Brideshead revisited movie online

Writers: Evelyn Waugh novelJohn Mortimer adaptation. Added to Watchlist. Obejrzane Brideshead Revisited. Favourite Tele. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Photos Add Image. Edit Cast Episode cast overview, first billed only: Jeremy Irons Charles Ryder Diana Quick Julia Mottram Phoebe Nicholls Cordelia Flyte Laurence Olivier Lord Marchmain Stéphane Audran Cara as Stephane Audran Peter Gordon Gaston Ralph Nossek Plender Roger Milner Wilcox Simon Jones Lord Brideshead 'Bridey' Niall Toibin Father Mackay Mary MacLeod Nurse Peter Newton Gregson Derek Hockridge Jameson Michael Gough Doctor Grant John Nettleton Edit Storyline In the winter ofLord Marchmain decides to return to Brideshead from Venice in view of the deteriorating international situation.

Edit Details Language: English. Runtime: 90 min. Sound Mix: Mono. Color: Color. Edit Did You Know? Trivia Last part of series. Goofs When Lord Marchmain returns to Brideshead, he is accommodated on the ground floor in the "Chinese drawing room".

However, when Charles Ryder is being shown around the castle by a commanding officer some years later, the two walks up a flight of stairs to the second floor where they enter the same "Chinese drawing room", intact with all details. Quotes [ in the Chapel at Brideshead Hall - final voiceover ] Charles Ryder : The chapel showed no ill effects of its long neglect. The paint was as fresh and bright as ever. And the lamp burned once more before the altar. I knelt and said a prayer - an ancient, newly-learned form of words.

I thought that the builders did not know the uses to which their work would descend. They made a new house with the stones of the old castle. Year by year the great harvest of timber in the park grew to ripeness, until, in sudden Add the first question. Edit page. Much of the content of the novel is in what goes unspoken and undescribed, and the meanings of those things.

I know enough about what I don't know about British society to realize that some of these things in the book escaped my attention, and that even more would escape the modern American reader not familiar with the UK. But a lot of what Waugh thought he was conveying is probably only conveyed clearly to a certain segment of the audience, which is much smaller now than it was in the mid 20th C.

This is not an inspirational or feel-good story. It was depressing, because everything was gradually falling l amaigrissement holistique geneve and people were constantly letting each other down and behaving selfishly and cuttingly, which feels lifelike and inevitable. The religious content of the story was not what I imagined it would be.

I am not Catholic, so it didn't appeal to me in that way, but if Waugh meant to show Catholicism in a good light or convey the romantic nature of it or show the eternal truth of it or whatever he was trying to do, it didn't work for me at all. In fact, the message I got was that religious belief is personal, it can't be explained very well to others, and it's mainly formed when one is young; from then on, it can mess with your mind especially if you don't want to live your life the way others expect you to.

I'm not saying that is my pronouncement on Religion, I'm just saying that's the message that I got from the book about it. The ending was particularly abrupt and bad.

The narrative was going along slowly and normally, and then it's as if Waugh suddenly decided he was done with the whole thing, so he pounded out the last couple dozen pages and left it at that. What I did like was how two of the half-in, half-out foreigners were shown to be more honest and direct than the Brits - Sebastian's father's mistress and the Italian stuttering Oxford classmate - a couple of their monologues helped to define what was really what, though sometimes unkindly.

I also liked the gentle and delicate depiction of Sebastian's and Charles' relationship which I took to be entirely and actively gay, physically and emotionally, and I think this is what was certainly being implied by Waugh, but I understand how some people don't want to read it like that.

Of course, idealizing that stage of life is normal in the US, too, but I think Americans are more likely to look forward more, and expect their futures to also be interesting and fulfilling, whereas the Brits the more privileged ones, anyway are more likely to feel that the highpoint of their lives was during their early 20s and that only larger or smaller waves of disappointments can be expected afterwards.

Combining what Sebastian's father mistress said which I agree withthat British boys mature late emotionally as compared to boys of other countries, with the amazing experiences of being raised well-to-do, being taught you are better than others, going to such gorgeous universities, being cushioned and coddled up to the age of 22 at leastit's no wonder that many idolize their halcyon days, the present never lives up to their memories, and the future is left to muddle itself up.

I wish that I had loved the book, but I didn't. I wouldn't call it a masterpiece, but it was a good book. I haven't read anything else by Waugh, and I confess that after reading this, I will push Vile Bodies and A Handful of Dust further down on my to-read-someday list, but I'll keep them on it.

This friendship begins when Ryder is a fresher at Oxford: "I knew Sebastian by sight long before I met him. That was unavoidable for, from his first week, he was the most conspicuous man of his year by reason of his beauty, which was arresting She observes: "I know of these romantic friendships of the English and the Germans I think they are very good if they do not go on too long In England it comes when you are almost men; I think I like that.

It is better to have that kind of love for another boy than for a girl. Alex [Sebastian's father], you see, had it for a girl, for his wife But then what happens? Meanwhile, Waugh appends to Sebastian the problem of alcoholism. This certainly gives Waugh something to write about.

Brideshead revisited movie online

But, as presented, this problem doesn't really explore Sebastian's character. Instead, it allows Waugh to follow Sebastian's plight over 20 years while downplaying his sexual orientation. BR, in other words, seems to address manufactured, not character-driven, themes. It lacks the courage to explore its content. This failure to confront content is also apparent in Waugh's treatment of Sebastian's family. At the same time, the issue in the life of Julia is the standard female problem of finding the right man.

What Waugh tries to do in BR is to endow these very limited characters with historic dimension. But, the only quality about this family that is other than mediocre is its wealth. IMO, Waugh, through his protagonist Charles, can't see the true dynamic of his characters because he is a captivated by their money.

Again, he doesn't truly confront his content. But you know what? Once again, this subject feels like something Waugh appended to his narrative so there was something to write about. Will Lord Marchmain accept the sacrament on his death bed? Will Julia acknowledge her core Catholicism? These are matters that come up in the conclusion of BR.

But these aren't emblematic of issues that Waugh has explored throughout his novel. Instead, Catholicism functions as a layer of melodrama that Waugh has added to a bizarre book, where the emotional engine of the narrative diverts from its story. Also there is serious lamentation over the fragility of beauty and youth. Brideshead Revisited, ironically probably his most famous work, has similar themes but differs substantially in not being primarily satirical.

There is some trademark Waugh wit to be sure, especially for those on the lookout, but this is more conventionally serious and ambitious. Not easy to classify, it is part comedy of manners, part historical fiction, and part romance; there are also quite a few comic and didactic elements and some symbolism.

All this strongly suggests that Waugh was going for a masterpiece, and many fans and critics have called it such. It is certainly a commendable novel that deserves the high reputation it still has and is exemplary for characterization, a well-told story, and generally strong writing.

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The issue of whether it is Waugh's best book is essentially subjective, but it is certainly his broadest and probably his best written in conventional terms. However, it is brought down somewhat by a weak ending that makes the execution less stellar than Waugh's satirical masterworks and also harms his didactic purpose.

This does not stop it from being an excellent novel but does keep it from true greatness. Unlike most Waugh works, Brideshead functions on several levels. Charles Ryder, its first-person narrator, is still young but past his formative experiences; now a World War II British Army Captain, he looks back on the events that brought him to where he is and made him the man he is.

Chronologically, there is a definite progression - if not necessarily progress - from relatively carefree, naïve youth to hard-won, belated adult wisdom. The novel can thus be legitimately seen as a bildungsroman - one that, moreover, many British men surely related to, as Ryder had many of his generation's characteristic experiences. This aspect is not strong enough to make Brideshead one of the great bildungsromans, but it is an important part of the book's worth and lasting value.

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More important is the Flyte family that is the focus for most of Ryder's important experiences as well as the titular homestead that is metonymically linked to them. Like the Last family in A Handful of Dust, Waugh's most enduring other work, they are a traditional upper-class British family struggling to keep up with modern society and maintain ancestral dignity.

It is a tough battle, and history has shown that there were almost no survivors. Ryder comes from a class that is distinctly beneath them but close enough for him to become active in their affairs, and he sees their tragic disintegration as both observer and participant. They stand in for the many families like them, and there is much pathos in their story, which also brings out other emotions. This is all the more so in that, in contrast to Waugh's usual way, he does not poke fun at them.

Their fall is portrayed in an unadorned manner, letting us draw our own conclusions about its social and historical meaning.

As this suggests, Brideshead is a very moving and engrossing novel; it might not quite bring tears but draws us in and runs us through an emotional gamut. This is all the more notable in that, as in much of Waugh, no major character is likable. Only Cordelia, the youngest Flyte, and the family's Nanny Hawkins are even remotely so. The rest are vain, selfish, self-pitying, melodramatic, and more - yet, though they are far from conventionally sympathetic, we feel with, if not quite for, them.

This is a triumph of Waugh's art, a trick only the best writers can pull off. The Flytes have a tragic flaw - the inherited pride the refuse to abandon - and it proves to be their destruction in various ways. Objectively speaking, it is easy to say this is deserved, but it would take a hard heart not to have some feeling. There is a sense that they are doomed - if not necessarily victims of venomous fate, at least to a large extent casualties of time and place.

Their story is fascinating and emotional enough to make the book worth reading. However, there is quite a bit more to the novel.

A realist triumph, it is a vivid portrait of a distinct era; we get a good idea of how various British groups lived and thought. There is much social observation, especially in regard to class, religion, and art. Brideshead is particularly valuable as a realistic document of pre-WWII British college life; the most surprising thing may be how little has changed. We also get an interesting glimpse of an era when Catholicism was still a great social stigma in England even among the gentry - a topic close to Waugh.

Class relations are also variously explored in Ryder's interactions with the Flytes. Ryder's role as painter meanwhile interestingly dramatizes the artist's role in the era and may be meant as far-reaching symbolism again arguably touching the author. Finally, though only briefly, the novel vividly shows WWII's profound effect on all aspects of British life.