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Admirable film.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

In truth, there is barely enough story here to make a film.

A twenty-six year old Claire Forlani might be one of the better reasons to give this film a try. But it's not enough to make you stick with it till the very end. For half way through you may become really challenged, and begging to want to abandon it, if you have not already. Just because it is a period piece, for those partial to them, it's not anywhere near one of better quality. Story-line and acting are just too weak, and it's believed the former detracts from the latter. Except possibly in the one actor's case, for try as I want, I've yet to see her perform with above average ability in any production to date. She's beautiful for sure.. to this day, and most especially here in her late twenties. She makes a great model, as for acting, she's no Jessica Biel.

To talk of the Victorian novel, and any film derived from them, generally imposes the theme of the sociological novel: these works were frequently what might be called a social critique, unbehest by the landed gentry of the times, ignored by the reigning sovereign, much encouraged by the publishing houses, lapped up by the intelligencia of the public at large, but in general lacking the more profound humane sentiments of, say, the Russian novel. The result is sometimes rather sanctimonious, at others preachy, not to mention parsimonious. Wilkie Collins embarked on such ideas, and found fame with his two most well-known novels - `Moonstone' and `The Lady in White'. However, his themes suffer from certain overladen stylism, absent from novels by his very good friend Charles Dickens. Thus any serious attempt at transposing such works to the screen is bound to bump into all kinds of problems; however, Radha Bharadwaj resolves most of them with a certain degree of panache, such that the end result in this film is more or less acceptable. There is that sense of proprietary so correct to the times in question which pervades the essence of capturing those times of social inequality, rule by power, the burgeoning heavy hand of the upper-class bourgoisie, the India-rich dwellers of mansions in London and the far-flung provincial counties. But it must be said, Wilkie Collins drove himself to his own despair, and this is clearly shown in his novels, though not so clearly perceived in this film. He tried the Russian technique, thus missing out on the Dickensian style - much more to the point - incorporating ideas which could only come to fruition a little later by such novelists as Joseph Conrad. If you like, he was the masculine equivalent of Virginia Woolf who also drove herself to despair and attempted suicide. But do not compare this film with the recent `The Hours' (q.v.), nor even with `The Portrait of a Lady' (q.v.), Jane Campion's exquisite film based on the novel by Henry James.Notwithstanding (how good that word sounds in Dickens' novels!) the film has its interest; not necessarily because either Christian Slater or Jared Leto have anything special to offer on which to comment, as they are both merely acceptable, nor for Claire Forlani's part, nor for yet another appearance by yet another member of the Bonham-Carter family - in this case Crispin, cousin to Helena. The film stands up for its merits as a carefully directed and produced period piece which is nicely photographed, within and without London. How much of the film is made in Cornwall or even Yorkshire will have to be guessed.An interesting film for its story-line, with not much real tangible evidence as to the Victorian scene, but which worked hard to transport the book to visual contemplation.

This was, with out question, one outstanding movie. Jared Leto and Christian Slater played the principal roles, each superbly. An aristocratic heir, Leto, is led to fall in love with the woman of his dreams. Revenge for a girl's death is orchestrated by her brother, Slater, with the intent to bring dishonor to the aristocratic family. Playing on their sympathy for having saved Basil from drowning, Slater's character worms his way into the family and eventually introduces Basil to the woman of Basil's dreams. Little does Basil know that the woman is already married to Slater's character and he has been duped but good. Basil makes promises to her, and keeps them, only to be banished from the family and raise a daughter who is not really his. More to this then I care to reveal, but lots of suspense and well worth the time to watch again and again and again.

The movie was boring and predictable, couldn't even finish it. Slater was not particularly inviting, the aristocrat had no personality, had no sexual excitement, was difficult to care who ended up sleeping with anyone since the plot was easily discerned after 20 minutes or so