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51 out of 56 people found the following review useful: Beautiful in the rarest of ways, 10 September 2009 Author: clementinejames from Hollywood, California
With such high hopes for a film, a letdown is always lurking the depths of your mind, but in this case, Campion far exceeded my exceptions. Never could I have predicted the deep, meticulously crafted scenes, led so strongly by Abbie Cornish playing Fanny. The heartwrenching emotion in this movie was unlike any other; there has never been a more real portrayal of the most simplistic yet most common emotions that rule the heart. Campion went far beyond the usual "I am deeply in love; Now I am sad" and truly captured human idiosyncrasy as she delved into the illogical, irrational minds of two young and suddenly in love individuals. At times, it was almost too much to bear due to how intensely palpable the sadness was. To some, certain scenes or moments may have seemed a little longer than usual, but completely necessary is the silence, just as much as the dialogue. This film perfectly embodied how a simple, real, profound story should be told.If the above were not enough to drive this movie on, the aesthetics were nothing short of spectacular. Each stitch in Fanny's sewing was as beautiful as each scene in a field of lavender or room flooded with butterflies. The magnificent settings, costumes, and natural sunshine pouring into a perfectly decorated room felt not contrived, but simply like a very real dream. As the curtains in Fanny's room got caught in the breeze, it was as if you felt it cooling you down ever so slightly as her content emotion overtook your mind.Ben Whishaw, too, was superb: perfectly embodying the fragile, wondrous poet that was John Keats, so full of tender emotion. Fanny's younger sister was another beautiful element of this film and really stole the show in her own right with her hilarious and endearing perception of life in general. Each character and each line spoken brought something so special to the story. As much witty humor as there was aching sorrow, this movie is not one to be missed.
47 out of 53 people found the following review useful: Beautifully crafted piece of cinema, 19 May 2009 Author: Kenny Evans from United Kingdom
*** This review may contain spoilers ***
I just had the pleasure of watching this at the Grand Lumiere in Cannes FF.I knew nothing of this film before I went in and it had no names attached which enticed me, is it only me who is sick of 'star vehicles'? It was immediately obvious this film was about John Keats the poet and I was at first a bit perturbed that it may be just another BBC backed period drama with the costume department drawing the bulk of the production budget. However once we had got passed the Victorian family portrait vignetted scenes, the film took on a more deep and involved tone, one that focused on the blossoming of the romance between fanny Brawne and Keats.Keats friend in prose, Charles Brown came over as an abrasive Scot, keen to ensure that the young girl didn't take Keats eye off of his work. His accent will no doubt prove a problem for some audiences.The core of this film though must be the performance of Fanny played admirably by Abbie Cornish. The depth and emotion of her portrayal were nothing short of brilliant. She carried herself well but her despair at Keats various departures and her reactions to the low ebbs of his illness were totally believable and added the desired weight to what would have otherwise been another frock show.Ben Whishaw was brilliant as the frail, emaciated Keats, racked with the tuberculosis that killed his brother and would soon take his own life. One thing I did think whilst watching and that was that we never really saw Keats working away, burning the midnight oil, scratching out his poems, of which he wrote many in a short space of time during the latter part of his short life. We did however see much of his inspiration for his work and of course the title of the film is a poem said to be about the relationship of the night sky to his beloved Fanny.The photography was brilliant, much use of natural light and we follow the love story from it's awkward start to it's passionate, bitter and sad end. We see Keats friends rallying after the onset of his illness and they decide to send him off to Italy where it is hoped the air might prolong his frail life. Fanny has to endure much of this in silence since she is not properly engaged to Keats and has no real say in his ultimate departure to Italy and is unable to support herself or accompany him.The relationship is played out very authentically with none of your Mills and Boon clinches or bed scenes. The most we see is a genuine cuddle in front of the fire or the odd tentative kiss. This makes the pairing seem all the more deep and inferred. The climax must be when Fanny finds out the news from Brown that Keats has died in Italy. The take is unusually long but really hits home and even I found myself wiping away the odd tear as Fanny struggled for breath on the stairs.A beautiful film documenting a little know relationship. We also see how Keats died almost a pauper and yet went on to become probably the best loved and celebrated of English Poets, up there with Byron and Wordsworth. Yes the costumes were faultless but this film belongs to the talents of Cornish and Whishaw as well as the masterful direction of Jane Campion.KSE.
29 out of 35 people found the following review useful: A thing of beauty is a joy forever, 19 September 2009 Author: trypanophobic34 from Someplace in the world
I just had the pleasure of seeing Bright Star tonight. I was hoping it would be as good as the trailer, and it was. The trailer is not misleading in this sense but a pretty good representation of the movie.Most of the negative reviews I've read for this have something to do with how the film is "little" or "slow." Rarely, they comment that it's "melodramatic." Which it's NOT by any means. It is not mawkishly sentimental at all. It's not epic, it is small in a way, and there's never any seizing moment of action. That doesn't make it boring; it's engaging throughout. This is different from any period film I've ever seen, or really, imagined. It's not like typical period pieces in trying to wow you with its aesthetic recreation of the time, it's not so much about the visual splendor, though it looks very lovely and is thoroughly convincing as a representation of that period. It's visually quite different from other period pieces, it has a more realistic and kind of earthy look rather than pastel-colored and with a glow around everything. There are slums and less-than-palatial places. This isn't Pride and Prejudice. Neither does it have sort of a broad, sweeping narrative. At heart it's a deep love story about famed poet John Keats and his love and muse, Franny Brawne, whose relationship was cut short by a tragic death. It delves deeply into the small details of their courtship, and is pretty involved psychologically.These people are portrayed realistically. Even the more minor characters, they all seem to be real people, with actual personalities, rather than caricatures or types of stuffy Regency people who are preoccupied with propriety and good marriage matches. Fanny's mother is nice, the main issue with her marrying Keats is that he literally can't support her, and the people they know aren't mindlessly concerned about it. They actually have FUN and do more interesting things than stand at ballroom dances and sit at dinner. Who would have thought people in a Regency period movie could actually climb trees, walk in the mud, or do quirky, whimsical things? Their ease and naturalness and relative candor in moving around, interacting with, and talking to each other was refreshing and definitely different from the idea you generally get. And this is the first period piece I've ever, ever seen where anyone has actually picked up and held their pet cat and treated it like you would your pet. You can actually hear it purring, it's a real part of their surroundings. I liked that cat, it was cute.The dialogue was superb. It wasn't this sloppy, general, or comical/absurd stuff. It was precise, clear, charged with personality, and often beautiful. When you hear the conversations between Fanny and John, it's brilliant, real, and a pleasure. I have never seen such intelligence, subtlety, or elegance in a movie in this way. To hear Fanny respond to something John said, even just a word, as if she were actually thinking about it, as would happen in real life, as if she were an intelligent, feeling, witty person, was so nice. And so DIFFERENT. It's a little hard to explain if you haven't seen it. Suffice it to say, the dialogue is delicate and nuanced. They are articulate but not pretentious, they are sensitive, individual people - not unreal types who don't pick up on details. And it being about Keats, the characters have a lot of literary intelligence. You will enjoy the poetry in the movie.The acting was great. Keats - I would probably fall in love with him, too. He seems like such a sensitive, romantic, and intelligent guy. Ben Whishaw was perfect for him. And Abbie Cornish as Fanny is wonderful - while not extravagantly gorgeous exactly, her face has such clear features that she has an extraordinary appeal. She is a very striking character, and deeply feeling about Keats. You get a real sense of love, real responses to grief instead of just a pretty swoon. It was a real romance - their tender kiss was beautiful, the things they said to each other, and the things they felt.This movie is one of those rare films that are almost perfect to me. That doesn't make it my favorite movie, but it means I didn't find much wrong with it. The emotion isn't overwhelming, it's not exactly visceral, but it's moving and penetrating, it has its own style. It's NOT sappy or conventional. The extreme intelligence, realism, and emotional depth of this movie truly set it apart from all others. I heard a review say something like about how it's just about "old British speech and mannerisms," which couldn't be farther from the truth. It is NOT driven by quaintness or generic period speech like other period films. The dialogue is not stiff, pretentious, or artificial, though it's accurate. Sweet, moving, and intelligent, Bright Star has rare depth. It's definitely like no other movie. You should go see it if you think you'd be into it at all, by any stretch. You might not like it - it is rather "slow," but very interesting, at least for me - but it would be a thick or insensitive person indeed who couldn't appreciate it in some way. It's like how Keats described Fanny - "the brightest, most delicate thing."My favorite quotes are:"A thing of beauty is a joy forever. Its loveliness increases. It will never pass into nothingness.""I almost wish we were butterflies, and lived but three summer days. Three such days with you I could fill with more delight than fifty common years could ever contain." There are many others, much of Keats' letters to Fanny is so beautiful, but I can't remember them off the top of my head. These are two that appear in the trailer.
25 out of 28 people found the following review useful: Campion captures the sine curve of romantic experience, 27 September 2009 Author: Chris Knipp from Berkeley, California
Keats's romance with Fanny Brawne and final days are brought to lovely life in Jane Campion's new film, Bright Star. He had TB, though it's never named. When he had become very ill, they sent him to Rome. How foolish! Its climate isn't healthy, though it might have seemed so compared to Hampstead. The house where Keats lived in Hampstead for two years and was in love with Fanny Brawne and wrote some of his has just been restored.Campion's film may not be a deep investigation of poetical genius, but it's delicate and alive and infinitely touching. There's a delightful litte rosy-cheeked girl, and good use is made of cats. The handsome Regency house was then divided into two, one side occupied by Keats and his landlord and possessive companion Charles Brown, the other by a family called Brawne. He fell in love with Fanny Brawne, and she with him. She is creative in her own way, a brilliant seamstress and designer of clothing who was inventive with fabrics. She didn't know much about poetry but to go by the film, she crammed the classics to be able to talk to Keats and read all his poems and memorized many passages. They recite them back and forth to each other, which may be artificial, but you don't mind, because the poetry is their love, it bloomed through their love and expresses it. Until he began coughing blood and ceased to write because he was suddenly too ill, Keats wrote some of his best work in Hampstead, in love with Fanny Brwwne.They express their love in long sweet kisses, and walking hand in hand. This too is artificial but a fitting symbolic expression of the ecstasy and swoons of romantic poetry.Sometimes the final credits define the experience of a film and of its audience. You have to love a film over whose final credits the wispy, winsome Whishaw is heard softly reading the whole of the Ode to a Nightingale, right to the end, and you have to respect an audience in an American cineplex when many of its members sit still to hear Keats's masterpiece down to the final words, "Was it a vision, or a waking dream?/ Fled is that music: – Do I wake or sleep?" Can you imagine having known a person with such extravagant gifts? Campion doesn't get too much in the way of our own imagining. She just lets it happen, lets the cats wander in and out, and thus captures the sine curve of romantic experience, its extremes of joy and despair that are so poignantly focused in the life of this penniless English boy who died at twenty-five, thinking himself a failure, and left behind some of the finest poetry in the language.Abbie Cornish plays Fanny, Ben Wishaw John Keats, Paul Schneider plays Charles Brown. The little rosy-cheeked sister, Margaret "Toots" Brawne, is played by Edie Martin. Brown is the villain of the piece, because he jealously guards Keants from Fanny, whom he thinks is a silly girl who only sews and flirts. He's getting in the way of romantic love! And Schneider can't help but seem obtrusive here. Brown redeems himself later when, having gotten the sweet Irish servant girl Abigail (Antonia Campbell-Hughes) with child, he does the right thing and marries her.Fanny's mother says she can't marry Keats, because he has no money, but he proposes, and she accepts, and when the liebestod begins, there's no way of denying his happiness or Fanny's, or the sadness and devotion that made her wear the gold engagement band for the rest of her life. Campion's film offers no profound insights into the poetic process. But how can it? Though Fanny asks Keats to give her "lessons" in poetry, its appreciation, like its creation, must be instinctive and cannot be explained, particularly not the ethereal romantic kind. Wishaw's delicate and enigmatic quality is a satisfying image to hang our fantasies on.
26 out of 30 people found the following review useful: A brighter word than Bright, 23 September 2009 Author: (delilah55) from United Kingdom
I saw this film tonight, and in my eyes, it is a perfect film. Beautifully acted by all involved, (several times during the film I found myself thinking 'Abby Cornish is amazing!", despite not being a huge fan before), and stunningly shot, it contains some of the most beautifully cinematic scenes i have ever seen committed to film. Campion does a wonderful job of communicating Fanny' emotional state through the composition, particularly in one scene where the wind is blowing the curtain in her bedroom. The light and colour are fresh and gorgeous and the costumes and design add to the overall piece without being distracting, which is just what you want from a period piece.But in the end, it is above all a wonderful story, well told. A deeply romantic tale, the story of Fanny and Keats could easily have become a mawkish, overly sentimental piece. But through her wonderfully naturalistic dialogue, her use of humour and light touch, and her restrained story telling (she never lets a scene go on one line too long) Jane Campion has created a heart wrenching film which I cannot fault. The characters are real and fully rounded, you feel the joys and the pain with them, and where I think she really succeeds is by making their love affair extraordinary and yet at the same time deeply ordinary. It stirred up my own personal experiences of love and loss and you would have to have a heart of stone not to shed a tear at the end. Lovely lovely film, and what cinema should be all about.
20 out of 24 people found the following review useful: Indie Film Perfection, 10 October 2009 Author: J_Trex from Philadelphia
Just saw this at the Ritz East. There wasn't much else playing & this had an 8.1 rating on IMDb so I thought I'd check it out. My instincts were well rewarded because this was one of the best movies I've seen. It was a very well constructed film detailing the relationship of the Romantic poet John Keats with his lover Fanny Brawne, as well as Keats' relationship with his friend and patron Charles Brown.The actors were relatively unknown to me. I'm pretty sure I've seen Paul Schneider, who played Charles Brown, in other films. But Abbie Cornish, who played Fanny, and Ben Whishaw, who played Keats, are new to me. They were great. I can't imagine anyone doing a better job.Jane Campion, the Director, brought the period to life. And the character development was outstanding. The viewer really felt a connection to the characters in the film, even minor characters, like Fanny's mother & siblings, were highly engaging. Fanny's younger sister was the most adorable little girl in film since Gretl in "The Sound of Music".The music and mood of the movie fit the period and subject perfectly. I was mesmerized from the beginning to the end of this great film. I think I'll go back and see it again. It was that good.The movie ended, while the credits rolled, with Whishaw reciting "Ode to a Nightingale" set to classical music. The audience stayed up until the last credit rolled. It was a nice touch to finish the movie with.This movie will likely be the definitive film about Romantic poets. Maybe Campion will direct a movie about Byron in Greece or Shelley in Italy. One thing is for sure, she set the bar pretty high with "Bright Star".
16 out of 20 people found the following review useful: This film is a masterpiece., 5 October 2009 Author: vmariposa from Santa Barbara
Each scene, every word uttered by the characters was so beautifully and often wittily crafted that I couldn't help but wish I lived in such a lush world, full of idealism and love of literature, not to mention people who cared about one another with such kindness and unabashed concern. Many of the scenes evoked the sixteenth century Dutch masters, whom Jane Campion may have used to set an authentic tone for her masterpiece. John Keats, the most intensely romantic of the Romantic poets (although Shelley and Lord Byron did their best) could not have received a fairer treatment, plus he was superbly acted by Ben Whislaw; I fell in love with the entire cast. This film lives up to its potential, and if you know anything about the life of Keats, you realize that it is a Titanic sort of plot, because the ship must go down. Yet my sadness was only that I have to live in the current world so dominated by name brands and nonsense rather than the fine stitchery and wit of Fanny Brawne. Drag your husband, significant other and everyone you know to see this film!! I've seen it twice!!
12 out of 14 people found the following review useful: There is a holiness to the heart's affections … Bright Star, 16 September 2009 Author: babubhaut from buffalo, ny, usa
Director Jane Campion has always been one of those names who's work I just never had the pleasure of viewing. Finally, a few years back, I had the opportunity to see The Piano almost fifteen years after its release. The chance to watch her new tale of John Keats and love Fanny Brawne at the Toronto International Film Festival couldn't be passed up. Campion herself was there to introduce the Special Presentation screening and spoke about how this story was pure to her. Spanning two years of first love between a beloved poet and his muse, the tale is at the same time both heartwarmingly genuine in its passion and crushingly tragic in its aftermath. She gets the period style just right and brings out two amazing turns from her leads; there are very little, if any, faults with Bright Star.The story that takes place in the 19th century, a time where a man couldn't even conceive of the notion to marry unless he had a job and influx of money. When the man in question is a poet, you can imagine how hard a feat that can be—his work relying solely on critical acclaim and the success of his books—weak at best if one shop owner is to be believed that he bought twenty to sell and none had left his gaze. Living with a friend and fellow poet, Keats and Charles Armitage Brown find themselves with a lot of time on their hands to craft and create their next best artwork. The two rent space from the Brawne family, well Brown does since he is the one with money, and spend most moments alone behind closed doors seemingly doing very little of anything. Eventually, curiosity, and being fed-up with the sarcastic cruelty of Brown, makes young Fanny decide to meet Keats and gauge his make-up. The man is a virtual recluse except when caring for his deathly ill brother, using all his free time to think and compose. This meeting intrigues them both and is the first step to their budding relationship together, one that sees her critiquing his words before eventually being the subject of them.Abbie Cornish and Ben Whishaw, as Brawne and Keats respectively, completely embody their characters and bring them to life on screen. They know their motivations and their place in the world, she falling in love with him, knowing he can't love her due to his place in society's hierarchy, and he falling for her, knowing he can't until he sells his words and earns the right to. Social restraints notwithstanding, the two begin a (not so) secret union of love built on mutual respect and affection. Both very young, this is their first relationship, and one of the greatest details of the film is in portraying it just that way. When Cornish and Whishaw kiss, they do so gently and slow, closed mouth and no movement. They are unsure what to do and that naïve innocence makes the courting so real and effective to watch. Their love is so strong that any adversity is made so much more relevant and all encompassing to their world. When Keats must leave to write abroad, they both write letters, feeling the emptiness of loss until a reply is received. Brawne is so smitten and taken by his words of true love, how he would rather live a lifetime of three days with her as a butterfly than fifty common years weighed down by responsibilities of earth, she begins capturing the flying creatures, making her bedroom a sanctuary for them to fly about.Two years together and a bond unbreakable, their love is beautiful in its simplicity. Always so pure, (is Campion ever correct on that statement), and childlike in reverence, they want nothing more than to be together. Her parents allow the relationship to continue even though they know he must become a success before letting her leave them and the only real blockade comes from Keats' friend Brown, played wonderfully by Paul Schneider adding the comic relief and a bit of conflict. Wanting the space and time to do his work with Keats, each time Brawne comes by to steal her love away, Brown is always quick with a quip to put her down and complain about the intrusion. But it is a playful relationship they have, as Brawne is never shy to shoot back with a biting word timed to perfection. Schneider infuses the role with so much heart, as he usually does, in his love for Keats and friendship with Fanny. When true tragedy strikes, he becomes a beacon of strength, for the most part, and holds himself responsible in keeping his poet friend safe.Bright Star is a romance for sure, and its bittersweet ending only bolsters that fact. Nothing can come between the love both Cornish and Whishaw portray in the film. The hardships that hit them make their bond ever stronger, realizing how much they need each other. Risking the rumors and talking behind their backs of a love frowned upon and socially rejected, nothing else matters as they are their own world, living together through it all, even with death knocking at the door. The metaphor of the butterflies resonates so fully when you look at the short time Keats and Brawne have with one another on this earth. They take that time and live without regret, knowing that without the other they would have nothing. Any credibility in his poetry comes from his feelings for her and her purpose for going on lives within him. So subtle and immense in its details, Jane Campion has crafted a romance to engross and affect all those who take the time to watch it. Highly recommended for sure, its simplicity hides its immense emotional worth, making for a film not to be taken lightly.
16 out of 23 people found the following review useful: "Bright Star" is Jane Campion's least graphic film, but it's also one of her most passionate, 4 October 2009 Author: Aluísio Parondi (nem.freud.explica@gmail.com) from Winooski, Vermont, USA
"Bright Star" is not only one of the best films of the year, but also Jane Campion's return to top form. Possibly the most acclaimed female director of her time, thanks to early strong and praised works such as "Sweetie" (1989), "An Angel At My Table" (1990) and particularly "The Piano" (1993), the truth is that Campion hasn't had a real critical or commercial success since... "The Piano". "The Portrait of a Lady" (1996), her adaptation of the Henry James novel, had a stellar cast, but was almost universally ignored; "Holy Smoke!" (1999), with Kate Winslet and Harvey Keitel, had its moments, but failed to impress anybody; and "In the Cut" (2003) was just a horrible mess that almost made me lose respect for her. But everybody makes mistakes, right? The fact that Campion managed to remain such a respected name all these years even though not being the most prolific or successful filmmaker proves how influential and fascinating she is. She became some sort of figure for all the major female filmmakers from the past two decades and developed a very personal style marked by strong female sexuality (often, repressed), told with visual lyricism. She may be considered a feminist, but not the obviously preachy type, because her work flows like good cinema, and not as a heavy-handed gender discussion."Bright Star" is a tragic love story, beautifully directed, acted, photographed and written. Is it a revolutionary or innovative film? No. But the power of its lyricism and unabridged romanticism is infinitely touching. Anyone familiar with 19th century poet John Keats knows that he died of tuberculosis at 25 (and this is no major spoiler, since it's mentioned in every synopsis of the film), so we know the love birds are not going to live happily ever after. Campion centers on the three-year romance between Keats (a discreet and charming Ben Whishaw) and Fanny Brawne (Abbie Cornish, magnificent); their passion and the issues that prevented them from being together. Whishaw fits Keats' shoes perfectly, even if he might seem a little too low key at times. Paul Schneider ("All the Real Girls"), who's becoming one of the great American character actors, plays the villain as Charles Armitage Brown, Keats' friend who will do whatever he can to keep him away from Fanny. Kerry Fox ("Shallow Grave", "Intimacy"), unforgettable as Janet Frame in Campion's "An Angel At My Table", plays Mrs. Brawne, and Edie Martin is simply adorable as Fanny's little sister Toots. But this is Abbie Cornish's show all the way. This 27 year-old Australian first impressed me opposite Heath Ledger in 2006's "Candy", and here she shows her full potential. Her Fanny is simply incandescent - a terrific performance that could culminate in Oscar glory. For all romantics and admirers of good cinema, "Bright Star" is what Keats himself would call 'a thing of beauty... a joy forever' - intoxicatingly beautiful. 10/10.
10 out of 12 people found the following review useful: Needs, Needles, 28 October 2009 Author: tedg (tedg@FilmsFolded.com) from Virginia Beach
It seems that many viewers have coasted through this, believing it to be a simple love story, told simply. It seemed to me anything but that. This is a movie about the rhythms of poetic image from romantic love, translated to cinematic image. The poet is Keats, who likely was as imagined: melancholy, reaching for a romantic purity. Many such existed it seems, but few that achieved this in words that matter.The story is a simple one: ordinary in many ways. Instead of romanticizing the woman, and their love, Campion does us a real service. She shows that this great love was largely a matter of accident: two primed lonely souls finding each other. The woman in this case really was not very special, except in finding deep love. The contrast between the souls of the poems, and similar pure romantic love of movies and what we have here is striking.The shift is not from the poetry to the people. The people stay real. It is from the poetry to the cinematic presentation. Campion is able without being obvious, of slipping real romantic images to buoy this. Usually we have conventional duft, presenting some unrealistic ideal. Here we have true love in sight, surrounding ordinariness.Our bright star is a seamstress obsessed with fashion — fashion that makes her truly seem shallow. Many of the clothes she wears are strikingly ugly in the overall assembly. But in the small — which we often see — they are composed of elements that could be items of extended meditation. That they are her extended skin, consciously designed and carefully crafted makes her an extraordinarily appealing lover.The first seconds of this film set the world, one that is extraordinary. We see a closeup of a tiny needle being perfectly threaded. We see an enormous closeup of that needle piercing virginal white fabric. We slowly work to the situation of the woman involved. She is the narrator, the maker. This is a movie that goes in my database of "cloth" films, because the use of cloth is basic.There is short preliminary, a short courting. It is not from Austin, where strong soulmates bond, just two ordinary souls. But when they kiss, we have one of the two sublime scenes. She lays on her bed (the location of which carries great significance). A white curtain blows seductively over her. Her similar white dress has the wind lifting it and awakening underneath. This is absolutely breathtaking.A second sequence may seem too heavy for most. Her love goes away and she is forlorn. He writes an amazing letter, thus beginning his great period. Butterflies are mentioned. So she fills her room with butterflies. These somehow actually perform as part of the fabric-ed space, participating as if directed. Oh no! She gets a letter cutting off futures, and the butterflies die, to be swept into bins. If ever there was a romantic cinematic environment, this is it, the butter-feathered bedroom, where words feed image.The little sister, perhaps ten and named Toots, is patterned after Tootie in "Meet Me in St Louis," redhead, precocious, and romanticized beyond all else. She is a sort of emissary into innocence, anchoring the ideals this elicits but does not exploit. Ms Campion, thank you. A movie about love that makes love. Thank you.Ted's Evaluation -- 3 of 3: Worth watching.
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