'Brideshead Revisited' had an immense amount of charm and idyllic atmosphere when it first began, while establishing the characters, events and atmosphere beautifully without taking too long to do so. When the material became darker, meatier and more sombre which was particularly episode six onwards, how it was adapted from page to screen was done in a way that was harrowing and poignant while not being heavy-handed.
The series' eighth episode "Brideshead Deserted" is an example of the darker and more sombre material rather than the more charming and more idyllic kind, now that the characters are older and the events more realistically serious. Though both the dark and the sombre and the meat were even more apparent in the next three episodes, where the emotional impact is even stronger. That translates from page to screen brilliantly, in fact it couldn't have been done better.
What is striking the most here are the acting and writing. A big standout of the former being Phoebe Nicholls, both charming and disarming and exactly how Cordelia should be. Simon Jones is similarly spot on, any of Bridey's negative qualities not being overdone (bewilderment for example can easily irritate if too much) and actually it comes over as understated. Jane Asher does very well and the chemistry between Celia and Charles does not come over as overly awkward. Cannot say anything wrong with Jeremy Irons and am full of praise instead, very restrained, very authoritative and very sophisticated, it is not an easy task making Charles Ryder interesting and Irons masters doing so.
As with the previous seven parts, "Brideshead Deserted's" writing is remarkable. Very faithfully adapted, with Waugh's prose being lifted out of the pages and coming to vivid and eloquent life. Yet it doesn't resort to being too rambling, too aimless or being too overly faithful, as sometimes faithfulness to me doesn't always mean better. Charles' dialogue is so poetic and Irons' voice and line delivery have the listen to forever and over and over again quality. The Father Brown story translates well too, though it is worth reading up on what it and its most memorable line mean as with analysis it makes more sense in my view.
None of the story feels dull, even though the pace is deliberately and appropriately leisurely, it is a big book with a lot of characters and events would very unlikely have worked in any other. It certainly didn't in the 2008 film version. The direction is never less than assured with the right amount of momentum but was also appropriately sympathetic. The production values are hugely meticulous in detail and elegant and the music is not intrusive at all and complements beautifully. The main theme is timeless.
In conclusion, brilliant eighth episode. 10/10
The series' eighth episode "Brideshead Deserted" is an example of the darker and more sombre material rather than the more charming and more idyllic kind, now that the characters are older and the events more realistically serious. Though both the dark and the sombre and the meat were even more apparent in the next three episodes, where the emotional impact is even stronger. That translates from page to screen brilliantly, in fact it couldn't have been done better.
What is striking the most here are the acting and writing. A big standout of the former being Phoebe Nicholls, both charming and disarming and exactly how Cordelia should be. Simon Jones is similarly spot on, any of Bridey's negative qualities not being overdone (bewilderment for example can easily irritate if too much) and actually it comes over as understated. Jane Asher does very well and the chemistry between Celia and Charles does not come over as overly awkward. Cannot say anything wrong with Jeremy Irons and am full of praise instead, very restrained, very authoritative and very sophisticated, it is not an easy task making Charles Ryder interesting and Irons masters doing so.
As with the previous seven parts, "Brideshead Deserted's" writing is remarkable. Very faithfully adapted, with Waugh's prose being lifted out of the pages and coming to vivid and eloquent life. Yet it doesn't resort to being too rambling, too aimless or being too overly faithful, as sometimes faithfulness to me doesn't always mean better. Charles' dialogue is so poetic and Irons' voice and line delivery have the listen to forever and over and over again quality. The Father Brown story translates well too, though it is worth reading up on what it and its most memorable line mean as with analysis it makes more sense in my view.
None of the story feels dull, even though the pace is deliberately and appropriately leisurely, it is a big book with a lot of characters and events would very unlikely have worked in any other. It certainly didn't in the 2008 film version. The direction is never less than assured with the right amount of momentum but was also appropriately sympathetic. The production values are hugely meticulous in detail and elegant and the music is not intrusive at all and complements beautifully. The main theme is timeless.
In conclusion, brilliant eighth episode. 10/10
