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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……且行且珍惜星际迷航：发现号 第二季甜蜜声优章鱼的猎物诡影迷情翡翠狐狸不汗党2017天涯海角小萌妻卡罗尔2015布朗神父 第三季周末合家欢月球坠落粉与灰第六感（原声版）医学大联盟撩妹大师歌手第一季未来少年柯南国语大战红河边空气人偶歌厅1972我们都是超能者凶榜成为你死神的长发撒旦万岁沉睡的巨人老爸当家2歌舞青春音乐剧：假日特别集寻女苦旅恋恋北极星新闻记者江湖情未了侏罗纪游戏怪侠一枝梅大侠黄飞鸿荒野厨神塞上风云记神鬼任务国之语音明天会更好龙牌之谜
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……且行且珍惜星际迷航：发现号 第二季甜蜜声优章鱼的猎物诡影迷情翡翠狐狸不汗党2017天涯海角小萌妻卡罗尔2015布朗神父 第三季周末合家欢月球坠落粉与灰第六感（原声版）医学大联盟撩妹大师歌手第一季未来少年柯南国语大战红河边空气人偶歌厅1972我们都是超能者凶榜成为你死神的长发撒旦万岁沉睡的巨人老爸当家2歌舞青春音乐剧：假日特别集寻女苦旅恋恋北极星新闻记者江湖情未了侏罗纪游戏怪侠一枝梅大侠黄飞鸿荒野厨神塞上风云记神鬼任务国之语音明天会更好龙牌之谜
长篇影评
1 ) 塞巴斯蒂安（我给的爱，要不回来)
首先，
本篇文字不是 谈论原著小说，和81版TV
只是详尽分析08版的电影本身，单独谈谈 电影的观感。
塞巴斯蒂安（简称S），
沉迷于酒精，是对自己痛苦无法排除的逃避。
一步步变成一个酗酒者，一个堕落酒鬼。
他的痛苦是什么？是压在他头脑里的3座大山。
是他无法摆脱的母亲给他的宗教灌输。
母亲派人处处监视自己的“没有自由的缺失痛苦”。
欧美的任何一种宗教对待同性恋都是极其严酷的。
在教条里，同性恋就是罪恶的，下地狱的。
但是母亲又要强迫他信仰宗教，皈依宗教，
但是宗教又和自己的人性本身的需求是相矛盾的。
这种两难的境地让S活在深深地痛苦中。
在电影里，S被明确的刻画成一个同性恋。
3座大山：
1，身为gay的自我认同，这一关，每个gay都要过，
有些人很轻松，有些人可能心理上苦苦针扎，
甚至因为自己是同性恋去自杀，这是心理层面。
有些人就是无法接受自己是gay的事实。
S肯定有心理问题，才会慢性自杀（醉酒）。
无法接受，就要逃避，就要找一些事物去释放痛苦，
酒精是最好的安慰。
2，前面说的宗教带给他的罪恶感，虽然S表上好像很藐视宗教，
家里的礼拜也不参加，这只是伪装出来的不在意。
其实S是很心虚的，因为他是在一个如此强势的母亲和家族里长大，
从小就得到宗教灌输，所以知道Charles是无神论者，他就很喜欢。
他说要二人一起对抗全世界。
3，母子关系的不调和，让S感到挫败，
（关于母子有很糟糕的关系，我说过很多文章），
鉴于S的身份，矛盾更多，
母亲排卧底监视S不准在大学结交一些不三不四的朋友，
S肯定不高兴，自己的一举一动都被监视。
那个叫布兰奇的同性恋诗人就是。
后面出现了第4座大山，爱情不顺。Charles的停滞。
Charles（简称C）
C究竟是一个直人，还是一个双性恋？还是性取向模糊？
影片最后，C说，我曾经爱过，但失去了不止一次，
之后去礼拜堂的蜡烛前，画面出现了S和Julia的回忆画面，
我想，他是爱过S和Julia，那么他就是一个双性恋。
但我认为他在电影里对待S的方式和态度明显很直人，
一个场景，S去模C的脸准备吻C，C喊了一声（NO),
把S推开，S的酒杯打碎了，S朝C大喊（你根本不在意我，
你脑子里想的都是和我妹妹Julia上床）
这是一次感情的大爆发，
其实，S有明显的gay气质，脆弱，易受伤害。敏感，
但是又要故意装出一副很坚强的样子，倔强的。
S是一个很被动的人，特别是在自己受到伤害后变得更加被动，
他不会对C主动投怀送抱，
是害怕被C拒绝，也或许是S自己的矜持，让他犹豫不前。
其实内心很渴望C主动来爱他，可是C明显更多的是一个异性恋。
女人对于他有更大的吸引力。
能够明显感觉到S对C非常的依赖和依恋，
虽然表面上，S总是装出一副好朋友的，无所谓的样子。
在威尼斯，S看到（C和Julia接吻），内心是很受伤的。
自己的亲妹妹抢走了最心爱的男人。
C也觉得很愧疚，辜负了S，想要解释，
S用手捂住C的嘴，不要他说什么，因为再说什么也没有用了，
因为S亲眼看到，C对Julia是那么的主动，主动地拥吻，
可是，C从来没有对自己这样主动过，
S确实受到了打击，本期望C可以和自己一起对抗全世界，
现在一切都不可能了，
所以回到学校，S再也没有去找C，这是S的性格，
更让人痛苦的是，C也没有去找过S，主动去肩负一个男人的责任。
或许对于C，同性恋体验只是一个过度阶段，他只是暂时的同性恋，
在大学里做做同性恋可以，但是一旦大学毕业，走向社会，
C又要开始做一个异性恋了。
但S是一个天然的gay,一辈子的。
C不可能给S一个永恒的依靠。S也不想为难C。
所以，S继续，变本加厉的酗酒，走向悲剧。
但是，这里，C没有同情心吗？就算你不爱S，
你可不可以装出一点，
劝S不要酗酒，给他一些安慰，给他一些善意的谎言。
S真的没有救了吗？
但是，电影里C的爱心一点都没有表现，
表现的只是C对Julia的欲望。
而最后，Julia也出于宗教的回归，放弃了C。
——————————————————————————
08版本的电影是不是在讲述一个gay爱上了一个绝情的直男？
电影的前半段确实很美的，特别是2人独处的画面，很美。
可惜S的缺失，让电影后面沦落俗套。
所以，S说，好像永远是夏天，永远这样2人世界独处。
S是一只忧伤的天鹅，一只怪诞的独角兽，
S是孤独的，寂寞的，缺爱的，
本以为可以和C一起对抗他的3座大山，
没想到第4座大山（爱情大山）把 塞巴斯蒂安 完全葬送了。
S给C的爱，要不回来。
或许，S就没有想过把付出的爱要回来过。
本篇文字不是 谈论原著小说，和81版TV
只是详尽分析08版的电影本身，单独谈谈 电影的观感。
塞巴斯蒂安（简称S），
沉迷于酒精，是对自己痛苦无法排除的逃避。
一步步变成一个酗酒者，一个堕落酒鬼。
他的痛苦是什么？是压在他头脑里的3座大山。
是他无法摆脱的母亲给他的宗教灌输。
母亲派人处处监视自己的“没有自由的缺失痛苦”。
欧美的任何一种宗教对待同性恋都是极其严酷的。
在教条里，同性恋就是罪恶的，下地狱的。
但是母亲又要强迫他信仰宗教，皈依宗教，
但是宗教又和自己的人性本身的需求是相矛盾的。
这种两难的境地让S活在深深地痛苦中。
在电影里，S被明确的刻画成一个同性恋。
3座大山：
1，身为gay的自我认同，这一关，每个gay都要过，
有些人很轻松，有些人可能心理上苦苦针扎，
甚至因为自己是同性恋去自杀，这是心理层面。
有些人就是无法接受自己是gay的事实。
S肯定有心理问题，才会慢性自杀（醉酒）。
无法接受，就要逃避，就要找一些事物去释放痛苦，
酒精是最好的安慰。
2，前面说的宗教带给他的罪恶感，虽然S表上好像很藐视宗教，
家里的礼拜也不参加，这只是伪装出来的不在意。
其实S是很心虚的，因为他是在一个如此强势的母亲和家族里长大，
从小就得到宗教灌输，所以知道Charles是无神论者，他就很喜欢。
他说要二人一起对抗全世界。
3，母子关系的不调和，让S感到挫败，
（关于母子有很糟糕的关系，我说过很多文章），
鉴于S的身份，矛盾更多，
母亲排卧底监视S不准在大学结交一些不三不四的朋友，
S肯定不高兴，自己的一举一动都被监视。
那个叫布兰奇的同性恋诗人就是。
后面出现了第4座大山，爱情不顺。Charles的停滞。
Charles（简称C）
C究竟是一个直人，还是一个双性恋？还是性取向模糊？
影片最后，C说，我曾经爱过，但失去了不止一次，
之后去礼拜堂的蜡烛前，画面出现了S和Julia的回忆画面，
我想，他是爱过S和Julia，那么他就是一个双性恋。
但我认为他在电影里对待S的方式和态度明显很直人，
一个场景，S去模C的脸准备吻C，C喊了一声（NO),
把S推开，S的酒杯打碎了，S朝C大喊（你根本不在意我，
你脑子里想的都是和我妹妹Julia上床）
这是一次感情的大爆发，
其实，S有明显的gay气质，脆弱，易受伤害。敏感，
但是又要故意装出一副很坚强的样子，倔强的。
S是一个很被动的人，特别是在自己受到伤害后变得更加被动，
他不会对C主动投怀送抱，
是害怕被C拒绝，也或许是S自己的矜持，让他犹豫不前。
其实内心很渴望C主动来爱他，可是C明显更多的是一个异性恋。
女人对于他有更大的吸引力。
能够明显感觉到S对C非常的依赖和依恋，
虽然表面上，S总是装出一副好朋友的，无所谓的样子。
在威尼斯，S看到（C和Julia接吻），内心是很受伤的。
自己的亲妹妹抢走了最心爱的男人。
C也觉得很愧疚，辜负了S，想要解释，
S用手捂住C的嘴，不要他说什么，因为再说什么也没有用了，
因为S亲眼看到，C对Julia是那么的主动，主动地拥吻，
可是，C从来没有对自己这样主动过，
S确实受到了打击，本期望C可以和自己一起对抗全世界，
现在一切都不可能了，
所以回到学校，S再也没有去找C，这是S的性格，
更让人痛苦的是，C也没有去找过S，主动去肩负一个男人的责任。
或许对于C，同性恋体验只是一个过度阶段，他只是暂时的同性恋，
在大学里做做同性恋可以，但是一旦大学毕业，走向社会，
C又要开始做一个异性恋了。
但S是一个天然的gay,一辈子的。
C不可能给S一个永恒的依靠。S也不想为难C。
所以，S继续，变本加厉的酗酒，走向悲剧。
但是，这里，C没有同情心吗？就算你不爱S，
你可不可以装出一点，
劝S不要酗酒，给他一些安慰，给他一些善意的谎言。
S真的没有救了吗？
但是，电影里C的爱心一点都没有表现，
表现的只是C对Julia的欲望。
而最后，Julia也出于宗教的回归，放弃了C。
——————————————————————————
08版本的电影是不是在讲述一个gay爱上了一个绝情的直男？
电影的前半段确实很美的，特别是2人独处的画面，很美。
可惜S的缺失，让电影后面沦落俗套。
所以，S说，好像永远是夏天，永远这样2人世界独处。
S是一只忧伤的天鹅，一只怪诞的独角兽，
S是孤独的，寂寞的，缺爱的，
本以为可以和C一起对抗他的3座大山，
没想到第4座大山（爱情大山）把 塞巴斯蒂安 完全葬送了。
S给C的爱，要不回来。
或许，S就没有想过把付出的爱要回来过。
2 ) 看过原著小说的人表示不能忍
高中时看过杰瑞米爱恩斯的电视剧版。看风格就觉得是小说改编的，就去图书馆英美文学的架子上一本本的翻，翻到了，伊夫林·沃的原著《旧地重游》，搞了一本。又到处去找电视剧的录影带，没找到。
时隔多年，最近才发现世界上有了一种叫做电驴的好东西，于是去下，顺便下到了新拍不久的电影版。
多么糟糕的电影版啊，不但改变了叙事的顺序（这非常重要，这一改变不但使得茱莉亚比塞巴斯蒂安先出场，而且使故事成为了“插叙中的倒叙”的古怪结构），更重要的是，这个神经病编剧，居然篡改了非常重要的情节。
比如自作聪明的给塞巴斯蒂安和查尔斯弄了一场吻戏，比如茱莉亚神奇的出现在威尼斯之旅中，更要命的是编剧还天才的加了一场塞巴斯蒂安看到查尔斯吻茱莉亚的戏，然后紧接着的就是塞巴斯蒂安酗酒的场景。这不是逼着观众误以为塞巴斯蒂安是因为查尔斯的“移情别恋”才开始酗酒的吗？编剧到底把原著中的宗教主线置于何处？居然把“查尔斯赖德上尉的渎神回忆”（原著的副标题）变成低劣可笑的“画家与贵族兄妹的三角恋情”……太怒了！
原著中后半部可以理解为查尔斯一直在其他人身上补完塞的形象，寻找与其有关的消息、他的家族、尤其是他的信仰……同时自己也慢慢历经人生的风雨从一个不可知论者变成一个天主教徒。当然也可以有别的更透彻的理解。虽然因为时代、环境、地位、宗教信仰等原因，我永远都无法真正理解这本书中表现的感情，但我还是不能接受电影版这种，因为自己不能理解那种宗教情怀，不能理解塞巴斯蒂安拥有一切（包括查尔斯的爱）却无法控制的自毁情结，就自以为是的改变原著情节，把自毁的原因变成傻子也会说理解的爱情受挫……
电影版已经不是《旧地重游》了。
当然，它也不是一无是处，电影版里演塞巴斯蒂安的演员（小本）非常漂亮，就像原著说的“他是迷人的，带着女性美，高唱着情歌，遇到第一阵寒风就凋谢了。”
时隔多年，最近才发现世界上有了一种叫做电驴的好东西，于是去下，顺便下到了新拍不久的电影版。
多么糟糕的电影版啊，不但改变了叙事的顺序（这非常重要，这一改变不但使得茱莉亚比塞巴斯蒂安先出场，而且使故事成为了“插叙中的倒叙”的古怪结构），更重要的是，这个神经病编剧，居然篡改了非常重要的情节。
比如自作聪明的给塞巴斯蒂安和查尔斯弄了一场吻戏，比如茱莉亚神奇的出现在威尼斯之旅中，更要命的是编剧还天才的加了一场塞巴斯蒂安看到查尔斯吻茱莉亚的戏，然后紧接着的就是塞巴斯蒂安酗酒的场景。这不是逼着观众误以为塞巴斯蒂安是因为查尔斯的“移情别恋”才开始酗酒的吗？编剧到底把原著中的宗教主线置于何处？居然把“查尔斯赖德上尉的渎神回忆”（原著的副标题）变成低劣可笑的“画家与贵族兄妹的三角恋情”……太怒了！
原著中后半部可以理解为查尔斯一直在其他人身上补完塞的形象，寻找与其有关的消息、他的家族、尤其是他的信仰……同时自己也慢慢历经人生的风雨从一个不可知论者变成一个天主教徒。当然也可以有别的更透彻的理解。虽然因为时代、环境、地位、宗教信仰等原因，我永远都无法真正理解这本书中表现的感情，但我还是不能接受电影版这种，因为自己不能理解那种宗教情怀，不能理解塞巴斯蒂安拥有一切（包括查尔斯的爱）却无法控制的自毁情结，就自以为是的改变原著情节，把自毁的原因变成傻子也会说理解的爱情受挫……
电影版已经不是《旧地重游》了。
当然，它也不是一无是处，电影版里演塞巴斯蒂安的演员（小本）非常漂亮，就像原著说的“他是迷人的，带着女性美，高唱着情歌，遇到第一阵寒风就凋谢了。”
3 ) 谁都不能被他人拯救
我喜欢这部电影。
讲到底这部电影是关于拯救与被拯救的问题。尽管对原著致命的改编让整部电影常常被人诟病为将深刻的主题浅化为bisexual love story。查尔斯想把塞巴斯蒂安从酗酒与糜烂的生活中拯救出来，但最终他还是将喝酒的钱给了塞巴斯蒂安；他想把茱莉亚从失败的婚姻和宗教的禁锢中拯救出来，但最终他还是失败告终；他甚至想在侯爵弥留之际为他争取不受洗礼的权利，但最终侯爵还是用颤巍巍的手划了十字。查尔斯就是活得太过明白，他有笃定的人生宗旨，想要将所有人都纳入自己认可的生活轨迹中去。他明明是布赖兹赫德庄园的客人，在入驻的一刹那开始就把自己作为救世主自居，在无神论的他看来，家庭里的每一个人都是受着宗教的束缚，都等待着他来拯救。
在电影里查尔斯和侯爵夫人闹翻的酒会上，侯爵夫人用一种痛苦的、难以言说的费解神态望着查尔斯，她念叨着你是那么好的孩子，为什么这样对我的塞巴斯蒂安呢。而查尔斯也用无可理解的眼神回视着他，似乎不明白这个母亲为什么还不知道是自己将塞巴斯蒂安推入自我毁灭的深渊。然而其实他们两个又是互相理解的，在原著里说，“就这样，我和茱莉亚和马奇梅因夫人都僵持住了，这倒不是因为我们之间互不理解，而是因为我们理解得太充分了。”
查尔斯太喜欢他们家了，喜欢塞巴斯蒂安，喜欢茱莉亚，喜欢幺妹克迪莉娅，（就像塞巴斯蒂安之前担心的一样，“我不愿意你和我的家人在一起。我们家里的人漂亮得叫人神魂颠倒，在我的一生中，我家的人把我的东西都拿走了。一旦他们的迷人力量抓住了你，他们就会把你变成他们的朋友，不再是我的朋友了，我不允许他们这样做。”一语成谶。）他想将他们纳入自己的生活范畴里去。然而拉扯的力量是侯爵夫人。他们互相了解，侯爵夫人清楚这个年轻的无神论者分明是想将她的几个儿女从宗教中抽离解放出来，她对他一直怀着敌意，只不过从未显露出来。电影中，查尔斯和侯爵夫人的博弈一直在潜伏着剑拔弩张。查尔斯在门缝里看到侯爵夫人与塞巴斯蒂安的对话，塞一直颤抖着流泪，最后低下头去，似乎是被一种羞愧和悔恨击中了的表情。查尔斯诧异地看着这样的画面，应该是被母子之间掌控与被掌控、欲逃脱又不能的关系震惊到。还有一次，查尔斯又是在门外看见侯爵夫人在帮茱莉亚整理华服，侯爵夫人先望向他，随即茱莉亚也望向他，他在前者灼灼的盯视下收回了目光。
查尔斯应该一直以为自己是可以战胜侯爵夫人的，直到她过世后，他亲眼目睹那个一生放荡不羁、拒绝与夫人同居一室的侯爵，在死前最后一刻还是做出了妥协。那个时候电影来到了高潮，他也第一次真正意识到，他永远无可战胜这一家人，他想拯救的是幻觉，是虚空，没有人愿意被他拯救。此时电影里给了他一个特写，难以置信的表情，随即是席卷而来的痛心，失望，最终不得不放弃。
他与茱莉亚站在圣母像前，他说，我要你的心碎掉，然而他又立即接上一句，“但我能理解。” 他花费那么多年，终于能够“理解”。他站着，场景迅速变换到二战期间，庄园被军队驻扎占领，圣母像被盖上，他变得苍老，穿着军装，再一次在同一个地方反省。“我到底要什么？” 这是茱莉亚曾经大声质问他的问题，“到底什么是查尔斯莱德要的？” 他犹豫地想着，“是不是我要的太多？” 他恍恍惚惚地往门外走着，看着曾经和塞巴斯蒂安嬉戏过的阳光水池变成废墟一片。他似乎已经确定了心中的答案。他确实要的太多，有人说电影将他改编成一心向上爬的凤凰男了，其实电影里没有说他对荣华富贵是多么渴望，对于布赖兹赫德庄园的迷恋，也最多只反映在他无数次用画笔画下它的景色。对于物质的描写实则极少，在他作为画家成名后，他依旧是对自己的事业打理毫无头绪，都倚靠他的妻子。所以说他要的太多，如果是要钱财地位，未免有失公允。他要的是更加虚幻的渺远的对人的掌控罢了。他一开始对塞巴斯蒂安是羡慕，羡慕他放荡不羁的生活和人生哲学，但是当他被带入庄园后，他发现的是华美袍子下的虱子，他便开始想要改造这一家人，拯救这一家人了，作为这一群漂亮的人的主人翁，刷存在感。这才是他想要的太多的部分。
要的太多，这也是塞巴斯蒂安在电影里最后一次出现时的台词。他在摩洛哥，骨瘦如柴，剃光了头发，穿着如苦行僧一般。查尔斯来见他，对他说，我想你。他看破红尘地勉强牵动嘴角，“It's nice of you to say that”，但是，他早就明白了，看穿了这只不过是他想带他回去，再次与其他人干涉他人生的美妙说辞而已，他直戳重点，“可能是我对你要的太多了吧。” 其实要的不多，他只要他的爱，然而没有，那就无须再费心费神地假装关心想念我了罢。
-----------------------------------------正经影评到此结束，接下来全部夸小本，节操全无------------------------------------------------
Ben Whishaw，我男神，我心中偶像，我梦中情人，我的所有旧爱与新欢，我的全部初恋与末恋，我精神上的未婚夫（某外国专栏作家云），我肉体上的导师【滚。
有中国女粉丝在伦敦剧场外见到小本，送他一份画着他演出过所有角色的卡通漫画，问他最喜欢哪个，他毫不犹豫地点了塞巴斯蒂安。
即使这部电影不能算作杰出的作品（因为对原著糟糕的改编），但是塞巴斯蒂安应该能算得上他演艺生涯里值得停顿的一个好角色（可能是因为这是电影对原著改动最少的，还原度最高的角色），有时候我甚至会把他本人和塞巴斯蒂安联系在一起。脆弱的，敏感的，美丽的，杰作。
塞巴斯蒂安是一个怎么样的人呢，在电影开头，他的出场让查尔斯看直了眼，穿着蓝色的西服，戴着礼帽，一手搂着阿洛伊修斯，一手举着酒杯，仰着头，从河上缓缓滑过。张扬的，又沉浸在自己的世界里，窄小的脸，刀削的下颚。查尔斯被吸引住了，站在桥上，忍不住微笑地凝视着他。换作谁都会觉得这是一场一见钟情的邂逅吧，为什么导演把查尔斯又逻辑不通地给改成了异性恋呢？！烧死异性恋啊混蛋！
在小说里，塞巴斯蒂安的初次登场是一个侧写，查尔斯在理发室偶遇他和他的大玩具熊。理发师评价道，“塞巴斯蒂安弗莱特少爷，一位非常有趣的青年绅士。”而查尔斯的回应则是冷冷的“显然是的。” 理发师又道，“你猜塞巴斯蒂安来干什么？来给他的玩具熊要一把发刷，鬃毛要很硬的，不是用来梳熊毛，而是在他生气时用发刷打熊的屁股以吓唬它。”
此时脑海中瞬间出现了本猫猫一手提起泰迪熊的腿，一手用鬃毛发刷抽打它的屁股的样子。嘤，这是萌的极致，萌的巅峰，萌的无可超越。
查尔斯和塞巴斯蒂安的第二次见面，是塞巴斯蒂安直接吐在了查尔斯的窗台上。尽管是这样放肆的不可思议的行为，小说里的查尔斯还是觉得“塞巴斯蒂安在无路可走的时候选择了一扇开着的窗户，这样做带有一种疯狂和可爱的有条不紊的风度”。这是什么样的情怀，这是忠犬攻的情怀，这是痴汉的情怀。为什么导演你最后又把查尔斯给弄成了一个忘恩负义的渣攻呢？昂？昂？人性呢？！尊重原著的精髓在哪里呢？
有人会诟病小本的塞巴斯蒂安太过女性化（甚至娘娘腔），不如1981年版的电视剧里AA演的童真，像个真正的孩子气小少爷。这可真的是太冤，原著里明确的给塞巴斯蒂安一句定性般的描述，“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”，女性美直接被点了出来，在小说里他最后一次登场于摩洛哥的时候，那个德国人很明显就是他的男友（尽管查尔斯在塞的哥哥面前矢口否认了），他的同性恋倾向呼之欲出，只差没点明。加之他是一直处于被母亲掌控的小儿子，脆弱又敏感，一种柔美的气质，我觉得小本展现得恰到好处。这段对他的外貌描写，出现在查尔斯第一次赴宴的时候，他进了房间，塞巴斯蒂安在剥鸟蛋，他没有起身欢迎他，也没有向他打招呼问好之类的，而是在剥鸟蛋，对他讲的第一句话也令人摸不着头脑极了，根本就不应该是初次见面或赔礼道歉场合应该讲的开场白，他说，“我刚刚数了一下，每人五个蛋，还多两个，因此我正在吃多出的两个。今天我饿极了。昨晚我拼命喝着两种名牌酒，酩酊大醉，醉得使我觉得昨晚的一切仿佛是个梦。请别弄醒我。”
就像是自言自语，没头没脑的一句话。然而最后一句却又像是贯穿整部小说的呓语，“请别弄醒我”。查尔斯这个渣渣最后还是弄醒了他，弄醒了一个养尊处优、敏感纤细的贵公子绮丽美妙的酣梦。
塞巴斯蒂安给查尔斯的第一封信多么有趣啊，“我很后悔。阿洛伊修斯要看见我被你饶恕了才会理我。因此，今天我请你吃午饭。” 还是没头没脑的，他默认了对方知道阿洛伊修斯是他的泰迪熊，默认了对方知道他的地址，他是何方神圣。他就是活在自己世界里的小孩子，被全家人保护得太完好，又觉得束缚禁锢极了，和安东尼这类放浪形骸的公子们混迹在一起。然而小说里写，当他认识查尔斯之后，他就再也不怎么理其他的朋友了。看到这个描述的时候，我心里难受起来，塞巴斯蒂安一定以为自己是找到了真正对的人，才会放弃了其他那些泛泛之交，然而其实对他来说，查尔斯并不是对的人。
查尔斯在赴宴前听到心里有一种声音让他不要去，显然是作者埋下的伏笔，因为在未来的日子里查尔斯会发现，就因为一次赴宴，他终身都被塞巴斯蒂安身后的庄园牵引控制。其实塞巴斯蒂安何尝不会后悔这一次见面。他们两个都有点一见彼此误终身的意思。
电影里唯一一处改编是特别好的是查尔斯去摩洛哥见塞巴斯蒂安，后者已经疾病缠身，落魄如此，然而还是不忘缓缓转过头，对他此生最爱的人说一句忠告，“Run,run far away。” 那时候，人生无法摆脱的诡谲飘渺的宿命感油然而生，每个人明明都是自由的，但是却又受到无形的羁绊，就像小说里那个关于风筝的隐喻。
小本真是瘦，瘦出了风格，瘦出了气质。每次他坐在浴缸里，下棋也好，抽烟也好，什么也不做就是红着眼圈颓唐地摇摇晃晃地从里面站起来也好，就是好看，就是优雅，就是萌。看见他和查尔斯在黄昏的草坪上，查尔斯坐着画画，他就这么斜斜地靠在他身边，一个漂亮的侧影，那个时候才真的叫“岁月静好”。在夕阳台阶下，他吻了查尔斯一下，随即收回，眼睛紧紧地盯着前方，不敢侧视旁边的人，举着酒杯的手有点僵，他低头，抿嘴，微笑，整个动作就像一帧优美的舞蹈动作。那时候多么美好，一想到查尔斯之后就渣化，就想冲进电影里给他一千六百八十多个大嘴巴。
在威尼斯，他穿着喧嚣豪华的锦服，最后落寞归去，在查尔斯还试图解释的时候，他湮没在黑暗中的脸转过来，侧脸隐隐约约的，失望与悲怆淅淅沥沥地从他眼神里流淌出来。他用一根手指轻轻地盖住了查尔斯的嘴唇，然后用一种我至今无法用语言形容的欲说还休的眼神最后充满爱意与恨意地看了查尔斯一眼，黯然离开。一个简单的场景，被小本演出了百转愁肠出来，那一场戏里他眼睛里分明有雾，这还不算厉害——人们能辨别出是一种悲伤的雾气，那才叫厉害。
总之我真的爱死小本了。尽管这不是他演技最爆发的电影，但是通过这部片子爱上他也太容易了吧。尤其是看幕后花絮和接受访问，他自带猫耳的发型，他迷迷糊糊的回答，他一脸没睡醒的傲娇表情，他热得用手扇了扇风的动作——啊，此时我的节操已经溺死在他的一举一动一颦一笑间，请不要打捞了！
讲到底这部电影是关于拯救与被拯救的问题。尽管对原著致命的改编让整部电影常常被人诟病为将深刻的主题浅化为bisexual love story。查尔斯想把塞巴斯蒂安从酗酒与糜烂的生活中拯救出来，但最终他还是将喝酒的钱给了塞巴斯蒂安；他想把茱莉亚从失败的婚姻和宗教的禁锢中拯救出来，但最终他还是失败告终；他甚至想在侯爵弥留之际为他争取不受洗礼的权利，但最终侯爵还是用颤巍巍的手划了十字。查尔斯就是活得太过明白，他有笃定的人生宗旨，想要将所有人都纳入自己认可的生活轨迹中去。他明明是布赖兹赫德庄园的客人，在入驻的一刹那开始就把自己作为救世主自居，在无神论的他看来，家庭里的每一个人都是受着宗教的束缚，都等待着他来拯救。
在电影里查尔斯和侯爵夫人闹翻的酒会上，侯爵夫人用一种痛苦的、难以言说的费解神态望着查尔斯，她念叨着你是那么好的孩子，为什么这样对我的塞巴斯蒂安呢。而查尔斯也用无可理解的眼神回视着他，似乎不明白这个母亲为什么还不知道是自己将塞巴斯蒂安推入自我毁灭的深渊。然而其实他们两个又是互相理解的，在原著里说，“就这样，我和茱莉亚和马奇梅因夫人都僵持住了，这倒不是因为我们之间互不理解，而是因为我们理解得太充分了。”
查尔斯太喜欢他们家了，喜欢塞巴斯蒂安，喜欢茱莉亚，喜欢幺妹克迪莉娅，（就像塞巴斯蒂安之前担心的一样，“我不愿意你和我的家人在一起。我们家里的人漂亮得叫人神魂颠倒，在我的一生中，我家的人把我的东西都拿走了。一旦他们的迷人力量抓住了你，他们就会把你变成他们的朋友，不再是我的朋友了，我不允许他们这样做。”一语成谶。）他想将他们纳入自己的生活范畴里去。然而拉扯的力量是侯爵夫人。他们互相了解，侯爵夫人清楚这个年轻的无神论者分明是想将她的几个儿女从宗教中抽离解放出来，她对他一直怀着敌意，只不过从未显露出来。电影中，查尔斯和侯爵夫人的博弈一直在潜伏着剑拔弩张。查尔斯在门缝里看到侯爵夫人与塞巴斯蒂安的对话，塞一直颤抖着流泪，最后低下头去，似乎是被一种羞愧和悔恨击中了的表情。查尔斯诧异地看着这样的画面，应该是被母子之间掌控与被掌控、欲逃脱又不能的关系震惊到。还有一次，查尔斯又是在门外看见侯爵夫人在帮茱莉亚整理华服，侯爵夫人先望向他，随即茱莉亚也望向他，他在前者灼灼的盯视下收回了目光。
查尔斯应该一直以为自己是可以战胜侯爵夫人的，直到她过世后，他亲眼目睹那个一生放荡不羁、拒绝与夫人同居一室的侯爵，在死前最后一刻还是做出了妥协。那个时候电影来到了高潮，他也第一次真正意识到，他永远无可战胜这一家人，他想拯救的是幻觉，是虚空，没有人愿意被他拯救。此时电影里给了他一个特写，难以置信的表情，随即是席卷而来的痛心，失望，最终不得不放弃。
他与茱莉亚站在圣母像前，他说，我要你的心碎掉，然而他又立即接上一句，“但我能理解。” 他花费那么多年，终于能够“理解”。他站着，场景迅速变换到二战期间，庄园被军队驻扎占领，圣母像被盖上，他变得苍老，穿着军装，再一次在同一个地方反省。“我到底要什么？” 这是茱莉亚曾经大声质问他的问题，“到底什么是查尔斯莱德要的？” 他犹豫地想着，“是不是我要的太多？” 他恍恍惚惚地往门外走着，看着曾经和塞巴斯蒂安嬉戏过的阳光水池变成废墟一片。他似乎已经确定了心中的答案。他确实要的太多，有人说电影将他改编成一心向上爬的凤凰男了，其实电影里没有说他对荣华富贵是多么渴望，对于布赖兹赫德庄园的迷恋，也最多只反映在他无数次用画笔画下它的景色。对于物质的描写实则极少，在他作为画家成名后，他依旧是对自己的事业打理毫无头绪，都倚靠他的妻子。所以说他要的太多，如果是要钱财地位，未免有失公允。他要的是更加虚幻的渺远的对人的掌控罢了。他一开始对塞巴斯蒂安是羡慕，羡慕他放荡不羁的生活和人生哲学，但是当他被带入庄园后，他发现的是华美袍子下的虱子，他便开始想要改造这一家人，拯救这一家人了，作为这一群漂亮的人的主人翁，刷存在感。这才是他想要的太多的部分。
要的太多，这也是塞巴斯蒂安在电影里最后一次出现时的台词。他在摩洛哥，骨瘦如柴，剃光了头发，穿着如苦行僧一般。查尔斯来见他，对他说，我想你。他看破红尘地勉强牵动嘴角，“It's nice of you to say that”，但是，他早就明白了，看穿了这只不过是他想带他回去，再次与其他人干涉他人生的美妙说辞而已，他直戳重点，“可能是我对你要的太多了吧。” 其实要的不多，他只要他的爱，然而没有，那就无须再费心费神地假装关心想念我了罢。
-----------------------------------------正经影评到此结束，接下来全部夸小本，节操全无------------------------------------------------
Ben Whishaw，我男神，我心中偶像，我梦中情人，我的所有旧爱与新欢，我的全部初恋与末恋，我精神上的未婚夫（某外国专栏作家云），我肉体上的导师【滚。
有中国女粉丝在伦敦剧场外见到小本，送他一份画着他演出过所有角色的卡通漫画，问他最喜欢哪个，他毫不犹豫地点了塞巴斯蒂安。
即使这部电影不能算作杰出的作品（因为对原著糟糕的改编），但是塞巴斯蒂安应该能算得上他演艺生涯里值得停顿的一个好角色（可能是因为这是电影对原著改动最少的，还原度最高的角色），有时候我甚至会把他本人和塞巴斯蒂安联系在一起。脆弱的，敏感的，美丽的，杰作。
塞巴斯蒂安是一个怎么样的人呢，在电影开头，他的出场让查尔斯看直了眼，穿着蓝色的西服，戴着礼帽，一手搂着阿洛伊修斯，一手举着酒杯，仰着头，从河上缓缓滑过。张扬的，又沉浸在自己的世界里，窄小的脸，刀削的下颚。查尔斯被吸引住了，站在桥上，忍不住微笑地凝视着他。换作谁都会觉得这是一场一见钟情的邂逅吧，为什么导演把查尔斯又逻辑不通地给改成了异性恋呢？！烧死异性恋啊混蛋！
在小说里，塞巴斯蒂安的初次登场是一个侧写，查尔斯在理发室偶遇他和他的大玩具熊。理发师评价道，“塞巴斯蒂安弗莱特少爷，一位非常有趣的青年绅士。”而查尔斯的回应则是冷冷的“显然是的。” 理发师又道，“你猜塞巴斯蒂安来干什么？来给他的玩具熊要一把发刷，鬃毛要很硬的，不是用来梳熊毛，而是在他生气时用发刷打熊的屁股以吓唬它。”
此时脑海中瞬间出现了本猫猫一手提起泰迪熊的腿，一手用鬃毛发刷抽打它的屁股的样子。嘤，这是萌的极致，萌的巅峰，萌的无可超越。
查尔斯和塞巴斯蒂安的第二次见面，是塞巴斯蒂安直接吐在了查尔斯的窗台上。尽管是这样放肆的不可思议的行为，小说里的查尔斯还是觉得“塞巴斯蒂安在无路可走的时候选择了一扇开着的窗户，这样做带有一种疯狂和可爱的有条不紊的风度”。这是什么样的情怀，这是忠犬攻的情怀，这是痴汉的情怀。为什么导演你最后又把查尔斯给弄成了一个忘恩负义的渣攻呢？昂？昂？人性呢？！尊重原著的精髓在哪里呢？
有人会诟病小本的塞巴斯蒂安太过女性化（甚至娘娘腔），不如1981年版的电视剧里AA演的童真，像个真正的孩子气小少爷。这可真的是太冤，原著里明确的给塞巴斯蒂安一句定性般的描述，“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”，女性美直接被点了出来，在小说里他最后一次登场于摩洛哥的时候，那个德国人很明显就是他的男友（尽管查尔斯在塞的哥哥面前矢口否认了），他的同性恋倾向呼之欲出，只差没点明。加之他是一直处于被母亲掌控的小儿子，脆弱又敏感，一种柔美的气质，我觉得小本展现得恰到好处。这段对他的外貌描写，出现在查尔斯第一次赴宴的时候，他进了房间，塞巴斯蒂安在剥鸟蛋，他没有起身欢迎他，也没有向他打招呼问好之类的，而是在剥鸟蛋，对他讲的第一句话也令人摸不着头脑极了，根本就不应该是初次见面或赔礼道歉场合应该讲的开场白，他说，“我刚刚数了一下，每人五个蛋，还多两个，因此我正在吃多出的两个。今天我饿极了。昨晚我拼命喝着两种名牌酒，酩酊大醉，醉得使我觉得昨晚的一切仿佛是个梦。请别弄醒我。”
就像是自言自语，没头没脑的一句话。然而最后一句却又像是贯穿整部小说的呓语，“请别弄醒我”。查尔斯这个渣渣最后还是弄醒了他，弄醒了一个养尊处优、敏感纤细的贵公子绮丽美妙的酣梦。
塞巴斯蒂安给查尔斯的第一封信多么有趣啊，“我很后悔。阿洛伊修斯要看见我被你饶恕了才会理我。因此，今天我请你吃午饭。” 还是没头没脑的，他默认了对方知道阿洛伊修斯是他的泰迪熊，默认了对方知道他的地址，他是何方神圣。他就是活在自己世界里的小孩子，被全家人保护得太完好，又觉得束缚禁锢极了，和安东尼这类放浪形骸的公子们混迹在一起。然而小说里写，当他认识查尔斯之后，他就再也不怎么理其他的朋友了。看到这个描述的时候，我心里难受起来，塞巴斯蒂安一定以为自己是找到了真正对的人，才会放弃了其他那些泛泛之交，然而其实对他来说，查尔斯并不是对的人。
查尔斯在赴宴前听到心里有一种声音让他不要去，显然是作者埋下的伏笔，因为在未来的日子里查尔斯会发现，就因为一次赴宴，他终身都被塞巴斯蒂安身后的庄园牵引控制。其实塞巴斯蒂安何尝不会后悔这一次见面。他们两个都有点一见彼此误终身的意思。
电影里唯一一处改编是特别好的是查尔斯去摩洛哥见塞巴斯蒂安，后者已经疾病缠身，落魄如此，然而还是不忘缓缓转过头，对他此生最爱的人说一句忠告，“Run,run far away。” 那时候，人生无法摆脱的诡谲飘渺的宿命感油然而生，每个人明明都是自由的，但是却又受到无形的羁绊，就像小说里那个关于风筝的隐喻。
小本真是瘦，瘦出了风格，瘦出了气质。每次他坐在浴缸里，下棋也好，抽烟也好，什么也不做就是红着眼圈颓唐地摇摇晃晃地从里面站起来也好，就是好看，就是优雅，就是萌。看见他和查尔斯在黄昏的草坪上，查尔斯坐着画画，他就这么斜斜地靠在他身边，一个漂亮的侧影，那个时候才真的叫“岁月静好”。在夕阳台阶下，他吻了查尔斯一下，随即收回，眼睛紧紧地盯着前方，不敢侧视旁边的人，举着酒杯的手有点僵，他低头，抿嘴，微笑，整个动作就像一帧优美的舞蹈动作。那时候多么美好，一想到查尔斯之后就渣化，就想冲进电影里给他一千六百八十多个大嘴巴。
在威尼斯，他穿着喧嚣豪华的锦服，最后落寞归去，在查尔斯还试图解释的时候，他湮没在黑暗中的脸转过来，侧脸隐隐约约的，失望与悲怆淅淅沥沥地从他眼神里流淌出来。他用一根手指轻轻地盖住了查尔斯的嘴唇，然后用一种我至今无法用语言形容的欲说还休的眼神最后充满爱意与恨意地看了查尔斯一眼，黯然离开。一个简单的场景，被小本演出了百转愁肠出来，那一场戏里他眼睛里分明有雾，这还不算厉害——人们能辨别出是一种悲伤的雾气，那才叫厉害。
总之我真的爱死小本了。尽管这不是他演技最爆发的电影，但是通过这部片子爱上他也太容易了吧。尤其是看幕后花絮和接受访问，他自带猫耳的发型，他迷迷糊糊的回答，他一脸没睡醒的傲娇表情，他热得用手扇了扇风的动作——啊，此时我的节操已经溺死在他的一举一动一颦一笑间，请不要打捞了！
4 ) 绝境之外
Julian Jarrold的古典风格，我是极为喜欢的。我这里引用的“古典风格”并非特指一个时间上的古典，而是影像的细腻。如此细腻使得影像和小说达成某种节奏上的一致，就像铺了水的大理石台上自由滑动的玻璃茶杯，顺然得由此及彼，毫无障碍。影像里人物的动作、表情都不多不少，恰到好处。比如Charles第一次受邀去见Sebastian，Sebastian坐在那里剥鹌鹑蛋，直到Charles进来，Sebastian把自己剥好的鹌鹑蛋给他，仿佛是事先就预备好的食物。其实，我很难说清楚，到底这里所谓的“古典风格”究竟是什么？或许正像克尔凯郭尔在《恐惧与战栗》的序言中说的，“我们时代的人们都不在信念之处止步，而是径直前行”。而古典影像，恰恰在“径直前行”之处多多少少的有所止步、有所悬疑。古典影像，似乎就是在这里、这些个悬疑之处，开始了对人物内心情感的不尽探索。Julian Jarrold导演的这部“Brideshead Revisited”，为人诟病的反倒不是对原著小说的肆意改编，从电影本身来说，而是Julian Jarrold似乎从影片一开始就设置了某种不完整性。什么意思呢？问题就出在Charles身上。一方面我们觉得导演对Charles这个角色的塑造不够深入，正如有些人提到的，Charles始终没有在电影中展开自己的内心挣扎，包括在他以军官的身份重访布赖兹赫德庄园之时，导演也只是轻描淡写般掠过。另一方面，败笔之处，又恰恰是Julian Jarrold自己有意在这么做。比如影片一开始，Charles的独白里有说到，“我再也无法辨别这些情感，到底是我自己的，还是从那些我曾经无限的渴望中窃取的”。经历了那么多之后，对于Charles来说，竟然只剩下了唯一的，也是他认为属于自己的、纯粹的，内疚（guilt）（不安、悔恨）。也许这是导演有意设置的一个位置呢，让Charles像夏日午后的一阵暖风，吹进布赖兹赫德庄园里面的晦暗角落，待其觉察自己要离开之时，已然阴冷，这是他始料未及的。（不得不说，Julian Jarrold电影的符号性非常强，并不是我有意牵强，比如Charles和Julia第一次碰面，是车辆彼此掠过之时的短暂一瞥，而在影片末尾，同样又是车辆彼此掠过之后的短暂一瞥，只不过，这一次，把原先还执意着要逃离布赖兹赫德庄园的Julia，彻底的留在了布赖兹赫德庄园。）
假如Charles果真就是一阵夏日午后的暖风，那么我们又能对一阵暖风追问什么呢？但是偏偏的，Julian Jarrold把电影里的人物推到了这么一个位置，推到一个绝境之中。那么这究竟是如何的一个绝境呢？Charles和Sebastian之间的英伦式友谊，对于两个人各自的分量是不一样的，到后来Charles去摩洛哥找到Sebastian时候，Sebastian说，我要的太多了。这孩子实在聪明的很，也许他早就觉察了Charles并不会最终陪伴他，但是没想到的是，这个事实来的那么直接那么突然。威尼斯之夜，彻底改变了这部戏的重心。Charles和Julia之间的感情以一种突袭般的冲动，豁然荡开，这个决口只听得风声，不见洪水。而经由威尼斯之夜，Sebastian则被离弃到一个无人照看之地，剩下的似乎也只有决绝的离弃。假如说，Sebastian的位置是离弃的位置，对于布赖兹赫德庄园的离弃（以自我离弃的方式离弃母亲）；Julia的位置还在浮动，在一个属于布赖兹赫德庄园的围墙的位置；那么，Charles的位置又是在哪里呢？Charles和Sebastian之间那若有若无的同志之恋，始终没有明晰，如此不明晰，导致了最终的，Charles对Sebastian的拒绝（在Julia的生日/订婚宴会上）。
起初我还以为Charles在周旋。就像Sebastian父亲的情妇叮嘱他的，必须小心处理他和Sebastian之间的友谊，因为Sebastian很难回头了，但是Charles呢？他的后知后觉，或者是他的隐秘欲望，使他始终面临一个绝境之中的疑问：你难道不在是利用Sebastian的感情吗？利用Sebastian以接近Julia？而你接近Julia又何尝不是在企图布赖兹赫德庄园（如影片中Rex所说的）？也就是说，在影片中，因为Charles的“无知”，使得我们很难判断Charles的真诚，很难明确他的一个交付给爱的真诚位置。我想，在Charles和Rex“交易”之时，躺在门首的Julia大约是深深体会了这样绝境的。以至在后来，Julia不禁反问Charles，难道我就值你的两幅画吗？我为什么要相信你？这难道仅仅是一个女人的矫情之语吗？恐怕不是。
对于Julia这个人物的塑造上，导演Julian Jarrold似乎再一次使用了他在2007年拍摄《成为简·奥斯丁》时用在奥斯丁身上的手法，就是在逃离和返家之间的折回。当然了，这是一个很大的问题，就像Julia的母亲和Charles之间的谈话，一个无神论者活着到底有什么意义。起码从Charles和Julia身上，我们也可以看出，他们彼此所面临的绝境是不一样的。当Julia在将死的父亲床边祈祷之时，她在祈求主的宽恕，影片很直接的暴露了她的心语，她一边祈祷一边抽泣着说：“求你，主，求你。如果你在，请宽恕他。”接着话锋一转，她祈祷说：“宽恕我，哦主啊，宽恕我，让他划个十字吧。”对于Julia来说，布赖兹赫德庄园突然之间不是需要逃离的，而是需要去直面的罪、去直面的宽恕。老父亲在将死之时，领受自己的罪孽，在牧师的颂祷中，得到宽恕。这不是单单他一人的宽恕，也是对Julia本人的宽恕。（在刚到威尼斯那天，Julia曾和父亲拌嘴，说她父亲才是不要家庭不要家人的人，而不是她母亲；其实暗地里表示了Julia对父亲的怨恨，如此怨恨对于天主教而言，是一种罪孽。）在天主对父亲以及对自己的双重宽恕之仪式中，Julia告别了她的父亲，也告别了她自己。连带着她的绝境也一起告别。Julia的绝境，从抱怨、怨恨（这些都促使她决定要逃离布赖兹赫德庄园）之中解脱出来，重新交付出来的，不是别的，正是信仰。
再接着说Charles的绝境。当他和Julia站在那幅巨大的圣母像前，镜头仿佛给了Charles前面一段悬崖、一段深的空。他不知道能从这空的里面获取什么，他只是知道他已经失去了Julia，不是因为阴谋、不是因为经济、也不是因为爱情，而是信仰。当Julia对他说，我不能拒绝主的宽恕，问Charles能不能理解？Charles说：“我不想让你好过，我希望你的心，伤透。”接着他又说：“但是我真的能理解。我不得不放你走。”于是，Julia就真的走了。还在Julia为父亲祈祷之时，Charles就已经觉察了这一点，他表情战栗，却又无可奈何。因为信仰要拿走的，正是他无法给出的。假如说之前的时候，在Sebastian和Julia之间，Charles还是处在后知后觉中承受着绝境般悬疑的话，那么在与Julia的最终告别之中，Charles则完全处在了绝境之外。像是在一个瞬间，他之前忧伤、同情、感怀、爱、友谊的从来之地，一个“无知无觉”的绝境，被突然攫走，替换为一个有知有觉的绝境，那么试问，他还能如何面对呢？
也许对于Charles来说，战争充当了一个多面手。一方面战争召唤了原始的、古老的摧毁力量，将那些信誓旦旦的、规规矩矩的天主教破坏以及摧毁，哪怕只是表面看起来那样；另一方面，战争推迟了那个最终到来的绝境对他的质问，或者说，战争填补了绝境的空口袋。但是无论如何，Charles已然无法释怀，这或许也是他一开始就有的心理准备。也就是说，他不去恳求宽恕，而是把“Gulit”交给时间。所以在开头，他才说，“Guilt”如同他逝去的信念一样纯粹。这份纯粹也只有时间能够保藏。对于导演来说，何尝不也是如此呢？时过境迁，唯有时间充当了重新开启它们的通道。
假如Charles果真就是一阵夏日午后的暖风，那么我们又能对一阵暖风追问什么呢？但是偏偏的，Julian Jarrold把电影里的人物推到了这么一个位置，推到一个绝境之中。那么这究竟是如何的一个绝境呢？Charles和Sebastian之间的英伦式友谊，对于两个人各自的分量是不一样的，到后来Charles去摩洛哥找到Sebastian时候，Sebastian说，我要的太多了。这孩子实在聪明的很，也许他早就觉察了Charles并不会最终陪伴他，但是没想到的是，这个事实来的那么直接那么突然。威尼斯之夜，彻底改变了这部戏的重心。Charles和Julia之间的感情以一种突袭般的冲动，豁然荡开，这个决口只听得风声，不见洪水。而经由威尼斯之夜，Sebastian则被离弃到一个无人照看之地，剩下的似乎也只有决绝的离弃。假如说，Sebastian的位置是离弃的位置，对于布赖兹赫德庄园的离弃（以自我离弃的方式离弃母亲）；Julia的位置还在浮动，在一个属于布赖兹赫德庄园的围墙的位置；那么，Charles的位置又是在哪里呢？Charles和Sebastian之间那若有若无的同志之恋，始终没有明晰，如此不明晰，导致了最终的，Charles对Sebastian的拒绝（在Julia的生日/订婚宴会上）。
起初我还以为Charles在周旋。就像Sebastian父亲的情妇叮嘱他的，必须小心处理他和Sebastian之间的友谊，因为Sebastian很难回头了，但是Charles呢？他的后知后觉，或者是他的隐秘欲望，使他始终面临一个绝境之中的疑问：你难道不在是利用Sebastian的感情吗？利用Sebastian以接近Julia？而你接近Julia又何尝不是在企图布赖兹赫德庄园（如影片中Rex所说的）？也就是说，在影片中，因为Charles的“无知”，使得我们很难判断Charles的真诚，很难明确他的一个交付给爱的真诚位置。我想，在Charles和Rex“交易”之时，躺在门首的Julia大约是深深体会了这样绝境的。以至在后来，Julia不禁反问Charles，难道我就值你的两幅画吗？我为什么要相信你？这难道仅仅是一个女人的矫情之语吗？恐怕不是。
对于Julia这个人物的塑造上，导演Julian Jarrold似乎再一次使用了他在2007年拍摄《成为简·奥斯丁》时用在奥斯丁身上的手法，就是在逃离和返家之间的折回。当然了，这是一个很大的问题，就像Julia的母亲和Charles之间的谈话，一个无神论者活着到底有什么意义。起码从Charles和Julia身上，我们也可以看出，他们彼此所面临的绝境是不一样的。当Julia在将死的父亲床边祈祷之时，她在祈求主的宽恕，影片很直接的暴露了她的心语，她一边祈祷一边抽泣着说：“求你，主，求你。如果你在，请宽恕他。”接着话锋一转，她祈祷说：“宽恕我，哦主啊，宽恕我，让他划个十字吧。”对于Julia来说，布赖兹赫德庄园突然之间不是需要逃离的，而是需要去直面的罪、去直面的宽恕。老父亲在将死之时，领受自己的罪孽，在牧师的颂祷中，得到宽恕。这不是单单他一人的宽恕，也是对Julia本人的宽恕。（在刚到威尼斯那天，Julia曾和父亲拌嘴，说她父亲才是不要家庭不要家人的人，而不是她母亲；其实暗地里表示了Julia对父亲的怨恨，如此怨恨对于天主教而言，是一种罪孽。）在天主对父亲以及对自己的双重宽恕之仪式中，Julia告别了她的父亲，也告别了她自己。连带着她的绝境也一起告别。Julia的绝境，从抱怨、怨恨（这些都促使她决定要逃离布赖兹赫德庄园）之中解脱出来，重新交付出来的，不是别的，正是信仰。
再接着说Charles的绝境。当他和Julia站在那幅巨大的圣母像前，镜头仿佛给了Charles前面一段悬崖、一段深的空。他不知道能从这空的里面获取什么，他只是知道他已经失去了Julia，不是因为阴谋、不是因为经济、也不是因为爱情，而是信仰。当Julia对他说，我不能拒绝主的宽恕，问Charles能不能理解？Charles说：“我不想让你好过，我希望你的心，伤透。”接着他又说：“但是我真的能理解。我不得不放你走。”于是，Julia就真的走了。还在Julia为父亲祈祷之时，Charles就已经觉察了这一点，他表情战栗，却又无可奈何。因为信仰要拿走的，正是他无法给出的。假如说之前的时候，在Sebastian和Julia之间，Charles还是处在后知后觉中承受着绝境般悬疑的话，那么在与Julia的最终告别之中，Charles则完全处在了绝境之外。像是在一个瞬间，他之前忧伤、同情、感怀、爱、友谊的从来之地，一个“无知无觉”的绝境，被突然攫走，替换为一个有知有觉的绝境，那么试问，他还能如何面对呢？
也许对于Charles来说，战争充当了一个多面手。一方面战争召唤了原始的、古老的摧毁力量，将那些信誓旦旦的、规规矩矩的天主教破坏以及摧毁，哪怕只是表面看起来那样；另一方面，战争推迟了那个最终到来的绝境对他的质问，或者说，战争填补了绝境的空口袋。但是无论如何，Charles已然无法释怀，这或许也是他一开始就有的心理准备。也就是说，他不去恳求宽恕，而是把“Gulit”交给时间。所以在开头，他才说，“Guilt”如同他逝去的信念一样纯粹。这份纯粹也只有时间能够保藏。对于导演来说，何尝不也是如此呢？时过境迁，唯有时间充当了重新开启它们的通道。
5 ) 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。
6 ) 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.
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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.
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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,
7 ) 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……
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（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/）
这不是一部同性恋电影。说完了。
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。
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
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。
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。
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
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……）
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。”
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。）
哀而不伤，细腻隽永
冗長而堅硬的故事。總是有血淋淋的事實。喜歡這電影。
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。
从来没有一部电影能让我如此憎恨男女之情
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。
BenWhishaw销魂死
不是太理解，总觉得隔着一层什么东西
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。
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！