Carrington (1995)

Wonderful Movie

disgusting, overrated, pointless

Better Late Then Never

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

La Ronde on the fringes of Bloomsbury"Carrington" is a sub-Bloomsbury version of La Ronde: X desires Y and sleeps with Z, A wants B, but sleeps with C, and so on and so on. This game of musical beds should carry the film, especially given Jonathan Pryce's uncanny impersonation of Lytton Strachey and Emma Thompson's persuasive Carrington. Add a script and cinematography to fulfill the nostalgia quotient, and le voila: life is lived and art is made en plein air and during an eternal summer; winter seems never seems to intrude, and the "staff" keep discreetly in the kitchen and the basement where they belong. All these Good Things should carry the movie. Alas, they do not. As in all biopics, the writing plays fast and loose with the truth. But was it absolutely necessary to insert two of the most famous Lyttonisms: his account of proposing to Virginia Woolf ('ghastly"), and his declaration that he would try to "come between" his sister and a potential rapist? In this tiny circle, desire balked and desire gratified seem almost incestuous.. And the lack of a coherent narrative leaves us puzzled. For example, Lytton's sudden gift of "a motorcar" to Ralph Partridge is unprepared for and opaque. Is he wooing Partridge? Using Partridge as a pander? Demonstrating uncomplicated generosity? The film's failure to answer questions like these saps its interest. "Carrington"isn't dull, exactly; rather, it's beautiful, nostalgic, and inert.

I had no previous knowledge of Dora Carrington before I found this film. I had learned about the Bloomsbury artists so many years ago I had forgotten their place in history. To say that this story is odd is a gentle understatement. Carrington was someone you would more likely place in the hippie era of the 1960's rather than England of pre World War One. On the other hand, the bohemian artists in Europe had the luxury of acting out some pretty odd relationships; they had fine examples of large living in the previous century - think Lord Byron and a bit later Oscar Wilde and you'll understand.I ended up so smitten by this film that I bought a bio on Carrington and it was worth the effort because the film leaves out so much of what made up her psyche. I'd even argue that the film as good as it is can be confusing because we don't know why she is the woman she is. Carrington carried two distinct imbalanced relationships up to the moment she met Lytton Strachey. She loathed and hated her mother and adored and clung to her father. Electra complex, anyone? Leaving Freud aside (and there is a deep irony in this comment: Lytton's brother became a well known Freudian analyst) Carrington was unprepared for the rush of emotions that Strachey caused in her heart. As an openly gay, brilliant intellectual and important writer, he would have been the last on her list of attractive men. But, love deals odd darts to the heart. After nearly clipping his beard off in his sleep as a planned retribution to his impulsive kiss, she paused, stared down at his placid face and fell madly and deeply in "love". The rest of the movie completes their extremely odd relationship. The important fact is that she never lost any of the intense love for this gentle spirit. She accepted that Lyton was more interested in men, shared lovers with him, opened her heart to anything except separation from him. We can argue that she had transferred her father love to Strachey but of course it becomes a label that in the end will not satisfy the mystery of her heart. There is much to be said about this film. Emma Thompson completely embodied Carrington as totally as an actor can. Aside her was Jonathan Pryce who portrayed Strachey so perfectly that it left those who knew Strachey amazed. The ambiance and rapport between the main actors kept the passion of their evolving love always front and center. We get glimpses of Carrington's torment over Strachey but we never really know the ultimate motivations. What is so overwhelming about this film is that when Lyton finally succumbs the heart break to Carrington was too much for her to carry. It removed her will to live without him to love. I have rarely been so moved by a love affair like this. The music by Michael Nyman is so perfectly evocative of the waves of Carrington's love that the soundtrack seems completely meshed with the story. In the end, watching Carrington make her final choice we are as devastated as she was at her loss of Strachey. As a love story it is intense, very complicated and twisted, as a relationship between man and woman it is as odd as they come. In the end we decide that love at this level is a connection of heart and emotion and commitment that is blind to shape and form and opinions of others. It is a link that is mysterious but tangible. One can only weep in acknowledgment that if we had loved someone that deeply we too would have wanted the escape she chose. An astoundingly profound meditation on love. Phenomenal supporting actors. Superb but heart rending.

The words I write will not fully express how this movie made me feel. But I will do my best. This movie made me love Emma Thompson as an actress even more than before. Anyone with eyes cannot deny her talent but this just confirmed how awesome she is at her craft. I am surprised she was not recognized (BAFTA) for her efforts in this film. I don't want to write any spoilers but I would suggest one see this movie if they want the feeling of staring out the window on a rainy day wrapped up in a warm blanket thinking about the elation of finding love, confusion as it is revealed to be unrequited love and their demise from it! That sounds morbid but I would agree with the other review that the film is beautifully made.

One thing regarding Christopher Hampton's film "Carrington" that bears noting for potential viewers is that previous knowledge is helpful. If you don't have any sort of idea who Dora Carrington and Lytton Strachey are, or the avant-garde world in which they moved, then the movie will seem very obscure and disjointed.Regarding the movie, it is odd and melancholic, but richly intelligent and rewarding, particularly with repeated viewings.The cinematography is attractive without being showy. Michael Nyman's score is haunting and uniquely beautiful.And the casting is perfect, particularly Jonathan Pryce as the ironic Bloomsbury butterfly Strachey, and Emma Thompson as the strangely alluring Carrington, who's heart beats fiercely with love for him, despite the fact that neither of them will ever be able to do anything about it.My personal favorite scene is when they are sitting under the tree, and Carrington tells Lytton how she feels, and he understands.They are both so peaceful and content.