingly shallow, a strange match for the more intellectual Keats. Another possible obstacle to their union is that Keats comes from a relatively humble background and fears that, because of the difference in their social standing, Fanny's family will not welcome him as a prospective match for her. As the film progresses, however, we begin to see more of Fanny's more serious side, and she and Keats fall deeply in love.I didn't care much for Ben Whishaw's performance in the first film I saw him in, "Perfume" from 2006, but he has certainly improved as an actor since then, on the basis of both this film and "Brideshead Revisited". Here he plays Keats as a rather quiet young man, externally aloof and reserved but deeply passionate underneath.As one might expect of a film from Campion on this particular theme, there is little in the way of physical action; the film deals more with emotional states and with the growth of love between Keats and Fanny. Like a number of British period dramas, the film is not only visually attractive but also sensitive and poetic and, in its tragic conclusion, deeply moving. A most enjoyable evening's viewing. 7/10

After the grot, grime, filth and general unpleasantness of 2003's In the Cut comes the lavish, much more colourful and far easier-on-the-eye Jane Campion piece about two people coming together and forging a relationship. Gone is the dank, Hellish and greyed out locale of contemporary New York City and in its place arrives 19th century Hampstead, in England; a zone peppered with fields, rife with both tranquillity as well as a certain kind of beauty, and often abound with greens and yellows and purples. Away from the smut and corruption of her last film comes the piece about two people poised at respective stages in their lives coming together and lightly bonding - the film covers two people of a younger and more rawer disposition than that of In the Cut; ironic then, that the film would be a rawer and more involving experience as a result.The film will begin with some quilt-work, stitching and sewing and whatnot; with cuts gradually bringing us away from said activity, the person engaging in it and the building within which they were based in order to reveal a farm-like locale and a distant London skyline. Such an opening encapsulates the body of the film; that is to say a pulling away of something so intrinsic, or precise, in nature to reveal a wider picture of something – encapsulated in the film's going on to explore an intrinsic true-to-history tale of poet John Keats' tryst with a certain Fanny Brawne. Abbie Cornish is the one playing Brawne, while Ben Whishaw adopts the role of John Keats. Cornish does superbly, adding to the long list of Campion heroines that include Holy Smoke's Kate Winslet; The Piano's Holly Hunter and the aforementioned In the Cut's Meg Ryan; women getting too involved with men whom are initially perceived as their binary opposites and often getting entangled for the worse. It is she whom we observe stitching during the opening and through her extensive contacts of family and friends, a travelling to Keats' home is the order of the initial exchanges.Once there, Brawne appears opinionated and dares to challenge the far cockier and more confident of the household in additional poet Charles Brown (Schneider) on his work – as much as Brown is what he is, Keats appears shy and retiring through the fact he does not initially show at the gathering at all. In spite of living with Brown and sharing his career field, Keats is a thin and softly spoken fellow; appearing weak in his immediate appearance and lacking the facial hair his counterpart has. It is somewhat counter-balanced to that of Brown and his larger, more pompous disposition, which sees him strike us as rather outlandish and less caring. Shooting down Brown's jibes and petty comments, she goes so far as to denounce whatever little admiration for poetry she already had in front of most people, by which time Keats has appeared. It is additionally revealed his brother is suffering from a serious illness; his parents recently died and that he himself is struggling within his field with exposure and profit. But Keats is still somewhat of an entertainer, his stories and speech seeing most warm to him until the time comes to nail a spontaneous poem after dinner, upon which he falters.Through meeting Keats, Brawne purchases one of his books; this initial exposure to poetry beginning a change in her life which will go on to additionally affect that of Wishaw's character - her prejudices slowly dissipating to warmly lit shots of her lying flat on her back engaging with what this man has written. The two come to formulate more of a bond as the crux of the film progresses, their relationship delicate and often feeling pleasantly poised; a far cry from the franker and more brash nature of the bond between the two leads in In the Cut – so much so, that when Brown sends Fanny a valentine's card as she begins to get to know Keats a little more, it is an explosion of sorts within the realm Brawne and Keats currently occupy. Campion constructs these exchanges to a tee; there are no fast talking exchanges running on hip-dialogue whilst unfolding in a modern day locale rife with large amounts of snow on the ground, these natural and really well performed scenes resonating as they lyrically progress from interaction to interaction.Peppering their relationship is a stark, sociological ethic acting as a really tragically affecting over-tune which persistently threatens to destroy what they have. This is more broadly linked to an apparent agreement both parties should be privy to entering, should they ever consider marriage. Principally, and it's at this point the norms of the era within which the film is set make themselves painfully known thus instilling a greater sense of tragedy, it would be frowned up should the female participant of the marriage be relied upon for income above that of the male. Since Keats struggles within a highly specialist field of artistic and creative integrity, he cannot be relied upon for income to fund the state of matrimony; Campion going on to send up such a belief a wily way, challenging the ideological patriarchy and creating a story leading only to destruction and trauma eased little by the fact two people whom loved one another a great deal were not able to come together out of what are perceived to be false-propositions. It is a notion epitomised in Cornish's pained response to her peers, when she informs them that "You taught me of love, not of love for a specific class or rich person." Bright Star is a thoroughly engaging and really rather mature love story one is quite easily caught up in, and is near enough a considerable cut above most films of its year.