清空播放记录
猜你喜欢
剧照
更新时间：2024-01-08 16:33
详细剧情
平民小伙子查尔斯·莱德（马修·古迪 Matthew Goode 饰）怀着一腔梦想进入牛津大学，不久便结识了引人注目的塞巴斯蒂安·弗莱特（本·卫肖 Ben Whishaw 饰），并和他成为好友。塞巴斯蒂安英俊得惊人，又出身豪门，生性满怀敏感和忧愁，他带着查尔斯进入自家豪宅——布赖兹赫德庄园，介绍他认识自己的家人，查尔斯很快迷恋上其姐茱丽叶（海莉·阿特维尔 Hayley Atwell 饰），但茱丽叶迫于母亲压力和天主教徒雷克斯（Jonathan Cake 饰）订婚，令查尔斯恋情无果，而塞巴斯蒂安对查尔斯的感情也只能止于暧昧。十年光阴过去，查尔斯已经是知名画家，在渡轮上偶遇茱丽叶，试图重续旧情再度失败，又得知塞巴斯蒂安已经远走国外。再度回到布赖兹赫德庄园，查尔斯已经是一名军官，大宅已经在战争中彻底破败……
长篇影评
1 ) some manuscripts
Charles (Matthew Goode): If you asked me now, who I am the only answer I could give for certain would be my name, Charles Ryder. For the rest, my loves, my hates, down even to my deepest desires I can no longer say whether these emotions are my own or stolen from those I once so desperately wished to be. On second thought, one emotion remains my own, alone among the borrowed and the second hand, as pure as that faith as which I am still in flight-guilt. Did I want too much? Did my own hunger blind me to the ties which bound them to their faith? Why only now shadowed by war. All warnings gone. Alone enough to see the light.
Brideshead Revisited Script - Dialogue Transcript
Voila! Finally, the Brideshead Revisited script is here for all you fans of the 2008 Matthew Goode movie, also featuring Ben Whishaw. This puppy is a transcript that was painstakingly transcribed using the screenplay and/or viewings of the movie to get the dialogue. I know, I know, I still need to get the cast names in there and all that jazz, so if you have any corrections, feel free to drop me a line. At least you'll have some Brideshead Revisited quotes (or even a monologue or two) to annoy your coworkers with in the meantime, right?
And swing on back to Drew's Script-O-Rama afterwards -- because reading is good for your noodle. Better than Farmville, anyway.
--------------------------------------------------------------------------------
Brideshead Revisited Script
If you asked me now who I am,
the only answer I could give
with any certainty
would be my name,
Charles Ryder.
For the rest,
my loves, my hates,
down even to my deepest desires,
I can no longer say whether
these emotions are my own
or stolen from those
I once so desperately wished to be.
On second thoughts,
one emotion remains my own,
alone among the borrowed
and the second-hand,
as pure as that faith
from which I am still in flight.
Guilt.
Been away, sir? Anywhere interesting?
- Jungle.
- Jungle.
Explorer, are we?
- Painter.
- Painter?
So, bye-bye beardy, hello smooth.
Famous for his impressive
architectural portraits,
British artist Charles Ryder
has taken New York by storm
with a series of gripping jungle studies.
To own a Ryder is currently the dream
of every self-respecting
East Coast millionaire.
You must be so proud of him.
- Was he away long?
- Two years,
- and it doesn't feel like a day.
- You must feel positively bridal.
I can't paint
to save my life.
Thank you.
I can't even hold a buggering brush!
But I know what I like. Lots of color.
Nice and bright.
I see the jungle in your work
as a metaphor.
Not least, the metaphysical semblance
of the chaos at the heart of civilization.
Make an effort, Charles.
You're not in South America now.
You're amongst civilized people.
- Mr. Ryder, I wonder if I could...
- I'm so sorry. Excuse me.
- Excuse me. Thank you very much.
...just have a conversation...
Hello, Charles.
- You're wearing a coat!
- Yes, Father, I am.
Why?
- I'm going up to Oxford.
- Ah. Yes.
- Remind me. What are you taking?
- History.
- And what allowance have I given you?
- A hundred pounds.
How very indulgent of me.
Mind you, it all comes out of capital.
Oh, I suppose this is the time
I should give you advice.
Your mother was always
so good at that.
Who's meeting you?
Cousin Jasper offered
to show me around.
Cousin Jasper!
Most entertaining.
Out of the way,
you silly fool.
There you are, Charles.
This way, please.
Come along. As an only child,
you will, of course, have much to learn.
Though I am only your cousin, Charles,
you must look upon me as a brother.
Older, wiser,
but a brother nevertheless.
Now, it is no secret that our families
are not rich in material wealth.
Keep off the grass.
But I like to think that we Ryders are,
all of us, rich in the striving of minds.
Now, then... Not that way.
Clothes. Dress as you do
in a country house.
Never wear a tweed coat
and a flannel trousers, always a suit.
And go to a London tailor.
You'll get a better cut.
Protocol. First and foremost,
behaving with restraint...
Nine adulteries, 12 liaisons,
64 fornications,
and something approaching a rape
rest nightly upon the soul
of our delicate friend Florialis,
and yet the man is so
quiet and reserved in demeanor
that he passes
for both bloodless and sexless.
Sodomites, all of them. Steer well clear.
Treat all dons
as you would the local vicar.
With indifference.
Oh, dear, oh, dear. This won't do at all.
You must change your rooms.
I've seen many a man ruined
through having ground floor rooms
in the front quad.
People start dropping in.
They leave their gowns here
and come and collect them before hall.
You start giving them sherry
and before you know it they're...
Sebastian, come along.
Look at the state of him.
Come on, you're nearly clean.
Oh, no, no, no, sir, stop.
You don't clear up after yourself.
That's my job.
Sorry, Lunt. What's all this?
From the gentleman last night, sir.
He just called. Left a note for you.
"I am very contrite.
"Please come to luncheon today.
Sebastian Flyte."
The Lord Sebastian Flyte,
don't you know?
I'm sure it's quite a pleasure
to clear up after him.
I take it
you'll be out to lunch today, then, sir.
Yes, Lunt. I think I shall be.
I've just counted them.
There's five each and two over,
so I'm having the two.
I'm unaccountably hungry today.
I put myself unreservedly
in the hands of Dolbear and Goodall
and feel so drugged
I've begun to believe
the whole of yesterday evening
was a dream.
Please don't wake me.
- Do try one.
- Thank you.
- What are they?
- Plover's eggs. The first this year.
Mummy sends them from Brideshead.
They always lay early for her.
You would, too, if you knew my mother.
Are you terribly angry with me
about last night?
No, not at all.
Thank you for the flowers.
Aloysius, you can't go there.
Do sit down.
- Tell me about you.
- Me?
I'm in my first year, reading history,
but really what I most want to be
is a painter.
Would you like to paint me?
Well, yes. Yes, if you like.
It's so clever of you,
knowing what you want.
I've no idea what I want.
Except to be happy.
If I can.
Let's have some champagne.
A glass each before the rowdies arrive.
You don't want to join the Old Boys.
They're all bloody drugged bogs
or collegers.
Top me up,
will you, old man?
- I don't remember you from Eton.
- I didn't go to Eton.
Oh, really. Where then?
Harrow or Winchester?
Rugby? Oh, not Charterhouse, I hope?
You wouldn't have heard of it.
There are other schools,
you know, Boy.
Yes, I suppose there must be.
- My dears.
- Hello, Blanche.
Hello, Blanche.
I couldn't get away before.
I was lunching
with my preposterous tutor.
I told him I had to change for footer.
Anthony, you remember Charles.
From last night?
Charles is reading history,
but he wants to be an artist.
- No!
- Why ever not?
- Either you are an artist or you are not.
- Hear, hear.
- Then I am.
- Interesting.
You have about you
a distinct hint of the pragmatic.
What do you want to be an artist for?
I mean, what's the point of it?
Why don't you just
buy a bloody camera
and take a bloody photograph
and stop giving yourself airs?
- That's what I want to know!
- That's it, go it, Boy!
- I don't give myself airs.
- Yes, you do.
And, anyway,
you haven't answered my question.
Come on! Answer!
- Answer, answer, answer, answer...
- Yes.
Answer, answer, answer, answer...
Because a camera
is a mechanical device
which records a moment in time,
but not what that moment means
or the emotions that it evokes.
Whereas a painting,
however imperfect it may be,
is an expression of feeling.
An expression of love.
Not just a copy of something.
And who on earth do you think
cares about your feelings?
I do.
Boy, you're an oaf. Behave yourself.
To art and love.
To art and love!
We'd just arrived in his rooms, then,
without even a, "By your leave,"
the Lord Flyte pokes his head
through the window and vomits.
Ground floor rooms, you see.
Poor Charles may never recover.
- Morning, Jasper.
- Morning.
Two tries out of you today...
Charles. You're to come away at once!
I've got a basket of strawberries
and a bottle of Chateau Peyraguey,
which isn't a wine you've ever tasted,
so don't pretend.
It's heaven with strawberries.
Just the place to bury a crock of gold.
I should like to bury
something precious
in every place where I've been happy.
And, then,
when I was old and ugly and miserable,
I could come back
and dig it up and remember.
Come along, Charles.
There's someone I want you to meet.
- Is this where you live?
- It's where my family live.
Don't worry,
you won't have to meet them.
- Oh, but I should like to.
- You can't. They're away.
Everything's shut up.
We better go this way.
Keep up.
Charles. Charles.
Well, this is a surprise!
How lovely to see you.
Meet my new chum, Charles.
Charles, this is Nanny Hawkins.
This is who I wanted you to meet.
- I don't think I know you, do I?
- How do you do?
Your friend has charming manners.
What family are you from, Charles?
- No family. I mean, no one important.
- Charles is an artist.
- He's going to paint me.
- How jolly.
You've come at just the right time.
Lady Marchmain's
on her way up from London.
It's the Conservative Women's Tea.
They always turn out for Brideshead.
I'm afraid we may have
to miss them, Nanny.
Your mother will be disappointed.
I'm sure Her Ladyship
would want to meet...
Can't be done, I'm afraid.
Got to get back or we'll be gated.
I pray for my dear Sebastian every day.
- Charles!
- It was very nice to meet you.
- Come along, Charles.
- Couldn't we just have a quick look?
We've seen who we came for.
We can go.
Just a little look.
Don't be such a tourist, Charles.
If you're that keen,
you can see it all for a shilling
on Queen Alexandra's Day.
God, I loathe that painting!
I could show you the chapel, I suppose,
if we're quick.
What did you do that for?
- You're not Catholic, are you?
- No.
- I was just trying to fit in.
- Well, don't.
Come on, come on!
Sorry, I'm afraid I don't have the knack.
Charles, what are you doing?
Car. Now.
Who was that in the car
with your mother?
- My sister.
- What's she like?
For goodness sake, Charles,
I don't keep asking you questions
about your family.
But I've never
asked you anything before.
You're so inquisitive.
Well, you're so mysterious about them.
I hoped I was mysterious
about everything.
Why don't you want me
to meet your family?
Who are you ashamed of, them or me?
Don't be so vulgar, Charles.
I'm not having you mixed up
with my family. You're my friend.
I don't have a family.
You have me.
Sebastian and Charles,
contra mundum.
Contra mundum.
Father?
Father?
- Back already?
- Term's over.
So soon?
Thank you.
- Father, I have to leave at once!
- Oh, yes?
A great friend of mine
has had a terrible accident.
- I must go to him.
- May I?
"Gravely injured.
Come at once. Sebastian."
I'm sorry you're upset.
Reading this message,
I would say that the accident was not
as serious as you seem to suggest
or it would not have been signed
by the victim himself.
Still, of course, he may well be
fully conscious, but horribly paralyzed.
Remind me.
Why is your presence necessary?
I told you, he's a great friend.
Well, I shall miss you, my boy,
but don't hurry back on my account.
Take your bag, sir?
Excuse me!
Are you Charles Ryder?
Yes. Sorry. Hello.
I'm Julia, Sebastian's sister.
I've been sent to pick you up.
Hop in, Mr. Ryder.
- Case in the back.
- Sorry, yes.
How's Sebastian?
- He's fine.
- Fine?
Did he tell you he was dying?
Well, I thought... His message said...
I expect he thought
you wouldn't come if you knew.
He's not badly hurt, then?
He cracked a bone in his foot
so small it hasn't even got a name.
- How did it happen?
- Playing croquet.
I must admit,
I did think it was a little queer,
you traveling all this way
for a croquet injury.
I don't mind.
It's wonderful to be here again.
Is it? Why?
Well, it's such a beautiful house,
for one thing.
I can't stand the place.
Be an angel and light me one.
There you are, at last!
- I thought you were dying.
- I thought I was, too.
The pain was excruciating.
Julia, ask Wilcox
to fetch us some champagne.
- I hate champagne.
- For our guest.
Well, take your coat off. You'll boil.
Come along, Charles.
I thought you hated champagne.
I do.
I suppose Sebastian's told you
all about us?
No. No, nothing at all,
as a matter of fact.
And nor should I.
What?
- I take it you're not one of us?
- Don't answer.
I don't live like this,
if that's what you mean.
She means you're not a Catholic.
Sorry, no. No, nothing at all.
- You mean you're an atheist?
- Well, yes, I suppose.
Strictly speaking, we're C of E,
but Father only ever goes
for Christmas and funerals.
He likes those.
- What about your mother?
- She's dead.
I was very young.
She died working for the Red Cross.
Which, given her devotion to good,
does rather point up
the arbitrariness of it all.
I see. So, you're here arbitrarily?
He's here as my friend.
Given Mr. Ryder's
staunch position on religion,
don't you think he ought to know
what he's getting into?
Leave Charles out of it.
- Tell me.
- Oh, God.
Mummy takes her faith
very seriously, indeed.
So seriously, in fact,
that our fat little priest, Father Mackay,
called her a living saint.
Mind you, he drinks.
Sebastian and I
are a couple of heathens.
I'm not a heathen, I'm a sinner.
Cast out from God's love.
As for you,
you're not a heathen at all, not really.
Why do we always end up
talking about family?
It's time for my bath.
Good evening, Mr. Ryder.
Look after my brother.
I don't think your sister
likes me very much.
I don't think
she cares for anyone much.
I love her.
She's like me.
Drink in remembrance of me.
Hang on.
In fact, I know that that's checkmate.
Come here.
If only it could be
like this always.
Always summer.
Always alone.
Fruit always ripe.
Cheers.
Now,
try this.
- No?
- It's a shy little wine. Like a gazelle.
- Like a leprechaun.
- Dappled in a tapestry meadow.
A flute by still water.
This is a wise old wine.
A prophet in a cave.
And this
is a string of pearls on a white neck.
- A swan.
- The last unicorn.
Who's that?
- Is that your brother?
- Yes, that's Bridey.
- He seems all right to me.
- Wait till you meet him.
Mother.
Hello, there.
Go away,
we're not decent!
- Mummy's here.
- We know.
She's invited Charles to dinner.
It's not what we
agreed upon, Sebastian,
when we talked about this
at Christmas, when you came down.
It's no use crying, darling.
That's just childish.
That's not going to help, is it?
You see, darling,
whatever yesterday's sins,
we must all pray for God's forgiveness.
So now, you try and try again now.
Be a good boy.
For God and for Mummy.
Now, just put your shirt on now.
Dining room's this way.
Is Sebastian all right?
He seemed upset.
Oh.
He and Mummy often have these talks.
Flannels for dinner?
Very bold, Mr. Ryder.
- Will your mother mind?
- Yes, she'll be appalled.
No, don't worry.
She'll be understanding.
- Do you often do that?
- What?
- Say one thing, mean another?
- Yes and no.
Thank you.
- Amen.
- Amen.
Welcome to Brideshead, Mr. Ryder.
I've been hearing all about you.
I do hope you didn't let Sebastian
call you away in too much of a rush.
I'm afraid I didn't quite have time
to pack the right things.
Sebastian must lend you some clothes
while you're here.
Or perhaps Bridey's a better fit.
Are you a Bridey
or a Sebastian, Mr. Ryder?
He can't borrow Bridey's clothes.
Bridey dresses like a bank clerk.
Don't be vulgar, Cordelia.
Vulgar is not the same as funny.
I hope you've been
looked after properly, Ryder.
Has Sebastian
been seeing to the wine?
Yes. Sebastian's been
seeing to the wine.
Delighted to hear it.
- You're fond of wine?
- Yes, very.
I wish I were.
It's such a bond with other men.
At Christ Church, I tried to get drunk
more than once, but I didn't enjoy it.
What do you enjoy, Bridey?
Hunting, shooting,
fishing.
And what form do your pleasures take,
Mr. Ryder?
- Sorry, pleasures?
- Your hobbies.
- What do you do to relax?
- He drinks.
Drinking is not a hobby, Sebastian.
- You live in London, is that correct?
- Yes.
- Whereabouts?
- Paddington.
You live in a railway station?
No, no. Sorry. No, I live nearby.
I see.
And has this led
to an interest in trains?
No.
So, are you close
with Sebastian's crowd?
Not really.
- With Anthony Blanche?
- We're acquainted.
Charles is a painter, Mummy.
How charming.
We must get you
to paint something for us.
- Would you do that, Mr. Ryder?
- I'd be delighted.
I think Brideshead's the most
beautiful house I've ever seen.
- It's utterly magical.
- How kind you are.
Summer at Brideshead.
Mr. Ryder must stay with us
for the rest of the vacation.
As a matter of fact,
I've just heard from Papa.
He wants me to go and see him
in Venice. And Julia.
I see.
And do you intend
to accept this invitation?
Yes. Why not?
What about you, Julia?
Will you be going?
I'd like to.
Wouldn't you rather
stay at Brideshead?
Well, yes, if you want me to.
- You must not neglect your duty.
- No, Mother.
I think we might spend a little time
in the chapel after dinner.
- Would you join us, Mr. Ryder?
- Thank you.
You do know Charles is an atheist?
An agnostic, surely.
Actually, no.
But you'll join us, anyway,
out of curiosity.
Thank you.
- No Sebastian?
- No, Mummy.
Charles, are you really an atheist?
- Yes, I am.
- How awful for you.
I'll put you on my prayer list.
I have a long list of people I pray for,
including six black Cordelias in Africa.
It's a new thing. You send five bob
to some nuns in Africa,
and they christen a baby after you.
Right.
Thy will be done,
on earth as it is in heaven.
Give us this day our daily bread,
and forgive us our trespasses
as we forgive
those who trespass against us.
And lead us not into temptation,
but deliver us from evil.
Amen.
Have you ever
been to Venice, Mr. Ryder?
No. No, I haven't.
Every ambitious young man
should visit Venice.
It makes one sound more complete.
I was thinking, if Sebastian were to go,
it might be a good thing
if you were to accompany him.
He needs someone plausible
by his side.
I gather last time he was there, he was
befriending some very odd types.
It's youthful high spirits, I understand,
but in the end,
we must all accept God's limits.
Atheist, or no.
I know I can rely on you.
You seem to me
a very reliable young man.
- San Giovanni e Paolo.
- Oh, dear.
I can see
you're going to be impossibly curious.
By the way, I should warn you.
Our lovely father is rather a scoundrel.
He lives
in one of the palazzos with Cara.
- Who's Cara?
- His mistress.
Poor Papa's rather shunned by society.
Not the Italians, of course.
They adore him.
- Santa Maria dei Miracoli.
- I know. I've seen the postcard.
- My dear boy!
- Darling, Papa.
- You look so young!
- Do you think so?
I've taken to playing tennis
at the Lido with a professional.
Cara thinks I'm getting far too fat.
Julia, come here.
- Father.
- My child.
- I wasn't sure if you'd come.
- Mummy gave me her blessing.
Blessed by your mother.
What a saint that woman is.
You know, I used to try everything
to please her.
Julia, this is your friend, Mr. Ryder?
- Charles is my friend, Papa.
- I see.
- Delighted.
- How do you do, sir?
- Welcome to Venice.
- Here's Cara. Now we can eat.
Come along now. This way.
Don't look so greedy. It won't go away.
Sorry.
I wasn't sure you'd come to Venice.
Your father seemed
pleased to see you.
I'm not sure Father
cares much if I come.
He'd probably be just as happy
if it was only Sebastian.
They adore each other.
They're alike in so many ways.
- Who are you like?
- Me?
Oh.
Nobody.
I'm the family shadow.
Drinks.
- Julia.
- Cara.
Mr. Ryder, Sebastian tells me
you are a painter.
- Charles is an artist.
- Good.
Well, then I will show you all the
great art of Canaletto and Veronese.
He never goes anywhere.
Such a philistine.
I don't mind the art.
It's religion I can't stand.
The Italians seem unable
to paint anything half decent
without putting Christ dying in it.
Of course, your mother loved Italy.
- A piet?on every street corner.
- Don't be cruel.
On the contrary, she'd be flattered.
God was always her first love.
- Mummy loves all of us equally.
- Come now, Julia.
You were the one who walked away!
What must you think of us, Mr. Ryder?
- A family of monsters, are we not?
- No, not at all.
I lost my mother when I was young.
Tell me, Mr. Ryder, as an artist,
what did you make of Brideshead?
I thought it was magnificent.
You think that? Really?
And now, here you are in Venice.
What a lot of temptations.
He walks for two hours
every day. He wants to be immortal.
But he's quite fragile, you know, inside.
That woman nearly suffocated him.
- She's been very kind to me.
- Oh, yes. I'm sure. But you will see.
Well, just look at her children.
Even when they were tiny,
in the nursery,
they must do
what she want them to do,
be what she want them to be.
Only then, would she love them.
It's not Lady Marchmain's fault.
Her God has done that to her.
But surely you're Catholic, too?
Yes, but a different sort.
It's different in Italy. Not so much guilt.
We do what the heart tell us,
and then we go to confession.
Sebastian loves you very much, I think.
There you are.
They're very good,
these romantic English friendships,
if they don't go on too long.
For you, it's just a,
how do you say, "a phase"?
But I think it's more than that
for poor Sebastian.
Tread carefully, Mr. Ryder.
Come on.
- Hello.
- No! No!
Come on.
Got you.
- Can't sleep.
- Try pajamas.
I enjoyed the beach today.
I hope I wasn't too rough.
You were very sweet.
Charles?
There you are.
Sorry.
Lots to drink.
I'm so glad you're here.
- I'm glad you're here.
- I'm glad I came.
- Did I say I'm glad you're here?
- You're really glad I'm here?
Let's get plastered.
- If you want.
Oh, yes, I do. I want. I want.
There's a wonderful chapel
near here!
You will see a masterpiece, I tell you.
The devil's got his eye on you!
Well, then you must protect me.
Julia!
Julia.
I got lost. All those people.
What are you doing?
What's the matter?
No!
Funny old religion, isn't it?
Sebastian,
what happened just now...
I never meant you to...
If I'd known it was going to happen,
I'd never have...
I don't know what I'm supposed to...
Checkmate.
I'm boring you.
Perhaps it is dull for you here.
You've been enjoying yourself?
- I've been in Venice.
- Oh, yes, yes, I suppose so.
The friend you were
so much concerned about, did he die?
- No.
- I'm very thankful.
You should have written to tell me.
I worried about him so much.
Watch out, Flyte!
- Sebastian!
- Sebastian!
- Leave me alone!
- Damn. Where is he? The bastard.
- Who?
- Mr. Samgrass.
- Who's Mr. Samgrass?
One of Mummy's gang.
Fat little Catholic from All Souls.
Bastard's been set up to follow me.
I wouldn't mind
if he wasn't so infernally ugly.
God, I feel a hundred years old.
Why haven't you called round?
I've been worried.
I was beginning to think
they hadn't sent you up.
- Since Venice.
- Yes.
- Damn! There he is again.
- Who? What are you talking about?
- Mr. Samgrass! There!
- Do you mind?
Mummy's hired him to watch me.
- What does he want?
- My head on a plate.
Look, if he's bothering you,
I can stop him.
Dear Charles, always so certain.
- I'm not certain of anything.
- Aren't you?
By the way, Mummy's here.
She has to talk to you.
Probably wants you
to spy on me as well.
Don't be like that.
Why don't I come round
to your rooms later?
I'm not sure I want to see you anymore.
I'm so sorry.
So, Charles,
- how was Venice?
- Venice was fine.
- A strange way to put it.
- It was beautiful.
Speaking as an artist or a man?
I want a word with you
about Sebastian.
I'm concerned about him.
- Tea?
- No, thank you.
- Why? Should I be?
- He's drinking too much.
You must have noticed.
After all, I sent you to look after him.
Yes, I suppose
we both drink too much, really.
No, not at all. You drink to get drunk,
Sebastian drinks to escape
the claims of his conscience.
I do wish I could understand
why he's so particularly upset.
Ever since he came back from Venice,
he's been unreachable.
- Did something happen there?
- No.
- You all had a good time?
- Yes.
I wonder what it could have been.
I hope you didn't let Julia mislead you.
- I don't understand.
- I think you do.
Please understand,
I would not want you
to make yourself look foolish, Charles.
Her future is not a question of choice.
It is a matter of faith.
Were it simply
a difference in upbringing,
this I might overlook.
But you are a self-proclaimed atheist,
and my daughter
is destined to marry a Catholic.
God commands and we obey.
However, we're forgetting ourselves.
We're here to talk
about your friendship with my son.
I'm not sure Sebastian
wants to be my friend anymore.
Because of Julia?
But that is all cleared up now.
We're giving a ball for Julia's 21 st.
I'd like you
to keep Sebastian company.
You came to Brideshead
as my son's friend.
If you have
unaccountably offended him,
it is surely not too much to ask
that you revisit your responsibilities.
- To him or to you?
- To the family.
And, of course,
Brideshead does look particularly
beautiful at this time of year.
Tell me, I'm curious.
Since, as you claim,
you have no religion,
what do you imagine
you are doing on this earth?
Living my life, the same as you.
But without faith,
what could your purpose possibly be?
I want to look back and say that I was
alive.
That I didn't turn my back. That I tried.
That I was happy.
Happiness in this life is irrelevant.
All that matters,
the only thing of consequence,
is the life hereafter.
Ready for the off.
A beautiful day for it, isn't it? Come on.
Funny, isn't it?
It's my little present to the family.
- Rex Mottram. How do you do?
- Charles Ryder.
Good to meet you, Charles.
Heard all about you.
We should compare notes some time.
- Going on the hunt?
- I don't think so.
Wise man. Load of English
blue bloods on horseback.
Got to fit in, though!
Who is it?
It's me.
You could have knocked.
I nearly spilt my drink.
I did.
Sit down.
If only it could be like this always.
- Always summer.
- Ancient history.
Pass me a towel.
Where's that damn shirt?
You're shaking. What is it?
What's the matter?
Don't you know, Charles?
"Why this is hell, nor am I out of it."
- Sebastian, if I've ever done anything...
- It's not you.
It's me.
For God's sake, do stop mooning at me
like a great big cow!
I'm fine.
I'm fine so long
as I've got plenty of this.
I want you to know that
whatever happened in Venice,
I'm not in your mother's gang,
if that's what you think.
I'm on your side.
Contra mundum.
Dear Charles,
you're not in anybody's gang.
That's always been your problem.
Why are you going on the hunt?
I thought you detested hunting.
I do.
I'm going to leave Bridey
at the first covert,
hack over to the nearest pub,
and spend the whole day drinking.
If they treat me like a dipsomaniac,
they can bloody well
have a dipsomaniac.
Well, they can't stop you.
They can, as a matter of fact,
by not giving me any money.
They've stopped my bank account.
I've pawned my watch
and cigarette case.
That lasted for a bit,
but that's all gone now.
So, regretfully...
Sebastian, I can't do that.
- I thought you were on my side.
- I am.
Well, then.
Look, why don't I come with you?
It's miserable drinking alone.
We could get drunk together,
like we used to.
No.
I'm past all that.
Thanks for the offer.
Well?
Are you with me or against me?
Little bit further up
on the shoulder, though.
Sarah, look.
Sort of up here.
Ladies and gentlemen,
it gives me great pleasure to announce,
on top of the birthday festivities,
the engagement of my eldest daughter,
the Lady Julia Flyte
to Mr. Rex Mottram.
Yes, it's marvelous, isn't it.
- Thank you, Charles. I'd love to dance.
- Cordelia.
- Cordelia, I'm...
- Come along!
- Charles?
- Hmm?
I hope you don't mind me asking,
but modern art,
- it is all bosh, isn't it?
- Yes, it's all bosh.
Good. I thought so.
Get a grip, Charles!
Rex! Rex, I need a better dancer.
Yours for five minutes and no more.
- Come along.
- Okay.
You're rather tall, aren't you?
Is that a handicap?
Why didn't you tell me?
It's not Sebastian. I don't believe that.
Charles, I can't do this.
- When we kissed...
- Please, stop!
Why? It was wonderful.
I know.
I think about it all the time.
I have no choice.
- Oh, Sebastian.
- Never mind.
- Oh, Charles.
- Don't!
- Come along, old boy.
- I don't want your help.
You're in tweed, Sebastian.
This is a ball.
Bugger off, Bridey.
You're worse than wet.
You see... What it is...
I hate you all so very much!
- Sebastian.
- Get off me!
You don't care about me!
All you ever wanted
was to sleep with my sister!
Okay, Sebastian, that's enough.
All right. I'm going.
Charles,
did you give Sebastian money today?
Yes, I did.
Knowing how he was likely to spend it?
Yes.
I don't understand.
How could you be so nice
in so many ways,
and then do something
so wantonly cruel?
We all liked you so much.
I don't understand how we deserved it.
Do you think it's better
to make him feel like a criminal?
Having him watched
every second of the day?
But you deliberately
helped him to drink.
You're the reason he drinks,
not me.
All I did was
try to give him a little freedom.
No, you just wanted him to like you.
You're so desperate to be liked.
I think you should leave now, Charles.
Hello, there.
Would you like me to hold the ladder?
Yes, thanks.
I'm Celia Mulcaster, by the way.
Charles Ryder.
I saw your paintings in the brochure
and thought how charming they looked.
No need to look so gloomy.
If I had half your talent, I'd be delirious.
You can thank me, if you want.
Thank you.
Would you like me
to buy something now?
Silent and grave,
and then "pop," mouse is dead.
- Charles.
- Lady Marchmain.
Thank you, Father.
I'm so glad your son
didn't die of his injuries.
Please, sit down.
I'm fine, thank you.
How did you know where I lived?
My driver found you.
The Ryders of Paddington
are limited in number.
I hear you have your first exhibition
at the Royal Academy.
Congratulations.
I'm sure you're not here
to ask me how I am.
No. The last time we saw each other,
it's true I spoke rather harshly.
I'm not here to apologize.
What I said, I meant.
I took you into my confidence,
and you betrayed me.
I do hope you're not asking me
to agree with you.
- I act only as God directs.
- Rubbish.
God's your best invention.
Whatever you want, he does.
- I am not here to argue with you.
- Good. I'm glad to hear it.
The reason I called
was to ask you a favor.
A favor?
Sebastian's gone missing.
He's in a house in Morocco.
I'm worried about him.
I need you to bring him back.
You banish me from your house,
you poison my friendship
with both your children
and now you expect me
to go begging on your behalf?
There's no one else I can ask.
Even if I were to agree,
what makes you think Sebastian
would take any notice of me?
Because he cared for you more
than he ever cared for anyone else.
All I ever wanted was to see them safe.
And all they do is hate me.
I'll be at Brideshead.
You may send word to me there.
Driver!
Driver!
I'm looking for Sebastian Flyte.
This is his house.
- Who are you?
- I'm his friend.
In the local hospital.
When you see him,
tell him I'm still here.
Your friend
has got the grippe.
One of his lungs is full of fluid.
He will recover. But travel with you?
Not a chance.
He's very weak. No resistance.
What do you expect?
He is an alcoholic.
Here is your friend.
What the hell are you doing here?
Your mother asked me to come.
She wants me to bring you back home,
but the doctor said
it's out of the question for you to travel.
I wouldn't, even if I could.
I think...
I think she's dying.
Walk with me. I'm meant to exercise.
Did you go to my house?
Did you meet Kurt?
Yes.
He wanted you to know
he was waiting for you.
It's rather a pleasant change,
when all your life
you've had people looking after you,
to have someone to look after, yourself.
I thought you'd want to go back
to Brideshead one day.
Brideshead?
Are you mad?
The place would still be full of her.
I wouldn't go within
a hundred miles of the place.
I need to sit.
I'm sorry.
Whatever for?
Everything.
It's all right.
Truly.
I asked too much of you.
I knew it all along, really.
Only God can give you that sort of love.
Come home, Sebastian.
When you're well enough.
Don't finish it like this.
This is my life now.
I'm happy here.
I miss you.
How sweet of you to say that.
Dear Charles,
it was my fault for
bringing you to Brideshead.
Run away.
Run far away and don't ever look back.
I'm sorry.
You must be so proud of him.
- Was he away long?
- Two years,
and it doesn't feel like a day.
Hello, Charles.
Did you know I was on the boat?
If I said no, you wouldn't believe me.
You're married now.
Yes.
- You haven't changed at all.
- Neither have you.
- How ridiculous.
- Yes, isn't it?
Tell me this is fate.
- What?
- Nothing.
Tell me.
I was thinking about Sebastian.
Mummy died without
ever seeing him again.
I know.
Let's go up on deck.
- Are you sure?
- They're all asleep! Come on!
Come on!
Sorry.
- So where's Rex?
- I drowned him.
Forgive me, Rex!
Lady Julia, fancy meeting you here.
- Mr. Ryder.
- Could I possibly get you a drink?
Dry martini, please.
One dry Martini,
one whiskey with water.
Please, allow me.
So, why did you marry Rex?
I don't know. Because he wasn't you.
- Because he was rich.
- Because he was Catholic.
Because Mummy approved,
God rest her soul.
I thought he was my painted savage.
It turns out he was
thoroughly up to date.
Thank you.
Now, no more talk about Rex.
He's in England.
- Do you have children?
- No.
No.
- What will you tell your wife?
- Wait until London.
I have a viewing to arrange.
I'll sort it out. It'll be fine.
- Where shall we go?
- Somewhere abroad, like Daddy.
- What about Italy? Capri?
- Antibes.
- Seville.
- Verona.
- Paris.
- Brideshead.
- No!
- Why not?
- It's the loveliest place on earth.
- I can't go back there.
- Not after this.
- Nonsense.
- We've nothing to apologize for.
- No.
Besides, Rex is there.
Leave it to me.
I'll settle things with Rex.
I'll settle everything.
Trust me.
I do.
- And stop worrying!
- I will.
Good afternoon, ma'am.
- Lovely day.
Mr. and Mrs. Ryder.
Look, that's the Duke
and Duchess of Clarence.
- They want to buy one!
- How very gracious of them.
Make an effort, Charles.
I've got you the cream of Mayfair.
Mrs. Ryder, good day.
Charles, how charming you look.
Anthony.
I heard, quite by chance, at a luncheon,
that you were having an exhibition.
So, of course, I dashed impetuously
to the shrine to pay homage.
Where are the pictures?
Let me explain them to you.
This is simply charm.
Simple, creamy, English charm,
playing tigers.
But enough of art.
They tell me you are happy in love
and that is everything, isn't it?
Or nearly everything.
Everyone's talking about it.
So, it's Julia now.
And it used to be Sebastian.
Do you think I should warn her?
Warn her about what?
How apropos that you'd have
chosen jungles for your canvas.
I always thought you
were the lamb to be slaughtered,
when all along it is they
who are hunted.
There really is no end to your hunger,
is there, Charles?
Why do I feel so nervous?
- Don't be.
- Who are all these people?
- Politicians, money men.
Rex thinks there's a war
coming with Hitler.
He wants to do well out of it.
- It's all he talks about.
- Hello, Julia.
- Hello, Rex.
- Good evening, Rex.
Mr. Ryder,
welcome back to Brideshead.
I hear you're making
quite a name for yourself.
- Could I have a word with you?
- Later, I have guests.
It's cold.
Not here!
- Sorry.
- Let's go back to London.
- Let me settle everything with Rex.
- And then we'll leave?
- Yes? Charles?
- Yes.
If that's what you want.
Hello, Bridey.
- Hello, Julia. Just up from London?
- Yes.
Welcome back to Brideshead, Charles.
- How's your family?
- Fine, thank you.
- Rex still entertaining?
- He's got business.
I'm sorry he's not here.
I have a little announcement to make.
Well, come on. Out with it.
- I'm engaged to be married.
- Congratulations, Bridey.
Well, who is she?
- No one you know.
- Is she pretty?
I don't think you could
exactly call her pretty.
"Comely" is the word
I think of in her connection.
She is a big woman.
- Fat?
- No, big.
She's called Mrs. Muspratt.
Her Christian name is Beryl.
But, Bridey, where did you find her?
Her late husband, Admiral Muspratt,
collected matchboxes.
You're not marrying her
for her matchboxes, are you, Bridey?
No, no.
Matchboxes were left
to Falmouth Town Library.
I'm just holding them for collection.
Why are you laughing?
- I hope you'll be very happy.
- Thank you.
- I think I'm very fortunate.
- You sly, old thing.
When are we going to meet her?
You must bring her here.
- I couldn't do that.
- Why not?
Well, you must understand,
Beryl is a woman
of strict Catholic principle,
fortified by the prejudices
of the middle classes.
I couldn't possibly bring her here.
I don't understand.
It may be a matter of indifference
to you,
whether or not you choose
to live in sin with Charles,
but on no account would Beryl
consent to be your guest.
How dare you talk to her like that?
Bloody offensive thing to say!
Really, there was nothing
she could object to.
I was merely stating
a fact well known to her.
Take no notice of him, my darling.
So,
got you. Sorry about the delay.
I'll be outside.
The door? Door's made
from all the works of Dickens.
I had it installed especially. Want one?
No, thank you.
I know what you're thinking.
How vulgar can it get?
You wanna know the secret?
I do it on purpose.
It amuses me to offend
their delicate sensibilities.
So, you wanna take my wife off me?
You know she can't marry
a divorc? right?
- Against the rules.
- Well, at least she'll be free of you.
She'll never be free.
Don't pretend
you've been faithful to her.
Who said anything about faith?
I bet you'd love to get your hands
on the house, though, wouldn't you?
All those pretty paintings.
All those pretty views.
Let her go, Rex. You never loved her.
The only thing you ever had
in common was religion.
Wrong. When I decided to marry Julia,
I wasn't a Catholic.
I converted before the wedding.
Bet she didn't tell you that.
- I guessed.
- Oh, yeah?
You're the type.
You people,
you never learn.
You could have had it all
if you'd been a little more flexible.
I did what I had to do.
They want a Catholic,
I'll convert to Catholicism.
It's a great religion.
You sin all you want, then you confess.
Problem solved.
You gotta woo these people.
This family don't live in the real world.
- They're mortgaged up to the hilt.
- Get to the point.
You want my wife? Make me an offer.
- I'm not just giving her away.
- Don't do this. It's demeaning.
Try a little harder.
You're a rich man, Rex,
you've already got what you wanted.
You can never have enough
of what you want.
No, you're right.
You're taking her off my hands.
That's a favor.
I'll tell you what I'll do.
You give me a couple of your jungle
pics, and I'll give you an annulment.
I hear you're worth collecting.
Come on, Charlie boy, say yes.
You know you want to.
You don't have to speak.
Just nod.
I'll have my driver take me to London.
He can pick up the paintings
in the morning.
You know she's mad.
Can't even give you children.
Lost the only one we had.
Julia?
I'm so sorry. I didn't know.
- It's just a shock.
- Shh.
Shh. Don't.
I've always known, ever since nursery.
I tried to be good, I really did.
I tried. I married Rex.
All through the backgammon
and cigars, I tried.
But it's not enough. It's never enough.
God had to punish me.
So he took my little stillborn...
My child. My girl.
With you, I thought I could
really and truly be free.
But coming back here, it's like a thread,
an invisible thread drawing you back,
inch by inch,
until all of a sudden,
you're a child again.
And that voice inside your head,
the one that Mummy planted
all those years ago in the nursery,
every night in the nursery,
filling your head with it.
And the voice is telling you,
whispering,
"Wicked little Julia,
Brideshead Revisited Script - Dialogue Transcript
Voila! Finally, the Brideshead Revisited script is here for all you fans of the 2008 Matthew Goode movie, also featuring Ben Whishaw. This puppy is a transcript that was painstakingly transcribed using the screenplay and/or viewings of the movie to get the dialogue. I know, I know, I still need to get the cast names in there and all that jazz, so if you have any corrections, feel free to drop me a line. At least you'll have some Brideshead Revisited quotes (or even a monologue or two) to annoy your coworkers with in the meantime, right?
And swing on back to Drew's Script-O-Rama afterwards -- because reading is good for your noodle. Better than Farmville, anyway.
--------------------------------------------------------------------------------
Brideshead Revisited Script
If you asked me now who I am,
the only answer I could give
with any certainty
would be my name,
Charles Ryder.
For the rest,
my loves, my hates,
down even to my deepest desires,
I can no longer say whether
these emotions are my own
or stolen from those
I once so desperately wished to be.
On second thoughts,
one emotion remains my own,
alone among the borrowed
and the second-hand,
as pure as that faith
from which I am still in flight.
Guilt.
Been away, sir? Anywhere interesting?
- Jungle.
- Jungle.
Explorer, are we?
- Painter.
- Painter?
So, bye-bye beardy, hello smooth.
Famous for his impressive
architectural portraits,
British artist Charles Ryder
has taken New York by storm
with a series of gripping jungle studies.
To own a Ryder is currently the dream
of every self-respecting
East Coast millionaire.
You must be so proud of him.
- Was he away long?
- Two years,
- and it doesn't feel like a day.
- You must feel positively bridal.
I can't paint
to save my life.
Thank you.
I can't even hold a buggering brush!
But I know what I like. Lots of color.
Nice and bright.
I see the jungle in your work
as a metaphor.
Not least, the metaphysical semblance
of the chaos at the heart of civilization.
Make an effort, Charles.
You're not in South America now.
You're amongst civilized people.
- Mr. Ryder, I wonder if I could...
- I'm so sorry. Excuse me.
- Excuse me. Thank you very much.
...just have a conversation...
Hello, Charles.
- You're wearing a coat!
- Yes, Father, I am.
Why?
- I'm going up to Oxford.
- Ah. Yes.
- Remind me. What are you taking?
- History.
- And what allowance have I given you?
- A hundred pounds.
How very indulgent of me.
Mind you, it all comes out of capital.
Oh, I suppose this is the time
I should give you advice.
Your mother was always
so good at that.
Who's meeting you?
Cousin Jasper offered
to show me around.
Cousin Jasper!
Most entertaining.
Out of the way,
you silly fool.
There you are, Charles.
This way, please.
Come along. As an only child,
you will, of course, have much to learn.
Though I am only your cousin, Charles,
you must look upon me as a brother.
Older, wiser,
but a brother nevertheless.
Now, it is no secret that our families
are not rich in material wealth.
Keep off the grass.
But I like to think that we Ryders are,
all of us, rich in the striving of minds.
Now, then... Not that way.
Clothes. Dress as you do
in a country house.
Never wear a tweed coat
and a flannel trousers, always a suit.
And go to a London tailor.
You'll get a better cut.
Protocol. First and foremost,
behaving with restraint...
Nine adulteries, 12 liaisons,
64 fornications,
and something approaching a rape
rest nightly upon the soul
of our delicate friend Florialis,
and yet the man is so
quiet and reserved in demeanor
that he passes
for both bloodless and sexless.
Sodomites, all of them. Steer well clear.
Treat all dons
as you would the local vicar.
With indifference.
Oh, dear, oh, dear. This won't do at all.
You must change your rooms.
I've seen many a man ruined
through having ground floor rooms
in the front quad.
People start dropping in.
They leave their gowns here
and come and collect them before hall.
You start giving them sherry
and before you know it they're...
Sebastian, come along.
Look at the state of him.
Come on, you're nearly clean.
Oh, no, no, no, sir, stop.
You don't clear up after yourself.
That's my job.
Sorry, Lunt. What's all this?
From the gentleman last night, sir.
He just called. Left a note for you.
"I am very contrite.
"Please come to luncheon today.
Sebastian Flyte."
The Lord Sebastian Flyte,
don't you know?
I'm sure it's quite a pleasure
to clear up after him.
I take it
you'll be out to lunch today, then, sir.
Yes, Lunt. I think I shall be.
I've just counted them.
There's five each and two over,
so I'm having the two.
I'm unaccountably hungry today.
I put myself unreservedly
in the hands of Dolbear and Goodall
and feel so drugged
I've begun to believe
the whole of yesterday evening
was a dream.
Please don't wake me.
- Do try one.
- Thank you.
- What are they?
- Plover's eggs. The first this year.
Mummy sends them from Brideshead.
They always lay early for her.
You would, too, if you knew my mother.
Are you terribly angry with me
about last night?
No, not at all.
Thank you for the flowers.
Aloysius, you can't go there.
Do sit down.
- Tell me about you.
- Me?
I'm in my first year, reading history,
but really what I most want to be
is a painter.
Would you like to paint me?
Well, yes. Yes, if you like.
It's so clever of you,
knowing what you want.
I've no idea what I want.
Except to be happy.
If I can.
Let's have some champagne.
A glass each before the rowdies arrive.
You don't want to join the Old Boys.
They're all bloody drugged bogs
or collegers.
Top me up,
will you, old man?
- I don't remember you from Eton.
- I didn't go to Eton.
Oh, really. Where then?
Harrow or Winchester?
Rugby? Oh, not Charterhouse, I hope?
You wouldn't have heard of it.
There are other schools,
you know, Boy.
Yes, I suppose there must be.
- My dears.
- Hello, Blanche.
Hello, Blanche.
I couldn't get away before.
I was lunching
with my preposterous tutor.
I told him I had to change for footer.
Anthony, you remember Charles.
From last night?
Charles is reading history,
but he wants to be an artist.
- No!
- Why ever not?
- Either you are an artist or you are not.
- Hear, hear.
- Then I am.
- Interesting.
You have about you
a distinct hint of the pragmatic.
What do you want to be an artist for?
I mean, what's the point of it?
Why don't you just
buy a bloody camera
and take a bloody photograph
and stop giving yourself airs?
- That's what I want to know!
- That's it, go it, Boy!
- I don't give myself airs.
- Yes, you do.
And, anyway,
you haven't answered my question.
Come on! Answer!
- Answer, answer, answer, answer...
- Yes.
Answer, answer, answer, answer...
Because a camera
is a mechanical device
which records a moment in time,
but not what that moment means
or the emotions that it evokes.
Whereas a painting,
however imperfect it may be,
is an expression of feeling.
An expression of love.
Not just a copy of something.
And who on earth do you think
cares about your feelings?
I do.
Boy, you're an oaf. Behave yourself.
To art and love.
To art and love!
We'd just arrived in his rooms, then,
without even a, "By your leave,"
the Lord Flyte pokes his head
through the window and vomits.
Ground floor rooms, you see.
Poor Charles may never recover.
- Morning, Jasper.
- Morning.
Two tries out of you today...
Charles. You're to come away at once!
I've got a basket of strawberries
and a bottle of Chateau Peyraguey,
which isn't a wine you've ever tasted,
so don't pretend.
It's heaven with strawberries.
Just the place to bury a crock of gold.
I should like to bury
something precious
in every place where I've been happy.
And, then,
when I was old and ugly and miserable,
I could come back
and dig it up and remember.
Come along, Charles.
There's someone I want you to meet.
- Is this where you live?
- It's where my family live.
Don't worry,
you won't have to meet them.
- Oh, but I should like to.
- You can't. They're away.
Everything's shut up.
We better go this way.
Keep up.
Charles. Charles.
Well, this is a surprise!
How lovely to see you.
Meet my new chum, Charles.
Charles, this is Nanny Hawkins.
This is who I wanted you to meet.
- I don't think I know you, do I?
- How do you do?
Your friend has charming manners.
What family are you from, Charles?
- No family. I mean, no one important.
- Charles is an artist.
- He's going to paint me.
- How jolly.
You've come at just the right time.
Lady Marchmain's
on her way up from London.
It's the Conservative Women's Tea.
They always turn out for Brideshead.
I'm afraid we may have
to miss them, Nanny.
Your mother will be disappointed.
I'm sure Her Ladyship
would want to meet...
Can't be done, I'm afraid.
Got to get back or we'll be gated.
I pray for my dear Sebastian every day.
- Charles!
- It was very nice to meet you.
- Come along, Charles.
- Couldn't we just have a quick look?
We've seen who we came for.
We can go.
Just a little look.
Don't be such a tourist, Charles.
If you're that keen,
you can see it all for a shilling
on Queen Alexandra's Day.
God, I loathe that painting!
I could show you the chapel, I suppose,
if we're quick.
What did you do that for?
- You're not Catholic, are you?
- No.
- I was just trying to fit in.
- Well, don't.
Come on, come on!
Sorry, I'm afraid I don't have the knack.
Charles, what are you doing?
Car. Now.
Who was that in the car
with your mother?
- My sister.
- What's she like?
For goodness sake, Charles,
I don't keep asking you questions
about your family.
But I've never
asked you anything before.
You're so inquisitive.
Well, you're so mysterious about them.
I hoped I was mysterious
about everything.
Why don't you want me
to meet your family?
Who are you ashamed of, them or me?
Don't be so vulgar, Charles.
I'm not having you mixed up
with my family. You're my friend.
I don't have a family.
You have me.
Sebastian and Charles,
contra mundum.
Contra mundum.
Father?
Father?
- Back already?
- Term's over.
So soon?
Thank you.
- Father, I have to leave at once!
- Oh, yes?
A great friend of mine
has had a terrible accident.
- I must go to him.
- May I?
"Gravely injured.
Come at once. Sebastian."
I'm sorry you're upset.
Reading this message,
I would say that the accident was not
as serious as you seem to suggest
or it would not have been signed
by the victim himself.
Still, of course, he may well be
fully conscious, but horribly paralyzed.
Remind me.
Why is your presence necessary?
I told you, he's a great friend.
Well, I shall miss you, my boy,
but don't hurry back on my account.
Take your bag, sir?
Excuse me!
Are you Charles Ryder?
Yes. Sorry. Hello.
I'm Julia, Sebastian's sister.
I've been sent to pick you up.
Hop in, Mr. Ryder.
- Case in the back.
- Sorry, yes.
How's Sebastian?
- He's fine.
- Fine?
Did he tell you he was dying?
Well, I thought... His message said...
I expect he thought
you wouldn't come if you knew.
He's not badly hurt, then?
He cracked a bone in his foot
so small it hasn't even got a name.
- How did it happen?
- Playing croquet.
I must admit,
I did think it was a little queer,
you traveling all this way
for a croquet injury.
I don't mind.
It's wonderful to be here again.
Is it? Why?
Well, it's such a beautiful house,
for one thing.
I can't stand the place.
Be an angel and light me one.
There you are, at last!
- I thought you were dying.
- I thought I was, too.
The pain was excruciating.
Julia, ask Wilcox
to fetch us some champagne.
- I hate champagne.
- For our guest.
Well, take your coat off. You'll boil.
Come along, Charles.
I thought you hated champagne.
I do.
I suppose Sebastian's told you
all about us?
No. No, nothing at all,
as a matter of fact.
And nor should I.
What?
- I take it you're not one of us?
- Don't answer.
I don't live like this,
if that's what you mean.
She means you're not a Catholic.
Sorry, no. No, nothing at all.
- You mean you're an atheist?
- Well, yes, I suppose.
Strictly speaking, we're C of E,
but Father only ever goes
for Christmas and funerals.
He likes those.
- What about your mother?
- She's dead.
I was very young.
She died working for the Red Cross.
Which, given her devotion to good,
does rather point up
the arbitrariness of it all.
I see. So, you're here arbitrarily?
He's here as my friend.
Given Mr. Ryder's
staunch position on religion,
don't you think he ought to know
what he's getting into?
Leave Charles out of it.
- Tell me.
- Oh, God.
Mummy takes her faith
very seriously, indeed.
So seriously, in fact,
that our fat little priest, Father Mackay,
called her a living saint.
Mind you, he drinks.
Sebastian and I
are a couple of heathens.
I'm not a heathen, I'm a sinner.
Cast out from God's love.
As for you,
you're not a heathen at all, not really.
Why do we always end up
talking about family?
It's time for my bath.
Good evening, Mr. Ryder.
Look after my brother.
I don't think your sister
likes me very much.
I don't think
she cares for anyone much.
I love her.
She's like me.
Drink in remembrance of me.
Hang on.
In fact, I know that that's checkmate.
Come here.
If only it could be
like this always.
Always summer.
Always alone.
Fruit always ripe.
Cheers.
Now,
try this.
- No?
- It's a shy little wine. Like a gazelle.
- Like a leprechaun.
- Dappled in a tapestry meadow.
A flute by still water.
This is a wise old wine.
A prophet in a cave.
And this
is a string of pearls on a white neck.
- A swan.
- The last unicorn.
Who's that?
- Is that your brother?
- Yes, that's Bridey.
- He seems all right to me.
- Wait till you meet him.
Mother.
Hello, there.
Go away,
we're not decent!
- Mummy's here.
- We know.
She's invited Charles to dinner.
It's not what we
agreed upon, Sebastian,
when we talked about this
at Christmas, when you came down.
It's no use crying, darling.
That's just childish.
That's not going to help, is it?
You see, darling,
whatever yesterday's sins,
we must all pray for God's forgiveness.
So now, you try and try again now.
Be a good boy.
For God and for Mummy.
Now, just put your shirt on now.
Dining room's this way.
Is Sebastian all right?
He seemed upset.
Oh.
He and Mummy often have these talks.
Flannels for dinner?
Very bold, Mr. Ryder.
- Will your mother mind?
- Yes, she'll be appalled.
No, don't worry.
She'll be understanding.
- Do you often do that?
- What?
- Say one thing, mean another?
- Yes and no.
Thank you.
- Amen.
- Amen.
Welcome to Brideshead, Mr. Ryder.
I've been hearing all about you.
I do hope you didn't let Sebastian
call you away in too much of a rush.
I'm afraid I didn't quite have time
to pack the right things.
Sebastian must lend you some clothes
while you're here.
Or perhaps Bridey's a better fit.
Are you a Bridey
or a Sebastian, Mr. Ryder?
He can't borrow Bridey's clothes.
Bridey dresses like a bank clerk.
Don't be vulgar, Cordelia.
Vulgar is not the same as funny.
I hope you've been
looked after properly, Ryder.
Has Sebastian
been seeing to the wine?
Yes. Sebastian's been
seeing to the wine.
Delighted to hear it.
- You're fond of wine?
- Yes, very.
I wish I were.
It's such a bond with other men.
At Christ Church, I tried to get drunk
more than once, but I didn't enjoy it.
What do you enjoy, Bridey?
Hunting, shooting,
fishing.
And what form do your pleasures take,
Mr. Ryder?
- Sorry, pleasures?
- Your hobbies.
- What do you do to relax?
- He drinks.
Drinking is not a hobby, Sebastian.
- You live in London, is that correct?
- Yes.
- Whereabouts?
- Paddington.
You live in a railway station?
No, no. Sorry. No, I live nearby.
I see.
And has this led
to an interest in trains?
No.
So, are you close
with Sebastian's crowd?
Not really.
- With Anthony Blanche?
- We're acquainted.
Charles is a painter, Mummy.
How charming.
We must get you
to paint something for us.
- Would you do that, Mr. Ryder?
- I'd be delighted.
I think Brideshead's the most
beautiful house I've ever seen.
- It's utterly magical.
- How kind you are.
Summer at Brideshead.
Mr. Ryder must stay with us
for the rest of the vacation.
As a matter of fact,
I've just heard from Papa.
He wants me to go and see him
in Venice. And Julia.
I see.
And do you intend
to accept this invitation?
Yes. Why not?
What about you, Julia?
Will you be going?
I'd like to.
Wouldn't you rather
stay at Brideshead?
Well, yes, if you want me to.
- You must not neglect your duty.
- No, Mother.
I think we might spend a little time
in the chapel after dinner.
- Would you join us, Mr. Ryder?
- Thank you.
You do know Charles is an atheist?
An agnostic, surely.
Actually, no.
But you'll join us, anyway,
out of curiosity.
Thank you.
- No Sebastian?
- No, Mummy.
Charles, are you really an atheist?
- Yes, I am.
- How awful for you.
I'll put you on my prayer list.
I have a long list of people I pray for,
including six black Cordelias in Africa.
It's a new thing. You send five bob
to some nuns in Africa,
and they christen a baby after you.
Right.
Thy will be done,
on earth as it is in heaven.
Give us this day our daily bread,
and forgive us our trespasses
as we forgive
those who trespass against us.
And lead us not into temptation,
but deliver us from evil.
Amen.
Have you ever
been to Venice, Mr. Ryder?
No. No, I haven't.
Every ambitious young man
should visit Venice.
It makes one sound more complete.
I was thinking, if Sebastian were to go,
it might be a good thing
if you were to accompany him.
He needs someone plausible
by his side.
I gather last time he was there, he was
befriending some very odd types.
It's youthful high spirits, I understand,
but in the end,
we must all accept God's limits.
Atheist, or no.
I know I can rely on you.
You seem to me
a very reliable young man.
- San Giovanni e Paolo.
- Oh, dear.
I can see
you're going to be impossibly curious.
By the way, I should warn you.
Our lovely father is rather a scoundrel.
He lives
in one of the palazzos with Cara.
- Who's Cara?
- His mistress.
Poor Papa's rather shunned by society.
Not the Italians, of course.
They adore him.
- Santa Maria dei Miracoli.
- I know. I've seen the postcard.
- My dear boy!
- Darling, Papa.
- You look so young!
- Do you think so?
I've taken to playing tennis
at the Lido with a professional.
Cara thinks I'm getting far too fat.
Julia, come here.
- Father.
- My child.
- I wasn't sure if you'd come.
- Mummy gave me her blessing.
Blessed by your mother.
What a saint that woman is.
You know, I used to try everything
to please her.
Julia, this is your friend, Mr. Ryder?
- Charles is my friend, Papa.
- I see.
- Delighted.
- How do you do, sir?
- Welcome to Venice.
- Here's Cara. Now we can eat.
Come along now. This way.
Don't look so greedy. It won't go away.
Sorry.
I wasn't sure you'd come to Venice.
Your father seemed
pleased to see you.
I'm not sure Father
cares much if I come.
He'd probably be just as happy
if it was only Sebastian.
They adore each other.
They're alike in so many ways.
- Who are you like?
- Me?
Oh.
Nobody.
I'm the family shadow.
Drinks.
- Julia.
- Cara.
Mr. Ryder, Sebastian tells me
you are a painter.
- Charles is an artist.
- Good.
Well, then I will show you all the
great art of Canaletto and Veronese.
He never goes anywhere.
Such a philistine.
I don't mind the art.
It's religion I can't stand.
The Italians seem unable
to paint anything half decent
without putting Christ dying in it.
Of course, your mother loved Italy.
- A piet?on every street corner.
- Don't be cruel.
On the contrary, she'd be flattered.
God was always her first love.
- Mummy loves all of us equally.
- Come now, Julia.
You were the one who walked away!
What must you think of us, Mr. Ryder?
- A family of monsters, are we not?
- No, not at all.
I lost my mother when I was young.
Tell me, Mr. Ryder, as an artist,
what did you make of Brideshead?
I thought it was magnificent.
You think that? Really?
And now, here you are in Venice.
What a lot of temptations.
He walks for two hours
every day. He wants to be immortal.
But he's quite fragile, you know, inside.
That woman nearly suffocated him.
- She's been very kind to me.
- Oh, yes. I'm sure. But you will see.
Well, just look at her children.
Even when they were tiny,
in the nursery,
they must do
what she want them to do,
be what she want them to be.
Only then, would she love them.
It's not Lady Marchmain's fault.
Her God has done that to her.
But surely you're Catholic, too?
Yes, but a different sort.
It's different in Italy. Not so much guilt.
We do what the heart tell us,
and then we go to confession.
Sebastian loves you very much, I think.
There you are.
They're very good,
these romantic English friendships,
if they don't go on too long.
For you, it's just a,
how do you say, "a phase"?
But I think it's more than that
for poor Sebastian.
Tread carefully, Mr. Ryder.
Come on.
- Hello.
- No! No!
Come on.
Got you.
- Can't sleep.
- Try pajamas.
I enjoyed the beach today.
I hope I wasn't too rough.
You were very sweet.
Charles?
There you are.
Sorry.
Lots to drink.
I'm so glad you're here.
- I'm glad you're here.
- I'm glad I came.
- Did I say I'm glad you're here?
- You're really glad I'm here?
Let's get plastered.
- If you want.
Oh, yes, I do. I want. I want.
There's a wonderful chapel
near here!
You will see a masterpiece, I tell you.
The devil's got his eye on you!
Well, then you must protect me.
Julia!
Julia.
I got lost. All those people.
What are you doing?
What's the matter?
No!
Funny old religion, isn't it?
Sebastian,
what happened just now...
I never meant you to...
If I'd known it was going to happen,
I'd never have...
I don't know what I'm supposed to...
Checkmate.
I'm boring you.
Perhaps it is dull for you here.
You've been enjoying yourself?
- I've been in Venice.
- Oh, yes, yes, I suppose so.
The friend you were
so much concerned about, did he die?
- No.
- I'm very thankful.
You should have written to tell me.
I worried about him so much.
Watch out, Flyte!
- Sebastian!
- Sebastian!
- Leave me alone!
- Damn. Where is he? The bastard.
- Who?
- Mr. Samgrass.
- Who's Mr. Samgrass?
One of Mummy's gang.
Fat little Catholic from All Souls.
Bastard's been set up to follow me.
I wouldn't mind
if he wasn't so infernally ugly.
God, I feel a hundred years old.
Why haven't you called round?
I've been worried.
I was beginning to think
they hadn't sent you up.
- Since Venice.
- Yes.
- Damn! There he is again.
- Who? What are you talking about?
- Mr. Samgrass! There!
- Do you mind?
Mummy's hired him to watch me.
- What does he want?
- My head on a plate.
Look, if he's bothering you,
I can stop him.
Dear Charles, always so certain.
- I'm not certain of anything.
- Aren't you?
By the way, Mummy's here.
She has to talk to you.
Probably wants you
to spy on me as well.
Don't be like that.
Why don't I come round
to your rooms later?
I'm not sure I want to see you anymore.
I'm so sorry.
So, Charles,
- how was Venice?
- Venice was fine.
- A strange way to put it.
- It was beautiful.
Speaking as an artist or a man?
I want a word with you
about Sebastian.
I'm concerned about him.
- Tea?
- No, thank you.
- Why? Should I be?
- He's drinking too much.
You must have noticed.
After all, I sent you to look after him.
Yes, I suppose
we both drink too much, really.
No, not at all. You drink to get drunk,
Sebastian drinks to escape
the claims of his conscience.
I do wish I could understand
why he's so particularly upset.
Ever since he came back from Venice,
he's been unreachable.
- Did something happen there?
- No.
- You all had a good time?
- Yes.
I wonder what it could have been.
I hope you didn't let Julia mislead you.
- I don't understand.
- I think you do.
Please understand,
I would not want you
to make yourself look foolish, Charles.
Her future is not a question of choice.
It is a matter of faith.
Were it simply
a difference in upbringing,
this I might overlook.
But you are a self-proclaimed atheist,
and my daughter
is destined to marry a Catholic.
God commands and we obey.
However, we're forgetting ourselves.
We're here to talk
about your friendship with my son.
I'm not sure Sebastian
wants to be my friend anymore.
Because of Julia?
But that is all cleared up now.
We're giving a ball for Julia's 21 st.
I'd like you
to keep Sebastian company.
You came to Brideshead
as my son's friend.
If you have
unaccountably offended him,
it is surely not too much to ask
that you revisit your responsibilities.
- To him or to you?
- To the family.
And, of course,
Brideshead does look particularly
beautiful at this time of year.
Tell me, I'm curious.
Since, as you claim,
you have no religion,
what do you imagine
you are doing on this earth?
Living my life, the same as you.
But without faith,
what could your purpose possibly be?
I want to look back and say that I was
alive.
That I didn't turn my back. That I tried.
That I was happy.
Happiness in this life is irrelevant.
All that matters,
the only thing of consequence,
is the life hereafter.
Ready for the off.
A beautiful day for it, isn't it? Come on.
Funny, isn't it?
It's my little present to the family.
- Rex Mottram. How do you do?
- Charles Ryder.
Good to meet you, Charles.
Heard all about you.
We should compare notes some time.
- Going on the hunt?
- I don't think so.
Wise man. Load of English
blue bloods on horseback.
Got to fit in, though!
Who is it?
It's me.
You could have knocked.
I nearly spilt my drink.
I did.
Sit down.
If only it could be like this always.
- Always summer.
- Ancient history.
Pass me a towel.
Where's that damn shirt?
You're shaking. What is it?
What's the matter?
Don't you know, Charles?
"Why this is hell, nor am I out of it."
- Sebastian, if I've ever done anything...
- It's not you.
It's me.
For God's sake, do stop mooning at me
like a great big cow!
I'm fine.
I'm fine so long
as I've got plenty of this.
I want you to know that
whatever happened in Venice,
I'm not in your mother's gang,
if that's what you think.
I'm on your side.
Contra mundum.
Dear Charles,
you're not in anybody's gang.
That's always been your problem.
Why are you going on the hunt?
I thought you detested hunting.
I do.
I'm going to leave Bridey
at the first covert,
hack over to the nearest pub,
and spend the whole day drinking.
If they treat me like a dipsomaniac,
they can bloody well
have a dipsomaniac.
Well, they can't stop you.
They can, as a matter of fact,
by not giving me any money.
They've stopped my bank account.
I've pawned my watch
and cigarette case.
That lasted for a bit,
but that's all gone now.
So, regretfully...
Sebastian, I can't do that.
- I thought you were on my side.
- I am.
Well, then.
Look, why don't I come with you?
It's miserable drinking alone.
We could get drunk together,
like we used to.
No.
I'm past all that.
Thanks for the offer.
Well?
Are you with me or against me?
Little bit further up
on the shoulder, though.
Sarah, look.
Sort of up here.
Ladies and gentlemen,
it gives me great pleasure to announce,
on top of the birthday festivities,
the engagement of my eldest daughter,
the Lady Julia Flyte
to Mr. Rex Mottram.
Yes, it's marvelous, isn't it.
- Thank you, Charles. I'd love to dance.
- Cordelia.
- Cordelia, I'm...
- Come along!
- Charles?
- Hmm?
I hope you don't mind me asking,
but modern art,
- it is all bosh, isn't it?
- Yes, it's all bosh.
Good. I thought so.
Get a grip, Charles!
Rex! Rex, I need a better dancer.
Yours for five minutes and no more.
- Come along.
- Okay.
You're rather tall, aren't you?
Is that a handicap?
Why didn't you tell me?
It's not Sebastian. I don't believe that.
Charles, I can't do this.
- When we kissed...
- Please, stop!
Why? It was wonderful.
I know.
I think about it all the time.
I have no choice.
- Oh, Sebastian.
- Never mind.
- Oh, Charles.
- Don't!
- Come along, old boy.
- I don't want your help.
You're in tweed, Sebastian.
This is a ball.
Bugger off, Bridey.
You're worse than wet.
You see... What it is...
I hate you all so very much!
- Sebastian.
- Get off me!
You don't care about me!
All you ever wanted
was to sleep with my sister!
Okay, Sebastian, that's enough.
All right. I'm going.
Charles,
did you give Sebastian money today?
Yes, I did.
Knowing how he was likely to spend it?
Yes.
I don't understand.
How could you be so nice
in so many ways,
and then do something
so wantonly cruel?
We all liked you so much.
I don't understand how we deserved it.
Do you think it's better
to make him feel like a criminal?
Having him watched
every second of the day?
But you deliberately
helped him to drink.
You're the reason he drinks,
not me.
All I did was
try to give him a little freedom.
No, you just wanted him to like you.
You're so desperate to be liked.
I think you should leave now, Charles.
Hello, there.
Would you like me to hold the ladder?
Yes, thanks.
I'm Celia Mulcaster, by the way.
Charles Ryder.
I saw your paintings in the brochure
and thought how charming they looked.
No need to look so gloomy.
If I had half your talent, I'd be delirious.
You can thank me, if you want.
Thank you.
Would you like me
to buy something now?
Silent and grave,
and then "pop," mouse is dead.
- Charles.
- Lady Marchmain.
Thank you, Father.
I'm so glad your son
didn't die of his injuries.
Please, sit down.
I'm fine, thank you.
How did you know where I lived?
My driver found you.
The Ryders of Paddington
are limited in number.
I hear you have your first exhibition
at the Royal Academy.
Congratulations.
I'm sure you're not here
to ask me how I am.
No. The last time we saw each other,
it's true I spoke rather harshly.
I'm not here to apologize.
What I said, I meant.
I took you into my confidence,
and you betrayed me.
I do hope you're not asking me
to agree with you.
- I act only as God directs.
- Rubbish.
God's your best invention.
Whatever you want, he does.
- I am not here to argue with you.
- Good. I'm glad to hear it.
The reason I called
was to ask you a favor.
A favor?
Sebastian's gone missing.
He's in a house in Morocco.
I'm worried about him.
I need you to bring him back.
You banish me from your house,
you poison my friendship
with both your children
and now you expect me
to go begging on your behalf?
There's no one else I can ask.
Even if I were to agree,
what makes you think Sebastian
would take any notice of me?
Because he cared for you more
than he ever cared for anyone else.
All I ever wanted was to see them safe.
And all they do is hate me.
I'll be at Brideshead.
You may send word to me there.
Driver!
Driver!
I'm looking for Sebastian Flyte.
This is his house.
- Who are you?
- I'm his friend.
In the local hospital.
When you see him,
tell him I'm still here.
Your friend
has got the grippe.
One of his lungs is full of fluid.
He will recover. But travel with you?
Not a chance.
He's very weak. No resistance.
What do you expect?
He is an alcoholic.
Here is your friend.
What the hell are you doing here?
Your mother asked me to come.
She wants me to bring you back home,
but the doctor said
it's out of the question for you to travel.
I wouldn't, even if I could.
I think...
I think she's dying.
Walk with me. I'm meant to exercise.
Did you go to my house?
Did you meet Kurt?
Yes.
He wanted you to know
he was waiting for you.
It's rather a pleasant change,
when all your life
you've had people looking after you,
to have someone to look after, yourself.
I thought you'd want to go back
to Brideshead one day.
Brideshead?
Are you mad?
The place would still be full of her.
I wouldn't go within
a hundred miles of the place.
I need to sit.
I'm sorry.
Whatever for?
Everything.
It's all right.
Truly.
I asked too much of you.
I knew it all along, really.
Only God can give you that sort of love.
Come home, Sebastian.
When you're well enough.
Don't finish it like this.
This is my life now.
I'm happy here.
I miss you.
How sweet of you to say that.
Dear Charles,
it was my fault for
bringing you to Brideshead.
Run away.
Run far away and don't ever look back.
I'm sorry.
You must be so proud of him.
- Was he away long?
- Two years,
and it doesn't feel like a day.
Hello, Charles.
Did you know I was on the boat?
If I said no, you wouldn't believe me.
You're married now.
Yes.
- You haven't changed at all.
- Neither have you.
- How ridiculous.
- Yes, isn't it?
Tell me this is fate.
- What?
- Nothing.
Tell me.
I was thinking about Sebastian.
Mummy died without
ever seeing him again.
I know.
Let's go up on deck.
- Are you sure?
- They're all asleep! Come on!
Come on!
Sorry.
- So where's Rex?
- I drowned him.
Forgive me, Rex!
Lady Julia, fancy meeting you here.
- Mr. Ryder.
- Could I possibly get you a drink?
Dry martini, please.
One dry Martini,
one whiskey with water.
Please, allow me.
So, why did you marry Rex?
I don't know. Because he wasn't you.
- Because he was rich.
- Because he was Catholic.
Because Mummy approved,
God rest her soul.
I thought he was my painted savage.
It turns out he was
thoroughly up to date.
Thank you.
Now, no more talk about Rex.
He's in England.
- Do you have children?
- No.
No.
- What will you tell your wife?
- Wait until London.
I have a viewing to arrange.
I'll sort it out. It'll be fine.
- Where shall we go?
- Somewhere abroad, like Daddy.
- What about Italy? Capri?
- Antibes.
- Seville.
- Verona.
- Paris.
- Brideshead.
- No!
- Why not?
- It's the loveliest place on earth.
- I can't go back there.
- Not after this.
- Nonsense.
- We've nothing to apologize for.
- No.
Besides, Rex is there.
Leave it to me.
I'll settle things with Rex.
I'll settle everything.
Trust me.
I do.
- And stop worrying!
- I will.
Good afternoon, ma'am.
- Lovely day.
Mr. and Mrs. Ryder.
Look, that's the Duke
and Duchess of Clarence.
- They want to buy one!
- How very gracious of them.
Make an effort, Charles.
I've got you the cream of Mayfair.
Mrs. Ryder, good day.
Charles, how charming you look.
Anthony.
I heard, quite by chance, at a luncheon,
that you were having an exhibition.
So, of course, I dashed impetuously
to the shrine to pay homage.
Where are the pictures?
Let me explain them to you.
This is simply charm.
Simple, creamy, English charm,
playing tigers.
But enough of art.
They tell me you are happy in love
and that is everything, isn't it?
Or nearly everything.
Everyone's talking about it.
So, it's Julia now.
And it used to be Sebastian.
Do you think I should warn her?
Warn her about what?
How apropos that you'd have
chosen jungles for your canvas.
I always thought you
were the lamb to be slaughtered,
when all along it is they
who are hunted.
There really is no end to your hunger,
is there, Charles?
Why do I feel so nervous?
- Don't be.
- Who are all these people?
- Politicians, money men.
Rex thinks there's a war
coming with Hitler.
He wants to do well out of it.
- It's all he talks about.
- Hello, Julia.
- Hello, Rex.
- Good evening, Rex.
Mr. Ryder,
welcome back to Brideshead.
I hear you're making
quite a name for yourself.
- Could I have a word with you?
- Later, I have guests.
It's cold.
Not here!
- Sorry.
- Let's go back to London.
- Let me settle everything with Rex.
- And then we'll leave?
- Yes? Charles?
- Yes.
If that's what you want.
Hello, Bridey.
- Hello, Julia. Just up from London?
- Yes.
Welcome back to Brideshead, Charles.
- How's your family?
- Fine, thank you.
- Rex still entertaining?
- He's got business.
I'm sorry he's not here.
I have a little announcement to make.
Well, come on. Out with it.
- I'm engaged to be married.
- Congratulations, Bridey.
Well, who is she?
- No one you know.
- Is she pretty?
I don't think you could
exactly call her pretty.
"Comely" is the word
I think of in her connection.
She is a big woman.
- Fat?
- No, big.
She's called Mrs. Muspratt.
Her Christian name is Beryl.
But, Bridey, where did you find her?
Her late husband, Admiral Muspratt,
collected matchboxes.
You're not marrying her
for her matchboxes, are you, Bridey?
No, no.
Matchboxes were left
to Falmouth Town Library.
I'm just holding them for collection.
Why are you laughing?
- I hope you'll be very happy.
- Thank you.
- I think I'm very fortunate.
- You sly, old thing.
When are we going to meet her?
You must bring her here.
- I couldn't do that.
- Why not?
Well, you must understand,
Beryl is a woman
of strict Catholic principle,
fortified by the prejudices
of the middle classes.
I couldn't possibly bring her here.
I don't understand.
It may be a matter of indifference
to you,
whether or not you choose
to live in sin with Charles,
but on no account would Beryl
consent to be your guest.
How dare you talk to her like that?
Bloody offensive thing to say!
Really, there was nothing
she could object to.
I was merely stating
a fact well known to her.
Take no notice of him, my darling.
So,
got you. Sorry about the delay.
I'll be outside.
The door? Door's made
from all the works of Dickens.
I had it installed especially. Want one?
No, thank you.
I know what you're thinking.
How vulgar can it get?
You wanna know the secret?
I do it on purpose.
It amuses me to offend
their delicate sensibilities.
So, you wanna take my wife off me?
You know she can't marry
a divorc? right?
- Against the rules.
- Well, at least she'll be free of you.
She'll never be free.
Don't pretend
you've been faithful to her.
Who said anything about faith?
I bet you'd love to get your hands
on the house, though, wouldn't you?
All those pretty paintings.
All those pretty views.
Let her go, Rex. You never loved her.
The only thing you ever had
in common was religion.
Wrong. When I decided to marry Julia,
I wasn't a Catholic.
I converted before the wedding.
Bet she didn't tell you that.
- I guessed.
- Oh, yeah?
You're the type.
You people,
you never learn.
You could have had it all
if you'd been a little more flexible.
I did what I had to do.
They want a Catholic,
I'll convert to Catholicism.
It's a great religion.
You sin all you want, then you confess.
Problem solved.
You gotta woo these people.
This family don't live in the real world.
- They're mortgaged up to the hilt.
- Get to the point.
You want my wife? Make me an offer.
- I'm not just giving her away.
- Don't do this. It's demeaning.
Try a little harder.
You're a rich man, Rex,
you've already got what you wanted.
You can never have enough
of what you want.
No, you're right.
You're taking her off my hands.
That's a favor.
I'll tell you what I'll do.
You give me a couple of your jungle
pics, and I'll give you an annulment.
I hear you're worth collecting.
Come on, Charlie boy, say yes.
You know you want to.
You don't have to speak.
Just nod.
I'll have my driver take me to London.
He can pick up the paintings
in the morning.
You know she's mad.
Can't even give you children.
Lost the only one we had.
Julia?
I'm so sorry. I didn't know.
- It's just a shock.
- Shh.
Shh. Don't.
I've always known, ever since nursery.
I tried to be good, I really did.
I tried. I married Rex.
All through the backgammon
and cigars, I tried.
But it's not enough. It's never enough.
God had to punish me.
So he took my little stillborn...
My child. My girl.
With you, I thought I could
really and truly be free.
But coming back here, it's like a thread,
an invisible thread drawing you back,
inch by inch,
until all of a sudden,
you're a child again.
And that voice inside your head,
the one that Mummy planted
all those years ago in the nursery,
every night in the nursery,
filling your head with it.
And the voice is telling you,
whispering,
"Wicked little Julia,
2 ) Always Summer , Always Alone
It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now.
Everything
这么这么美的Sebastian Flyte，和Charles Ryder的相遇就说了自己最想要的最不可求的爱和快乐。To art and love. 他不像其他的贵公子们，嘲笑着Charles的出生，他带着Charles来到了Brideshead，当他揭开雕像的白纱时，这成了一切的开始，故事的开始，是他最美的时候，也成了最好的回忆。
Sebastian 怀有浪漫的爱，羡慕Charles有着明确的人生目标，听到Charles说自己想成为画家之后，一直称Charles为艺术家。他静静地坐在喷泉旁边，喝着藏在帽子底下的香槟；一边泡澡一边和Charles下着棋，输了，任性的扫走棋子；在故园的傍晚，和Charles喝着不同的酒，似乎连喝酒这件事情都变的这么美好。他说If only it could be like this always. 身边有着爱的人，看着美丽的风景，喝着自己最爱的酒，如果一直是这样，Sebastian可能就不会有这么绝望和心碎的眼神了。
他绝望于永远无法逃离这深入骨髓的信仰，心碎于自己爱的人舍弃了自己。
来到威尼斯，疯狂的夜晚，站在河对岸，看到Charles亲吻了自己妹妹。来到小教堂，Charles想要解释什么，伸出食指，嘘...... ...... 转身，Always Alone...... ...... Sebastian落寞的背影，心碎的眼神，我大概是要为之伤心了。他看着你的时候，是真的很爱的你的感觉；他听你说话的时候，是真的全身心的相信你所说的话。哪怕你下一秒说要毁灭这个世界的时候，他也一定递上武器给你，陪着你向前冲去。是这样的爱啊～他未曾责怪迁怒过任何人，他喝酒，他醉酒，沉醉在日日夜夜的酒精中，是想不要面对这令人心碎的一切，喝垮了自己的身体，却未曾对Charles说出过一句责怪的话。哪怕是妹妹在21岁的成人礼上宣布订婚，第一时间来到了Charles身边，想要安慰他。
I am a sinner. Cast out from God's love.
如果人类的出生就伴随着原罪的话，那么Sebastian在遇到Charles之后，就开始了自己的赎罪。如果深入骨髓的信仰是深埋的火线，那么Charles的舍弃就成了一切的导火索。远离了自己的家人，远离了囚禁着自己的故园，在摩洛哥忍受着身体的病痛。阳光透过树荫，他闭着眼睛，洒在身上的阳光，身旁的绿荫；他转头睁开双眼，看到Charles慢慢走到自己眼前，大概这一切能够用一句 哀默大于心死来形容。我这个罪人，不受上帝的眷顾，在这里赎罪。
在牛津，Sebastian对Charles说：It's so clever fo you, knowing what you want. I have no idea what I want. Except to be happy. If I can.
在河边，Sebastian对Charles说：Just the place to bury a crock of gold. I should like to bury something precious in every place where I have been happy. And, then, when I was old and ugly and miserable, I could come back and dig it up and remember.
在故园，Sebastian对Charles说：If only it could be like thsi always. Always summer. Always alone. Fruit always ripe.
在威尼斯，Sebastian对Charles说：Why this is hell, nor am I out of it.
在摩洛哥，Sebastian对Charles说：It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now. I am happy here.
Sorrow
如果电影到这里就结束，那么这是一部令人心碎却不舍的电影。
离了Charles的Sebastian在摩洛哥，离了Sebastian的Charles在伦敦，继续着各自的赎罪，不能结束，直到闭上双眼，滑下罪孽的十字架，请求上帝的宽恕。其实因为小本这么出彩的表演，我对后面半段的电影并没有继续的期望（因为离了小本）。可是Sebastian的父亲，最后死在故园里，还是让我深深的看了一番。逃离了宗教，逃到了意大利，一边说着宗教让我厌恶的话，临死，还是祈求着被原谅，自己的孩子看到他划十字架时的长舒一口气，这真的是深入到骨髓的信仰。
如果再重新来一次，我想Sebastian会说 Run away. Run far away and don't ever look back. 可能最好的结局 就是放开一切。Sebastian跨越了千山万水，伤透了自己的心，是否在摩洛哥的养护院里找到了自己的宁静？ Charles是否真的爱Julie？可我相信Charles是真的热爱艺术，才能画出令人赞叹的Jungle，也是会在最开始说出 Because a camera is a mechanical device which records a mment in time, but not what that moment means for the emotions that it evokes. Whereas a painting, however imperfect it may be, is an expression of feeling, an expression of love. Not just a copy of something. 如果他是为了证明自己才去爱Julie，那么我是真的相信他是喜欢过Sebastian的，所以才会在故园的傍晚接受了亲吻，哪怕就这么一瞬，也是遵从了自己的感受的。
索尔仁尼琴说：永远不要鼓励人们去寻求快乐，因为快乐本身不过是市场的一个偶像罢了。而应该鼓励人们互爱。一头野兽在咆哮眼前的猎物时会感到快乐，而我们人只有在互爱时感受到爱，这是人类可以取得的最高成就。
小本那一眼，是万年，是千言，是放手。
3 ) 重临_追忆
今天晚饭后忽发奇想，把从朋友处借来的Brideshead Revisited放到电脑里。
从Ben Whishaw甫一出场，牛津那些抽离世界的尖塔映入眼帘，我就不由自主地想起英国种种，欧洲种种——老套得我都觉得不好意思了。
这是英国话剧/电影界的一群多么令人神往的人啊。Emma Thompson自不必说，给苍白的电影注入一种魔法的生命。Jonathan Cake当年在南岸的The Globe演那位大喊着：“捏塑我的并不是比常人更硬的陶土”的Coriolanus的时候，我站在下面看到发怔。Ed Stoppard虽然饰演一个被宗教压到窒息的长兄Bridie，但乔装打扮依然挡不住Hamlet氏的青春挺拔。Whishaw的头发剃光后的样子，让人想起Aidan Mathews写下的“handsome but hurt”。那英国人群体性的郁郁揖让，徘徊在欲言又止的边沿。
这不是一部多么出彩的电影，真的。电影和书比起来，永远都是直观而枯燥的，拨开了那一层想象的雾霭之后，错综的语词，微妙的掩映，转折、虚晃和踌躇……一旦清晰起来也就失去了他们本身的诱惑力。
可是这里面所有的标记都让我不能自已。威尼斯的景象一旦映入眼帘，我就大喊起来：Canaletto，曾经居住过的南伦敦，附近就是Dulwich Picture Gallery，离开之前还有一个他的展览。本来这些都只是过眼烟云，也不曾有多深的印象，不料一个小小的开关，就全部打开了。
曾经很矫情地把英语文学的文本虔诚地带到一些匪夷所思的地方展读。比如在北海边读Woolf的The Waves，在Dublin两年，边读Joyce边踩点，把Dublin弄得比较熟悉了，又匆匆地离开。在St Pauls的大穹顶下听着祷文还有organ voluntary和各色人等谱曲的英文拉丁文Magnificat，读了不知多少章节的KJV和Donne——我所有的欧陆朋友都对St Pauls不屑，因为他们的家乡大教堂不知道气象要宏伟多少倍，但对一个沉浸在盎格鲁撒克逊语言的小孩来说，语言的经纬编织出的母体永远比具象要更加受用。
罗马公教是折磨了我这许多年的研究课题。看到Flyte一家在宗教中生死的一幕幕，觉得真是再平常不过了。多年的挚友MA君是Durham郡出生的公教徒。他说在教堂里，他的自动导航就打开了，点圣水，屈膝礼，祷文都熟悉得成为第二本能。在爱尔兰更是如此，Ennis小镇的教堂满到站都站不下，那真是攫住人整个生命的宗教：华美的典仪和精致的歌咏直接诉诸人的感官，社群生活的全然融合又把每一个人牢牢地拉在这张网里。Donne明里是放下了，其实灵魂一辈子依旧没有放下那种对罪愆和爱欲的纠结。MA也说，走进Durham大教堂，他的心就飞起来，他分明感到这曾经是一间公教教堂，哪怕近四百年的圣公会洗濯。
妙就妙在，这一切又牵涉着英国的衰落、家族的更替。ménage à trois的永恒主题只是点衬一个更宏大的问题：一个罗马公教的conscience对这一切的考问。在一个自称为“神圣普世”，其首领自称Vicar of Christ的森严宗教秩序中，个体的卑微，或如Lady Flyte那样病态地寄希望于彼岸，或如Sebastian纵情欢娱，然后纵情忏悔，或如Julia那般在明知自己的信仰已然被玩弄，自己沦为一种现实与理念的交易品，依旧要自戕，或如Lord Flyte那不免令人想到Wilde的临死悔改。Waugh本人是对这一切都抱有模棱两可的复杂心态的高超作家，看客只能和他笔下的人物一样纠结。仿佛镶嵌着珠宝的乌龟的帝国不免夕阳西下：随着贵族的式微，中产阶级以及和下层阶级的全面接收(Hooper那开豁的口音和乐观的态度可资证）已经开始。Waugh不过希望接收者如Ryder那样，还企图保有摇曳的一枝蜡烛，不要恣意吹灭它……
从Ben Whishaw甫一出场，牛津那些抽离世界的尖塔映入眼帘，我就不由自主地想起英国种种，欧洲种种——老套得我都觉得不好意思了。
这是英国话剧/电影界的一群多么令人神往的人啊。Emma Thompson自不必说，给苍白的电影注入一种魔法的生命。Jonathan Cake当年在南岸的The Globe演那位大喊着：“捏塑我的并不是比常人更硬的陶土”的Coriolanus的时候，我站在下面看到发怔。Ed Stoppard虽然饰演一个被宗教压到窒息的长兄Bridie，但乔装打扮依然挡不住Hamlet氏的青春挺拔。Whishaw的头发剃光后的样子，让人想起Aidan Mathews写下的“handsome but hurt”。那英国人群体性的郁郁揖让，徘徊在欲言又止的边沿。
这不是一部多么出彩的电影，真的。电影和书比起来，永远都是直观而枯燥的，拨开了那一层想象的雾霭之后，错综的语词，微妙的掩映，转折、虚晃和踌躇……一旦清晰起来也就失去了他们本身的诱惑力。
可是这里面所有的标记都让我不能自已。威尼斯的景象一旦映入眼帘，我就大喊起来：Canaletto，曾经居住过的南伦敦，附近就是Dulwich Picture Gallery，离开之前还有一个他的展览。本来这些都只是过眼烟云，也不曾有多深的印象，不料一个小小的开关，就全部打开了。
曾经很矫情地把英语文学的文本虔诚地带到一些匪夷所思的地方展读。比如在北海边读Woolf的The Waves，在Dublin两年，边读Joyce边踩点，把Dublin弄得比较熟悉了，又匆匆地离开。在St Pauls的大穹顶下听着祷文还有organ voluntary和各色人等谱曲的英文拉丁文Magnificat，读了不知多少章节的KJV和Donne——我所有的欧陆朋友都对St Pauls不屑，因为他们的家乡大教堂不知道气象要宏伟多少倍，但对一个沉浸在盎格鲁撒克逊语言的小孩来说，语言的经纬编织出的母体永远比具象要更加受用。
罗马公教是折磨了我这许多年的研究课题。看到Flyte一家在宗教中生死的一幕幕，觉得真是再平常不过了。多年的挚友MA君是Durham郡出生的公教徒。他说在教堂里，他的自动导航就打开了，点圣水，屈膝礼，祷文都熟悉得成为第二本能。在爱尔兰更是如此，Ennis小镇的教堂满到站都站不下，那真是攫住人整个生命的宗教：华美的典仪和精致的歌咏直接诉诸人的感官，社群生活的全然融合又把每一个人牢牢地拉在这张网里。Donne明里是放下了，其实灵魂一辈子依旧没有放下那种对罪愆和爱欲的纠结。MA也说，走进Durham大教堂，他的心就飞起来，他分明感到这曾经是一间公教教堂，哪怕近四百年的圣公会洗濯。
妙就妙在，这一切又牵涉着英国的衰落、家族的更替。ménage à trois的永恒主题只是点衬一个更宏大的问题：一个罗马公教的conscience对这一切的考问。在一个自称为“神圣普世”，其首领自称Vicar of Christ的森严宗教秩序中，个体的卑微，或如Lady Flyte那样病态地寄希望于彼岸，或如Sebastian纵情欢娱，然后纵情忏悔，或如Julia那般在明知自己的信仰已然被玩弄，自己沦为一种现实与理念的交易品，依旧要自戕，或如Lord Flyte那不免令人想到Wilde的临死悔改。Waugh本人是对这一切都抱有模棱两可的复杂心态的高超作家，看客只能和他笔下的人物一样纠结。仿佛镶嵌着珠宝的乌龟的帝国不免夕阳西下：随着贵族的式微，中产阶级以及和下层阶级的全面接收(Hooper那开豁的口音和乐观的态度可资证）已经开始。Waugh不过希望接收者如Ryder那样，还企图保有摇曳的一枝蜡烛，不要恣意吹灭它……
4 ) 人生的其中两面
Technically,这不是影评。
我之所以给五星，是给片中前后一致的英伦古典情怀和毫不拖沓的剪辑。后者对我尤其重要，戈达尔的剪辑虽然名声在外，我还是不断快进，因为我不enjoy看着一些漂亮的脑残女和行为前后互相颠覆的法国男胡搞瞎搞。我很惊讶看Brideshead Revisited时我没有哪怕一次快进。这跟选角有关。Sebastian先颠倒了性别再颠倒了众生，Matthew Goode在我心中的地位，让我不能像其他观影者一样察觉到他的野心。我的认识还停留在，他在此片中，是一个被美而吸引，先后企图拯救兄妹俩的正常人。
拒绝Sebastian,是出自性取向的本能。
娶妻，是对命运给予的东西淡然接受。
与Julia重拾旧欢，是对昔日没有得到的感情的疯狂反扑。
Let go Julia, 是意识到一己之力在宗教带来的集体无意识面前的渺小。人，大概只能自救，当你突然伟岸了浪漫了或者超人情结迸发了想带一个女子逃离她过去的残缺人生时，如果她接受了，这是童话；她不接受，这就是部现实作品。世界上大多数人，尤其是女人，都是没有勇气跟过去一刀两断的，宁可作茧自缚。
Brideshead是美的，所以有爱美之心的Charles对其始终不能忘怀。这不一定就跟了不起的盖茨比里一样的social climber抱有同样的居心。至少影片中的细节不能严密地证明这一点。而生物都是趋利避害的，所以human being Charles就有了他种种的选择和不选择。
再说Julia的选角，不好意思，套用一句法国人形容泰坦尼克女主的经典评价，“简直丑得不能看。”，长着一张跟茱莉亚比诺什一样三纲五常的脸蛋，还有很masculine的眉毛。我个人偏好女演员有着柔美的轮廓，可以中性，但一定不能突兀。尤其不能长得像我老家的海边随手捡一块岩石削几个角就成了张脸，或者跟我小时候拿橡皮泥捏出来的泥人一样拉沓着眼角。
再评价一个情节, Charles用两幅画交换了Julia的自由。很多人觉得这样improper, 怎么能这样交易呢？Julia变成了商品多掉价啊？我当时看了这些观影者的感触很是惊讶，因为我完全就不是这一思路。我的思路如下：
首先，男主找Julia丈夫谈判时抱着就是 “Leave it to me, I will handle it.”的态度。而我认为男人能讲出的最浪漫的话除了Don't worry, leave it to me就是It’s over, I will take you away.而Charles两个都表达了，所以我不太喜欢女人这时还当怨妇。
再者，谈判，注意，Charles不是在宣布一个事实，是在讨要一个离婚协议。一旦screw up这个机会成本有多大一定要清楚。当Rex说what can you offer me?时我觉得Rex真是个理性的经济人，顿时为Charles松一口气，能用钱解决的烦恼就不是真正的烦恼。要是Rex没那么直截了当而是跟琼瑶戏里面马景涛一样：啊。。。不要。。Julia…啊。。你怎么能这样对我。。。啊。。我的余生还有什么意义。。那Charles谈判的胜算就很小了。
Charles这时，为了迎合主流观众不太能坦然接受这种trade模式时选择了缄默不语。然后Rex又很贴心地开了价码，两幅画。作为观众我当时都要乐死了，多便宜啊，自产自销，不用扣除中间费用， C只用将自己abundant的两幅画丢出去就是了，换了个女人。但是C还是一娘儿们似的一句话都不敢说，跟国共混战时被抓到对方监狱里进行生死抉择似的点了点他那英俊无比的头。
综上，所以当Julia对此心有戚戚时我真是觉得这女人很不理性。你，以及你那怪石嶙峋的眉眼，以及你被宗教腐坏了的teenie weenie brain, 能够想出一个更好的谈判价格，让你觉得心理上接受吗？
但是这部电影还是太唯美了，以下我还想简述人生还有另外一面。
--------------------------------艺术与生活孰高孰低的分割线--------------------
我朋友A， 她的双胞胎姑姑，大姑姑跟一个俩孩子都20几岁的40+男人去年生了个小baby。小姑姑赌搏欠了高利贷，嫁了个差不多民工的人，还是先怀孕才结婚的，没什么收入，然后生的小女孩脚软，每个月要去医院注射1000+RMB的针水，否则过几个月不一定能够走路。哪怕这样，两个姑姑还是吃着120RMB一斤的虾喝着348/900g的美赞臣进口奶粉；她的表姐，会计师，在上海，剩女一枚，跟一个台湾的有女朋友的男生纠缠不清，后来终于大家谈开了，于是这事就黄了，扯淡了，人家不愿分手。她表姑，N年前在深圳做酒店前台时就是如花美人，当了某商人的情人，后来年纪大了，回归正途了，跟个弄玻璃厂的小生意人结婚了，开了个小卖部，正正经经平平淡淡。她一个好朋友，跟男友谈了6年恋爱，结婚前几个月被一个只认识两星期的异乡女人打败了，于是这个devastating的事件让这一女博士之后更加终日郁郁形单影只。而这女博士的朋友，在校念英语系时跟一个爱写诗的医学系男生相交甚好如胶似漆，毕业结婚后这医学系男生不去工作继续写诗终日写诗，不知养家糊口为何物，女人只好一人养全家，七年后终于离婚远嫁美国。
除去那些琐碎死人的中年人生活，再讲青春期躁动。我和Lucas在被大雪滞留在伦敦的机场时，我说你给我讲故事吧，于是他告诉我某女S，大家共同的南亚朋友，在本科艰难度日时跟了个40多岁的老男人，男人现在要来伦敦看她，而她打算跟一个巴黎男生在一起把这老男人甩了；某女Y，日本人，遇到了学校里一个对她身体很感兴趣的欧洲人X，X特别喜欢和她OOXX， 而Y付出了真心。后来Y把她日本的男友甩了却发现X依旧不想跟他女友分，X只喜欢跟Y做爱，非常喜欢，仅此而已。而Y无论和他做了多少次，都不能令他分手来跟她在一起。某男M，非常喜欢做爱，既喜欢跟他女朋友做也喜欢跟其他各种女生做。他女朋友也不介意。但他除了喜欢跟他女朋友做爱，还喜欢跟她聊天。这就成了她成为正室的充分条件。
我当时听了就傻了，M, S, Y, X都是我认识的人啊，Lucas住学校信息多，可他从前不是八卦的人，直到在伦敦的最后一天，在Costa里。
跟这些糟糕的凌乱的人生故事比，Brideshead已经很天上人间了。
生活本就如此的艰难，我更喜欢给生活做减法，找个简单的人，也不要什么伦敦巴黎，公园着胡同着就过了吧。
我之所以给五星，是给片中前后一致的英伦古典情怀和毫不拖沓的剪辑。后者对我尤其重要，戈达尔的剪辑虽然名声在外，我还是不断快进，因为我不enjoy看着一些漂亮的脑残女和行为前后互相颠覆的法国男胡搞瞎搞。我很惊讶看Brideshead Revisited时我没有哪怕一次快进。这跟选角有关。Sebastian先颠倒了性别再颠倒了众生，Matthew Goode在我心中的地位，让我不能像其他观影者一样察觉到他的野心。我的认识还停留在，他在此片中，是一个被美而吸引，先后企图拯救兄妹俩的正常人。
拒绝Sebastian,是出自性取向的本能。
娶妻，是对命运给予的东西淡然接受。
与Julia重拾旧欢，是对昔日没有得到的感情的疯狂反扑。
Let go Julia, 是意识到一己之力在宗教带来的集体无意识面前的渺小。人，大概只能自救，当你突然伟岸了浪漫了或者超人情结迸发了想带一个女子逃离她过去的残缺人生时，如果她接受了，这是童话；她不接受，这就是部现实作品。世界上大多数人，尤其是女人，都是没有勇气跟过去一刀两断的，宁可作茧自缚。
Brideshead是美的，所以有爱美之心的Charles对其始终不能忘怀。这不一定就跟了不起的盖茨比里一样的social climber抱有同样的居心。至少影片中的细节不能严密地证明这一点。而生物都是趋利避害的，所以human being Charles就有了他种种的选择和不选择。
再说Julia的选角，不好意思，套用一句法国人形容泰坦尼克女主的经典评价，“简直丑得不能看。”，长着一张跟茱莉亚比诺什一样三纲五常的脸蛋，还有很masculine的眉毛。我个人偏好女演员有着柔美的轮廓，可以中性，但一定不能突兀。尤其不能长得像我老家的海边随手捡一块岩石削几个角就成了张脸，或者跟我小时候拿橡皮泥捏出来的泥人一样拉沓着眼角。
再评价一个情节, Charles用两幅画交换了Julia的自由。很多人觉得这样improper, 怎么能这样交易呢？Julia变成了商品多掉价啊？我当时看了这些观影者的感触很是惊讶，因为我完全就不是这一思路。我的思路如下：
首先，男主找Julia丈夫谈判时抱着就是 “Leave it to me, I will handle it.”的态度。而我认为男人能讲出的最浪漫的话除了Don't worry, leave it to me就是It’s over, I will take you away.而Charles两个都表达了，所以我不太喜欢女人这时还当怨妇。
再者，谈判，注意，Charles不是在宣布一个事实，是在讨要一个离婚协议。一旦screw up这个机会成本有多大一定要清楚。当Rex说what can you offer me?时我觉得Rex真是个理性的经济人，顿时为Charles松一口气，能用钱解决的烦恼就不是真正的烦恼。要是Rex没那么直截了当而是跟琼瑶戏里面马景涛一样：啊。。。不要。。Julia…啊。。你怎么能这样对我。。。啊。。我的余生还有什么意义。。那Charles谈判的胜算就很小了。
Charles这时，为了迎合主流观众不太能坦然接受这种trade模式时选择了缄默不语。然后Rex又很贴心地开了价码，两幅画。作为观众我当时都要乐死了，多便宜啊，自产自销，不用扣除中间费用， C只用将自己abundant的两幅画丢出去就是了，换了个女人。但是C还是一娘儿们似的一句话都不敢说，跟国共混战时被抓到对方监狱里进行生死抉择似的点了点他那英俊无比的头。
综上，所以当Julia对此心有戚戚时我真是觉得这女人很不理性。你，以及你那怪石嶙峋的眉眼，以及你被宗教腐坏了的teenie weenie brain, 能够想出一个更好的谈判价格，让你觉得心理上接受吗？
但是这部电影还是太唯美了，以下我还想简述人生还有另外一面。
--------------------------------艺术与生活孰高孰低的分割线--------------------
我朋友A， 她的双胞胎姑姑，大姑姑跟一个俩孩子都20几岁的40+男人去年生了个小baby。小姑姑赌搏欠了高利贷，嫁了个差不多民工的人，还是先怀孕才结婚的，没什么收入，然后生的小女孩脚软，每个月要去医院注射1000+RMB的针水，否则过几个月不一定能够走路。哪怕这样，两个姑姑还是吃着120RMB一斤的虾喝着348/900g的美赞臣进口奶粉；她的表姐，会计师，在上海，剩女一枚，跟一个台湾的有女朋友的男生纠缠不清，后来终于大家谈开了，于是这事就黄了，扯淡了，人家不愿分手。她表姑，N年前在深圳做酒店前台时就是如花美人，当了某商人的情人，后来年纪大了，回归正途了，跟个弄玻璃厂的小生意人结婚了，开了个小卖部，正正经经平平淡淡。她一个好朋友，跟男友谈了6年恋爱，结婚前几个月被一个只认识两星期的异乡女人打败了，于是这个devastating的事件让这一女博士之后更加终日郁郁形单影只。而这女博士的朋友，在校念英语系时跟一个爱写诗的医学系男生相交甚好如胶似漆，毕业结婚后这医学系男生不去工作继续写诗终日写诗，不知养家糊口为何物，女人只好一人养全家，七年后终于离婚远嫁美国。
除去那些琐碎死人的中年人生活，再讲青春期躁动。我和Lucas在被大雪滞留在伦敦的机场时，我说你给我讲故事吧，于是他告诉我某女S，大家共同的南亚朋友，在本科艰难度日时跟了个40多岁的老男人，男人现在要来伦敦看她，而她打算跟一个巴黎男生在一起把这老男人甩了；某女Y，日本人，遇到了学校里一个对她身体很感兴趣的欧洲人X，X特别喜欢和她OOXX， 而Y付出了真心。后来Y把她日本的男友甩了却发现X依旧不想跟他女友分，X只喜欢跟Y做爱，非常喜欢，仅此而已。而Y无论和他做了多少次，都不能令他分手来跟她在一起。某男M，非常喜欢做爱，既喜欢跟他女朋友做也喜欢跟其他各种女生做。他女朋友也不介意。但他除了喜欢跟他女朋友做爱，还喜欢跟她聊天。这就成了她成为正室的充分条件。
我当时听了就傻了，M, S, Y, X都是我认识的人啊，Lucas住学校信息多，可他从前不是八卦的人，直到在伦敦的最后一天，在Costa里。
跟这些糟糕的凌乱的人生故事比，Brideshead已经很天上人间了。
生活本就如此的艰难，我更喜欢给生活做减法，找个简单的人，也不要什么伦敦巴黎，公园着胡同着就过了吧。
5 ) 故园犹在，人面何处——《故园风雨后》两版对比
《故园风雨后》（Brideshead Revisited）改编自英国作家伊夫林·沃（Evelyn Waugh）的同名小说，讲述了三十年代伦敦近郊布赖兹赫德庄园一个天主教家庭的命运浮沉。1981版的11集迷你剧集当年风靡英伦，佳评如潮；2008年，英国BBC等几家公司合作，又将它重新搬上大银幕。
600多分钟的电视剧变为2小时的电影，剧情必然有大刀阔斧的修改，不过虽有思想准备在前，电影版的某些关键性改动还是令我相当无语。
电视剧版中查尔斯与塞巴斯蒂安的感情大概是全篇最美丽最吸引人的段落了。美就美在暧昧不清，似是而非，捉摸不透。电影版正好生逢耽美盛世，于是同性暧昧顺势发扬光大为彻头彻尾的BL。更不惜添加一幕同性之吻，将男男暧昧一语道明，落到实处。
不过最让我难以接受的还是对查尔斯与塞巴斯蒂安、朱莉娅的感情故事的颠覆性改动——原本前后两段式的渐进发展，变成了同步进行的查尔斯与兄妹二人的三角恋？！查尔斯与朱莉娅十年的沧桑演变，竟然成了初相逢时就眉来眼去的情苗深种。而三人在威尼斯的狂欢夜，塞巴斯蒂安目睹查尔斯与朱莉娅亲吻一幕，基本可用狗血淋漓来形容了……
当然电影版绝不是一无是处。故事中涉及了大量的天主教相关内容，我没有读过原著，所以电视剧看起来多少有些困惑。电影改动虽多，但还是保留了原片中非常重要的宗教主线，而且如同一本名著的缩写梗概本一样，你不能指望通过它就一窥全貌、理解深意，但它的确更为简洁明朗、通俗易懂；再加上有青春养眼的帅哥美女，有富丽堂皇的庄园风光，美仑美奂，更为顺应当今流行风尚。
电影版《故园风雨后》仿佛古迹重修，光鲜亮丽，可一睹风采，却无从怀旧。
这样的电影好处在于它也许可以团结大多数可以团结的群众，将曲高和寡的宗教、人性纠结，变为大多数观众喜闻乐见的爱情命运悲剧；它的坏处在于恐难免间离知己，那些原著、原剧的粉丝必然会心有不甘地出来挑鼻子挑眼，感叹好好一部时代悲剧就这样被庸俗化。
我倒是建议二者都没有看过的朋友，如果有兴趣，不妨先去看电影版，白纸一张，也许会得到更多简单的乐趣；如果有心深入体味，不妨再去看电视剧、读原著，恐怕会发现其中意境更有一番天地。
下面来对比一下两版中的主要人物及演员：
查尔斯·赖德Charles Ryder
1981版：杰瑞米·艾恩斯 Jeremy Irons
2008版：马修·古迪 Matthew Goode
查尔斯是本片的主角，这个故事的见证人、叙说者，也深深卷入了这个家族的命运。看电视剧时就觉得查尔斯这人很难完全看透，隐忍淡漠，鲜见波澜，虽然故事由他之口说出，却总觉得最多的潜台词恰恰藏于这个人物之中。
杰瑞米·艾恩斯扮演此角色时，已经年过三十，还是默默无闻的后起之秀，不过他也正是凭此片开始走红。这个角色就带有他经典的失落气质，他日后扮演的多数角色也都会流露出那种若隐若现的精神失落感，无论外表如何风光，在灵魂深处始终是一个痛苦而静默的落寞者。
查尔斯这个角色在我看来多少是有些凉薄无情，电影版里拜三角恋的设置所赐，更加让人觉得是个瞻前顾后，有渔利之嫌的角色。马修·古迪颇具杰瑞米·艾恩斯当年的优雅挺拔之感，只是气质过于温柔敦厚了些，缺了那么点韵味。
朱莉娅·弗莱特Julia Flyte
1981版：戴安娜·奎克Diana Quick
2008版：海莉·阿特维尔 Hayley Atwell
无论是哪一版，朱莉娅在我看来都是个不讨喜的角色。说她心比天高，命比纸薄也许夸张了些，但现实冷静的反抗的确同样命运不济，只不过她难以引发我对塞巴斯蒂安的那种同情。
两版演员初看颇有些相像，轮廓分明，气质干练，不过细看来，新版的海莉·阿特维尔样子更为甜美，气势却过于直露，欠缺戴安娜·奎克那股有点冷冰冰的高傲劲。
写到这正好想起片中查尔斯与朱莉娅的所谓激情戏。
原著里只一句：“仿佛占有她的纤细腰身的转让契约已经拟定并且盖了章。我作为一笔财产的完全保有者而正在把它记入我的第一笔账目中，这笔财产我要从容地享用和开发。”
电视剧里视觉展现了一番，被董桥评为：“电视连续剧把这段小说拍成抵死缠绵的镜头，香港电检处把它剪掉了。”
董先生如今要是看了电影里恣肆汪洋、激情四射的一幕，不知会作何感想呢？
马奇曼侯爵夫人Lady Marchmain
1981版：克莱尔·布鲁姆 Claire Bloom
2008版：艾玛·汤普森 Emma Thompson
对比两版的多款海报就会发现，电影版与电视剧版的最大差别不是二人行变成了三人行，而是艾玛·汤普森的身影无处不在。当然，她算得上是这部电影中最具知名度的演员，由此就担负起影片明星卖点的重任。
马奇曼侯爵夫人是故事里的重要一环，这个家族的每一个人的一生都生活在这位笃信天主教的女人的阴影中。旧版的克莱尔·布鲁姆风度高贵，乍看温和亲善，实则冷若冰霜，那种控制儿女的强势阴影逐渐显现。而艾玛·汤普森的戏份倒不算多，但气场则更为强大，甫一出场，咄咄逼人的气质弥漫在画面的每个角落，不过也许是顺应新版改编，她也比旧版人物流露出更多人情的味道。
马奇曼侯爵Lord Marchmain
1981版：劳伦斯·奥利弗 Laurence Olivier
2008版：迈克尔·刚本 Michael Gambon
电视剧的后半部分略显沉闷压抑，马奇曼侯爵的重归故里算是一个亮点，让后半部分多了不少看点和玩味之处。劳伦斯·奥利弗的精彩表现让他获得了当年艾美奖的最佳男配角。新版电影里的演员迈克尔·刚本也是老戏骨了，不过受篇幅所限，这个角色多少有些稍纵即逝的遗憾。
塞巴斯蒂安·弗莱特Sebastian Flyte
1981版：安东尼·安德鲁斯 Anthony Andrews
2008版：本·威士肖 Ben Whishaw
我要把自己最喜欢的人物塞巴斯蒂安放在最后来写。
“他是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了。”
原著里查尔斯这样形容塞巴斯蒂安的美。
虽然以今日的名声，安东尼·安德鲁斯也许比不上杰瑞米·艾恩斯，不过出演此片时他已经是名满英伦的当红小生。而且据说两人是自愿互换角色，不然我还真有点难以想象杰瑞米·艾恩斯演塞巴斯蒂安会是什么样子。
安东尼·安德鲁斯眉目顾盼生辉，步态摇曳多姿，当真演出了塞巴斯蒂安魔法师般的魅力。特别是他的肢体语言，晃悠的步伐，妖娆的腰身，透露出的那种骄傲、任性、可爱非笔墨所能形容，光看图片也很难体会，但我想所谓风情万种，大约就是这个样子吧。
更可贵的是，这是一种自然而然、理所应当的流露，断然不会让人反感，反而会让你不自觉的就被他的魅力所吸引。“无论他走到哪里，都可以获得人们的爱，这是永远伴随他的东西”。
直到这次看《故园风雨后》，我才真正知道安东尼·安德鲁斯的名字，但人早前就熟悉，因为多年前在电视里他的身影并不鲜见。看过他和简·西摩尔演的《爱情与王位》，他就是那位不爱江山爱美人的爱德华八世；早几年央视放的《大卫·科波菲尔》里，他扮演可恶的Murdstone。但我印象最深的是一部二战系列剧，他演的男主角是一位拆弹军官。这剧现在译作《拆弹组》，当年电视上放肯定不叫这名字，只是我完全想不起那时的名字了。
安德鲁斯这张面孔，反正于我是断不会用英俊、美丽之类的词来形容的。不过这张脸却混合了奇妙的魅力，既可以如《拆弹组》中那般的刚毅深邃，也可以如《故园风雨后》里这样的媚眼如丝。结果一路看下来，就会心悦诚服地认定他是位英伦美男，这实在是魅力、气质、演技等诸多因素的完美融合吧。
塞巴斯蒂安大约是两版里差别最大的角色。本·威士肖黑发深肤，与安东尼·安德鲁斯的金发雪肤，截然两样。电影明确将塞巴斯蒂安定位于gay，举手投足间不免有点娘，连带着泰迪熊也如同本·威士肖的身材一般瘦小起来，随之而来的就是那种活在童年时代的纯真感的流失。本·威士肖略显阴郁的形象也许更符合如今的审美吧，不过我依旧觉得安德鲁斯的塞巴斯蒂安才是不可复制的经典。
我觉得自己看《故园风雨后》，更多看的是那种气质，那种氛围，那种盛极而衰的繁华落尽，那种无力回天的物是人非，那种旧日英帝国高贵矜持的风骨与日后颓败寥落的慨叹。
所以，最后全部用来怀旧吧……
![]()
![]()
![]()
![]()
![]()
（本文完整图文版见：http://www.mtime.com/my/176879/blog/1676085/）
600多分钟的电视剧变为2小时的电影，剧情必然有大刀阔斧的修改，不过虽有思想准备在前，电影版的某些关键性改动还是令我相当无语。
电视剧版中查尔斯与塞巴斯蒂安的感情大概是全篇最美丽最吸引人的段落了。美就美在暧昧不清，似是而非，捉摸不透。电影版正好生逢耽美盛世，于是同性暧昧顺势发扬光大为彻头彻尾的BL。更不惜添加一幕同性之吻，将男男暧昧一语道明，落到实处。
不过最让我难以接受的还是对查尔斯与塞巴斯蒂安、朱莉娅的感情故事的颠覆性改动——原本前后两段式的渐进发展，变成了同步进行的查尔斯与兄妹二人的三角恋？！查尔斯与朱莉娅十年的沧桑演变，竟然成了初相逢时就眉来眼去的情苗深种。而三人在威尼斯的狂欢夜，塞巴斯蒂安目睹查尔斯与朱莉娅亲吻一幕，基本可用狗血淋漓来形容了……
当然电影版绝不是一无是处。故事中涉及了大量的天主教相关内容，我没有读过原著，所以电视剧看起来多少有些困惑。电影改动虽多，但还是保留了原片中非常重要的宗教主线，而且如同一本名著的缩写梗概本一样，你不能指望通过它就一窥全貌、理解深意，但它的确更为简洁明朗、通俗易懂；再加上有青春养眼的帅哥美女，有富丽堂皇的庄园风光，美仑美奂，更为顺应当今流行风尚。
电影版《故园风雨后》仿佛古迹重修，光鲜亮丽，可一睹风采，却无从怀旧。
这样的电影好处在于它也许可以团结大多数可以团结的群众，将曲高和寡的宗教、人性纠结，变为大多数观众喜闻乐见的爱情命运悲剧；它的坏处在于恐难免间离知己，那些原著、原剧的粉丝必然会心有不甘地出来挑鼻子挑眼，感叹好好一部时代悲剧就这样被庸俗化。
我倒是建议二者都没有看过的朋友，如果有兴趣，不妨先去看电影版，白纸一张，也许会得到更多简单的乐趣；如果有心深入体味，不妨再去看电视剧、读原著，恐怕会发现其中意境更有一番天地。
下面来对比一下两版中的主要人物及演员：
查尔斯·赖德Charles Ryder
1981版：杰瑞米·艾恩斯 Jeremy Irons
2008版：马修·古迪 Matthew Goode
查尔斯是本片的主角，这个故事的见证人、叙说者，也深深卷入了这个家族的命运。看电视剧时就觉得查尔斯这人很难完全看透，隐忍淡漠，鲜见波澜，虽然故事由他之口说出，却总觉得最多的潜台词恰恰藏于这个人物之中。
杰瑞米·艾恩斯扮演此角色时，已经年过三十，还是默默无闻的后起之秀，不过他也正是凭此片开始走红。这个角色就带有他经典的失落气质，他日后扮演的多数角色也都会流露出那种若隐若现的精神失落感，无论外表如何风光，在灵魂深处始终是一个痛苦而静默的落寞者。
查尔斯这个角色在我看来多少是有些凉薄无情，电影版里拜三角恋的设置所赐，更加让人觉得是个瞻前顾后，有渔利之嫌的角色。马修·古迪颇具杰瑞米·艾恩斯当年的优雅挺拔之感，只是气质过于温柔敦厚了些，缺了那么点韵味。
朱莉娅·弗莱特Julia Flyte
1981版：戴安娜·奎克Diana Quick
2008版：海莉·阿特维尔 Hayley Atwell
无论是哪一版，朱莉娅在我看来都是个不讨喜的角色。说她心比天高，命比纸薄也许夸张了些，但现实冷静的反抗的确同样命运不济，只不过她难以引发我对塞巴斯蒂安的那种同情。
两版演员初看颇有些相像，轮廓分明，气质干练，不过细看来，新版的海莉·阿特维尔样子更为甜美，气势却过于直露，欠缺戴安娜·奎克那股有点冷冰冰的高傲劲。
写到这正好想起片中查尔斯与朱莉娅的所谓激情戏。
原著里只一句：“仿佛占有她的纤细腰身的转让契约已经拟定并且盖了章。我作为一笔财产的完全保有者而正在把它记入我的第一笔账目中，这笔财产我要从容地享用和开发。”
电视剧里视觉展现了一番，被董桥评为：“电视连续剧把这段小说拍成抵死缠绵的镜头，香港电检处把它剪掉了。”
董先生如今要是看了电影里恣肆汪洋、激情四射的一幕，不知会作何感想呢？
马奇曼侯爵夫人Lady Marchmain
1981版：克莱尔·布鲁姆 Claire Bloom
2008版：艾玛·汤普森 Emma Thompson
对比两版的多款海报就会发现，电影版与电视剧版的最大差别不是二人行变成了三人行，而是艾玛·汤普森的身影无处不在。当然，她算得上是这部电影中最具知名度的演员，由此就担负起影片明星卖点的重任。
马奇曼侯爵夫人是故事里的重要一环，这个家族的每一个人的一生都生活在这位笃信天主教的女人的阴影中。旧版的克莱尔·布鲁姆风度高贵，乍看温和亲善，实则冷若冰霜，那种控制儿女的强势阴影逐渐显现。而艾玛·汤普森的戏份倒不算多，但气场则更为强大，甫一出场，咄咄逼人的气质弥漫在画面的每个角落，不过也许是顺应新版改编，她也比旧版人物流露出更多人情的味道。
马奇曼侯爵Lord Marchmain
1981版：劳伦斯·奥利弗 Laurence Olivier
2008版：迈克尔·刚本 Michael Gambon
电视剧的后半部分略显沉闷压抑，马奇曼侯爵的重归故里算是一个亮点，让后半部分多了不少看点和玩味之处。劳伦斯·奥利弗的精彩表现让他获得了当年艾美奖的最佳男配角。新版电影里的演员迈克尔·刚本也是老戏骨了，不过受篇幅所限，这个角色多少有些稍纵即逝的遗憾。
塞巴斯蒂安·弗莱特Sebastian Flyte
1981版：安东尼·安德鲁斯 Anthony Andrews
2008版：本·威士肖 Ben Whishaw
我要把自己最喜欢的人物塞巴斯蒂安放在最后来写。
“他是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了。”
原著里查尔斯这样形容塞巴斯蒂安的美。
虽然以今日的名声，安东尼·安德鲁斯也许比不上杰瑞米·艾恩斯，不过出演此片时他已经是名满英伦的当红小生。而且据说两人是自愿互换角色，不然我还真有点难以想象杰瑞米·艾恩斯演塞巴斯蒂安会是什么样子。
安东尼·安德鲁斯眉目顾盼生辉，步态摇曳多姿，当真演出了塞巴斯蒂安魔法师般的魅力。特别是他的肢体语言，晃悠的步伐，妖娆的腰身，透露出的那种骄傲、任性、可爱非笔墨所能形容，光看图片也很难体会，但我想所谓风情万种，大约就是这个样子吧。
更可贵的是，这是一种自然而然、理所应当的流露，断然不会让人反感，反而会让你不自觉的就被他的魅力所吸引。“无论他走到哪里，都可以获得人们的爱，这是永远伴随他的东西”。
直到这次看《故园风雨后》，我才真正知道安东尼·安德鲁斯的名字，但人早前就熟悉，因为多年前在电视里他的身影并不鲜见。看过他和简·西摩尔演的《爱情与王位》，他就是那位不爱江山爱美人的爱德华八世；早几年央视放的《大卫·科波菲尔》里，他扮演可恶的Murdstone。但我印象最深的是一部二战系列剧，他演的男主角是一位拆弹军官。这剧现在译作《拆弹组》，当年电视上放肯定不叫这名字，只是我完全想不起那时的名字了。
安德鲁斯这张面孔，反正于我是断不会用英俊、美丽之类的词来形容的。不过这张脸却混合了奇妙的魅力，既可以如《拆弹组》中那般的刚毅深邃，也可以如《故园风雨后》里这样的媚眼如丝。结果一路看下来，就会心悦诚服地认定他是位英伦美男，这实在是魅力、气质、演技等诸多因素的完美融合吧。
塞巴斯蒂安大约是两版里差别最大的角色。本·威士肖黑发深肤，与安东尼·安德鲁斯的金发雪肤，截然两样。电影明确将塞巴斯蒂安定位于gay，举手投足间不免有点娘，连带着泰迪熊也如同本·威士肖的身材一般瘦小起来，随之而来的就是那种活在童年时代的纯真感的流失。本·威士肖略显阴郁的形象也许更符合如今的审美吧，不过我依旧觉得安德鲁斯的塞巴斯蒂安才是不可复制的经典。
我觉得自己看《故园风雨后》，更多看的是那种气质，那种氛围，那种盛极而衰的繁华落尽，那种无力回天的物是人非，那种旧日英帝国高贵矜持的风骨与日后颓败寥落的慨叹。
所以，最后全部用来怀旧吧……
（本文完整图文版见：http://www.mtime.com/my/176879/blog/1676085/）
6 ) 旧地重游
周末无聊，开了很久以前载了半集的《旧地重游》来看，于是不看不知道，一看吓一跳，边看边囧倒……
虽说81版电视剧珠玉在前，但因我对这个电影版只有兴趣，没有期待，倒也不会对它的诞生抱着太苛刻的态度。从最初纷传的Paul Bettany和Jude Law搭档起，对JL不感冒，到最终敲定由Ben Whishaw和Matthew Goode出演后丧失兴奋，继续对BW不感冒，我发现我一直在挑剔的都是Sebastian的扮演者，似乎在我看来Sebastian的难度要比Charles来得高？其实也不是，不过个人认为，JL太浮艳，BW太阴森，都缺乏小说中对Sebastian的定义，“是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了。”这大抵是一种仍然停留在孩童时期的纯真的、无性别的感觉，特别脆弱和易逝。Sebastian的怪异、他的玩具熊、他对保姆的依恋，对Charles的爱，都体现了他性格中的那种无可奈何的人为停滞和倔强的固守。反而我觉得，Charles要比他好演绎，或者说PB和MG单纯就外表来说，过得去了。
半集的电影版总的给我的感觉，就是过犹不及。假如原著中曾经隐晦地涉及到Platonic homosexual relationship这样一种关系，那么电视剧版也只是同样隐晦地给予了观众暗示，没有任何一处特别显露出Charles对Sebastian，或反过来，抱有某种超越精神之外的特殊情感。他们在牛津校园的学生时代，常春藤和流水之上的泛舟，郊野外的烟笼碧树与草莓醇酒；在Brideshead城堡，开遍的繁花，夜晚的海神喷泉、青苔披沥的古老柱廊，礼拜堂；在威尼斯，高耸的钟楼和教堂，冈朵拉，寻常院落。尽管景色自异，或多或少，我们这样过了一定年纪的人，也曾享受过青春的甜蜜回忆。有人相伴，不至茕茕。对于Sebastian，Charles的陪伴几乎具有救赎的意义，而最后，他的堕落，也与没能从Charles这里得到解救有关。母亲的家庭与母亲的宗教像一座巨大的囚牢困锁住他，他只能从中逃离，不计代价。他生来所有的一切，如谶言般都为他的家庭吞噬。即使是Charles。酗酒、放逐、要求在修道院当一名杂役，颠沛流离的生活与疾病。Julia是在这当中穿插进来的，若干年后的重逢，暴风雨夜的激情，马奇梅因侯爵临终前的皈依天主教，她最终仍舍弃Charles而去；Cordilia则在战乱中清醒地看到这一切。Flyte家三个爱过Charles的孩子，结局各自的不幸。Sebastian可能有三种选择，如此而已。不管Charles爱Julia出于什么缘由，但至少曾有一刻，他认为他曾在Julia脸上寻找过Sebastian的影子。怀念，或是伤逝？
如果说小说与电视剧都仅仅是隐晦的暗示，那么电影版就彻底让人没有希望地目睹了Charles、Sebastian和Julia之间的三角恋。于是一出宗教造就的家庭悲剧与命运悲剧沦为刻意泡制的八点档情感剧。许多关键细节被删改。比如Sebastian初见Charles之时在他公寓里醉酒呕吐，校工伦特的骂骂咧咧在这里改成了狗腿式的敦促Charles去赴约，比如Charles对Sebastian的不怀好感被改成一开始就充满期待，比如初访Brideshead时明显表露出了保姆霍金斯对Sebastian的担忧，以及Sebastian对此的拒绝，Brideshead的相伴也从和谐无间变得充满暧昧气息，再比如最大的删改，威尼斯之行加入了Julia这个莫名其妙的“第三者”。用意仅仅是让Charles与Julia在狂欢节之夜幽会，然后让Sebastian撞见这一出，负气而去？Charles对Julia的爱，也因为在这种子虚乌有的凑合场景里提前到来而显得不知所谓。从头看下来，不免令观众错愕，剧情跳跃性之大与生拼硬凑之嫌。
半集电影版在时间段上大约等于电视剧头两集Et in Arcadia Ego与Home And Abroad的内容。伊夫林的小说改编成电视剧是最好的选择，能够做到巨细靡遗，而电影由于篇幅与时间的关系，在这方面会比较困难。但终究，还是一个匠心独运的问题。显然Brideshead Revisited的主题不在于讨论柏拉图式关系，也不在于描写一段错综复杂的三角恋。它的主题是“崩溃”与“挽歌”。清醒地意识到旧有的消逝，与无可奈何的挽留情绪。挽歌至少是三重意义上的，大英帝国日薄西山的荣耀，已成明日黄花的贵族生活，风流云散的青春盛景。Et in Arcadia Ego，“我也曾有过田园牧歌的生活”，小说第一卷与电视剧第一集的标题，已经揭示出了至少一半的theme，这种情绪贯穿始终。与此相伴的，西方知识分子在嬗变时代下的心理状态，更加非电影所能呈现（大约因为个人原因，宗教那块始终未能体会）。
2009.08.17 旧评
-------------
因为仅看了半部就没看下去了，可能有失偏颇，因此本文不具备任何参考性，慎之。
虽说81版电视剧珠玉在前，但因我对这个电影版只有兴趣，没有期待，倒也不会对它的诞生抱着太苛刻的态度。从最初纷传的Paul Bettany和Jude Law搭档起，对JL不感冒，到最终敲定由Ben Whishaw和Matthew Goode出演后丧失兴奋，继续对BW不感冒，我发现我一直在挑剔的都是Sebastian的扮演者，似乎在我看来Sebastian的难度要比Charles来得高？其实也不是，不过个人认为，JL太浮艳，BW太阴森，都缺乏小说中对Sebastian的定义，“是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了。”这大抵是一种仍然停留在孩童时期的纯真的、无性别的感觉，特别脆弱和易逝。Sebastian的怪异、他的玩具熊、他对保姆的依恋，对Charles的爱，都体现了他性格中的那种无可奈何的人为停滞和倔强的固守。反而我觉得，Charles要比他好演绎，或者说PB和MG单纯就外表来说，过得去了。
半集的电影版总的给我的感觉，就是过犹不及。假如原著中曾经隐晦地涉及到Platonic homosexual relationship这样一种关系，那么电视剧版也只是同样隐晦地给予了观众暗示，没有任何一处特别显露出Charles对Sebastian，或反过来，抱有某种超越精神之外的特殊情感。他们在牛津校园的学生时代，常春藤和流水之上的泛舟，郊野外的烟笼碧树与草莓醇酒；在Brideshead城堡，开遍的繁花，夜晚的海神喷泉、青苔披沥的古老柱廊，礼拜堂；在威尼斯，高耸的钟楼和教堂，冈朵拉，寻常院落。尽管景色自异，或多或少，我们这样过了一定年纪的人，也曾享受过青春的甜蜜回忆。有人相伴，不至茕茕。对于Sebastian，Charles的陪伴几乎具有救赎的意义，而最后，他的堕落，也与没能从Charles这里得到解救有关。母亲的家庭与母亲的宗教像一座巨大的囚牢困锁住他，他只能从中逃离，不计代价。他生来所有的一切，如谶言般都为他的家庭吞噬。即使是Charles。酗酒、放逐、要求在修道院当一名杂役，颠沛流离的生活与疾病。Julia是在这当中穿插进来的，若干年后的重逢，暴风雨夜的激情，马奇梅因侯爵临终前的皈依天主教，她最终仍舍弃Charles而去；Cordilia则在战乱中清醒地看到这一切。Flyte家三个爱过Charles的孩子，结局各自的不幸。Sebastian可能有三种选择，如此而已。不管Charles爱Julia出于什么缘由，但至少曾有一刻，他认为他曾在Julia脸上寻找过Sebastian的影子。怀念，或是伤逝？
如果说小说与电视剧都仅仅是隐晦的暗示，那么电影版就彻底让人没有希望地目睹了Charles、Sebastian和Julia之间的三角恋。于是一出宗教造就的家庭悲剧与命运悲剧沦为刻意泡制的八点档情感剧。许多关键细节被删改。比如Sebastian初见Charles之时在他公寓里醉酒呕吐，校工伦特的骂骂咧咧在这里改成了狗腿式的敦促Charles去赴约，比如Charles对Sebastian的不怀好感被改成一开始就充满期待，比如初访Brideshead时明显表露出了保姆霍金斯对Sebastian的担忧，以及Sebastian对此的拒绝，Brideshead的相伴也从和谐无间变得充满暧昧气息，再比如最大的删改，威尼斯之行加入了Julia这个莫名其妙的“第三者”。用意仅仅是让Charles与Julia在狂欢节之夜幽会，然后让Sebastian撞见这一出，负气而去？Charles对Julia的爱，也因为在这种子虚乌有的凑合场景里提前到来而显得不知所谓。从头看下来，不免令观众错愕，剧情跳跃性之大与生拼硬凑之嫌。
半集电影版在时间段上大约等于电视剧头两集Et in Arcadia Ego与Home And Abroad的内容。伊夫林的小说改编成电视剧是最好的选择，能够做到巨细靡遗，而电影由于篇幅与时间的关系，在这方面会比较困难。但终究，还是一个匠心独运的问题。显然Brideshead Revisited的主题不在于讨论柏拉图式关系，也不在于描写一段错综复杂的三角恋。它的主题是“崩溃”与“挽歌”。清醒地意识到旧有的消逝，与无可奈何的挽留情绪。挽歌至少是三重意义上的，大英帝国日薄西山的荣耀，已成明日黄花的贵族生活，风流云散的青春盛景。Et in Arcadia Ego，“我也曾有过田园牧歌的生活”，小说第一卷与电视剧第一集的标题，已经揭示出了至少一半的theme，这种情绪贯穿始终。与此相伴的，西方知识分子在嬗变时代下的心理状态，更加非电影所能呈现（大约因为个人原因，宗教那块始终未能体会）。
2009.08.17 旧评
-------------
因为仅看了半部就没看下去了，可能有失偏颇，因此本文不具备任何参考性，慎之。
7 ) 三看《故园风雨后》预告片，我怕“各有千秋”是用不上了
心不在焉地扫了一遍：
一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。
认真看了第二遍：
认出来是Emma Thompton。相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。
Sebastian和情妇阿姨不过关。
Sebastian小雷。眼神、风骨都不见，只见柔弱。
情妇阿姨天雷。她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？
然后看了第三遍。
抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：
轴心人物关系和矛盾纠结点。
1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。
2008版：Charles v.s. Lady Marchmain。
她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。
在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。
Charles Ryder所谓何求。
What is Charles Ryder really want?
预告片以Julia问Charles的这句话做结。
小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。
爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。
不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。走很容易，随大流，谁不会；想走好，难于上青天。
原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。所以问1981版的Sebastian是否酷儿是一个伪问题。他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。
Brideshead庄园是他和Charles戏耍的大迷宫。但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？
面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。
重访故园，“to have seen what I have seen，see what I see”。这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。
一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。
认真看了第二遍：
认出来是Emma Thompton。相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。
Sebastian和情妇阿姨不过关。
Sebastian小雷。眼神、风骨都不见，只见柔弱。
情妇阿姨天雷。她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？
然后看了第三遍。
抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：
轴心人物关系和矛盾纠结点。
1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。
2008版：Charles v.s. Lady Marchmain。
她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。
在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。
Charles Ryder所谓何求。
What is Charles Ryder really want?
预告片以Julia问Charles的这句话做结。
小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。
爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。
不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。走很容易，随大流，谁不会；想走好，难于上青天。
原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。所以问1981版的Sebastian是否酷儿是一个伪问题。他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。
Brideshead庄园是他和Charles戏耍的大迷宫。但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？
面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。
重访故园，“to have seen what I have seen，see what I see”。这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。
8 ) 关于contra mundum——影版的错放和剧版的深情
一星给配乐画面，一星给小本的颜。
其实电影版里的一个细节是我无论如何不能忍的——就是那句重要的、在原著中反复出现、甚至在标题中都出现了两次的“Sebastian contra mundum ”在电影里被错放了位置，甚至被大大亵渎了。
在David Cliffe 给BR原著写的注解里，对这句拉丁语是这么解释的，“ With Sebastian, against the world’ (Latin); an expression of profound loyalty ”，而这种“profound loyalty ”在之前许多波折之后简直让我忍不住眼泪。
BR唯一的中译版里，这句话被译成“不合世俗的塞巴斯蒂安”，我看过的另一种翻译是“塞巴斯蒂安挑战世界”，但不论哪一种，都漏掉了那个“with”，更淡去了那种让人痛心的“profound loyalty "。而这句话其实是Charles 夹在Sebastian 和他家庭之间以来，几经Lady Marchmain拉拢，深思熟虑之后的一句对Seb绝对忠诚的承诺——“和你一起，对抗世界”。
在Charles对Seb讲的那许多隐秘晦涩而无声的情话里，这句无疑是分量极重又掷地有声的，而不论是在原著里，或是在TV剧中，Charles从未违背过这句承诺，甚至在我看来，他后来同Julia在一起，也是对这个承诺的一种扭曲的维系。TV剧里Charles说出这句承诺后，轻蔑地将Lady Marchmain赠给他的小册子往桌上一扔，而一旁的Seb则露出了一种“不愧是我看上的人”的近乎得意与骄傲的表情，然后他就要酒喝，Charles也不拦。而电影却把这句如此重要的表白放在了Charles和Seb第一次造访白庄归来的途中，甚至让Seb自己说出这句话，前面还接着一句“you have me”，而Charles之后跟着重复了一遍“contra mundum”，用的是一种戏谑调笑的语气，加之后来他对Seb的辜负，简直让这句忠心耿耿的情话完全变成了凉薄的笑话。如果不是为了迎合大众口味拍什么三角恋搞噱头，那只能说影片的制作方完全误读了原著最根深蒂固的情深与无奈。
ps：我非常喜欢小本，但喜欢不代表无脑吹，也许在这一版被改得面目全非的电影里，小本演一个受尽辜负的少爷是合适的，但却并非是一个盛极而衰的少爷，而是一个落魄已久、无法骄傲、只剩敏感易碎的少爷——像那个小了一号的Aloysius、仅仅一抔的草莓和区区一束用来道歉的水仙。
忍不住去想如果AA的Seb出现在电影里，那他大概带着自己那种无顾绘画与教堂，而寻找花香与蝴蝶的半梦半醒的眼神，早在他们第一次午餐会时——当时Charles在长桌另一头大谈绘画较之相片更有情——Seb早就把他囫囵和教堂之流归为一类，弃之不顾了，哪还有给他辜负自己的机会。
总之说对我而言，小本“演过”Seb，而AA“就是”Seb。
对我口味的闷闷的英伦片，虽然MG在电影里乏善可陈，不过对于我这花痴货来说看了这张帅脸足足两个小时已经足够了，Ben的表演绝对值得一看并加颗星，亲吻之后娇羞的抿嘴唇的动作萌到爆表，娇弱，纤细，敏感。
这不是一部同性恋电影。说完了。
落日余晖中旖旎的英国贵族生活画卷，美丽又哀愁的OLD COLOR，维多利来时代由查尔斯和塞巴斯蒂安谱写的“美丽曲线”。真真是“原来姹紫嫣红开遍，似这般，都付与断井颓垣。”
布莱兹赫德庄园是一个美丽却又让人感到窒息的地方。有的人使劲力气想要挣脱出来，有的人却慢慢的失去了挣脱的勇气；有人闯入进来，却最终一无所得。只有庄园依旧那般清冷肃穆。本·威士肖演绎出来的Sebastian柔弱、病态、阴郁，放纵中流露出一丝纯洁与孩子气……这些都深深打动我。
冗長而堅硬的故事。總是有血淋淋的事實。喜歡這電影。
BenWhishaw销魂死
小Ben太让人心疼了……Matthew那个古典范儿加英音一如既往杀必死！
最喜欢二十岁不到的你们坐在阶前喝酒 说这瓶是脖颈的珍珠链 那杯是最后一只独角兽 还有你手里的剔透晶莹 是夏日的绿底白花看不够 要得太多大概说得含蓄 不过谁说这不是爱情
这个故事告诉我的，是不要痴望等着谁来救你，也不要以为自己可以救谁。
哀而不伤，细腻隽永
世界第一直男靠艺术气质搞定贵族小gay最后只为自己功成名就的故事。（大家有没有觉得很眼熟啊……）
再一次证明，爱上双性恋男纸的永远木偶好结果，各种原因下他选择滴永远是S滴妹妹or表姐or等等一系列，而S只能毫无办法的站在他身后看着他们接吻，在阴暗冰冷的窗下，一个人独醉，C穿着笔挺军装重游故地，心里挂念的是谁，不是S太执着，而是C要的太多，S给不起
从来没有一部电影能让我如此憎恨男女之情
喜欢Sebastian，觉得他和所有人都不同，这个故事里所有的人都是世俗模式下的人，他们要的都是世俗模式下的情感，追求，成功等等。唯有他是任性的按照自己的内心而活的。
不是太理解，总觉得隔着一层什么东西
不管它探讨宗教还是人生，但是最能让我感到心有戚戚的是萨巴斯蒂安的感受，那个夏天再也回不来了……
Charlez步出教堂的那個鏡頭，也是在很有意思的。他猶豫熄滅教堂的蠟燭但最終沒有熄滅，也許是他對Sebastian和Julia的感情！（慶幸的是，他第一個想起的是遠在土耳其的Sebastian，接著才是門縫中瞥見的Juliet）
英国名著电影有三宝：庄园、虐恋、帅基佬。
究竟是要得太少，还是太多，是太自私，还是太无私？被取走的，正是你无法给予的。（“如果能一直这样多好，永远是夏天。”本·卫肖满足了我所有关于忧郁而享乐的贵族少年的想象。）
非常讨厌电影版，哪怕里面有再多喜欢的演员都一样。电视剧用了11集才把这本小说的精气神完整地展现出来，每个角色都很复杂，而电影版似乎只抓住了其中最商业的部分，并且把原作刻意模糊化的同性情愫给推到了最前面。本猫和马修的无脑粉太多可能也是我反感这一版的原因。