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更新时间：2024-01-08 12:41
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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……
长篇影评
1 ) 《Sebastian》
看了《故園風雨後》，感觸良多，看著落日餘暉下古老的英國貴族的故事，有些感傷，也有些震撼。
但是這都不是我想說的，我想談談那個那個最先出現在Charles視線裡的男人，Sebastian。
我曾一度以為在結局的時候，他會重新出現在銀屏上，但是事實卻是沒有，但是我想，這也是也是一個很好的結局，比結局來段互訴衷情更讓我感慨。
先來說說演員，當然，比起Julia的飾演者，我更加喜歡飾演Sebastian的小本，但是無可否認的是Julia有著極美的側臉。我覺得小本非常適合Sebastian這個角色，為什麼呢，第一點是因為他的身材，Sebastian長期受到來自家庭與信仰的壓力，過著放蕩形骸的生活，這是為什麼小本適合，他瘦弱，同時有種病態的美。
第二點，是因為小本本身，對於一個同性戀者而言，因為不受到當時的社會所接受，性格應該是敏感且脆弱的，這與小本本身的性格也有點相似。
然後來說說他們的愛情。
Charles去到牛津的第一天，看到船上仰躺著，喝著酒的Sebastian，我相信他是驚豔的。而Sebastian喝醉酒，跑到屬於前者的公寓裡吐了一地，他仰起頭第一眼看到他，我相信他就愛上了他。
Sebastian動心了，他邀請他去晚宴，公開表明他在乎他，甚至為了他拒絕了曾經的矮人Attonory的親熱，他帶著他去騎單車，喝酒，吃草莓，做一切只有情侶才會做的事情。
明晃晃的畫面，日光傾斜，我幾乎要相信這就是最後的完美結局了。
然後某個夏日裡，Sebastian終於想起來要把他的愛人帶給唯一能體諒他的祖母見見，他們驅車穿過長長的林蔭道，旁邊是宏偉的莊園，也許在Charles第一眼看到Brideshead的時候，就註定了這兩個年輕人並不能如願地獲得自己希望地人生。
祖母Hakwins緊握著孫子的新室友的手，她知道親愛的孫子的“異于常人”的愛好，她看著他，希望這是一個好的開始，她的眼睛裡帶著懇求，她說，“I pray for my dear Sebastian everyday”，但是可惜，這是一個好的開始，卻沒有一個好的結局。
Sebastian帶著Charles穿過恢弘的莊園，看各種雕塑、畫作、建築，最後他停在了禮拜堂，他手沾聖水，在胸前畫下十字，即使他對這個主有所怨懟。
天主教不允許同性之戀，主寬恕一切的過錯，但卻並不包括他在內。
他的母親，Marchmain，是個虔誠的天主教徒，一切遵從上帝的要求，在她眼中，同性之戀自然是不被主所接受的，但是偏偏的愛的兒子就是這樣一個人，她心懷憤怒，決心要改變他。
但是看著那個浪蕩的小少爺一天天開始消瘦下去，看著Sebastian開始酗酒、一個人躲在房間裡抽煙，我就知道這對他來說不可能。
家庭的壓力、Charles與妹妹Julia的背叛，也許這個曾經談笑風生的貴族少爺已經心生疲倦了，他只想遠遠逃離這個家庭，逃離這個用信仰束縛他的地方。
Sebastian的母親去世了、父親也去世了，哪怕是莊園被徵用的時候，他都沒有回來看過一眼，也許對他而言，這個莊園，代表了他不被世人接受的一面，只要靠近這個莊園，他就不再是Sebastian，他不敢回去，畏懼因此再也沒有勇氣走開。
上帝的力量太強大了，他反抗了第一次，他沒有信心再嘗試第二次。
單單說Sebastian這個角色而言，我想作者、或者是改變後的編劇者，大概想要表達的都是一個理念——關於宗教所不接受的悖倫之戀。
他也許是幸運的，出生在一個富有的家庭，母親父親仍舊健在，他可以每天隨心地過著奢靡的生活；但他也許也是不幸的，出生在一個天主教家庭，偏偏卻是同性戀者，母親、弟弟妹妹、哥哥，沒有一個人能理解他。
所以更多的時候，他一個人在外面，過著放蕩的、毫無顧忌的生活，他把自己放縱在各種酒肉朋友中，但是卻與那個人，Charles不期而遇。
他本沒有想要改變什麼，他本沒有勇氣想要改變什麼，但是Charles的出現，讓他有了推翻這一切的勇氣，他在飛馳的汽車上，握著Charles的手，跟他說——“Sebastian和Charles，共同對抗這個世界。”他想著只要與他在一起，也許他就能夠越過這片世俗的羈絆，也許就能背對上帝，昂首走開。
但是他失敗了，他一個人沉淪在無法得到回應的愛戀中，他醉眼朦朧地看到Charles一個人端著酒杯站在舞會的角落，他上去想親他，但是他把他推開了，酒杯摔在地上，摔得粉碎。他怔怔看著打碎的酒杯和灑出來的酒液，他知道他沒辦法繼續生活下去了，他努力建立起來對抗神靈、對抗這個世界的勇氣被打得粉碎，他要逃離這裡。
他一個人到了摩洛哥，遠離了Brideshead、遠離了所有的親人，他遇到了Kurt，和他在一起，儘管他還想著Charles。
影影綽綽的樹蔭下，他見到了從遠方來的Charles，他來勸他回去，告訴他他的母親將死，但是他沒有勇氣回去，沒有勇氣再回去面對上帝，沒有勇氣再回到Brideshead莊園。
我無法猜測Sebastian的下半生的生活，他住在摩洛哥的療養院裡，形銷骨立，眼睛也失去了在牛津時候的神采，也許他會和Kurt在一起，也許在Charles走之後的不久他就已經死去，不管哪種結局，對於他來說也許都比回到莊園要好。
因為只要在那之外，他始終是忠於自己的Sebastian。
但是這都不是我想說的，我想談談那個那個最先出現在Charles視線裡的男人，Sebastian。
我曾一度以為在結局的時候，他會重新出現在銀屏上，但是事實卻是沒有，但是我想，這也是也是一個很好的結局，比結局來段互訴衷情更讓我感慨。
先來說說演員，當然，比起Julia的飾演者，我更加喜歡飾演Sebastian的小本，但是無可否認的是Julia有著極美的側臉。我覺得小本非常適合Sebastian這個角色，為什麼呢，第一點是因為他的身材，Sebastian長期受到來自家庭與信仰的壓力，過著放蕩形骸的生活，這是為什麼小本適合，他瘦弱，同時有種病態的美。
第二點，是因為小本本身，對於一個同性戀者而言，因為不受到當時的社會所接受，性格應該是敏感且脆弱的，這與小本本身的性格也有點相似。
然後來說說他們的愛情。
Charles去到牛津的第一天，看到船上仰躺著，喝著酒的Sebastian，我相信他是驚豔的。而Sebastian喝醉酒，跑到屬於前者的公寓裡吐了一地，他仰起頭第一眼看到他，我相信他就愛上了他。
Sebastian動心了，他邀請他去晚宴，公開表明他在乎他，甚至為了他拒絕了曾經的矮人Attonory的親熱，他帶著他去騎單車，喝酒，吃草莓，做一切只有情侶才會做的事情。
明晃晃的畫面，日光傾斜，我幾乎要相信這就是最後的完美結局了。
然後某個夏日裡，Sebastian終於想起來要把他的愛人帶給唯一能體諒他的祖母見見，他們驅車穿過長長的林蔭道，旁邊是宏偉的莊園，也許在Charles第一眼看到Brideshead的時候，就註定了這兩個年輕人並不能如願地獲得自己希望地人生。
祖母Hakwins緊握著孫子的新室友的手，她知道親愛的孫子的“異于常人”的愛好，她看著他，希望這是一個好的開始，她的眼睛裡帶著懇求，她說，“I pray for my dear Sebastian everyday”，但是可惜，這是一個好的開始，卻沒有一個好的結局。
Sebastian帶著Charles穿過恢弘的莊園，看各種雕塑、畫作、建築，最後他停在了禮拜堂，他手沾聖水，在胸前畫下十字，即使他對這個主有所怨懟。
天主教不允許同性之戀，主寬恕一切的過錯，但卻並不包括他在內。
他的母親，Marchmain，是個虔誠的天主教徒，一切遵從上帝的要求，在她眼中，同性之戀自然是不被主所接受的，但是偏偏的愛的兒子就是這樣一個人，她心懷憤怒，決心要改變他。
但是看著那個浪蕩的小少爺一天天開始消瘦下去，看著Sebastian開始酗酒、一個人躲在房間裡抽煙，我就知道這對他來說不可能。
家庭的壓力、Charles與妹妹Julia的背叛，也許這個曾經談笑風生的貴族少爺已經心生疲倦了，他只想遠遠逃離這個家庭，逃離這個用信仰束縛他的地方。
Sebastian的母親去世了、父親也去世了，哪怕是莊園被徵用的時候，他都沒有回來看過一眼，也許對他而言，這個莊園，代表了他不被世人接受的一面，只要靠近這個莊園，他就不再是Sebastian，他不敢回去，畏懼因此再也沒有勇氣走開。
上帝的力量太強大了，他反抗了第一次，他沒有信心再嘗試第二次。
單單說Sebastian這個角色而言，我想作者、或者是改變後的編劇者，大概想要表達的都是一個理念——關於宗教所不接受的悖倫之戀。
他也許是幸運的，出生在一個富有的家庭，母親父親仍舊健在，他可以每天隨心地過著奢靡的生活；但他也許也是不幸的，出生在一個天主教家庭，偏偏卻是同性戀者，母親、弟弟妹妹、哥哥，沒有一個人能理解他。
所以更多的時候，他一個人在外面，過著放蕩的、毫無顧忌的生活，他把自己放縱在各種酒肉朋友中，但是卻與那個人，Charles不期而遇。
他本沒有想要改變什麼，他本沒有勇氣想要改變什麼，但是Charles的出現，讓他有了推翻這一切的勇氣，他在飛馳的汽車上，握著Charles的手，跟他說——“Sebastian和Charles，共同對抗這個世界。”他想著只要與他在一起，也許他就能夠越過這片世俗的羈絆，也許就能背對上帝，昂首走開。
但是他失敗了，他一個人沉淪在無法得到回應的愛戀中，他醉眼朦朧地看到Charles一個人端著酒杯站在舞會的角落，他上去想親他，但是他把他推開了，酒杯摔在地上，摔得粉碎。他怔怔看著打碎的酒杯和灑出來的酒液，他知道他沒辦法繼續生活下去了，他努力建立起來對抗神靈、對抗這個世界的勇氣被打得粉碎，他要逃離這裡。
他一個人到了摩洛哥，遠離了Brideshead、遠離了所有的親人，他遇到了Kurt，和他在一起，儘管他還想著Charles。
影影綽綽的樹蔭下，他見到了從遠方來的Charles，他來勸他回去，告訴他他的母親將死，但是他沒有勇氣回去，沒有勇氣再回去面對上帝，沒有勇氣再回到Brideshead莊園。
我無法猜測Sebastian的下半生的生活，他住在摩洛哥的療養院裡，形銷骨立，眼睛也失去了在牛津時候的神采，也許他會和Kurt在一起，也許在Charles走之後的不久他就已經死去，不管哪種結局，對於他來說也許都比回到莊園要好。
因為只要在那之外，他始終是忠於自己的Sebastian。
2 ) Always Summer , Always Alone
It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now.
Everything
这么这么美的Sebastian Flyte，和Charles Ryder的相遇就说了自己最想要的最不可求的爱和快乐。To art and love. 他不像其他的贵公子们，嘲笑着Charles的出生，他带着Charles来到了Brideshead，当他揭开雕像的白纱时，这成了一切的开始，故事的开始，是他最美的时候，也成了最好的回忆。
Sebastian 怀有浪漫的爱，羡慕Charles有着明确的人生目标，听到Charles说自己想成为画家之后，一直称Charles为艺术家。他静静地坐在喷泉旁边，喝着藏在帽子底下的香槟；一边泡澡一边和Charles下着棋，输了，任性的扫走棋子；在故园的傍晚，和Charles喝着不同的酒，似乎连喝酒这件事情都变的这么美好。他说If only it could be like this always. 身边有着爱的人，看着美丽的风景，喝着自己最爱的酒，如果一直是这样，Sebastian可能就不会有这么绝望和心碎的眼神了。
他绝望于永远无法逃离这深入骨髓的信仰，心碎于自己爱的人舍弃了自己。
来到威尼斯，疯狂的夜晚，站在河对岸，看到Charles亲吻了自己妹妹。来到小教堂，Charles想要解释什么，伸出食指，嘘...... ...... 转身，Always Alone...... ...... Sebastian落寞的背影，心碎的眼神，我大概是要为之伤心了。他看着你的时候，是真的很爱的你的感觉；他听你说话的时候，是真的全身心的相信你所说的话。哪怕你下一秒说要毁灭这个世界的时候，他也一定递上武器给你，陪着你向前冲去。是这样的爱啊～他未曾责怪迁怒过任何人，他喝酒，他醉酒，沉醉在日日夜夜的酒精中，是想不要面对这令人心碎的一切，喝垮了自己的身体，却未曾对Charles说出过一句责怪的话。哪怕是妹妹在21岁的成人礼上宣布订婚，第一时间来到了Charles身边，想要安慰他。
I am a sinner. Cast out from God's love.
如果人类的出生就伴随着原罪的话，那么Sebastian在遇到Charles之后，就开始了自己的赎罪。如果深入骨髓的信仰是深埋的火线，那么Charles的舍弃就成了一切的导火索。远离了自己的家人，远离了囚禁着自己的故园，在摩洛哥忍受着身体的病痛。阳光透过树荫，他闭着眼睛，洒在身上的阳光，身旁的绿荫；他转头睁开双眼，看到Charles慢慢走到自己眼前，大概这一切能够用一句 哀默大于心死来形容。我这个罪人，不受上帝的眷顾，在这里赎罪。
在牛津，Sebastian对Charles说：It's so clever fo you, knowing what you want. I have no idea what I want. Except to be happy. If I can.
在河边，Sebastian对Charles说：Just the place to bury a crock of gold. I should like to bury something precious in every place where I have been happy. And, then, when I was old and ugly and miserable, I could come back and dig it up and remember.
在故园，Sebastian对Charles说：If only it could be like thsi always. Always summer. Always alone. Fruit always ripe.
在威尼斯，Sebastian对Charles说：Why this is hell, nor am I out of it.
在摩洛哥，Sebastian对Charles说：It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now. I am happy here.
Sorrow
如果电影到这里就结束，那么这是一部令人心碎却不舍的电影。
离了Charles的Sebastian在摩洛哥，离了Sebastian的Charles在伦敦，继续着各自的赎罪，不能结束，直到闭上双眼，滑下罪孽的十字架，请求上帝的宽恕。其实因为小本这么出彩的表演，我对后面半段的电影并没有继续的期望（因为离了小本）。可是Sebastian的父亲，最后死在故园里，还是让我深深的看了一番。逃离了宗教，逃到了意大利，一边说着宗教让我厌恶的话，临死，还是祈求着被原谅，自己的孩子看到他划十字架时的长舒一口气，这真的是深入到骨髓的信仰。
如果再重新来一次，我想Sebastian会说 Run away. Run far away and don't ever look back. 可能最好的结局 就是放开一切。Sebastian跨越了千山万水，伤透了自己的心，是否在摩洛哥的养护院里找到了自己的宁静？ Charles是否真的爱Julie？可我相信Charles是真的热爱艺术，才能画出令人赞叹的Jungle，也是会在最开始说出 Because a camera is a mechanical device which records a mment in time, but not what that moment means for the emotions that it evokes. Whereas a painting, however imperfect it may be, is an expression of feeling, an expression of love. Not just a copy of something. 如果他是为了证明自己才去爱Julie，那么我是真的相信他是喜欢过Sebastian的，所以才会在故园的傍晚接受了亲吻，哪怕就这么一瞬，也是遵从了自己的感受的。
索尔仁尼琴说：永远不要鼓励人们去寻求快乐，因为快乐本身不过是市场的一个偶像罢了。而应该鼓励人们互爱。一头野兽在咆哮眼前的猎物时会感到快乐，而我们人只有在互爱时感受到爱，这是人类可以取得的最高成就。
小本那一眼，是万年，是千言，是放手。
3 ) 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。
4 ) 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。”
5 ) 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,
6 ) 人生的其中两面
Technically,这不是影评。
我之所以给五星，是给片中前后一致的英伦古典情怀和毫不拖沓的剪辑。后者对我尤其重要，戈达尔的剪辑虽然名声在外，我还是不断快进，因为我不enjoy看着一些漂亮的脑残女和行为前后互相颠覆的法国男胡搞瞎搞。我很惊讶看Brideshead Revisited时我没有哪怕一次快进。这跟选角有关。Sebastian先颠倒了性别再颠倒了众生，Matthew Goode在我心中的地位，让我不能像其他观影者一样察觉到他的野心。我的认识还停留在，他在此片中，是一个被美而吸引，先后企图拯救兄妹俩的正常人。
拒绝Sebastian,是出自性取向的本能。
娶妻，是对命运给予的东西淡然接受。
与Julia重拾旧欢，是对昔日没有得到的感情的疯狂反扑。
Let go Julia, 是意识到一己之力在宗教带来的集体无意识面前的渺小。人，大概只能自救，当你突然伟岸了浪漫了或者超人情结迸发了想带一个女子逃离她过去的残缺人生时，如果她接受了，这是童话；她不接受，这就是部现实作品。世界上大多数人，尤其是女人，都是没有勇气跟过去一刀两断的，宁可作茧自缚。
Brideshead是美的，所以有爱美之心的Charles对其始终不能忘怀。这不一定就跟了不起的盖茨比里一样的social climber抱有同样的居心。至少影片中的细节不能严密地证明这一点。而生物都是趋利避害的，所以human being Charles就有了他种种的选择和不选择。
再说Julia的选角，不好意思，套用一句法国人形容泰坦尼克女主的经典评价，“简直丑得不能看。”，长着一张跟茱莉亚比诺什一样三纲五常的脸蛋，还有很masculine的眉毛。我个人偏好女演员有着柔美的轮廓，可以中性，但一定不能突兀。尤其不能长得像我老家的海边随手捡一块岩石削几个角就成了张脸，或者跟我小时候拿橡皮泥捏出来的泥人一样拉沓着眼角。
再评价一个情节, Charles用两幅画交换了Julia的自由。很多人觉得这样improper, 怎么能这样交易呢？Julia变成了商品多掉价啊？我当时看了这些观影者的感触很是惊讶，因为我完全就不是这一思路。我的思路如下：
首先，男主找Julia丈夫谈判时抱着就是 “Leave it to me, I will handle it.”的态度。而我认为男人能讲出的最浪漫的话除了Don't worry, leave it to me就是It’s over, I will take you away.而Charles两个都表达了，所以我不太喜欢女人这时还当怨妇。
再者，谈判，注意，Charles不是在宣布一个事实，是在讨要一个离婚协议。一旦screw up这个机会成本有多大一定要清楚。当Rex说what can you offer me?时我觉得Rex真是个理性的经济人，顿时为Charles松一口气，能用钱解决的烦恼就不是真正的烦恼。要是Rex没那么直截了当而是跟琼瑶戏里面马景涛一样：啊。。。不要。。Julia…啊。。你怎么能这样对我。。。啊。。我的余生还有什么意义。。那Charles谈判的胜算就很小了。
Charles这时，为了迎合主流观众不太能坦然接受这种trade模式时选择了缄默不语。然后Rex又很贴心地开了价码，两幅画。作为观众我当时都要乐死了，多便宜啊，自产自销，不用扣除中间费用， C只用将自己abundant的两幅画丢出去就是了，换了个女人。但是C还是一娘儿们似的一句话都不敢说，跟国共混战时被抓到对方监狱里进行生死抉择似的点了点他那英俊无比的头。
综上，所以当Julia对此心有戚戚时我真是觉得这女人很不理性。你，以及你那怪石嶙峋的眉眼，以及你被宗教腐坏了的teenie weenie brain, 能够想出一个更好的谈判价格，让你觉得心理上接受吗？
但是这部电影还是太唯美了，以下我还想简述人生还有另外一面。
--------------------------------艺术与生活孰高孰低的分割线--------------------
我朋友A， 她的双胞胎姑姑，大姑姑跟一个俩孩子都20几岁的40+男人去年生了个小baby。小姑姑赌搏欠了高利贷，嫁了个差不多民工的人，还是先怀孕才结婚的，没什么收入，然后生的小女孩脚软，每个月要去医院注射1000+RMB的针水，否则过几个月不一定能够走路。哪怕这样，两个姑姑还是吃着120RMB一斤的虾喝着348/900g的美赞臣进口奶粉；她的表姐，会计师，在上海，剩女一枚，跟一个台湾的有女朋友的男生纠缠不清，后来终于大家谈开了，于是这事就黄了，扯淡了，人家不愿分手。她表姑，N年前在深圳做酒店前台时就是如花美人，当了某商人的情人，后来年纪大了，回归正途了，跟个弄玻璃厂的小生意人结婚了，开了个小卖部，正正经经平平淡淡。她一个好朋友，跟男友谈了6年恋爱，结婚前几个月被一个只认识两星期的异乡女人打败了，于是这个devastating的事件让这一女博士之后更加终日郁郁形单影只。而这女博士的朋友，在校念英语系时跟一个爱写诗的医学系男生相交甚好如胶似漆，毕业结婚后这医学系男生不去工作继续写诗终日写诗，不知养家糊口为何物，女人只好一人养全家，七年后终于离婚远嫁美国。
除去那些琐碎死人的中年人生活，再讲青春期躁动。我和Lucas在被大雪滞留在伦敦的机场时，我说你给我讲故事吧，于是他告诉我某女S，大家共同的南亚朋友，在本科艰难度日时跟了个40多岁的老男人，男人现在要来伦敦看她，而她打算跟一个巴黎男生在一起把这老男人甩了；某女Y，日本人，遇到了学校里一个对她身体很感兴趣的欧洲人X，X特别喜欢和她OOXX， 而Y付出了真心。后来Y把她日本的男友甩了却发现X依旧不想跟他女友分，X只喜欢跟Y做爱，非常喜欢，仅此而已。而Y无论和他做了多少次，都不能令他分手来跟她在一起。某男M，非常喜欢做爱，既喜欢跟他女朋友做也喜欢跟其他各种女生做。他女朋友也不介意。但他除了喜欢跟他女朋友做爱，还喜欢跟她聊天。这就成了她成为正室的充分条件。
我当时听了就傻了，M, S, Y, X都是我认识的人啊，Lucas住学校信息多，可他从前不是八卦的人，直到在伦敦的最后一天，在Costa里。
跟这些糟糕的凌乱的人生故事比，Brideshead已经很天上人间了。
生活本就如此的艰难，我更喜欢给生活做减法，找个简单的人，也不要什么伦敦巴黎，公园着胡同着就过了吧。
我之所以给五星，是给片中前后一致的英伦古典情怀和毫不拖沓的剪辑。后者对我尤其重要，戈达尔的剪辑虽然名声在外，我还是不断快进，因为我不enjoy看着一些漂亮的脑残女和行为前后互相颠覆的法国男胡搞瞎搞。我很惊讶看Brideshead Revisited时我没有哪怕一次快进。这跟选角有关。Sebastian先颠倒了性别再颠倒了众生，Matthew Goode在我心中的地位，让我不能像其他观影者一样察觉到他的野心。我的认识还停留在，他在此片中，是一个被美而吸引，先后企图拯救兄妹俩的正常人。
拒绝Sebastian,是出自性取向的本能。
娶妻，是对命运给予的东西淡然接受。
与Julia重拾旧欢，是对昔日没有得到的感情的疯狂反扑。
Let go Julia, 是意识到一己之力在宗教带来的集体无意识面前的渺小。人，大概只能自救，当你突然伟岸了浪漫了或者超人情结迸发了想带一个女子逃离她过去的残缺人生时，如果她接受了，这是童话；她不接受，这就是部现实作品。世界上大多数人，尤其是女人，都是没有勇气跟过去一刀两断的，宁可作茧自缚。
Brideshead是美的，所以有爱美之心的Charles对其始终不能忘怀。这不一定就跟了不起的盖茨比里一样的social climber抱有同样的居心。至少影片中的细节不能严密地证明这一点。而生物都是趋利避害的，所以human being Charles就有了他种种的选择和不选择。
再说Julia的选角，不好意思，套用一句法国人形容泰坦尼克女主的经典评价，“简直丑得不能看。”，长着一张跟茱莉亚比诺什一样三纲五常的脸蛋，还有很masculine的眉毛。我个人偏好女演员有着柔美的轮廓，可以中性，但一定不能突兀。尤其不能长得像我老家的海边随手捡一块岩石削几个角就成了张脸，或者跟我小时候拿橡皮泥捏出来的泥人一样拉沓着眼角。
再评价一个情节, Charles用两幅画交换了Julia的自由。很多人觉得这样improper, 怎么能这样交易呢？Julia变成了商品多掉价啊？我当时看了这些观影者的感触很是惊讶，因为我完全就不是这一思路。我的思路如下：
首先，男主找Julia丈夫谈判时抱着就是 “Leave it to me, I will handle it.”的态度。而我认为男人能讲出的最浪漫的话除了Don't worry, leave it to me就是It’s over, I will take you away.而Charles两个都表达了，所以我不太喜欢女人这时还当怨妇。
再者，谈判，注意，Charles不是在宣布一个事实，是在讨要一个离婚协议。一旦screw up这个机会成本有多大一定要清楚。当Rex说what can you offer me?时我觉得Rex真是个理性的经济人，顿时为Charles松一口气，能用钱解决的烦恼就不是真正的烦恼。要是Rex没那么直截了当而是跟琼瑶戏里面马景涛一样：啊。。。不要。。Julia…啊。。你怎么能这样对我。。。啊。。我的余生还有什么意义。。那Charles谈判的胜算就很小了。
Charles这时，为了迎合主流观众不太能坦然接受这种trade模式时选择了缄默不语。然后Rex又很贴心地开了价码，两幅画。作为观众我当时都要乐死了，多便宜啊，自产自销，不用扣除中间费用， C只用将自己abundant的两幅画丢出去就是了，换了个女人。但是C还是一娘儿们似的一句话都不敢说，跟国共混战时被抓到对方监狱里进行生死抉择似的点了点他那英俊无比的头。
综上，所以当Julia对此心有戚戚时我真是觉得这女人很不理性。你，以及你那怪石嶙峋的眉眼，以及你被宗教腐坏了的teenie weenie brain, 能够想出一个更好的谈判价格，让你觉得心理上接受吗？
但是这部电影还是太唯美了，以下我还想简述人生还有另外一面。
--------------------------------艺术与生活孰高孰低的分割线--------------------
我朋友A， 她的双胞胎姑姑，大姑姑跟一个俩孩子都20几岁的40+男人去年生了个小baby。小姑姑赌搏欠了高利贷，嫁了个差不多民工的人，还是先怀孕才结婚的，没什么收入，然后生的小女孩脚软，每个月要去医院注射1000+RMB的针水，否则过几个月不一定能够走路。哪怕这样，两个姑姑还是吃着120RMB一斤的虾喝着348/900g的美赞臣进口奶粉；她的表姐，会计师，在上海，剩女一枚，跟一个台湾的有女朋友的男生纠缠不清，后来终于大家谈开了，于是这事就黄了，扯淡了，人家不愿分手。她表姑，N年前在深圳做酒店前台时就是如花美人，当了某商人的情人，后来年纪大了，回归正途了，跟个弄玻璃厂的小生意人结婚了，开了个小卖部，正正经经平平淡淡。她一个好朋友，跟男友谈了6年恋爱，结婚前几个月被一个只认识两星期的异乡女人打败了，于是这个devastating的事件让这一女博士之后更加终日郁郁形单影只。而这女博士的朋友，在校念英语系时跟一个爱写诗的医学系男生相交甚好如胶似漆，毕业结婚后这医学系男生不去工作继续写诗终日写诗，不知养家糊口为何物，女人只好一人养全家，七年后终于离婚远嫁美国。
除去那些琐碎死人的中年人生活，再讲青春期躁动。我和Lucas在被大雪滞留在伦敦的机场时，我说你给我讲故事吧，于是他告诉我某女S，大家共同的南亚朋友，在本科艰难度日时跟了个40多岁的老男人，男人现在要来伦敦看她，而她打算跟一个巴黎男生在一起把这老男人甩了；某女Y，日本人，遇到了学校里一个对她身体很感兴趣的欧洲人X，X特别喜欢和她OOXX， 而Y付出了真心。后来Y把她日本的男友甩了却发现X依旧不想跟他女友分，X只喜欢跟Y做爱，非常喜欢，仅此而已。而Y无论和他做了多少次，都不能令他分手来跟她在一起。某男M，非常喜欢做爱，既喜欢跟他女朋友做也喜欢跟其他各种女生做。他女朋友也不介意。但他除了喜欢跟他女朋友做爱，还喜欢跟她聊天。这就成了她成为正室的充分条件。
我当时听了就傻了，M, S, Y, X都是我认识的人啊，Lucas住学校信息多，可他从前不是八卦的人，直到在伦敦的最后一天，在Costa里。
跟这些糟糕的凌乱的人生故事比，Brideshead已经很天上人间了。
生活本就如此的艰难，我更喜欢给生活做减法，找个简单的人，也不要什么伦敦巴黎，公园着胡同着就过了吧。
7 ) 三看《故园风雨后》预告片，我怕“各有千秋”是用不上了
心不在焉地扫了一遍：
一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。
认真看了第二遍：
认出来是Emma Thompton。相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。
Sebastian和情妇阿姨不过关。
Sebastian小雷。眼神、风骨都不见，只见柔弱。
情妇阿姨天雷。她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？
然后看了第三遍。
抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：
轴心人物关系和矛盾纠结点。
1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。
2008版：Charles v.s. Lady Marchmain。
她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。
在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。
Charles Ryder所谓何求。
What is Charles Ryder really want?
预告片以Julia问Charles的这句话做结。
小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。
爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。
不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。走很容易，随大流，谁不会；想走好，难于上青天。
原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。所以问1981版的Sebastian是否酷儿是一个伪问题。他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。
Brideshead庄园是他和Charles戏耍的大迷宫。但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？
面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。
重访故园，“to have seen what I have seen，see what I see”。这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。
一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。
认真看了第二遍：
认出来是Emma Thompton。相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。
Sebastian和情妇阿姨不过关。
Sebastian小雷。眼神、风骨都不见，只见柔弱。
情妇阿姨天雷。她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？
然后看了第三遍。
抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：
轴心人物关系和矛盾纠结点。
1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。
2008版：Charles v.s. Lady Marchmain。
她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。
在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。
Charles Ryder所谓何求。
What is Charles Ryder really want?
预告片以Julia问Charles的这句话做结。
小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。
爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。
不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。走很容易，随大流，谁不会；想走好，难于上青天。
原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。所以问1981版的Sebastian是否酷儿是一个伪问题。他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。
Brideshead庄园是他和Charles戏耍的大迷宫。但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？
面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。
重访故园，“to have seen what I have seen，see what I see”。这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。
这不是一部同性恋电影。说完了。
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！
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……）
英国名著电影有三宝：庄园、虐恋、帅基佬。
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）
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
哀而不伤，细腻隽永
BenWhishaw销魂死
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。
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。
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。
不是太理解，总觉得隔着一层什么东西
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。
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。）
从来没有一部电影能让我如此憎恨男女之情
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……
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
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。
冗長而堅硬的故事。總是有血淋淋的事實。喜歡這電影。