SpunkySelfTwitter
It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.
Matylda Swan
It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.
Lachlan Coulson
This is a gorgeous movie made by a gorgeous spirit.
cocokat_89
I give the movie "Basil" a very high 10+. I love time period films and think "Basil" is a wonderful movie. Jared Leto was fantastic in this movie. I love all of his work on the big screen, but I have to say that His portrayal as Basil in my opinion is one of his finest performances. This movie is not boring. It has a wonderful cast, wonderful story line, and the events that unfold, to a good watcher, will unfold from the very beginning. Jared Leto, Christian Slater, and Clair Forlani are just magnificent in this film. It's very tastefully done, and the scenery is beautiful. Proper in it's time, but still society itself was not at all proper. Aristicratic life was very demanding, and to this day, still is. In the end, we are all the same no matter what class we are brought up in. I congratulate the performances in this movie, and I would love to see more movies like "Basil" on the big screen. I highly recommend "Basil" to anyone who loves period films. Thank you.
Keith F. Hatcher
To talk of the Victorian novel, and any film derived from them, generally imposes the theme of the sociological novel: these works were frequently what might be called a social critique, unbehest by the landed gentry of the times, ignored by the reigning sovereign, much encouraged by the publishing houses, lapped up by the intelligencia of the public at large, but in general lacking the more profound humane sentiments of, say, the Russian novel. The result is sometimes rather sanctimonious, at others preachy, not to mention parsimonious. Wilkie Collins embarked on such ideas, and found fame with his two most well-known novels - `Moonstone' and `The Lady in White'. However, his themes suffer from certain overladen stylism, absent from novels by his very good friend Charles Dickens. Thus any serious attempt at transposing such works to the screen is bound to bump into all kinds of problems; however, Radha Bharadwaj resolves most of them with a certain degree of panache, such that the end result in this film is more or less acceptable. There is that sense of proprietary so correct to the times in question which pervades the essence of capturing those times of social inequality, rule by power, the burgeoning heavy hand of the upper-class bourgoisie, the India-rich dwellers of mansions in London and the far-flung provincial counties. But it must be said, Wilkie Collins drove himself to his own despair, and this is clearly shown in his novels, though not so clearly perceived in this film. He tried the Russian technique, thus missing out on the Dickensian style - much more to the point - incorporating ideas which could only come to fruition a little later by such novelists as Joseph Conrad. If you like, he was the masculine equivalent of Virginia Woolf who also drove herself to despair and attempted suicide. But do not compare this film with the recent `The Hours' (q.v.), nor even with `The Portrait of a Lady' (q.v.), Jane Campion's exquisite film based on the novel by Henry James.Notwithstanding (how good that word sounds in Dickens' novels!) the film has its interest; not necessarily because either Christian Slater or Jared Leto have anything special to offer on which to comment, as they are both merely acceptable, nor for Claire Forlani's part, nor for yet another appearance by yet another member of the Bonham-Carter family - in this case Crispin, cousin to Helena. The film stands up for its merits as a carefully directed and produced period piece which is nicely photographed, within and without London. How much of the film is made in Cornwall or even Yorkshire will have to be guessed.An interesting film for its story-line, with not much real tangible evidence as to the Victorian scene, but which worked hard to transport the book to visual contemplation.
hlogan2
WARNING: there could be SPOILERS ahead: it's difficult to make my comments without perhaps giving something away. But I'll try not to!This is a reasonably interesting film that unfortunately suffers from deviating too wildly from the original plot by the Victorian writer, Wilkie Collins. To modern audiences this film may seem slow or without much point; a shame, since the Collins novel it is based on is extremely exciting (Collins was an unorthodox writer, considered very shocking by many people of his day - far more explicit re. violence and sex than say, Dickens).Jared Leto stars as a young and naive aristocrat ('Basil')who suffers from having his friendships and imagination restrained by an overbearing and class-conscious father. He longs for excitement. When love arrives, he is overwhelmed, but learns that passion and duplicity bring suffering and dreadful consequences. Basil will learn that the world and other people are seldom as innocent as they seem. Basil is placed in situations where, as the film's jacket says, he has literally 'everything to lose'. Claire Forlani plays the woman with whom Basil falls in love. Forlani is a fine actress, but unfortunately isn't given much to do here. The luminosity, vivaciousness, and little-girl behaviour (which makes Basil love her) that her character has in Collins's book, just isn't there. The remarkable way in which Basil meets her in the novel is completely missing. Christian Slater also appears as Mannion, whom Basil befriends, but again the film script has entirely altered how he and Basil meet, and changes many dynamics of their relationship: he becomes Basil's friend, rather than an enigma Basil is intrigued with; not exactly Collins's intention. The wonderful Derek Jacobi also appears, but again isn't given much great material to work with. He remains a very important character but his behaviour and personality also differ from in Collins's 'Basil'; some important details are completely changed. Basil's relationship with 'sister' Clara also changes. Watchers could still enjoy this quite thoroughly if they don't previously know the book. Those, however, who know the book, will probably be disappointed. Modern films generally tend to try to intensify the plots of classic novels when they adapt them; this film instead dampens Collins's plot. The Collins book is considerably more intense: he was one of the best plotters in Victorian fiction, and great at character psychology. Clearly the intent here was not a faithful adaptation, but I see little reason why the director and screenwriter here didn't keep his major plot points.Those who like this film should perhaps read the book: they will then know a far better version of the story, especially a far more powerful version of Mannion (I thought Slater miscast, or his role basically wrecked). Basil is meant to be naive and honest, but too often in this film we see him doing or saying things that don't make sense or go too far (again, deviations), yet Leto isn't as intense in his portrayal of Basil as I would like (Basil's mental instability is mostly missing); still, he is easy to like, and certainly remarkable-looking. He is the best among the cast; the others are not particularly engaging. The scriptwriting and editing, as other reviewers noted, are not so good, but the film looks beautiful and has good locations and period detail. A 6.5 out of 10.
spacey-8
I must admit, Jared was the hook, but it was the story that kept me interested. Not quite 'Dangerous Liaisons' or 'The Remains of the Day', but this film was very enjoyable. Jared Leto and Christian Slater both did fine jobs playing Brits and I would recommend this film to anyone.
