First published just as World War II was ending Evelyn Waugh’s weighty literary masterpiece was turned into a wildly successful British mini-series in 1981. For some strange reason however Brideshead Revisited has never been given a motion picture adaptation--until now. Although the story basically remains the same much of plot threads have been dropped or truncated and some liberty has been taken with at least one major character. Set in the pre-World War II era this romantic tale spans a couple of decades telling the saga of atheist Charles Ryder (Matthew Goode) and his fascination even obsession with the very regal and very catholic Marchmain family--now led by ultra-stiff matriarch Lady Marchmain (Emma Thompson) whose husband (Michael Gambon) is AWOL with his Italian mistress (Greta Scacchi). Centering around his “friendship” with the charming and adventurous son Sebastian (Ben Whishaw) Charles’ affections and apparent sexual confusion find new fodder with Sebastian’s beautiful sister Julia (Hayley Atwell). When the threesome take off for Venice to visit patriarch Lord Marchmain the romance between Charles and Julia takes off causing numerous complications for everyone involved. Rising star Goode so fine in Woody Allen’s Match Point meets his promise here making the ideal Charles a young man flirting with his own sexual and religious identity in the fallow period between World Wars. His charm quotient is so heavy it’s easy to see how he could attract both Sebastian and Julia equally well-played by Whishaw and Atwell. Whishaw (I'm Not There) nails the wild side of his character taking Sebastian much further into gay territory than suggested in either the book or the mini-series. Atwell’s Julia also takes a departure from previous versions particularly when she joins the guys in Venice--a plot turn solely invented for this film adaptation. It has the effect of increasing the tension sexual and otherwise between the three main characters and allows the film to fully focus on this aspect of Waugh’s original story. Atwell is a real find who fully explores the confused but captivated journey Julia must take. Sprightly two-time Oscar winner Thompson is at first glance an odd choice to play the unbending Lady Marchmain but she proves her worth giving the woman an extra dimension of humanity she doesn’t appear to have when we first meet her. Gambon is superb as the family’s dying patriarch with fine support from the still-beautiful Scacchi as his mistress. Young British director Julian Jarrold followed his feature debut the refreshing offbeat comedy Kinky Boots with last summer’s bland and boring Jane Austen period piece Becoming Jane. With the hot-blooded Brideshead adaptation he is on his game again clearly demonstrating complete control over the sprawling story and intertwined relationships that are key to Waugh’s novel. Choosing to focus on the central triangle of Sebastian Charles and Julia more fully than ever before is a wise decision and brings the audience right in to the thick of things rather than taking the many side trips of the mini-series. Of course with only two hours instead of 12 painful decisions had to be made and Jarrold with screenwriters Andrew Davies and Jeremy Brock have delivered a version that meets our expectations without dashing them. Unless of course you are a Waugh purist in which case it’s probably best to revisit the mini-series. There can be no argument about the visual splendors provided here though particularly the location filming at Castle Howard one of England’s oldest and most striking estates. Waugh’s extensive descriptions of the splendors of Brideshead Manor are perfectly realized through the spot-on choice of locales and the film’s superb cinematography and production design.
As a thinking man’s actioner Ultimatum continues the franchise’s firm grasp on how spy games are actually played. The film starts at the point where Jason Bourne (Matt Damon) is in Moscow having killed the assassin from Bourne Supremacy in a car crash. He has exacted his revenge for his girlfriend’s death but he is still haunted and needs to know how the hell he got into this predicament in the first place. Plus he’s got a new CIA schmuck Noah Vosen (David Strathairn) after him. Vosen has reopened the Treadstone project--now called Blackbriar--and is using a new cache of highly trained assassins to do his dirty work. Luckily for Bourne he’s got two women on his side: CIA lackey Pam Landy (Joan Allen) who while in the situation room tries to thwart Vosen at every turn; and Nicky Parsons (Julia Stiles) the young logistician who covers for Bourne whenever she runs into him. With their help our intrepid assassin circumvents the globe in typical Bourne fashion so he can hunt down his past in order to find a future. Damon has truly perfected his Bourne alter ego in this third go-around. With his cool demeanor he really makes it all look so effortless--jet-setting around the world fighting enemies off with pens books towels cars whatever he can get his hands on and covertly obtaining the information he needs. Damon is an accomplished actor no doubt able to take on a variety of roles--but he may never quite top Bourne. Damon is also surrounded by a top-notch supporting cast. In both Supremacy and Ultimatum Allen as Landy stands out in the crowd of power-hungry men she works for and with infusing the proceedings with a steely intelligence--and ultimately compassion. Stiles too is a breath of fresh air in the otherwise testosterone-filled environment and her Nicky may actually have more of connection to Bourne than we previously thought. The stellar Strathairn a character actor who can play both hero and villain with relative ease adds the sneaky Vosen to his list of bad guys while Albert Finney makes a brief but memorable appearance as a link to Bourne’s past. Helming his second Bourne installment after getting our hearts pounding with Supremacy Paul Greengrass (United 93) gets it. Although the Bournes sprouted from the furtive mind of spy-thriller author Robert Ludlum the director seems keyed into the whole spy genre as well handing us what feels to be a genuine look at how covert operations might work. From the operations center in which CIA personnel can find ways to tap into a target’s life via any number of ways to the action on the streets Greengrass keeps it moving at a whiplash pace. We’ve now come to expect the seat-clenching car chases along with at least one hand-to-hand combat scene between Bourne and some other super assassin in which Bourne kills his attacker with sheer brute force aided by some everyday item. Still they never seem redundant flowing nicely into the storyline. Greengrass’ filmmaking style however can be a tad jolting at times. He loves putting the audience in the middle of the action swinging the camera around fast-cutting between shots keeping things slightly confusing on who’s doing what to whom. But that real-time look and feel is what makes the Bourne movies unique from other actioners. Could there be room for a fourth Bourne? One can only hope.