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Showing posts with label <b>John Keats</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>John Keats</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Monday, October 19, 2009</span></h2>

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<p class=MsoNormal><a href="http://farm3.static.flickr.com/2616/4000082556_533a270037_o.jpg"><I style='mso-bidi-font-style:normal'><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="255" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/3buV37U3rQGrOdjVEcYLruXCwM6W7JFAzQvPyY7gTz1N5CbGvUdOS2PsWT4j7F2p38W7L_jSMNqp0J8H0K5tGN3bhl3g6uHab82IOrW-xRAcFGE%3Ds0-d" width="623"></span></i></a><I style='mso-bidi-font-style:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></i></p>

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><a href="http://www.brightstar-movie.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Bright Star</span></a>, </span></i><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Jane Campion&#8217;s portrait of Fanny Brawne &amp; her relationship with the boy next door, <a href="http://en.wikipedia.org/wiki/John_Keats"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>John Keats</span></a>, is a weepy, and if it weren&#8217;t marketed as a biography of <a href="http://upload.wikimedia.org/wikipedia/commons/8/87/John_Keats_Tombstone_in_Rome_01.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Keats</span></a>, I suspect that the gender balance in the cinema would tilt heavily female. As it was, when we caught the movie at the Bryn Mawr Film Institute, the average age of the audience must have been on the high side of sixty, though the theater itself was packed. Senior date night. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>For what it is &#8211; a weepy, not a biography of <a href="http://englishhistory.net/keats/contents.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Keats</span></a> &#8211; the film is quite decent. Campion is an efficient director &amp; the acting, with one notable exception, is excellent, especially Abbie Cornish as Fanny Brawne. She gets first billing on the posters and thoroughly deserves it. In a way, she is exactly whom you would turn to if you were looking for Kate Winslet, but ten years younger. Cornish here lacks the raw wildness that is at the heart of Winslet&#8217;s best roles, but then so did Winslet once upon a time. Ben Whishaw, having recently played Bob Dylan as Arthur Rimbaud in <i style='mso-bidi-font-style:normal'>I&#8217;m Not There </i>(where he was the weakest of the Dylan surrogates), is fine as the young man dependent on everyone else for everything &#8211; money, food, shelter, love. If I have problems with Whishaw&#8217;s Keats &#8211; and I have huge problems &#8211; it&#8217;s not with Whishaw&#8217;s portrayal but with Campion&#8217;s presentation of the finest of the second generation Romantics as a weak, mostly passive nincompoop. Mouthing Keats&#8217; lines does not make you Keats if every other action you take in the picture suggests utterly no ability to see into the world with the intensity necessary to craft such poems. Staring dreamily out the window is not insight. The one moment where Whishaw&#8217;s Keats comes close to seeming a poet is when he compares poetry into diving into a lake, but Whishaw&#8217;s presentation seems abstract &#8211; he&#8217;s saying the lines, but he doesn&#8217;t appear to <i style='mso-bidi-font-style:normal'>get them. </i>You have to go back to Joseph Fiennes in <i style='mso-bidi-font-style: normal'>Shakespeare in Love </i>to find a major poet presented in such underwhelming fashion. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Campion doesn&#8217;t make Whishaw&#8217;s job any easier. Of all the characters, his Keats is the one most apt to use terms &#8211; <i style='mso-bidi-font-style:normal'>pantaloons </i>&#8211; that don&#8217;t come easily to a modern tongue. For the most part, Whishaw makes them sound like part of the discussion, not an excerpt from Shakespeare. <span style='mso-spacerun:yes'> </span>This is an improvement over, say, Paul Schneider&#8217;s Charles Armitage Brown, Keats&#8217; friend &amp; patron, who appears to have wandered in from a sitcom. Where every other portrayal in the film is muted, Schneider overstates everything. His postmortem confession to Fanny that &#8220;I failed John Keats&#8221; is pronounced with all the subtlety &amp; heartfelt emotion of a Billy Mays infomercial. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>But the person whom this film depends on, around whom everything centers, is Cornish &amp; she handles all Campion throws at her, up to &amp; including a final scene where, in mourning, she traipses off into the snow reciting a poem aloud. It&#8217;s such a cliché that it&#8217;s hard not to guffaw, right at the film&#8217;s end. It&#8217;s a sign of how well Cornish performs that we don&#8217;t ask what she sees in this callow slacker. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Whishaw recites one of the <a href="http://www.bartleby.com/126/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>six poems</span></a> that turn up in this 119-minute feature over the closing credits, but it was literally impossible to tell which one over the rising &amp; shuffling bodies of departing movie-goers. I&#8217;m a devoted credits reader &amp; could go on at length about the imbeciles who bolt the instant they start to roll. <span style='mso-spacerun:yes'> </span>You could see how involved in the poetry <I style='mso-bidi-font-style:normal'>they were. </i><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Focusing on the female character may be a convention of the weepy, but it also gives Campion more room to work, since Brawne is less well known, still without her own Wikipedia page. She&#8217;s older here than she was in real life just because Cornish is, but that also makes her emotions come across as all the more tragic because all the more adult. One could of course argue that 17-year-olds were indeed adult in the early 19<sup>th</sup> century in England (my great grandmother had the first of her 13 children at 15, and that was nearly 50 years after the 1818-21 time period figured here). But Campion goes further, neglecting to mention that Brawne did indeed marry at the age of 33 &amp; bore three children. Campion also makes Brawne the one who appears more completely committed to the relationship, where Keats&#8217; letters to her suggest otherwise &#8211; as does <i style='mso-bidi-font-style:normal'>La Belle Dame Sans Merci </i>&#8211; that to some degree she toyed with his affections. If you think about it, the tragic ending would have been even deeper had they played it by the book. <o:p></o:p></span></p> 

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>So this finally is not a film about two historical characters so much as it is about two possible characters. The world they inhabit may be interesting even if it&#8217;s not the one we inhabit. That film has yet to be made. <o:p></o:p></span></p>

<p class=MsoNormal align=right style='text-align:right'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><img border="0" height="382" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/xw3kxGV8ctEE9YsXcTMIaFA8wKcpu29w8ZH5VP1DxecoJjYY5dI8b3YJ4T545UGYCEYjKBYYrqcJNVFoa6k%3Ds0-d" width="258"><br>
</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Fanny Brawne</span></i><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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