Poem – ETB

Bright Star – Day Seventeen – #40movies40days

Laurie Hutzler — Sat, 26 Mar 2011 17:31:34 +0000

Bright Star starts a bit slowly but builds and burns with a growing intensity. The longing, the loss, the passion and the separated lovers make it a classic Power of Idealism film with two young Power of Idealism lovers.

Since it is a Saturday I am taking a bit of the easy way out by quoting from two of the many lush, poetic and enthusiastic reviews this Jane Campion film received on it’s release.

Both articles are beautifully written and part of much longer reviews. I’ve provided the links to the original discussions of the film.

Dana Stevens writing in Slate – http://www.slate.com/id/2229522/

Bright Star (Apparition), Jane Campion’s new film about the brief love affair between John Keats and his neighbor Fanny Brawne, is a thing of beauty: the rare film about the life of an artist that is itself a work of art. Campion’s inspiration was Sir Andrew Motion’s massive 1997 biography of Keats, which attempted to supplant the popular image of Keats as a Romantic martyr who died of consumption at age 25 with a portrait of the poet as a vibrant thinker and citizen, engaged in the debates of his time. But Keats proves as tough to demythologize as Marilyn Monroe: He died so young, his life was so tragic, and the small body of work he left behind is so incomparable, that any depiction of his short life is bound to be tinged with idealization.

That’s why Campion was smart to make her film less about Keats than about Fanny Brawne, the fashionable, flirtatious young woman who captivated him in the spring of 1818 and lived next door to him in Hampstead for the last two years of his life. Fanny, as played by the up-and-coming Australian actress Abbie Cornish, is a curious heroine. She’s not a quick-tongued wit, like Pride and Prejudice’s Elizabeth Bennet. She’s grave-faced and a little stolid, skeptical of flights of fancy. (“Poems are a strain to make out,” she tells her little sister after sending her to a bookstore to buy Keats’ Endymion.) Fanny is inordinately proud of her gifts as a seamstress, and she dresses herself in homemade finery that’s outrageously ornate for the simple village life she leads. (Meeting Keats at a party, she brags, “This is the first frock in all of Hampstead to have a triple-pleated mushroom collar.”) Campion’s insistence on Fanny’s sewing skills is a feminist gambit, yes, but one that’s entirely consistent with the character. By emphasizing sewing as Fanny’s creative outlet, Campion shows the social constraints on women in Regency-era England and also gives the poet’s muse an art form of her own: When Fanny presents Keats with an exquisitely embroidered silk pillowcase, it’s a kind of sewn poem.

By A. O. SCOTT writing in The New York Times– http://movies.nytimes.com/2009/09/16/movies/16bright.html

Fanny, the eldest daughter of a distracted widow (Kerry Fox), has some of the spirited cleverness of a Jane Austen heroine. A gifted seamstress, she prides herself on her forward-looking fashion sense and her independence. She is also vain, insecure and capable of throwing herself headlong into the apparent folly of adoring a dying and penniless poet, something no sensible Austen character would ever do.

If it were just the poet and his beloved, “Bright Star” might collapse in swooning and sighing, or into the static rhythms of a love poem. And while there are passages of extraordinary lyricism — butterflies, fields of flowers, fluttering hands and beseeching glances — these are balanced by a rough, energetic worldliness. Lovers, like poets, may create their own realms of feeling and significance, but they do so in contention with the same reality that the rest of us inhabit…

Ms. Campion is one of modern cinema’s great explorers of female sexuality, illuminating Sigmund Freud’s “dark continent” with skepticism, sympathy and occasional indignation. “Bright Star” could easily have become a dark, simple fable of repression, since modern audiences like nothing better than to be assured that our social order is freer and more enlightened than any that came before. But Fanny and Keats are modern too, and though the mores of their time constrain them, they nonetheless regard themselves as free.

The film is hardly blind to the sexual hypocrisy that surrounds them. Fanny can’t marry Keats because of his poverty, but Brown blithely crosses class lines to have some fun with (and impregnate) a naïve and illiterate young household servant (Antonia Campbell-Hughes). That Fanny and Keats must sublimate their longings in letters, poems and conversations seems cruel, but they make the best of it. As does Ms. Campion: a sequence in which, fully clothed, the couple trades stanzas of “La Belle Dame Sans Merci” in a half-darkened bedroom must surely count as one of the hottest sex scenes in recent cinema.

The heat of that moment and others like it deliver “Bright Star” from the tidy prison of period costume drama. Ms. Campion, with her restless camera movements and off-center close-ups, films history in the present tense, and her wild vitality makes this movie romantic in every possible sense of the word.

Dana Stevens writing in Slate says:

Bright Star (Apparition), Jane Campion’s new film about the brief love affair between John Keats and his neighbor Fanny Brawne, is a thing of beauty: the rare film about the life of an artist that is itself a work of art. Campion’s inspiration was Sir Andrew Motion’s massive 1997 biography of Keats, which attempted to supplant the popular image of Keats as a Romantic martyr who died of consumption at age 25 with a portrait of the poet as a vibrant thinker and citizen, engaged in the debates of his time.

But Keats proves as tough to demythologize as Marilyn Monroe: He died so young, his life was so tragic, and the small body of work he left behind is so incomparable, that any depiction of his short life is bound to be tinged with idealization.

She’s grave-faced and a little stolid, skeptical of flights of fancy. (“Poems are a strain to make out,” she tells her little sister after sending her to a bookstore to buy Keats’ Endymion.) Fanny is inordinately proud of her gifts as a seamstress, and she dresses herself in homemade finery that’s outrageously ornate for the simple village life she leads. (Meeting Keats at a party, she brags, “This is the first frock in all of Hampstead to have a triple-pleated mushroom collar.”)

Campion’s insistence on Fanny’s sewing skills is a feminist gambit, yes, but one that’s entirely consistent with the character. By emphasizing sewing as Fanny’s creative outlet, Campion shows the social constraints on women in Regency-era England and also gives the poet’s muse an art form of her own: When Fanny presents Keats with an exquisitely embroidered silk pillowcase, it’s a kind of sewn poem.

The full article is here: http://www.slate.com/id/2229522/

A. O. Scott writing in The New York Times continues the analysis:

…Ms. Campion is one of modern cinema’s great explorers of female sexuality, illuminating Sigmund Freud’s “dark continent” with skepticism, sympathy and occasional indignation. “Bright Star” could easily have become a dark, simple fable of repression, since modern audiences like nothing better than to be assured that our social order is freer and more enlightened than any that came before. But Fanny and Keats are modern too, and though the mores of their time constrain them, they nonetheless regard themselves as free.

The film is hardly blind to the sexual hypocrisy that surrounds them. Fanny can’t marry Keats because of his poverty, but Brown (Keat’s friend) blithely crosses class lines to have some fun with (and impregnate) a naïve and illiterate young household servant (Antonia Campbell-Hughes). That Fanny and Keats must sublimate their longings in letters, poems and conversations seems cruel, but they make the best of it. As does Ms. Campion: a sequence in which, fully clothed, the couple trades stanzas of “La Belle Dame Sans Merci” in a half-darkened bedroom must surely count as one of the hottest sex scenes in recent cinema.

The link to the longer article is here: http://movies.nytimes.com/2009/09/16/movies/16bright.html

On a side note one of the things I noticed was how simple the entertainment choices were in that period– and how much personal engagement these choices demanded. Dancing, choral singing, word games, reading aloud, blind man’s bluff, hide and seek (all played by adults as well as children) required everyone to interact personally with each other on a physical and emotional level. There was something incredibly charming about this very direct social connection and a sense of personal presence missing from much of modern types of entertainment.

18 Poets Represented on Screen

Laurie Hutzler — Thu, 03 Mar 2011 18:54:23 +0000

For those of you rhyme-ically inclined– Here is a great listing of screen stories about poets or poetry.

There were two major omission– Barfly, about Charles Bukowsk and Gothic, the Ken Russell extravaganza about poets Lord Byron, Percy Bysshe Shelley and Mary Shelley (writer of Frankenstein).

Definition from About.com: Poetry is an imaginative awareness of experience expressed through meaning, sound, and rhythmic language choices so as to evoke an emotional response. Poetry has been known to employ meter and rhyme, but this is by no means necessary. Poetry is an ancient form that has gone through numerous and drastic reinvention over time. The very nature of poetry as an authentic and individual mode of expression makes it nearly impossible to define.

Discover all the poetic movie listings here: http://www.totalfilm.com/features/18-awesome-movie-poets

The Invitation

Laurie Hutzler — Sat, 13 Sep 2008 17:18:16 +0000

I am back from Australia. I had a wonderful time in Melbourne and Sydney. Both are beautiful cities in their own way. This trip, as my trips always do, has convinced me yet again that the creative people I work with know EVERYTHING.

When I was in my Master’s Program at the UCLA Film School I got a handout with a copy of a wonderful poem published in a book by Jean Houston, A Passion for the Possible. For me, the poem definitively sums up what the audience is looking for in the characters of a screenplay.

In my discussions, workshops and consulting I had been crediting the poem to Houston. One of the writers I worked with in Melbourne knew the poem and told me it was, in fact, titled The Invitation and is attributed it to Oriah Mountain Dreamer.

It is a wonderful poem and I am sure the book based on the poem must be extraordinary as well. I have it on order. You might want to check out the book as well.

Here is the poem from the book The Invitation — And the best description I’ve ever found of what the AUDIENCE wants to know about your characters.

The Invitation
(by Oriah, Mountain Dreamer)

It doesn’t interest me what you do for a living.
I want to know what you ache for
and if you dare to dream of meeting your heart’s longing.

It doesn’t interest me how old you are.
I want to know if you will risk looking like a fool
for love
for your dream or
for the adventure of being alive.

It doesn’t interest me what planets are squaring your moon…
I want to know if you have touched the centre of your own sorrow
if you have been opened by life’s betrayals
or have become shrivelled and closed
from fear of further pain.

I want to know if you can sit with pain
mine or your own
without moving to hide it
or fade it
or fix it.

I want to know if you can be with joy
mine or your own
if you can dance with wildness
and let the ecstasy fill you to the tips of your fingers and toes
without cautioning us
to be careful
to be realistic
to remember the limitations of being human.

It doesn’t interest me if the story you are telling me
is true.
I want to know if you can
disappoint another
to be true to yourself.
If you can bear the accusation of betrayal
and not betray your own soul.
If you can be faithless
and therefore trustworthy.

I want to know if you can see Beauty
even when it is not pretty
every day.
And if you can source your own life
from its presence.

I want to know if you can live with failure
yours and mine
and still stand at the edge of the lake
and shout to the silver of the full moon,
“Yes.”

It doesn’t interest me
to know where you live or how much money you have.
I want to know if you can get up
after the night of grief and despair
weary and bruised to the bone
and do what needs to be done
to feed the children.

It doesn’t interest me who you know
or how you came to be here.
I want to know if you will stand
in the centre of the fire
with me
and not shrink back.

It doesn’t interest me where or what or with whom
you have studied.
I want to know what sustains you
from the inside
when all else falls away.

I want to know if you can be alone
with yourself
and if you truly like the company you keep
in the empty moments.

A Moment of Inspiration

Laurie Hutzler — Tue, 26 Aug 2008 13:40:42 +0000

I’m on my way to Australia and will be posting from there. I will be crossing the International Date Line so I won’t be arriving in Melbourne until Thursday.

I came across this item and found it to a perfect recipe for a terrific creative life.

To live content with small means;
to seek elegance rather than luxury,
and refinement rather than fashion.
To be worthy, not respectable,
and wealthy, not rich.
To study hard, think quietly
talk gently and act frankly.
To listen to stars and birds,
to babes and sages,
with an open heart.
To bear all cheerfully, do all bravely,
await occasions and hurry never.
To let the spiritual, unbidden and unconscious,
grow up through the common.
This is to be my symphony.

William Ellery Channing
(1780 – 1842)