An exquisite and sumptuously staged "costume drama," this period-based film filled with contemporary matters will no doubt please fans of pictures such as "Howards End" and "A Room With A View." Lovingly handled, photographed, and featuring fine performances, the film's only drawback -- which may be major to some viewers -- is the predictable plot and slowly paced tempo.
As written and directed by William Nicholson -- who makes his directing debut after crafting the Oscar nominated screenplay for "Shadowlands" as well as the scripts for "Nell" and "First Knight" -- the film perfectly fits into the mold of all those Merchant-Ivory productions (such as those listed above) while touching on more modern subjects such as surrogate mothering, euthanasia, and how to raise children.
The film manages to avoid those made-for-TV trappings by not only having a period setting, but also by sporting a sumptuous look that's as mesmerizing as it is symbolic. The production design (courtesy of Rob Harris) is first rate, as is the cinematography (Nic Morris) and costuming (Andrea Galer). Despite the harsh winter environs that occupy the majority of the film's scenery (and which are symbolic of the boundaries that have frozen the lovers' passion), the film is gorgeous to behold visually.
As is Sophie Marceau ("Braveheart," "Anna Karenina" and many French films) who inhabits the governess role with such ease and grace that it nearly seems written specifically for her. While the film's necessary rush through the intervening years since her daughter's birth somewhat shortchanges the necessary emotional elements, Marceau still manages to play the part perfectly.
Stephen Dillane ("Welcome to Sarajevo," "Two If By Sea") brings a reserved dignity to his role -- from his awkward, but necessary early encounters with Elisabeth to dealing with his comatose wife. Although not an exciting character by any means, he does elicit sympathy from the audience and a collective desire for him to be happy by ending up with the woman destined for him.
The supporting performances, while mostly brief, are also finely done. Young newcomer Dominique Belcourt does such a "good" job playing a spoiled brat that you'll find yourself wanting to help dish out whatever punitive methods are needed, while Lia Williams as the sister- in-law in waiting and Joss Ackland as the pompous father are also both quite good.
While the film's contrasting symbolism may occasionally be a bit too obvious -- what with all of the talk about "firelight" and how everyone congregates around, and tends to, the yellow-bathed fires in the otherwise chilly, and drab mansion -- the film's near glacial pace may challenge all but the most hearty of art house fanatics.
Despite the smoldering passion, the film suffers from too much of a gloom and doom aura that permeates the proceedings. Combined with the slow-moving plot that offers few surprises, and obstacles that are too easily overcome, the overall effect could be described as stodgy.
The plot's overall remote setting prevents greater -- and more needed -- external conflict for the main characters from occurring. Cross-societal romances were considered inappropriate back then, and such an affair would raise more than eyebrows -- a device that's fueled romantic dramas since Romeo and Juliet dared break the rules in a different, but thematically similar fashion. While this plot does introduce the comatose wife and the sister-in-law in waiting (for Charles), those obstacles are too easily overcome to generate much suspense or drama.
In addition, a little levity -- while understandably difficult to arrange in such a story -- would have been nice to soften the overall melancholy nature. As it is, this sort of film is perfect fodder for those who complain that costume dramas are -- for the most part -- uneventful and stuffy.
Now, I wouldn't go that far in describing it, and despite those problems, this film is a mostly successful directorial debut by Nicholson. Perfectly capturing the proper look and feel of the time, and eliciting great, but mostly reserved performances from his cast, this film should bring him greater notice.
Although perhaps just a bit too somber and slow for my personal liking, and lacking sufficient levels of necessary conflict to generate great drama, the film should still be well received by its target audience. With a little tweaking, the overall quality could have been raised a notch, but as it stands it's still a worthy picture. We give "Firelight" a 6.5 out of 10.