Bright Star 2009 123movies

Watch: Bright Star 2009 123movies, Full Movie Online – It’s 1818 in Hampstead Village on the outskirts of London. Poet Charles Brown lives in one half of a house, the Dilkes family the other. Through association with the Dilkes, the fatherless Brawne family knows Mr. Brown. Mr. Brown and the Brawne’s eldest daughter, Fanny, don’t like each other. She thinks him arrogant and rude; he feels that she’s a pretentious flirt, knowing only how to sew (admittedly well as she makes all her own fashionable clothes), and voicing opinions on subjects about which she knows nothing. Insecure struggling poet John Keats comes to live with his friend, Mr. Brown. Miss Brawne and Mr. Keats have a mutual attraction to each other, but their relationship is slow to develop, in part, since Mr. Brown does whatever he can to keep the two apart. Other obstacles face the couple, including their eventual overwhelming passion for each other clouding their view of what the other does, Mr. Keats’ struggling career, which offers him little in the way of monetary security (which will lead to Mrs. Brawne not giving consent for them to marry), and health issues which had earlier taken the life of Mr. Keats’ brother, Tom..
Plot: In 1818, high-spirited young Fanny Brawne finds herself increasingly intrigued by the handsome but aloof poet John Keats, who lives next door to her family friends the Dilkes. After reading a book of his poetry, she finds herself even more drawn to the taciturn Keats. Although he agrees to teach her about poetry, Keats cannot act on his reciprocated feelings for Fanny, since as a struggling poet he has no money to support a wife.
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Ratings:

	6.9/10 Votes: 27,743
	83% | RottenTomatoes
	81/100 | MetaCritic
	N/A Votes: 383 Popularity: 14.502 | TMDB

Reviews:

Bright Star is the rare biopic of an artist that actually provides some insight into its subject’s craft. Usually, a film about a writer, including such recent examples as To Olivia (Roald Dahl) and The Laureate (Robert Graves), will approach the creative process as 99-percent inspiration and 1-percent actual work – and sometimes not even that. Writing is taken as matter of course; poems come out straight out of the author’s mouth, fully formed like Athena emerging from Zeus’s forehead.

Bright Star doesn’t dismiss the notion of divine inspiration, but it does not tacitly take it for granted either; on the contrary, it acknowledges and articulates it (“If poetry does not come as naturally as leaves to a tree, then it had better not come at all”). Moreover, even though it declares “Poetic craft is a carcass, a sham,” it does so perhaps out of modesty (after all, “A poet is not at all poetical. He is the most un-poetical thing in existence. He has no identity”), before diving right into the crux of the craft itself (“A poem needs understanding through the senses. The point of diving in a lake is not immediately to swim to the shore but to be in the lake, to luxuriate in the sensation of water. You do not work the lake out. It is an experience beyond thought. Poetry soothes and emboldens the soul to accept mystery”).

This is all great stuff, and writer/director Jane Campion displays a sincere love for poetry with which she infuses her characters (who not only commit their favorite poems to memory, but can even recite verbatim from literary reviews). The problem is that her cast themselves are un-poetical and have no identity, and while this might serve them well in their poetic endeavors, as characters it renders them dull and unappealing; Ben Wishaw is wishy-washy as John Keats, and although credit is due Campion for not depicting him as a proto-rockstar (unlike, for instance, Leo DiCaprio’s Rimbaud in Total Eclipse), she loses many points for portraying Keats’s romantic interest Fanny Brawne (Abbie Cornish) as a proto-groupie (early on, in order to impress him, she quotes some of Keats’s verses back to him, as if he weren’t familiar enough with his own work).

I’m aware that an artist’s love life, or lack thereof, tends to inform his creative output, but the romance between Wishaw and Cornish is so corny and mushy that we can’t believe such saccharine sentiment could ever translate into Keats’s sublime lyricism. Only Paul Schneider as the sardonic Charles Armitage Brown, Keats’s fellow poet, comes across as a sensible person who can tell the difference between poetry and real life; he starts out as boorish for the sake of boorishness, but he grows on us the more we realize that his contempt for the shallow Fanny is well-deserved (I especially enjoyed when he tricks her with a question about Paradise Lost’s non-existent rhymes).

Good performances from Cornish, Whishaw and Schneider for a folks and costums movie.

You will enjoy it if you like the genre. If not … well, probably it would be a slow and dull romantic drama for you.

A brighter word than Bright
I saw this film tonight, and in my eyes, it is a perfect film. Beautifully acted by all involved, (several times during the film I found myself thinking ‘Abby Cornish is amazing!”, despite not being a huge fan before), and stunningly shot, it contains some of the most beautifully cinematic scenes i have ever seen committed to film. Campion does a wonderful job of communicating Fanny’ emotional state through the composition, particularly in one scene where the wind is blowing the curtain in her bedroom. The light and colour are fresh and gorgeous and the costumes and design add to the overall piece without being distracting, which is just what you want from a period piece.

But in the end, it is above all a wonderful story, well told. A deeply romantic tale, the story of Fanny and Keats could easily have become a mawkish, overly sentimental piece. But through her wonderfully naturalistic dialogue, her use of humour and light touch, and her restrained story telling (she never lets a scene go on one line too long) Jane Campion has created a heart wrenching film which I cannot fault. The characters are real and fully rounded, you feel the joys and the pain with them, and where I think she really succeeds is by making their love affair extraordinary and yet at the same time deeply ordinary. It stirred up my own personal experiences of love and loss and you would have to have a heart of stone not to shed a tear at the end. Lovely lovely film, and what cinema should be all about.

Ridiculous
I would have given this a 4/10 score except, the more I think about it the less there is to say in commendation of it. The principle problem is that Campion has chosen to write the script herself with only the aid of Andrew Motion. No wonder this is so off target. If you are at all interested in history, or God forbid, Keats himself, stay well away. It is a truly appalling representation of a real person’s life and work. It gives no sense of the deprivations suffered by Keats. You’d think he was a spoilt brat pretending to live the life of an occasional letter writer, in a well lit, airy rural setting, with Brawne depicted like the 21st Century prick-tease that chimes more with modern day sentimentality. Costumes interesting. Casting poor. Script Godawful. Cinematography odd. Deserving of oblivion.

Other Information:

Original Language en
Runtime 1 hr 59 min (119 min)
Budget 10000000
Revenue 14374652
Status Released
Rated PG
Genre Biography, Drama, Romance
Director Jane Campion
Writer Jane Campion, Andrew Motion
Actors Abbie Cornish, Ben Whishaw, Paul Schneider
Country Australia, United Kingdom, France
Awards Nominated for 1 Oscar. 16 wins & 54 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arricam ST, Cooke S4 and Optica Elite Lenses, Arriflex 235, Cooke S4 and Optica Elite Lenses
Laboratory Atlab Film Laboratory Service, Sydney, Australia (laboratory services: Australia), Technicolor Film Services, London, UK (laboratory services: UK)
Film Length 3,250 m (Sweden), 3,255 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema