Brideshead Revisited

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Adapted from Evelyn Waugh's novel, which was in turn adapted into a popular TV mini-series in 1981, this update of Brideshead Revisited is an attempt to 'do a Pride and Prejudice' but it's deathly slow pace proved its undoing. While away at college in 1925, would-be artist Charles Ryder (Goode) befriends the troubled Sebastian (Whishaw) who invites him back to his lavish home at Brideshead. Sebastian falls in love with Charles but Charles has eyes for Sebastian's sister Julia (Atwell), something her staunch catholic mother, Lady Marchmain (Thompson), doesn't take too kindly. As Marchmain's strict religious ideals rip her family apart, Charles, seduced by the extravagant lifestyle, is called upon to be the family's saviour... It's a world of fops and crumpets, pheasants roaming the grounds of stately homes and ticking grandfather clocks in every room. This kind of drama will always appeal to a certain audience; it's gorgeous to look at (the Venetian interlude especially) and we've all at some point fantasised about living in a world where you don't have to worry about money. However, for this reviewer, therein lies the problem of these socialite dramas – it's difficult to root or care for characters whose worries in life amount to the duck being undercooked or Tristan St. John Sheldon two estates over has come down with a sniffle and is in doubt of making that evening's soiree. We're supposed to feel sorry for the henpecked Sebastian, but he's really just a spoilt child: he's unable to experience anything but pleasure, he carries a teddy for comfort and when he breaks a bone in his foot it's enormous tragedy. Other characters suffer the same fate - Ryder has nothing to do but observe this dysfunctional family and, because his voiceover is trimmed back considerably, it's difficult to get inside his head. Character is story and if the characters are found lacking there's not much hope for the story. In truth, Brideshead Revisited is a crashing bore with wit and humour forgotten in favour of a listless, plodding drama, which is odd since director Jarrold's previous ventures - Becoming Jane and Kinky Boots - were anything but