Brideshead Revisited (1981) User Reviews

Perhaps the Finest Miniseries Ever Made

[gftbiloxi · 10/10 · 1 May 2005]

Brilliantly adapted by John Mortimer from Evelyn Waugh's celebrated novel of England between the first and second World Wars, BRIDESHEAD REVISITED may be the best miniseries ever made. Smoothly and subtly directed by Charles Sturridge and Michael Lindsay-Hogg, the twelve hour program is beautiful to look at, the cast is remarkable, and the story has amazing impact.

The miniseries follows the novel closely, beginning near the end of World War II as Charles Ryder (Jeremy Irons) grows disdainful of military life, which he finds a study in futility--and then flashes back twenty years as Ryder recalls his relationship with the aristocratic Marchmain family, a relationship that begins when he becomes friendly with Marchmain son Sebastian Flyte (Anthony Andrews) while the two are students at Oxford.

The miniseries captures perfectly a golden moment of youth--and then the gradual disillusionment brought by the passage of time. Like all great works, BRIDESHEAD REVISITED--both book and film--touches on a great many themes, most specifically an innocent type of homoeroticism, loss of innocence, alcoholism, adultery, and changing society; ultimately, however, the story is about spiritual values and how they survive in even the most unlikely of circumstances--and how God works through individuals in the most unexpected ways.

The performances here are truly fine beyond description. Jeremy Irons has seldom surpassed his work here, and neither Anthony Andrews nor Dianna Quick (as Julia, Sebastian's sister) have ever bested their performances in this film. In addition to the three leads, the miniseries offers an incredible array of superior performances by John Gielgud, Claire Bloom, and Laurence Olivier; the cinematography and art design is flawless; and the score by Geoffrey Burgon is exquisite. Mortimer's script is remarkable in that it not only manages to recreate the novel, it also manages to capture the intangible, spiritual elements upon which the book plays but seldom directly references. A must-own work for any one who appreciates the best of the best; strongly, strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

A masterpiece of Television

[Weasel100 · 10/10 · 6 January 2005]

Everyone is of course entitled to an opinion about matters such as this, but how anyone can rate this series as anything less than a great milestone in television is, to my mind at least, quite difficult to understand.

I recently re-read Evelyn Waugh's wonderful novel and was, consequently, inspired to watch the series for the fourth time, on DVD on this occasion. It is disappointing that the DVD boxed set contains no additional features as one would expect from a series which is so highly regarded by so many people. At least, interviews with the stars and comments by the Director, Charles Sturridge, would have been welcome. In that respect, the DVD set can be seen to be somewhat lacking.

However, the acting, direction, costume design, sets and John Mortimer's brilliant adaptation of the novel for television make this one of the greatest achievements in television and a demonstration of what can be accomplished in that medium with a great deal of care for detail.

What I find particularly heart-rending is the transition from the light and airy early scenes to the darker ending of the series. I am really not sure whether this comment contravenes the "spoiler" guidelines but I suspect that I'm on reasonable safe ground in that regard.

I would go so far as to suggest that "Brideshead Revisited" lives up to the comments which were made about it at the time of its release in the early '80s that it is one of the greatest television series ever produced and it is hardly surprising to me at least that a series of such enduring quality emanated from the UK.

10 out of 10 from me. I am looking forward to reading the book and seeing the series again at some time in the not too distant future.

Please do yourselves a great favour and read the novel and then see the series. You will find, as I have done, that it is a true classic and a faithful adaptation from the novel to the small screen.

One of the best productions ever put on film.

[curt-28 · 10/10 · 15 November 1999]

It is exceptional to find something in life that improves with age. Brideshead Revisited is one of those exalted things. Having just completed watching the entire series I can say that it is actually better than I remembered when I first saw it over 15 years ago. Seldom do so many things (cast, writing, locations, costumes) come together and form a harmonious whole. Brideshead is a tour-de-force of the film maker's art that glows with a magical intensity all its own.

Television's Finest Hours

[Piafredux · 12 February 2003]

Evelyn Waugh's 'Brideshead Revisited' is, I think, the quintessential and the finest novel of the twentieth century - English literature at its highest form. And this 1981 miniseries does the novel great justice: its episodes give us television's finest hours.

The splendid cast makes the most of the rich script, which is as faithful to a novel as a script can be. My favorite is Phoebe Nicholls as Lady Cordelia: her performance is disarming, utterly charming. And Nickolas Grace plays to the hilt the sybaritic, viper-tongued Anthony Blanche.

Jeremy Irons does sterling service as the narrator, Charles Ryder, who is, after all, Waugh's observant eye and eloquent tongue; Irons depicts poignantly Ryder's "conversion to the Baroque" crashing to bits against the cold gracelessness of "The Age of Hooper". As the rapidly dissolving Lord Sebastian Flyte Anthony Andrews is memorable - should Waugh's book ever again be adapted for the screen the lot of the actor cast as Sebastian will not be enviable.

Claire Bloom's Lady Marchmain is a study in quiet dignity upheld vainly in the face of the twentieth century's ravaging of her character's world and sensibilities. Sir Laurence Olivier's Lord Marchmain is letter-perfect; and in the deathbed sequences Olivier's performance is tenderly, expertly nuanced.

Diana Quick was a bit too old to play convincingly the debutante Lady Julia of the early episodes, but in the later ones Quick hits perfectly every disillusioned, jaded, repentant note. Charles Keating as Rex, who inhabits a "harsh acquisitive world", is an exemplar of shallowness, of the venality Waugh detested - and satirized so hilariously in his earlier novels: he's nothing more than a Hooper with money and ambition.

Simon Jones gives us Bridey's stodginess and bewliderment with marvelous understatement. John Gielgud steals every scene as Charles's father Edward, brilliantly interpreting of one of Waugh's most delicious, yet indigestible characters.

There are rich offerings, too, from character actors: Stephane Audran glows warmly as Clara, Lord Marchmain's insightful, intuitive, down-to-earth mistress; John LeMesurier leaves us suitably agape as the Jesuit Father Mowbray baffled and dismayed by Rex's utilitarian approach to his conversion to Catholicism; Jeremy Sinden sails naively along as the indefatigable yet ever-dimwitted and clueless Boy Mulcaster; Ronald Fraser stirs just the right sloshing of queasiness as the peculiar, opportunistic shipboard cocktail party guest; Jonathan Coy, as the parlous, seedy Kurt, is perfectly repellent; Jane Asher tiptoes delicately through Celia Ryder's conventional, porcelain sensibilities; and Mona Washbourne knits a thoughtful, lovely portrait of Nanny Hawkins.

Throughout 'Brideshead Revisited' the photography is lush, meticulous, yet tasteful. The score is understated, never intrusive, always complementary. Costuming, set design and, above all, location, are unrivalled. Charles Sturridge's direction is evenhanded, assured - and his pacing of the narrative treads adroitly every beautifully-modulated beat.

I bought the DVD version of this series and, though occasional bits of the image transfer are a trifle fuzzy and the sound re-recording is sometimes uneven, the nicely boxed set of discs pleased - and goes on pleasing - me greatly.

In the early third millennium, a time of evermore immature programming and production executives - a dismal age of TV's Hoopers, I have to suspect sadly that television will never again attain the heights to which 'Brideshead Revisited' vaulted. But I shall remain ever grateful for this magnificent series.

Televisions' finest

[charleswa333 · 10/10 · 8 March 2003]

There are only a few opportunities in one's life to see such an excellent adaptation of a great novel. John Mortimer has done a wonderful job of adapting Evelyn Waugh's masterpiece, "Brideshead Revisited." None of the plot from the novel is left out, and all the characters retain their original qualities. Only a few moments of Charles' narration is left out of the series. The series does great justice to the novel, and it is a truly excellent experience. The novel is a brilliant story of loss and yearning, filled with many superb characters, it is one of the greatest novels of the 20th century. Because an entire essay can be devoted to the content of the story I will only be talking about the production of the serial. First and foremost, the series is directed by Charles Sturridge and Michael Lindsay-Hogg. Unfortunately, as is the case for all television, the directing is not that good from a visual point of view. The directors' handling of the actors is quite good, however the camera angles are boring, they are almost all in closeup. The cinematography is good enough, (it can hardly look bad with those locations) but the transfer on the DVD is not great, there are a few moments of fuzziness. Aside from the visual components, the production values are irreproachable. The entire series is shot on real locations, Oxford, Castle Howard, QB II, and all the costumes are correct. The essence of the period is remarkably well done.

Jeremy Irons is masterly in the role of Charles Ryder, he has a wonderfully understated, yet passionate quality. His narration is absolutely mesmerizing. This is Jeremy's star-making performance, and it is one of the most brilliant I have ever seen. His transition from youth to middle-age is extraordinary.

Anthony Andrews plays Sebastian Flyte. If you see Brideshead for no other reason, see it for this brilliant, one of a kind performance. It is impossible to forget Anthony Andrews in this role, his facial expressions and appearance epitomize the destruction of innocence. He commands your attention even in scenes with Jeremy Irons and Laurence Olivier. I have never seen a drunkard played better. Andrews brings genuinely tragic overtones to the story.

Diana Quick is miss-cast in the role of Julia Flyte. The character in the book is supposed to be extremely beautiful and look just like Sebastian. Diana Quick was too old for the role, and her looks to not grab you. Still, it was a very fine performance, though at times she seems to have received bad direction. The fountain scene is rather studied.

Jane Asher is quite good in the role of Celia Ryder, she is extraverted, and unbearably irritating in the role as she should be.

Nickolas Grace is wonderfully comic, though very theatrical in the role of Anthony Blanche. He steals all of his scenes. No actor can speak with a stutter better than he,

John Grillo is humorous in the role of Mr. Samgrass. He is masterly with his balance of humor and irritation.

Simon Jones gives a fine performance as Lord Brideshead. His pompousness knows no bounds.

Charles Keating is perfect as Rex Mottram, his callousness is perfectly contrasted with the other actors.

Phobe Nicholls is remarkable as Cordelia Flyte. This is one of the more difficult roles in the series, her transition from childhood to adulthood is astonishing.

Jeremy Sinden is good in the role of Boy Mulcaster. He has the perfect voice.

Laurence Olivier is absolutely astonishing as Lord Marchmain. His final deathbed scene is masterly. He isn't even moving, and yet the scene is compelling. A truly excellent performance.

Claire Bloom is superb in the role of Lady Marchmain. She is brilliant in concealing her deception.

Stephane Audran is not particularly good in the role of Cara. Most of her performance is very typical of television.

Mona Washbourne is right for the role of Nanny Hawkins. You don't even notice she's acting.

John Le Mesurier is fine in the role of Father Mowbray. He has some good comic moments.

John Gielgud is wonderful as Edward Ryder. The characters' aloofness is perfectly realized. He steals his scenes.

Thus, "Brideshead Revisited" is an excellent drama, and perhaps the finest mini-series ever made.

What television was invented for

[MOscarbradley · 10/10 · 21 March 2008]

Possibily there have been two other television adaptations from literature that have equaled "Brideshead Revisited". One, somewhat earlier and in black and white, was "The Forsythe Saga"; the other was "The Jewel in the Crown" and that was in 1983. I honestly can't think of anything of a similar magnitude in the intervening years. Not that television isn't producing great drama: the BBC's rightly acclaimed costume dramas have mostly hit the mark and writers like Alan Bleasdale and Stephen Poliakoff have given us some great contemporary stuff. It's just that television no longer seems prepared to take risks, (and its time), and give us epic serializations like "Brideshead Revisited" and "The Jewel in the Crown".

With a running time of almost 12 hours, "Brideshead ..." was, to say the least, properly detailed. We were party to the silences between the words and the inactivity between the action. We were, if you like, party to the character's every breathing moment and never for an instant was it dull. On the contrary, with one of the best casts ever assembled for a television production and with a splendid script by John Mortimer, it was thrilling.

Its hero is Charles Ryder, a somewhat vacuous young man whose sole purpose in life seems to be a 'hanger-on', primarily to the Marchmain family and, despite a few sojourns into the wilderness, if he isn't within their radar he seems not to exist at all. He is played by Jeremy Irons, an actor who can perfectly capture the pallid in-consequentiality of someone who exists only in the eyes of others. It is Charles who tells us the tale and it is the tale of the Marchmains, firstly of Sebastian and latterly of Julia.

It is through Sebastian that he first encounters the family; Sebastian, the beautiful, slightly effete and, as it turns out, dipsomaniac young lord who befriends him at Oxford. Though never explicit, we must assume they become lovers and in a sexual way. Charles never makes any bones about loving Sebastian and later, even when embroiled in an affair with Julia, it is Sebastian who fills his thoughts. Charles, it would appear, is truly bisexual, though finally it is with women that he consummates his relationships. Sebastian, on the other hand, is gay and a drunk; self-loathing, not because of his sexuality which he seems to happily accept, but because of who he is, a Marchmain. The love of Sebastian's life turns out not to be Charles but Kurt, a young German deserter even more in need of love and affection than he. Even when Charles severs all ties with the Marchmains after he and Sebastian 'break up', he keeps being drawn back into their circle, finally embarking on a passionate love affair with Sebastian's sister, Julia.

The Marchmains are Catholics and that is something of an anachronism in the English gentry. Their Catholicism overwhelms them. Where none of them seems to have a 'profession' their Catholicism becomes their profession; their private chapel is their bank and their faith is their currency. it alienates both Sebastian and Julia whose sex-drives are at logger-heads with the teachings of their Church. (Julia, even more so than Sebastian, is overwhelmed by guilt but then, she doesn't have the demon drink to fall back on). Brideshead, the older son and Cordelia, the younger daughter, on the other hand, seem positively priest-like and nun-like in their asexuality. Lady Marchmain is a cold gorgon of respectability whose self-righteousness has driven, first her husband from her and then her son. Lord Marchmain lives with his married French mistress in Venice.

All these characters are beautifully delineated and played. Olivier is a magisterial Lord Marchmain while Claire Bloom has seldom been better than as Lady Marchmain and, given time to fully develop their characters, Diana Quick, (Julia), Simon Jones, (Brideshead), and Phoebe Nichols, (Cordelia), are superbly cast as other members of the family. And then there is Sebastian: Anthony Andrews performance is one of the great pieces of acting. Sebastian is, by nature, theatrical but Andrews breaks down his theatricality and gets to the very core of the character. His drunk scenes are phenomenal and, as he breaks down, he is extraordinarily moving. He departs from the series about half way through but his presence is felt to the very end.

Four other performances stand out. John Gielgud is a wonderfully comic foil as Iron's supercilious father; John Grillo is properly oily as the toadying Mr Samgrass, (he is like the snake in the Garden of Eden); Stephane Audran is an oasis of calm sensuality as Cara, Lord Marchmain's mistress and Nickolas Grace is magnificent as Anthony Blanche, Sebastian's flamboyant, outré gay friend at Oxford. So indelibly does Grace inhabit the role that I found it impossible to separate the actor from the part. His performance seems to transcend acting altogether, though I am sure Mr Grace isn't like Anthony at all in real life. These are the kind of performances and this is the kind of television that makes you glad that someone had the wherewithal to invent the medium in the first place. It's a masterpiece.

The best mini-series since Shogun.

[Doug-135 · 10/10 · 7 June 2002]

This is the finest series I've ever seen on television. The fact that is based upon an excellent novel is only part of the equation. The locations, the music, the acting - everything comes together so beautifully in this project. Who else, besides Evelyn Waugh, writes lines like: "I was taken by the double illusion of familiarity and strangeness." or "A thin bat-squeak of sensuality..." or " I found myself close to heaven in those days."

I must single out Sir John Gielgud. Every time he is on screen, he is hilarious. What a treasure.

Watching this series is a bit like getting lost in reading "Lord of The Rings." You like the 'place' that they take you so much, you don't want it to end. If cable ever offered a Brideshead Revisited channel, I'd be among the first to subscribe.

Wonderful!

[May-11 · 10/10 · 1 July 2004]

This is the reason why I love British TV so much. Who else dares to take a complex, demanding book and make a complex, demanding series of it? There is no concession here to change the story in order to make it easier to understand, no letting out some of the characters, no letting out some of the issues (e.g. Catholicism), no letting out Evelyn Waugh's wonderful narrative passages… There is supposed to be a law when making a literary adaptation: do not use voice-overs, unless you want to bore the audience to tears. ‘Brideshead Revisited' made me see that, when done well, voice-overs can be wonderful (especially when Jeremy Irons does the narration). Almost everything in the book was conveyed to the screen, including the most important aspect: the mood. This is how England in the 1920-30-40s must have been. This series was shot in the 1980s but you could never tell, it perfectly captures the costumes, the manners, the hairstyles and even the pace of a world that was less hectic than ours. I confess that it did take me some chapters to start loving it. For all people whose native language is not English, it is not easy to follow the dialogues (maybe the DVDs are better, but the sound in the videos is appalling). Therefore I recommend reading the book before or while watching this, or so much of the narration and the witty dialogue gets lost. All actors were great, but I would like to defend two that don't seem to be very appreciated: Diana Quick as Julia and Simon Jones as Bridey. The first gets better and better as the series go on, and she is perfect as the 30-something, jaded, bored wife. Some people don't seem to like her scene at the fountain. I wonder if they know how a fit of hysteria looks like in real life. It is not pretty to look at. You cannot act like a hysterical woman in a dignified way. Bridey seemed to come straight out of the book, even regarding his `Aztec' features. I think he is one of the most difficult characters to play and Simon Jones was flawless. One last comment: the music by Geoffrey Burgon is mesmerizing. (P.S.: I don't understand the previous review. I don't want to offend, but why re-read a book that you were forced to read at high-school and then watch an 11-hour long series just to confirm your opinion that you hate it?? And regarding `Waugh's WAY overdone "look at how smart I am" vocabulary': it is called literature and some of us happen to like it. I don't understand the adjective `loquacious' either: most trashy best-sellers nowadays are much longer than my 331 page long edition of BR, and compared to the richness of Waugh's prose they are just pathetic, void efforts).

The word "sublime" doesn't do enough justice to describe how good this mini-series is!

[TheLittleSongbird · 10/10 · 3 April 2011]

I am a huge fan of the book, and have been for the longest time. The book has a very poignant story of forbidden love and the loss of innocence, but I love also about the book are its rich memorable characters, memorable settings and thoughtful dialogue. This 1981 mini-series is just sublime and one of the best mini-series there is. I also think anyone who hasn't yet seen the 2008 film with Ben Whishaw, Greta Scacchi and Matthew Goode and are a fan of the book as well should think of avoiding it, as it doesn't do any justice to this wonderful story and has several disappointments on its own terms.

The mini-series of Brideshead Revisited does however do justice to the book, as it is remarkably faithful in spirit and in the details. But what makes the mini-series so extra good is how amazing it is on its own terms as well. For one thing, Brideshead Revisited looks exquisite still. You can never go wrong with picturesque settings, beautiful scenery, costumes that stick remarkably well to the period and skillful photography, lighting and editing, and as far as I'm concerned Brideshead Revisited succeeds in every single one of those areas. Geoffrey Burgen's background scoring is melodious and memorable, if careful not to intrude too much at pivotal points.

The mini-series' writing is also to be commended. There is a very rich and faithful script, that is thoughtful, intelligent, eloquent, amusing and poignant. Ryder's narration and delivery especially is mesmerising. The way the characters are written impresses too, Sebastian is not too effete too soon and none of the other characters feel sketched over either. The story is still the compelling and poignant story that made me fall in love with the book, it is also very well paced with seldom a dull moment and the themes that form the story are still intact.

The acting is truly excellent. Overall, Diana Quick is the weakest of the three leads. Not that she is bad, far from it as she is very compelling and moving in the later episodes, it's just she is not quite ideal at first in terms of looks and age. Anthony Andrews is much better though, he is the epitome of innocence and the destruction of it, and Sebastian as I have said already is not made too effete too quickly which was just one of many mistake that was made in the 2008 film. Roger Milner does very well with a very well-explored character and is very dashing. Pheobe Nicholls is both disarming and charming, and Nicholas Grace is suitably venomous, theatrical and snake-like. John Gielgud is a real scene-stealer too, while Laurence Olivier and Claire Bloom especially play their characters perfectly and faithfully. Jeremy Irons gives my personal favourite performance of this splendid cast, his narration, delivery and portrayal of Charles Ryder is simply masterly.

All in all, a real jewel of a series and a must watch for fans of the book, period dramas or any of these fine actors that play their parts so amazingly here. 10/10, though I would give it an 11 or higher if I were allowed. Bethany Cox

An exemplary adaptation

[Galina_movie_fan · 10/10 · 21 July 2015]

11 hours long TV miniseries "Brideshead Revisited", based on Evelyn Waugh's eponymous classic novel, has been one of the most pleasurable watching experiences I can think of. It lacks action or adventure but is one of the most charming, elegiac, moving, elegant, and classy films, TV or otherwise. It is also generous with delightful humorous scenes in specific English humor that can't be faked or reproduced outside of England. Both, Sir John Gielgud and Sir Laurence Olivier contributed to these scenes as well as Nickolas Grace as Anthony Blanche, a decadent and flamboyant but sharp and observant acquaintance of both main characters, Charles Rydes and Sebastian Flyte. Anthony Andrews plays golden boy Sebastian as Dorian Grey with heart, beloved and admired by everyone but troubled, unhappy, and self-destructing because, as one of the characters insightfully observed, he is in love with his childhood and he refuses to grow up.

The production values are of the highest quality, and never for a moment I stopped enjoying the magnificent settings of such locations as Venice, Morocco, Central America, Paris, and New York as well as the majestic halls and glorious landscapes of Brideshead (Castle Howard). The most important aspect of Brideshead Revisited, is, without doubt, Evelyn Waugh's language, and Jeremy Irons, as Charles Rydes, the film protagonist, was born to narrate the pages of the beautiful prose that sounds like an exciting melody of the times passed but not faded.

While watching "Brideshead Revisited", I contemplated why this story of the class that does not exist anymore in the period of time that is long past history is still compelling and riveting. What are these people to me? Why was I running home every evening to continue watching the stories of their lives that on the surface seem uneventful and even boring? I guess the answer is in the double magic of great literature that captured the period of the fall of the Great Empire and those who disappeared with it and grand filmmaking that did not lose much while adapting it to the screen. One of the best TV series ever made, "Brideshead Revisited" deservingly belongs to the 100 Best British TV films.

I guess you had to be there

[bregund · 6/10 · 18 March 2020]

Although I had heard about it when it was first broadcast, I never had the opportunity to see this series, and I was finally able to view it recently. I had expected a story akin to Downton Abbey, but was disappointed to find that it moved much, much more slowly. I come down hard on The Walking Dead for its endless, tiresome monologues, but BR is mostly monologues, whether it's voiceovers or characters going on and on about their problems. My main issue with this series is that I can't figure out the main character, Charles is a sponge who absorbs everything around him, the only time he shows any fire is when someone brings up religion. And in a broadcast TV show that dares to show a topless actress, the vague, suppressed nature of Charles's relationship to Sebastian is rather quaint. So whatever happened to Sebastian? Here comes a twenty-minute monologue from Cordelia to explain. How and when did Charles marry Celia? I don't think I missed an episode, but the details of their marriage are delivered via more monologues. You get another extended monologue by the fountain between Julia and Charles. The death scene in the final episode stretches on for nearly an hour, accompanied by more monologues. I get it already, you like talking. John Gielgud, as Charles's fussy, acerbic father, provides some of the best scenes in the series, and I literally laughed when he sarcastically told Charles that he was "worried" about Sebastian's health.

I can appreciate the level of detail, the costumes, the sets, and the clever way that Marchmain's death contributed to the breakup between Julia and Charles, but in the end I didn't care for Charles, and the end result of his life's decisions mean nothing to me as he complains dryly about being "middle aged, homeless, and loveless". Coming from a sponge, the sentiment rings false. Oh well, I'm glad I finally saw this series.

Best TV Series EVER EVER EVER EVER EVER

[martijn-56 · 10/10 · 7 August 2005]

As the cover said, this is the TV series that still stands as the benchmark for others. I could quite confidentially say it still does. If scale would be 1 to 100 in stead of 1 to 10 I would still give it a full 100, since this is simply the best series you can or will come across, if you like British acting (who wouldn't), the Golden Years of pre-WW2, and a moving story. Knock-out performances by the incomparable Laurence Olivier, Jeremy Irons and last but not least in my opinion the best character ever put down on film: Sebastian by Anthony Andrews. Well all will know this story about romantic yearning, friendship, loss and mostly the English charm of it. In a concluding scene with Charles Ryder he was told by an old student friend that that charm (of Sebastian) was dangerous, and that it almost took the best of him. And that might be true in a general sense: once seen it is hard to come to terms with it, first that this series is finite, and second the tragic fate of indeed the most charming person on screen yet, Sebastian, that sort of friend that we are all looking for, but who is so hard to find!

They don't make them like this any more. Amen to that!

[TheJiveMaster · 6/10 · 16 January 2008]

In 1979, Granada Television embarked on an epic adventure of their own. They decided to produce lavish dramas with no expense spared to sway the IBA to extend their franchise for a further 10 years. Brideshead Revisited was one drama to be produced at the time. Granada commissioned John Mortimer to adapt Evelyn Waugh's novel of the 1920's for the small screen. The resulting screenplay was a six hour series and filming commenced in 1979.

During filming, a technicians strike at ITV suspended all activity. At this stage, Granada felt that too much had been missed out of the book and asked Mortimer to rewrite his screenplay with filming starting from scratch after the strike had ended. The result is a laboured, overly long adaptation of a great piece of fiction. Mortimer adapted the book literally creating an episode per chapter. This amounted to over 13 hours of television in eleven episodes. It is said that it is quicker to read the book than watch the resulting series.

The series starts well. The early episodes showing the development of the friendship between Charles and Sebastian as they meet at Oxford and develop a close bond are well acted and portrayed. The issue of the level of love between the two characters is skilfully handled as like in the book, we never quite know how far their love extends. It is later that the drama becomes a lot more laboured. In later episodes Sebastian is exiled leaving Charles to develop his friendship with the rest of the Flyte family. At this stage, it would have been far better to condense a number of chapters into each episode. Instead we are subjected to laboured acting as the actors introduce large pauses into their lines probably in an attempt to spin out the length of each episode.

Pure Boredom

[allencoleman46 · 2/10 · 31 January 2015]

My wife was reading the book, Brideshead Revisited, for her book club and wanted to simultaneously watch the Jeremy Irons television mini- series. Having seen the 2008 movie, we were both interested based on the previously seen movie and our generally positive opinion of the work of Jeremy Irons. While my wife's opinion is not as negative as mine, I can say that this is the most boring program through which I have sat one-third of the full length. I could not make it any further. It seemed as if a quarter of the story was told in narrative instead of acted out. In addition to the boredom, the introductory music for each episode was terrible.

beautiful sadness.

[gfrancie · 18 August 2003]

The book and the mini-series always broke my heart. I first read the book and viewed the series as a teenager and it affected me much more then "Catcher in the Rye".

It is probably one of the finest adaptations of a novel put to film. You watch as the reckless innocent fun of youth is slowly taken away and replaced by sad old cynicism.

It captures the feeling of the stolen season of peace between the world wars and the cool observant eye of Waugh who before hand always wrote detached speedy amoral stories. This seemed so...different.

The acting is so on the spot. Carefully restrained and woeful as we watch our favorite characters grow.

A written masterpiece faithfully transcribed to the screen

[azogbi · 10/10 · 26 November 2001]

For decades I have been the fondest admirer of Evelyn Waugh, one of the most skilful English writers of the 20th century. His best known novel "Brideshead Revisited" deals with an intricate web of human relations and religious concerns spanning decades. This complex structure is one not to be easily transcribed to the screen.

I confess that the first time I heard about the mini series I was greatly skeptic about it, thinking it would be one more of these common cultural crimes, i.e. simplifying and reducing the greatness of a masterpiece in order to make it more palatable to the general public. What was then my surprise! The series not only preserved the story to the point of almost maintaining all the book's original dialogues but the aesthetic beauty of the images is beyond reproach.

I strongly recommend this work for all who enjoy art in general and Evelyn Waugh in particular.

Best adaptation of the novel that I've seen.

[dru-1 · 10/10 · 19 September 2002]

The period detail is excellent, the acting superb, and the script remains faithful to the novel. Some really good bit actors, as well. The homosexual aspects are not overplayed, but come across as part of the 'real lives' of the characters, and help the narrative move forward. Visually a delight, the film takes us from stately mansions and period homes to a fleabag brothel in northern Africa. Highly recommended.

You will not see better! Honestly.

[attie-heunis · 10/10 · 31 October 2005]

I don't think I'm exaggerating when I say that this is probably the finest adaptation of a novel put to film. It is a real work of astounding and living art. It is very rare that you find something so perfect.

The cast alone should get anyone interested. It is a veritable who's-who of British stage & cinema. Jeremy Irons, Anthony Andrews, Diana Quick, Claire Bloom and the giants of Sir John Gielgud & Lawrence Olivier all contribute to this masterpiece.

It is so stimulating on so many levels. Visually you can't find anything more glorious than Castle Howard (Brideshead in the series). But it is far more than just visual grandeur. The story touches on so many very important things. All the real things that people go through in changing times. Like all works of brilliance, there is a true tragedy to the story. The whole thing is incredibly sad. Not in a easy way - like someone dying, but in a very deep way-of-life way.

I can watch this show again and again. The music also contributes so much to the series. Whenever I hear it I automatically replay some of the scenes in my head.

For me there is only show that comes close and that is Lonesome Dove by Larry McMurtry. It is about something completely different, but there are some similarities.

So beautiful it hurts....

[hermione47 · 10/10 · 23 January 2009]

I've finished watching the whole series on DVD last night. It is a wonderful and faithful adaptation of the E. Waugh's book and what can I say that's not already been said here? It's just so beautiful and sad that it hurts thinking about it... Jeremy Irons' performance, like a finely tuned instrument, has subtlety and passion in the same degree and Anthony Andrews' Sebastian is a study in charm and self-destruction that enthralls and saddens by its intensity. All the actors, no matter how small their role, were impressive and none of them gave overstated performances. Bravo to all involved in it and I'm pretty sure we'll never see anything like it on the small screen again. I shall treasure it and will re-watch it many, many times, I am sure! P.S. Et in Arcadia ego - Isn't this part of the story the most heart-rending depiction of love, innocence and happiness ever committed to screen?

Peerless

[=G= · 9/10 · 6 March 2005]

"Brideshead Revisited" is an 11x50 minute (approx) TV miniseries which takes the viewer into the lives of the residents of a magnificent English country house and sprawling estate called Brideshead, the ultra-rich Flyte family of Lord and Lady Marchmain, and a much welcomed interloper, Charles Ryder (Jeremy Irons), of a somewhat lesser class. The film follows Ryder for two decades from his early years at Oxford to his return to Brideshead as a soldier during WWII. It opens with Ryder's return, then flashes back for most of the 11 hour run where it explores the relationships, exploits, misfortunes, adventures, and generally the lives of the very rich Flytes while fleshing out some deliciously peculiar side characters and peering deeply into the way of the English upper-crust. There's little to fault between the credits of this leisurely and expansive masterpiece which winds circuitously from Brideshead to Venice, Morocco, Central America, Paris, and New York ever tracing Ryder's footsteps through sumptuously appointed period settings and the stately halls of Brideshead (Castle Howard). A peerless, critically lauded, and award winning series featuring a superb cast including such notables as John Gielgud and Laurence Olivier, "Brideshead Revisited" should play very well with anyone into the many popular Victorian films and similar fare featuring the pomp, pith, vigor, and vanity of the English aristocracy. Note: the DVDs I watched had no CCs, Subtitles. or extra features. (A-)

A most delicious production...

[Achylde · 10/10 · 10 June 2003]

Beautiful and lush, Brideshead Revisited is a most delicious adaptation of Waugh's poignant masterpiece. Jeremy Irons and Anthony Andrews are exquisite as the reflective Charles Ryder and the self-destructive Sebastian Flyte, and the all star cast flame with colour and exuberance. The drama unwinds with ease and luxury, unfurling on your screens in moments sumptuous scenery and evocative dialogue. The intimate narration intermingles Waugh's luscious descriptions and lavish set scenes. Visually stunning and achingly sad, this drama will haunt you for many days. It is certainly one of the most ambitious and well crafted television dramas that has been for years and will continue to be so for many more.

Slow-paced quality series

[Antagonisten · 6/10 · 6 August 2007]

I probably don't have what it takes to truly understand this series. Why? I'm not British! After everything i've read about this series i've understood that there is something here that just speaks to the British soul. I don't know quite what it is, but there is some nostalgia here that is probably lost on the rest of the world. In Swedish the title of this series can be translated to "A Lost World", and i guess that says it all.

I didn't know quite what to expect when i popped the DVD into the player. I had bought this series for my mother on her birthday since she remembered seeing it on TV in the 1980's and loving it. After seeing it again on DVD she said it was difficult to sit through. But that might be for a lot of reasons. So i decided to listen to the reviews on the DVD-cover, they stated that this was Britains all-time favorite TV-series. And since i do enjoy British television expectations were quite high.

I can start off by saying that Jeremy Irons is one of my favorite actors. There is some dignity and worthiness about him that just speaks to me. Although he picks his roles as a blind man throws dart, he still manages to come out at least decently unscathed most of the time. Here he is the main character as well as the narrator. And let me tell you, for all my warm feelings toward Jeremy Irons i couldn't stand him after watching "Brideshead Revisited"...

My lasting memory of this TV-series will always be the droning voice of Jeremy Irons. Like a wet blanket over the whole story, covering it all like a tarp held down by lead weights. The acting is mostly great, and Irons is excellent as usual. The story itself is not exceptionally interesting but the environments and the sheer atmosphere makes it capturing nevertheless. Also there are location shots here that are excellent, from Egypt, Venice and a ship at sea. I don't know how much filming was actually done on these locations, but the ambiance is extraordinary. Also the slightly homo-erotic tendencies between the two main characters adds another layer to the story.

But then we return to Irons and his narration. While i did enjoy the acting, the scenery, the story (mostly), the characters and so forth, Irons still drove me to sleep with his droning voice. I don't know, maybe the narration was what made this such a good adaptation of the novel? I don't know, i haven't read the novel and after this i don't care to. But for the pacing the narration is murder. It's as if the watch is moving at half pace when he speaks, as though i'm slowly drowning in a pool of hot fudge... It's like before an accident when you can suddenly see everything stopping for a moment before your car hits that tree... And imagine that Irons speaks for most of every episode. It was on the verge of unbearable.

In the end i have mixed feelings about this series. I can understand why British people love it, i found a lot to like myself. But the pacing problems are just too much for me to take. The series doesn't exactly rush on as it is, and with Irons slowing everything to a crawl this became one of those viewing-experiences where i looked at the watch many times every episode. Perhaps i'm damaged by modern TV and it's cut-cut-cut pace (although i doubt it since i like many slow-paced things), maybe it's just my failure to appreciate the poetic beauty in Irons reading... Whatever it is, this became a sleeping pill for no good reason. I wanted to love it, now i just like it. Recommended, but load yourself up with caffeine...

6/10.

Don't miss it it's life changing!

[sandall · 10/10 · 3 December 2006]

Today, nearly all television is dominated by the cult of celebrity. From soaps to reality TV it is built around this format. So to find a gem - "Brideshead Revisited" - amongst this gaudy glitz is an utter revelation.

Unfortunatately, I suspect younger audiences raised on fast paced presentation may find it a struggle to sit still long enough to become enthralled by it but, if they give it a chance, they will be. Majestic it certainly is from the fabulous locations - Venice - Castle Howard, the superb acting - Lawerence Olivier, Nikolas Grace, Jeremy Irons, Anthony Andrews, Diana Quick, Mona Washbourne and Cordelia (apologies I can't remember her name) all wonderful and, finally, to the captivating music of Geofrey Burgeon - it is TV at its very best.

PS Apologies if any name misspelled.

Don't waste your time

[rgcustomer · 6/10 · 4 October 2011]

How do I bore thee... let me count the ways.

1. The narrator and lead character is a weak-willed, careless, self-absorbed bore. The flowery words delivered in monotone narration are pleasant to open the series, but soon turn to grating annoyance. Trust me, you'll never want to hear Jeremy Irons ever again in your life, after this assault.

2. While I realize that the UK is a dreary and drab setting due to the climate, does that really need to extend even to trips across the oceans? There is sunlight and colour in the world. I promise. But even on the rare occasion that the sun shines in this series, they manage to make it look like a single LED in the fog.

3. The first two or three episodes are misleading, presenting an interesting and bubbly young gay romance between university friends. But you and I know that a miniseries in 1981 would never get made if that was genuinely what it was about. And it's not. As usual (for the 20th century) the main gay characters become straight, celibate, bisexual, or entirely irrelevant, depending on your interpretation. But they do not live happy lives together. No, they must suffer and split. And once Sebastian is out of the picture halfway through, things get rapidly even more boring than they were. Shame.

4. Perhaps most damning, ironically, and not so boring, is the bigotry against atheists. Not only do we have a ridiculous deathbed conversion, after a disgusting performance by a religious daughter, this is mirrored by the conversion of the main character, for no apparent reason. We can suppose that Lord Marchmain pretended to convert to comfort his family. There is no such excuse for Charles, who has seen the damage that Catholicism did to the whole family. There is simply no way that this man would have converted.

So I give this a 6/10 entirely for things like the hunt, the ship, and various travels abroad. I cannot recommend it for the story or the acting.

Seemed great at the time, now it seems simply weird

[Laight · 5/10 · 18 June 2020]

Perhaps you just can't go back. When I first saw this almost 40 years ago, it seemed fresh and smart. Today, not so much. The first six episodes are quite good, but once Sebastian disappears from the show, it basically degrades into a long and frighteningly dull dialectic on Catholicism. Worse, Jermey Irons, playing Charles Ryder, has a strange task to perform: Although on screen for almost the entire show, he is given few lines -- people give him long, increasingly dull speeches, and he generally is only allowed to nod his head or make a small, empty statement. It becomes hard to believe that anyone would want to spend time with this man who refuses to talk. By the end of the show, after all the other characters deliver their meandering monologues, Irons is only allowed to nod his head or puff on his pipe. Recommendation: stop watching after six episodes and you'll see a 10 star production. Watch the last five episodes, and you'll take a star off for each one.