故园风雨后

我喜欢这部电影。

讲到底这部电影是关于拯救与被拯救的问题。

尽管对原著致命的改编让整部电影常常被人诟病为将深刻的主题浅化为bisexual love story。

查尔斯想把塞巴斯蒂安从酗酒与糜烂的生活中拯救出来，但最终他还是将喝酒的钱给了塞巴斯蒂安；他想把茱莉亚从失败的婚姻和宗教的禁锢中拯救出来，但最终他还是失败告终；他甚至想在侯爵弥留之际为他争取不受洗礼的权利，但最终侯爵还是用颤巍巍的手划了十字。

查尔斯就是活得太过明白，他有笃定的人生宗旨，想要将所有人都纳入自己认可的生活轨迹中去。

他明明是布赖兹赫德庄园的客人，在入驻的一刹那开始就把自己作为救世主自居，在无神论的他看来，家庭里的每一个人都是受着宗教的束缚，都等待着他来拯救。

在电影里查尔斯和侯爵夫人闹翻的酒会上，侯爵夫人用一种痛苦的、难以言说的费解神态望着查尔斯，她念叨着你是那么好的孩子，为什么这样对我的塞巴斯蒂安呢。

而查尔斯也用无可理解的眼神回视着他，似乎不明白这个母亲为什么还不知道是自己将塞巴斯蒂安推入自我毁灭的深渊。

然而其实他们两个又是互相理解的，在原著里说，“就这样，我和茱莉亚和马奇梅因夫人都僵持住了，这倒不是因为我们之间互不理解，而是因为我们理解得太充分了。

”查尔斯太喜欢他们家了，喜欢塞巴斯蒂安，喜欢茱莉亚，喜欢幺妹克迪莉娅，（就像塞巴斯蒂安之前担心的一样，“我不愿意你和我的家人在一起。

我们家里的人漂亮得叫人神魂颠倒，在我的一生中，我家的人把我的东西都拿走了。

一旦他们的迷人力量抓住了你，他们就会把你变成他们的朋友，不再是我的朋友了，我不允许他们这样做。

”一语成谶。

）他想将他们纳入自己的生活范畴里去。

然而拉扯的力量是侯爵夫人。

他们互相了解，侯爵夫人清楚这个年轻的无神论者分明是想将她的几个儿女从宗教中抽离解放出来，她对他一直怀着敌意，只不过从未显露出来。

电影中，查尔斯和侯爵夫人的博弈一直在潜伏着剑拔弩张。

查尔斯在门缝里看到侯爵夫人与塞巴斯蒂安的对话，塞一直颤抖着流泪，最后低下头去，似乎是被一种羞愧和悔恨击中了的表情。

查尔斯诧异地看着这样的画面，应该是被母子之间掌控与被掌控、欲逃脱又不能的关系震惊到。

还有一次，查尔斯又是在门外看见侯爵夫人在帮茱莉亚整理华服，侯爵夫人先望向他，随即茱莉亚也望向他，他在前者灼灼的盯视下收回了目光。

查尔斯应该一直以为自己是可以战胜侯爵夫人的，直到她过世后，他亲眼目睹那个一生放荡不羁、拒绝与夫人同居一室的侯爵，在死前最后一刻还是做出了妥协。

那个时候电影来到了高潮，他也第一次真正意识到，他永远无可战胜这一家人，他想拯救的是幻觉，是虚空，没有人愿意被他拯救。

此时电影里给了他一个特写，难以置信的表情，随即是席卷而来的痛心，失望，最终不得不放弃。

他与茱莉亚站在圣母像前，他说，我要你的心碎掉，然而他又立即接上一句，“但我能理解。

” 他花费那么多年，终于能够“理解”。

他站着，场景迅速变换到二战期间，庄园被军队驻扎占领，圣母像被盖上，他变得苍老，穿着军装，再一次在同一个地方反省。

“我到底要什么？

” 这是茱莉亚曾经大声质问他的问题，“到底什么是查尔斯莱德要的？

” 他犹豫地想着，“是不是我要的太多？

” 他恍恍惚惚地往门外走着，看着曾经和塞巴斯蒂安嬉戏过的阳光水池变成废墟一片。

他似乎已经确定了心中的答案。

他确实要的太多，有人说电影将他改编成一心向上爬的凤凰男了，其实电影里没有说他对荣华富贵是多么渴望，对于布赖兹赫德庄园的迷恋，也最多只反映在他无数次用画笔画下它的景色。

对于物质的描写实则极少，在他作为画家成名后，他依旧是对自己的事业打理毫无头绪，都倚靠他的妻子。

所以说他要的太多，如果是要钱财地位，未免有失公允。

他要的是更加虚幻的渺远的对人的掌控罢了。

他一开始对塞巴斯蒂安是羡慕，羡慕他放荡不羁的生活和人生哲学，但是当他被带入庄园后，他发现的是华美袍子下的虱子，他便开始想要改造这一家人，拯救这一家人了，作为这一群漂亮的人的主人翁，刷存在感。

这才是他想要的太多的部分。

要的太多，这也是塞巴斯蒂安在电影里最后一次出现时的台词。

他在摩洛哥，骨瘦如柴，剃光了头发，穿着如苦行僧一般。

查尔斯来见他，对他说，我想你。

他看破红尘地勉强牵动嘴角，“It's nice of you to say that”，但是，他早就明白了，看穿了这只不过是他想带他回去，再次与其他人干涉他人生的美妙说辞而已，他直戳重点，“可能是我对你要的太多了吧。

” 其实要的不多，他只要他的爱，然而没有，那就无须再费心费神地假装关心想念我了罢。

-正经影评到此结束，接下来全部夸小本，节操全无Ben Whishaw，我男神，我心中偶像，我梦中情人，我的所有旧爱与新欢，我的全部初恋与末恋，我精神上的未婚夫（某外国专栏作家云），我肉体上的导师【滚。

有中国女粉丝在伦敦剧场外见到小本，送他一份画着他演出过所有角色的卡通漫画，问他最喜欢哪个，他毫不犹豫地点了塞巴斯蒂安。

即使这部电影不能算作杰出的作品（因为对原著糟糕的改编），但是塞巴斯蒂安应该能算得上他演艺生涯里值得停顿的一个好角色（可能是因为这是电影对原著改动最少的，还原度最高的角色），有时候我甚至会把他本人和塞巴斯蒂安联系在一起。

脆弱的，敏感的，美丽的，杰作。

塞巴斯蒂安是一个怎么样的人呢，在电影开头，他的出场让查尔斯看直了眼，穿着蓝色的西服，戴着礼帽，一手搂着阿洛伊修斯，一手举着酒杯，仰着头，从河上缓缓滑过。

张扬的，又沉浸在自己的世界里，窄小的脸，刀削的下颚。

查尔斯被吸引住了，站在桥上，忍不住微笑地凝视着他。

换作谁都会觉得这是一场一见钟情的邂逅吧，为什么导演把查尔斯又逻辑不通地给改成了异性恋呢？！

烧死异性恋啊混蛋！

在小说里，塞巴斯蒂安的初次登场是一个侧写，查尔斯在理发室偶遇他和他的大玩具熊。

理发师评价道，“塞巴斯蒂安弗莱特少爷，一位非常有趣的青年绅士。

”而查尔斯的回应则是冷冷的“显然是的。

” 理发师又道，“你猜塞巴斯蒂安来干什么？

来给他的玩具熊要一把发刷，鬃毛要很硬的，不是用来梳熊毛，而是在他生气时用发刷打熊的屁股以吓唬它。

”此时脑海中瞬间出现了本猫猫一手提起泰迪熊的腿，一手用鬃毛发刷抽打它的屁股的样子。

嘤，这是萌的极致，萌的巅峰，萌的无可超越。

查尔斯和塞巴斯蒂安的第二次见面，是塞巴斯蒂安直接吐在了查尔斯的窗台上。

尽管是这样放肆的不可思议的行为，小说里的查尔斯还是觉得“塞巴斯蒂安在无路可走的时候选择了一扇开着的窗户，这样做带有一种疯狂和可爱的有条不紊的风度”。

这是什么样的情怀，这是忠犬攻的情怀，这是痴汉的情怀。

为什么导演你最后又把查尔斯给弄成了一个忘恩负义的渣攻呢？

昂？

昂？

人性呢？！

尊重原著的精髓在哪里呢？

有人会诟病小本的塞巴斯蒂安太过女性化（甚至娘娘腔），不如1981年版的电视剧里AA演的童真，像个真正的孩子气小少爷。

这可真的是太冤，原著里明确的给塞巴斯蒂安一句定性般的描述，“他是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了”，女性美直接被点了出来，在小说里他最后一次登场于摩洛哥的时候，那个德国人很明显就是他的男友（尽管查尔斯在塞的哥哥面前矢口否认了），他的同性恋倾向呼之欲出，只差没点明。

加之他是一直处于被母亲掌控的小儿子，脆弱又敏感，一种柔美的气质，我觉得小本展现得恰到好处。

这段对他的外貌描写，出现在查尔斯第一次赴宴的时候，他进了房间，塞巴斯蒂安在剥鸟蛋，他没有起身欢迎他，也没有向他打招呼问好之类的，而是在剥鸟蛋，对他讲的第一句话也令人摸不着头脑极了，根本就不应该是初次见面或赔礼道歉场合应该讲的开场白，他说，“我刚刚数了一下，每人五个蛋，还多两个，因此我正在吃多出的两个。

今天我饿极了。

昨晚我拼命喝着两种名牌酒，酩酊大醉，醉得使我觉得昨晚的一切仿佛是个梦。

请别弄醒我。

”就像是自言自语，没头没脑的一句话。

然而最后一句却又像是贯穿整部小说的呓语，“请别弄醒我”。

查尔斯这个渣渣最后还是弄醒了他，弄醒了一个养尊处优、敏感纤细的贵公子绮丽美妙的酣梦。

塞巴斯蒂安给查尔斯的第一封信多么有趣啊，“我很后悔。

阿洛伊修斯要看见我被你饶恕了才会理我。

因此，今天我请你吃午饭。

” 还是没头没脑的，他默认了对方知道阿洛伊修斯是他的泰迪熊，默认了对方知道他的地址，他是何方神圣。

他就是活在自己世界里的小孩子，被全家人保护得太完好，又觉得束缚禁锢极了，和安东尼这类放浪形骸的公子们混迹在一起。

然而小说里写，当他认识查尔斯之后，他就再也不怎么理其他的朋友了。

看到这个描述的时候，我心里难受起来，塞巴斯蒂安一定以为自己是找到了真正对的人，才会放弃了其他那些泛泛之交，然而其实对他来说，查尔斯并不是对的人。

查尔斯在赴宴前听到心里有一种声音让他不要去，显然是作者埋下的伏笔，因为在未来的日子里查尔斯会发现，就因为一次赴宴，他终身都被塞巴斯蒂安身后的庄园牵引控制。

其实塞巴斯蒂安何尝不会后悔这一次见面。

他们两个都有点一见彼此误终身的意思。

电影里唯一一处改编是特别好的是查尔斯去摩洛哥见塞巴斯蒂安，后者已经疾病缠身，落魄如此，然而还是不忘缓缓转过头，对他此生最爱的人说一句忠告，“Run,run far away。

” 那时候，人生无法摆脱的诡谲飘渺的宿命感油然而生，每个人明明都是自由的，但是却又受到无形的羁绊，就像小说里那个关于风筝的隐喻。

小本真是瘦，瘦出了风格，瘦出了气质。

每次他坐在浴缸里，下棋也好，抽烟也好，什么也不做就是红着眼圈颓唐地摇摇晃晃地从里面站起来也好，就是好看，就是优雅，就是萌。

看见他和查尔斯在黄昏的草坪上，查尔斯坐着画画，他就这么斜斜地靠在他身边，一个漂亮的侧影，那个时候才真的叫“岁月静好”。

在夕阳台阶下，他吻了查尔斯一下，随即收回，眼睛紧紧地盯着前方，不敢侧视旁边的人，举着酒杯的手有点僵，他低头，抿嘴，微笑，整个动作就像一帧优美的舞蹈动作。

那时候多么美好，一想到查尔斯之后就渣化，就想冲进电影里给他一千六百八十多个大嘴巴。

在威尼斯，他穿着喧嚣豪华的锦服，最后落寞归去，在查尔斯还试图解释的时候，他湮没在黑暗中的脸转过来，侧脸隐隐约约的，失望与悲怆淅淅沥沥地从他眼神里流淌出来。

他用一根手指轻轻地盖住了查尔斯的嘴唇，然后用一种我至今无法用语言形容的欲说还休的眼神最后充满爱意与恨意地看了查尔斯一眼，黯然离开。

一个简单的场景，被小本演出了百转愁肠出来，那一场戏里他眼睛里分明有雾，这还不算厉害——人们能辨别出是一种悲伤的雾气，那才叫厉害。

总之我真的爱死小本了。

尽管这不是他演技最爆发的电影，但是通过这部片子爱上他也太容易了吧。

尤其是看幕后花絮和接受访问，他自带猫耳的发型，他迷迷糊糊的回答，他一脸没睡醒的傲娇表情，他热得用手扇了扇风的动作——啊，此时我的节操已经溺死在他的一举一动一颦一笑间，请不要打捞了！

这电影拍得很精致，而且有力量。

看完感觉好爽，剧情发展的漂漂亮亮！

这电影营造了几个漂亮的冲突点。

先是中产阶层的男主Charles遇到了贵族Sebastian，惊奇于贵族生活与庄园的美。

当然一开始内心免不了自嗨于和贵族交上朋友的那种虚荣，但Charles最关心的还是庄园里艺术品与景色的美而不是如何跻身上流社会。

之后对Sebastian妹妹Julia的一见钟情的爱贯穿了全片。

而后Charles发现Sebastian家是严格的天主教家庭，然而自己是无神论者。

这里同性恋的Sebastian和他母亲的抗争与叛逆格外凄惨，当然还有宗教横在男女主角之间的隔阂。

其次由于妻子的过于虔诚而跑掉的Sebastian的父亲也侧面体现了这个家庭的矛盾之深刻。

电影里的人都挺看得开，付出真心要得真意。

Sebastian父亲对妻子付出很多，但受不了妻子全心投入天主教而逃去别的女人怀抱。

Sebastian发现Charles爱的是自己妹妹便躲避他，出走到摩洛哥时知道Charles还是不爱自己便选择留下。

后来，他当了一名医院看门人，留在了摩洛哥。

主人公与女主角的爱情不可谓不坎坷，他们因Sebastian相识。

Charles对Julia绝对是一见钟情，目光几乎时刻不离。

Julia也终究醉心于Charles的英俊外表与为人。

但Julia与Charles之间障碍重重。

先是家境悬殊，又是宗教问题，但真正困扰他们的是Sebastian。

Julia说过她之所以和那个粗俗的富商结婚首先是因为他不是Charles，她不是Sebastian爱的人。

四年过去了，Charles功成名就，一跃成为大画家、Sebastian已经离去、Julia极度虔诚的母亲也已经去世。

当Charles与Julia重逢，干柴烈火即将熊熊燃烧之际，那些似乎已经飘远的障碍依旧投下了致命的阴影。

Charles一直渴望Julia的爱，渴望纯粹的爱，渴望心心相接。

当Julia用丈夫对Charles的侮辱攻击Charles，说他追求Julia为的是庄园的遗产时，Charles的心已经被伤了。

但这还不够，Charles依旧认为他们可以摆脱过去重新开始，他们还在找城市重新开始人生。

但最后，Julia父亲死前在胸前画的十字与Julia一脸的满足犹如当头一棒。

无论如何拼命反抗，但往昔的一切早已渗透入骨。

这一刻，Charles看到Julia满足的脸，最终意识自己要得太多了。

他要Julia放下贵族意识，放下天主教的限制。

他看到了到Julia与自己的隔阂从来就在他们两人之间，而不是因为他人。

他终是觉得Julia没有全身心爱自己。

Charles知道自己终究不能像Julia前夫一样结婚前更改信仰，他要的是纯粹的爱，而不是不择手段去获得利益。

最后男主说我希望你伤心，我认为说的是我希望你为我付出过真心。

这个影片讲了一个道理，如果你不能放下一切跟我爱，那就说拜拜。

Charles (Matthew Goode): If you asked me now, who I am the only answer I could give for certain would be my name, Charles Ryder. For the rest, my loves, my hates, down even to my deepest desires I can no longer say whether these emotions are my own or stolen from those I once so desperately wished to be. On second thought, one emotion remains my own, alone among the borrowed and the second hand, as pure as that faith as which I am still in flight-guilt. Did I want too much? Did my own hunger blind me to the ties which bound them to their faith? Why only now shadowed by war. All warnings gone. Alone enough to see the light.Brideshead Revisited Script - Dialogue TranscriptVoila! Finally, the Brideshead Revisited script is here for all you fans of the 2008 Matthew Goode movie, also featuring Ben Whishaw. This puppy is a transcript that was painstakingly transcribed using the screenplay and/or viewings of the movie to get the dialogue. I know, I know, I still need to get the cast names in there and all that jazz, so if you have any corrections, feel free to drop me a line. At least you'll have some Brideshead Revisited quotes (or even a monologue or two) to annoy your coworkers with in the meantime, right?And swing on back to Drew's Script-O-Rama afterwards -- because reading is good for your noodle. Better than Farmville, anyway.Brideshead Revisited ScriptIf you asked me now who I am,the only answer I could givewith any certaintywould be my name,Charles Ryder.For the rest,my loves, my hates,down even to my deepest desires,I can no longer say whetherthese emotions are my ownor stolen from thoseI once so desperately wished to be.On second thoughts,one emotion remains my own,alone among the borrowedand the second-hand,as pure as that faithfrom which I am still in flight.Guilt.Been away, sir? Anywhere interesting?- Jungle.- Jungle.Explorer, are we?- Painter.- Painter?So, bye-bye beardy, hello smooth.Famous for his impressivearchitectural portraits,British artist Charles Ryderhas taken New York by stormwith a series of gripping jungle studies.To own a Ryder is currently the dreamof every self-respectingEast Coast millionaire.You must be so proud of him.- Was he away long?- Two years,- and it doesn't feel like a day.- You must feel positively bridal.I can't paintto save my life.Thank you.I can't even hold a buggering brush!But I know what I like. Lots of color.Nice and bright.I see the jungle in your workas a metaphor.Not least, the metaphysical semblanceof the chaos at the heart of civilization.Make an effort, Charles.You're not in South America now.You're amongst civilized people.- Mr. Ryder, I wonder if I could...- I'm so sorry. Excuse me.- Excuse me. Thank you very much....just have a conversation...Hello, Charles.- You're wearing a coat!- Yes, Father, I am.Why?- I'm going up to Oxford.- Ah. Yes.- Remind me. What are you taking?- History.- And what allowance have I given you?- A hundred pounds.How very indulgent of me.Mind you, it all comes out of capital.Oh, I suppose this is the timeI should give you advice.Your mother was alwaysso good at that.Who's meeting you?Cousin Jasper offeredto show me around.Cousin Jasper!Most entertaining.Out of the way,you silly fool.There you are, Charles.This way, please.Come along. As an only child,you will, of course, have much to learn.Though I am only your cousin, Charles,you must look upon me as a brother.Older, wiser,but a brother nevertheless.Now, it is no secret that our familiesare not rich in material wealth.Keep off the grass.But I like to think that we Ryders are,all of us, rich in the striving of minds.Now, then... Not that way.Clothes. Dress as you doin a country house.Never wear a tweed coatand a flannel trousers, always a suit.And go to a London tailor.You'll get a better cut.Protocol. First and foremost,behaving with restraint...Nine adulteries, 12 liaisons,64 fornications,and something approaching a raperest nightly upon the soulof our delicate friend Florialis,and yet the man is soquiet and reserved in demeanorthat he passesfor both bloodless and sexless.Sodomites, all of them. Steer well clear.Treat all donsas you would the local vicar.With indifference.Oh, dear, oh, dear. This won't do at all.You must change your rooms.I've seen many a man ruinedthrough having ground floor roomsin the front quad.People start dropping in.They leave their gowns hereand come and collect them before hall.You start giving them sherryand before you know it they're...Sebastian, come along.Look at the state of him.Come on, you're nearly clean.Oh, no, no, no, sir, stop.You don't clear up after yourself.That's my job.Sorry, Lunt. What's all this?From the gentleman last night, sir.He just called. Left a note for you."I am very contrite."Please come to luncheon today.Sebastian Flyte."The Lord Sebastian Flyte,don't you know?I'm sure it's quite a pleasureto clear up after him.I take ityou'll be out to lunch today, then, sir.Yes, Lunt. I think I shall be.I've just counted them.There's five each and two over,so I'm having the two.I'm unaccountably hungry today.I put myself unreservedlyin the hands of Dolbear and Goodalland feel so druggedI've begun to believethe whole of yesterday eveningwas a dream.Please don't wake me.- Do try one.- Thank you.- What are they?- Plover's eggs. The first this year.Mummy sends them from Brideshead.They always lay early for her.You would, too, if you knew my mother.Are you terribly angry with meabout last night?No, not at all.Thank you for the flowers.Aloysius, you can't go there.Do sit down.- Tell me about you.- Me?I'm in my first year, reading history,but really what I most want to beis a painter.Would you like to paint me?Well, yes. Yes, if you like.It's so clever of you,knowing what you want.I've no idea what I want.Except to be happy.If I can.Let's have some champagne.A glass each before the rowdies arrive.You don't want to join the Old Boys.They're all bloody drugged bogsor collegers.Top me up,will you, old man?- I don't remember you from Eton.- I didn't go to Eton.Oh, really. Where then?Harrow or Winchester?Rugby? Oh, not Charterhouse, I hope?You wouldn't have heard of it.There are other schools,you know, Boy.Yes, I suppose there must be.- My dears.- Hello, Blanche.Hello, Blanche.I couldn't get away before.I was lunchingwith my preposterous tutor.I told him I had to change for footer.Anthony, you remember Charles.From last night?Charles is reading history,but he wants to be an artist.- No!- Why ever not?- Either you are an artist or you are not.- Hear, hear.- Then I am.- Interesting.You have about youa distinct hint of the pragmatic.What do you want to be an artist for?I mean, what's the point of it?Why don't you justbuy a bloody cameraand take a bloody photographand stop giving yourself airs?- That's what I want to know!- That's it, go it, Boy!- I don't give myself airs.- Yes, you do.And, anyway,you haven't answered my question.Come on! Answer!- Answer, answer, answer, answer...- Yes.Answer, answer, answer, answer...Because a camerais a mechanical devicewhich records a moment in time,but not what that moment meansor the emotions that it evokes.Whereas a painting,however imperfect it may be,is an expression of feeling.An expression of love.Not just a copy of something.And who on earth do you thinkcares about your feelings?I do.Boy, you're an oaf. Behave yourself.To art and love.To art and love!We'd just arrived in his rooms, then,without even a, "By your leave,"the Lord Flyte pokes his headthrough the window and vomits.Ground floor rooms, you see.Poor Charles may never recover.- Morning, Jasper.- Morning.Two tries out of you today...Charles. You're to come away at once!I've got a basket of strawberriesand a bottle of Chateau Peyraguey,which isn't a wine you've ever tasted,so don't pretend.It's heaven with strawberries.Just the place to bury a crock of gold.I should like to burysomething preciousin every place where I've been happy.And, then,when I was old and ugly and miserable,I could come backand dig it up and remember.Come along, Charles.There's someone I want you to meet.- Is this where you live?- It's where my family live.Don't worry,you won't have to meet them.- Oh, but I should like to.- You can't. They're away.Everything's shut up.We better go this way.Keep up.Charles. Charles.Well, this is a surprise!How lovely to see you.Meet my new chum, Charles.Charles, this is Nanny Hawkins.This is who I wanted you to meet.- I don't think I know you, do I?- How do you do?Your friend has charming manners.What family are you from, Charles?- No family. I mean, no one important.- Charles is an artist.- He's going to paint me.- How jolly.You've come at just the right time.Lady Marchmain'son her way up from London.It's the Conservative Women's Tea.They always turn out for Brideshead.I'm afraid we may haveto miss them, Nanny.Your mother will be disappointed.I'm sure Her Ladyshipwould want to meet...Can't be done, I'm afraid.Got to get back or we'll be gated.I pray for my dear Sebastian every day.- Charles!- It was very nice to meet you.- Come along, Charles.- Couldn't we just have a quick look?We've seen who we came for.We can go.Just a little look.Don't be such a tourist, Charles.If you're that keen,you can see it all for a shillingon Queen Alexandra's Day.God, I loathe that painting!I could show you the chapel, I suppose,if we're quick.What did you do that for?- You're not Catholic, are you?- No.- I was just trying to fit in.- Well, don't.Come on, come on!Sorry, I'm afraid I don't have the knack.Charles, what are you doing?Car. Now.Who was that in the carwith your mother?- My sister.- What's she like?For goodness sake, Charles,I don't keep asking you questionsabout your family.But I've neverasked you anything before.You're so inquisitive.Well, you're so mysterious about them.I hoped I was mysteriousabout everything.Why don't you want meto meet your family?Who are you ashamed of, them or me?Don't be so vulgar, Charles.I'm not having you mixed upwith my family. You're my friend.I don't have a family.You have me.Sebastian and Charles,contra mundum.Contra mundum.Father?Father?- Back already?- Term's over.So soon?Thank you.- Father, I have to leave at once!- Oh, yes?A great friend of minehas had a terrible accident.- I must go to him.- May I?"Gravely injured.Come at once. Sebastian."I'm sorry you're upset.Reading this message,I would say that the accident was notas serious as you seem to suggestor it would not have been signedby the victim himself.Still, of course, he may well befully conscious, but horribly paralyzed.Remind me.Why is your presence necessary?I told you, he's a great friend.Well, I shall miss you, my boy,but don't hurry back on my account.Take your bag, sir?Excuse me!Are you Charles Ryder?Yes. Sorry. Hello.I'm Julia, Sebastian's sister.I've been sent to pick you up.Hop in, Mr. Ryder.- Case in the back.- Sorry, yes.How's Sebastian?- He's fine.- Fine?Did he tell you he was dying?Well, I thought... His message said...I expect he thoughtyou wouldn't come if you knew.He's not badly hurt, then?He cracked a bone in his footso small it hasn't even got a name.- How did it happen?- Playing croquet.I must admit,I did think it was a little queer,you traveling all this wayfor a croquet injury.I don't mind.It's wonderful to be here again.Is it? Why?Well, it's such a beautiful house,for one thing.I can't stand the place.Be an angel and light me one.There you are, at last!- I thought you were dying.- I thought I was, too.The pain was excruciating.Julia, ask Wilcoxto fetch us some champagne.- I hate champagne.- For our guest.Well, take your coat off. You'll boil.Come along, Charles.I thought you hated champagne.I do.I suppose Sebastian's told youall about us?No. No, nothing at all,as a matter of fact.And nor should I.What?- I take it you're not one of us?- Don't answer.I don't live like this,if that's what you mean.She means you're not a Catholic.Sorry, no. No, nothing at all.- You mean you're an atheist?- Well, yes, I suppose.Strictly speaking, we're C of E,but Father only ever goesfor Christmas and funerals.He likes those.- What about your mother?- She's dead.I was very young.She died working for the Red Cross.Which, given her devotion to good,does rather point upthe arbitrariness of it all.I see. So, you're here arbitrarily?He's here as my friend.Given Mr. Ryder'sstaunch position on religion,don't you think he ought to knowwhat he's getting into?Leave Charles out of it.- Tell me.- Oh, God.Mummy takes her faithvery seriously, indeed.So seriously, in fact,that our fat little priest, Father Mackay,called her a living saint.Mind you, he drinks.Sebastian and Iare a couple of heathens.I'm not a heathen, I'm a sinner.Cast out from God's love.As for you,you're not a heathen at all, not really.Why do we always end uptalking about family?It's time for my bath.Good evening, Mr. Ryder.Look after my brother.I don't think your sisterlikes me very much.I don't thinkshe cares for anyone much.I love her.She's like me.Drink in remembrance of me.Hang on.In fact, I know that that's checkmate.Come here.If only it could belike this always.Always summer.Always alone.Fruit always ripe.Cheers.Now,try this.- No?- It's a shy little wine. Like a gazelle.- Like a leprechaun.- Dappled in a tapestry meadow.A flute by still water.This is a wise old wine.A prophet in a cave.And thisis a string of pearls on a white neck.- A swan.- The last unicorn.Who's that?- Is that your brother?- Yes, that's Bridey.- He seems all right to me.- Wait till you meet him.Mother.Hello, there.Go away,we're not decent!- Mummy's here.- We know.She's invited Charles to dinner.It's not what weagreed upon, Sebastian,when we talked about thisat Christmas, when you came down.It's no use crying, darling.That's just childish.That's not going to help, is it?You see, darling,whatever yesterday's sins,we must all pray for God's forgiveness.So now, you try and try again now.Be a good boy.For God and for Mummy.Now, just put your shirt on now.Dining room's this way.Is Sebastian all right?He seemed upset.Oh.He and Mummy often have these talks.Flannels for dinner?Very bold, Mr. Ryder.- Will your mother mind?- Yes, she'll be appalled.No, don't worry.She'll be understanding.- Do you often do that?- What?- Say one thing, mean another?- Yes and no.Thank you.- Amen.- Amen.Welcome to Brideshead, Mr. Ryder.I've been hearing all about you.I do hope you didn't let Sebastiancall you away in too much of a rush.I'm afraid I didn't quite have timeto pack the right things.Sebastian must lend you some clotheswhile you're here.Or perhaps Bridey's a better fit.Are you a Brideyor a Sebastian, Mr. Ryder?He can't borrow Bridey's clothes.Bridey dresses like a bank clerk.Don't be vulgar, Cordelia.Vulgar is not the same as funny.I hope you've beenlooked after properly, Ryder.Has Sebastianbeen seeing to the wine?Yes. Sebastian's beenseeing to the wine.Delighted to hear it.- You're fond of wine?- Yes, very.I wish I were.It's such a bond with other men.At Christ Church, I tried to get drunkmore than once, but I didn't enjoy it.What do you enjoy, Bridey?Hunting, shooting,fishing.And what form do your pleasures take,Mr. Ryder?- Sorry, pleasures?- Your hobbies.- What do you do to relax?- He drinks.Drinking is not a hobby, Sebastian.- You live in London, is that correct?- Yes.- Whereabouts?- Paddington.You live in a railway station?No, no. Sorry. No, I live nearby.I see.And has this ledto an interest in trains?No.So, are you closewith Sebastian's crowd?Not really.- With Anthony Blanche?- We're acquainted.Charles is a painter, Mummy.How charming.We must get youto paint something for us.- Would you do that, Mr. Ryder?- I'd be delighted.I think Brideshead's the mostbeautiful house I've ever seen.- It's utterly magical.- How kind you are.Summer at Brideshead.Mr. Ryder must stay with usfor the rest of the vacation.As a matter of fact,I've just heard from Papa.He wants me to go and see himin Venice. And Julia.I see.And do you intendto accept this invitation?Yes. Why not?What about you, Julia?Will you be going?I'd like to.Wouldn't you ratherstay at Brideshead?Well, yes, if you want me to.- You must not neglect your duty.- No, Mother.I think we might spend a little timein the chapel after dinner.- Would you join us, Mr. Ryder?- Thank you.You do know Charles is an atheist?An agnostic, surely.Actually, no.But you'll join us, anyway,out of curiosity.Thank you.- No Sebastian?- No, Mummy.Charles, are you really an atheist?- Yes, I am.- How awful for you.I'll put you on my prayer list.I have a long list of people I pray for,including six black Cordelias in Africa.It's a new thing. You send five bobto some nuns in Africa,and they christen a baby after you.Right.Thy will be done,on earth as it is in heaven.Give us this day our daily bread,and forgive us our trespassesas we forgivethose who trespass against us.And lead us not into temptation,but deliver us from evil.Amen.Have you everbeen to Venice, Mr. Ryder?No. No, I haven't.Every ambitious young manshould visit Venice.It makes one sound more complete.I was thinking, if Sebastian were to go,it might be a good thingif you were to accompany him.He needs someone plausibleby his side.I gather last time he was there, he wasbefriending some very odd types.It's youthful high spirits, I understand,but in the end,we must all accept God's limits.Atheist, or no.I know I can rely on you.You seem to mea very reliable young man.- San Giovanni e Paolo.- Oh, dear.I can seeyou're going to be impossibly curious.By the way, I should warn you.Our lovely father is rather a scoundrel.He livesin one of the palazzos with Cara.- Who's Cara?- His mistress.Poor Papa's rather shunned by society.Not the Italians, of course.They adore him.- Santa Maria dei Miracoli.- I know. I've seen the postcard.- My dear boy!- Darling, Papa.- You look so young!- Do you think so?I've taken to playing tennisat the Lido with a professional.Cara thinks I'm getting far too fat.Julia, come here.- Father.- My child.- I wasn't sure if you'd come.- Mummy gave me her blessing.Blessed by your mother.What a saint that woman is.You know, I used to try everythingto please her.Julia, this is your friend, Mr. Ryder?- Charles is my friend, Papa.- I see.- Delighted.- How do you do, sir?- Welcome to Venice.- Here's Cara. Now we can eat.Come along now. This way.Don't look so greedy. It won't go away.Sorry.I wasn't sure you'd come to Venice.Your father seemedpleased to see you.I'm not sure Fathercares much if I come.He'd probably be just as happyif it was only Sebastian.They adore each other.They're alike in so many ways.- Who are you like?- Me?Oh.Nobody.I'm the family shadow.Drinks.- Julia.- Cara.Mr. Ryder, Sebastian tells meyou are a painter.- Charles is an artist.- Good.Well, then I will show you all thegreat art of Canaletto and Veronese.He never goes anywhere.Such a philistine.I don't mind the art.It's religion I can't stand.The Italians seem unableto paint anything half decentwithout putting Christ dying in it.Of course, your mother loved Italy.- A piet?on every street corner.- Don't be cruel.On the contrary, she'd be flattered.God was always her first love.- Mummy loves all of us equally.- Come now, Julia.You were the one who walked away!What must you think of us, Mr. Ryder?- A family of monsters, are we not?- No, not at all.I lost my mother when I was young.Tell me, Mr. Ryder, as an artist,what did you make of Brideshead?I thought it was magnificent.You think that? Really?And now, here you are in Venice.What a lot of temptations.He walks for two hoursevery day. He wants to be immortal.But he's quite fragile, you know, inside.That woman nearly suffocated him.- She's been very kind to me.- Oh, yes. I'm sure. But you will see.Well, just look at her children.Even when they were tiny,in the nursery,they must dowhat she want them to do,be what she want them to be.Only then, would she love them.It's not Lady Marchmain's fault.Her God has done that to her.But surely you're Catholic, too?Yes, but a different sort.It's different in Italy. Not so much guilt.We do what the heart tell us,and then we go to confession.Sebastian loves you very much, I think.There you are.They're very good,these romantic English friendships,if they don't go on too long.For you, it's just a,how do you say, "a phase"?But I think it's more than thatfor poor Sebastian.Tread carefully, Mr. Ryder.Come on.- Hello.- No! No!Come on.Got you.- Can't sleep.- Try pajamas.I enjoyed the beach today.I hope I wasn't too rough.You were very sweet.Charles?There you are.Sorry.Lots to drink.I'm so glad you're here.- I'm glad you're here.- I'm glad I came.- Did I say I'm glad you're here?- You're really glad I'm here?Let's get plastered.- If you want.Oh, yes, I do. I want. I want.There's a wonderful chapelnear here!You will see a masterpiece, I tell you.The devil's got his eye on you!Well, then you must protect me.Julia!Julia.I got lost. All those people.What are you doing?What's the matter?No!Funny old religion, isn't it?Sebastian,what happened just now...I never meant you to...If I'd known it was going to happen,I'd never have...I don't know what I'm supposed to...Checkmate.I'm boring you.Perhaps it is dull for you here.You've been enjoying yourself?- I've been in Venice.- Oh, yes, yes, I suppose so.The friend you wereso much concerned about, did he die?- No.- I'm very thankful.You should have written to tell me.I worried about him so much.Watch out, Flyte!- Sebastian!- Sebastian!- Leave me alone!- Damn. Where is he? The bastard.- Who?- Mr. Samgrass.- Who's Mr. Samgrass?One of Mummy's gang.Fat little Catholic from All Souls.Bastard's been set up to follow me.I wouldn't mindif he wasn't so infernally ugly.God, I feel a hundred years old.Why haven't you called round?I've been worried.I was beginning to thinkthey hadn't sent you up.- Since Venice.- Yes.- Damn! There he is again.- Who? What are you talking about?- Mr. Samgrass! There!- Do you mind?Mummy's hired him to watch me.- What does he want?- My head on a plate.Look, if he's bothering you,I can stop him.Dear Charles, always so certain.- I'm not certain of anything.- Aren't you?By the way, Mummy's here.She has to talk to you.Probably wants youto spy on me as well.Don't be like that.Why don't I come roundto your rooms later?I'm not sure I want to see you anymore.I'm so sorry.So, Charles,- how was Venice?- Venice was fine.- A strange way to put it.- It was beautiful.Speaking as an artist or a man?I want a word with youabout Sebastian.I'm concerned about him.- Tea?- No, thank you.- Why? Should I be?- He's drinking too much.You must have noticed.After all, I sent you to look after him.Yes, I supposewe both drink too much, really.No, not at all. You drink to get drunk,Sebastian drinks to escapethe claims of his conscience.I do wish I could understandwhy he's so particularly upset.Ever since he came back from Venice,he's been unreachable.- Did something happen there?- No.- You all had a good time?- Yes.I wonder what it could have been.I hope you didn't let Julia mislead you.- I don't understand.- I think you do.Please understand,I would not want youto make yourself look foolish, Charles.Her future is not a question of choice.It is a matter of faith.Were it simplya difference in upbringing,this I might overlook.But you are a self-proclaimed atheist,and my daughteris destined to marry a Catholic.God commands and we obey.However, we're forgetting ourselves.We're here to talkabout your friendship with my son.I'm not sure Sebastianwants to be my friend anymore.Because of Julia?But that is all cleared up now.We're giving a ball for Julia's 21 st.I'd like youto keep Sebastian company.You came to Bridesheadas my son's friend.If you haveunaccountably offended him,it is surely not too much to askthat you revisit your responsibilities.- To him or to you?- To the family.And, of course,Brideshead does look particularlybeautiful at this time of year.Tell me, I'm curious.Since, as you claim,you have no religion,what do you imagineyou are doing on this earth?Living my life, the same as you.But without faith,what could your purpose possibly be?I want to look back and say that I wasalive.That I didn't turn my back. That I tried.That I was happy.Happiness in this life is irrelevant.All that matters,the only thing of consequence,is the life hereafter.Ready for the off.A beautiful day for it, isn't it? Come on.Funny, isn't it?It's my little present to the family.- Rex Mottram. How do you do?- Charles Ryder.Good to meet you, Charles.Heard all about you.We should compare notes some time.- Going on the hunt?- I don't think so.Wise man. Load of Englishblue bloods on horseback.Got to fit in, though!Who is it?It's me.You could have knocked.I nearly spilt my drink.I did.Sit down.If only it could be like this always.- Always summer.- Ancient history.Pass me a towel.Where's that damn shirt?You're shaking. What is it?What's the matter?Don't you know, Charles?"Why this is hell, nor am I out of it."- Sebastian, if I've ever done anything...- It's not you.It's me.For God's sake, do stop mooning at melike a great big cow!I'm fine.I'm fine so longas I've got plenty of this.I want you to know thatwhatever happened in Venice,I'm not in your mother's gang,if that's what you think.I'm on your side.Contra mundum.Dear Charles,you're not in anybody's gang.That's always been your problem.Why are you going on the hunt?I thought you detested hunting.I do.I'm going to leave Brideyat the first covert,hack over to the nearest pub,and spend the whole day drinking.If they treat me like a dipsomaniac,they can bloody wellhave a dipsomaniac.Well, they can't stop you.They can, as a matter of fact,by not giving me any money.They've stopped my bank account.I've pawned my watchand cigarette case.That lasted for a bit,but that's all gone now.So, regretfully...Sebastian, I can't do that.- I thought you were on my side.- I am.Well, then.Look, why don't I come with you?It's miserable drinking alone.We could get drunk together,like we used to.No.I'm past all that.Thanks for the offer.Well?Are you with me or against me?Little bit further upon the shoulder, though.Sarah, look.Sort of up here.Ladies and gentlemen,it gives me great pleasure to announce,on top of the birthday festivities,the engagement of my eldest daughter,the Lady Julia Flyteto Mr. Rex Mottram.Yes, it's marvelous, isn't it.- Thank you, Charles. I'd love to dance.- Cordelia.- Cordelia, I'm...- Come along!- Charles?- Hmm?I hope you don't mind me asking,but modern art,- it is all bosh, isn't it?- Yes, it's all bosh.Good. I thought so.Get a grip, Charles!Rex! Rex, I need a better dancer.Yours for five minutes and no more.- Come along.- Okay.You're rather tall, aren't you?Is that a handicap?Why didn't you tell me?It's not Sebastian. I don't believe that.Charles, I can't do this.- When we kissed...- Please, stop!Why? It was wonderful.I know.I think about it all the time.I have no choice.- Oh, Sebastian.- Never mind.- Oh, Charles.- Don't!- Come along, old boy.- I don't want your help.You're in tweed, Sebastian.This is a ball.Bugger off, Bridey.You're worse than wet.You see... What it is...I hate you all so very much!- Sebastian.- Get off me!You don't care about me!All you ever wantedwas to sleep with my sister!Okay, Sebastian, that's enough.All right. I'm going.Charles,did you give Sebastian money today?Yes, I did.Knowing how he was likely to spend it?Yes.I don't understand.How could you be so nicein so many ways,and then do somethingso wantonly cruel?We all liked you so much.I don't understand how we deserved it.Do you think it's betterto make him feel like a criminal?Having him watchedevery second of the day?But you deliberatelyhelped him to drink.You're the reason he drinks,not me.All I did wastry to give him a little freedom.No, you just wanted him to like you.You're so desperate to be liked.I think you should leave now, Charles.Hello, there.Would you like me to hold the ladder?Yes, thanks.I'm Celia Mulcaster, by the way.Charles Ryder.I saw your paintings in the brochureand thought how charming they looked.No need to look so gloomy.If I had half your talent, I'd be delirious.You can thank me, if you want.Thank you.Would you like meto buy something now?Silent and grave,and then "pop," mouse is dead.- Charles.- Lady Marchmain.Thank you, Father.I'm so glad your sondidn't die of his injuries.Please, sit down.I'm fine, thank you.How did you know where I lived?My driver found you.The Ryders of Paddingtonare limited in number.I hear you have your first exhibitionat the Royal Academy.Congratulations.I'm sure you're not hereto ask me how I am.No. The last time we saw each other,it's true I spoke rather harshly.I'm not here to apologize.What I said, I meant.I took you into my confidence,and you betrayed me.I do hope you're not asking meto agree with you.- I act only as God directs.- Rubbish.God's your best invention.Whatever you want, he does.- I am not here to argue with you.- Good. I'm glad to hear it.The reason I calledwas to ask you a favor.A favor?Sebastian's gone missing.He's in a house in Morocco.I'm worried about him.I need you to bring him back.You banish me from your house,you poison my friendshipwith both your childrenand now you expect meto go begging on your behalf?There's no one else I can ask.Even if I were to agree,what makes you think Sebastianwould take any notice of me?Because he cared for you morethan he ever cared for anyone else.All I ever wanted was to see them safe.And all they do is hate me.I'll be at Brideshead.You may send word to me there.Driver!Driver!I'm looking for Sebastian Flyte.This is his house.- Who are you?- I'm his friend.In the local hospital.When you see him,tell him I'm still here.Your friendhas got the grippe.One of his lungs is full of fluid.He will recover. But travel with you?Not a chance.He's very weak. No resistance.What do you expect?He is an alcoholic.Here is your friend.What the hell are you doing here?Your mother asked me to come.She wants me to bring you back home,but the doctor saidit's out of the question for you to travel.I wouldn't, even if I could.I think...I think she's dying.Walk with me. I'm meant to exercise.Did you go to my house?Did you meet Kurt?Yes.He wanted you to knowhe was waiting for you.It's rather a pleasant change,when all your lifeyou've had people looking after you,to have someone to look after, yourself.I thought you'd want to go backto Brideshead one day.Brideshead?Are you mad?The place would still be full of her.I wouldn't go withina hundred miles of the place.I need to sit.I'm sorry.Whatever for?Everything.It's all right.Truly.I asked too much of you.I knew it all along, really.Only God can give you that sort of love.Come home, Sebastian.When you're well enough.Don't finish it like this.This is my life now.I'm happy here.I miss you.How sweet of you to say that.Dear Charles,it was my fault forbringing you to Brideshead.Run away.Run far away and don't ever look back.I'm sorry.You must be so proud of him.- Was he away long?- Two years,and it doesn't feel like a day.Hello, Charles.Did you know I was on the boat?If I said no, you wouldn't believe me.You're married now.Yes.- You haven't changed at all.- Neither have you.- How ridiculous.- Yes, isn't it?Tell me this is fate.- What?- Nothing.Tell me.I was thinking about Sebastian.Mummy died withoutever seeing him again.I know.Let's go up on deck.- Are you sure?- They're all asleep! Come on!Come on!Sorry.- So where's Rex?- I drowned him.Forgive me, Rex!Lady Julia, fancy meeting you here.- Mr. Ryder.- Could I possibly get you a drink?Dry martini, please.One dry Martini,one whiskey with water.Please, allow me.So, why did you marry Rex?I don't know. Because he wasn't you.- Because he was rich.- Because he was Catholic.Because Mummy approved,God rest her soul.I thought he was my painted savage.It turns out he wasthoroughly up to date.Thank you.Now, no more talk about Rex.He's in England.- Do you have children?- No.No.- What will you tell your wife?- Wait until London.I have a viewing to arrange.I'll sort it out. It'll be fine.- Where shall we go?- Somewhere abroad, like Daddy.- What about Italy? Capri?- Antibes.- Seville.- Verona.- Paris.- Brideshead.- No!- Why not?- It's the loveliest place on earth.- I can't go back there.- Not after this.- Nonsense.- We've nothing to apologize for.- No.Besides, Rex is there.Leave it to me.I'll settle things with Rex.I'll settle everything.Trust me.I do.- And stop worrying!- I will.Good afternoon, ma'am.- Lovely day.Mr. and Mrs. Ryder.Look, that's the Dukeand Duchess of Clarence.- They want to buy one!- How very gracious of them.Make an effort, Charles.I've got you the cream of Mayfair.Mrs. Ryder, good day.Charles, how charming you look.Anthony.I heard, quite by chance, at a luncheon,that you were having an exhibition.So, of course, I dashed impetuouslyto the shrine to pay homage.Where are the pictures?Let me explain them to you.This is simply charm.Simple, creamy, English charm,playing tigers.But enough of art.They tell me you are happy in loveand that is everything, isn't it?Or nearly everything.Everyone's talking about it.So, it's Julia now.And it used to be Sebastian.Do you think I should warn her?Warn her about what?How apropos that you'd havechosen jungles for your canvas.I always thought youwere the lamb to be slaughtered,when all along it is theywho are hunted.There really is no end to your hunger,is there, Charles?Why do I feel so nervous?- Don't be.- Who are all these people?- Politicians, money men.Rex thinks there's a warcoming with Hitler.He wants to do well out of it.- It's all he talks about.- Hello, Julia.- Hello, Rex.- Good evening, Rex.Mr. Ryder,welcome back to Brideshead.I hear you're makingquite a name for yourself.- Could I have a word with you?- Later, I have guests.It's cold.Not here!- Sorry.- Let's go back to London.- Let me settle everything with Rex.- And then we'll leave?- Yes? Charles?- Yes.If that's what you want.Hello, Bridey.- Hello, Julia. Just up from London?- Yes.Welcome back to Brideshead, Charles.- How's your family?- Fine, thank you.- Rex still entertaining?- He's got business.I'm sorry he's not here.I have a little announcement to make.Well, come on. Out with it.- I'm engaged to be married.- Congratulations, Bridey.Well, who is she?- No one you know.- Is she pretty?I don't think you couldexactly call her pretty."Comely" is the wordI think of in her connection.She is a big woman.- Fat?- No, big.She's called Mrs. Muspratt.Her Christian name is Beryl.But, Bridey, where did you find her?Her late husband, Admiral Muspratt,collected matchboxes.You're not marrying herfor her matchboxes, are you, Bridey?No, no.Matchboxes were leftto Falmouth Town Library.I'm just holding them for collection.Why are you laughing?- I hope you'll be very happy.- Thank you.- I think I'm very fortunate.- You sly, old thing.When are we going to meet her?You must bring her here.- I couldn't do that.- Why not?Well, you must understand,Beryl is a womanof strict Catholic principle,fortified by the prejudicesof the middle classes.I couldn't possibly bring her here.I don't understand.It may be a matter of indifferenceto you,whether or not you chooseto live in sin with Charles,but on no account would Berylconsent to be your guest.How dare you talk to her like that?Bloody offensive thing to say!Really, there was nothingshe could object to.I was merely statinga fact well known to her.Take no notice of him, my darling.So,got you. Sorry about the delay.I'll be outside.The door? Door's madefrom all the works of Dickens.I had it installed especially. Want one?No, thank you.I know what you're thinking.How vulgar can it get?You wanna know the secret?I do it on purpose.It amuses me to offendtheir delicate sensibilities.So, you wanna take my wife off me?You know she can't marrya divorc? right?- Against the rules.- Well, at least she'll be free of you.She'll never be free.Don't pretendyou've been faithful to her.Who said anything about faith?I bet you'd love to get your handson the house, though, wouldn't you?All those pretty paintings.All those pretty views.Let her go, Rex. You never loved her.The only thing you ever hadin common was religion.Wrong. When I decided to marry Julia,I wasn't a Catholic.I converted before the wedding.Bet she didn't tell you that.- I guessed.- Oh, yeah?You're the type.You people,you never learn.You could have had it allif you'd been a little more flexible.I did what I had to do.They want a Catholic,I'll convert to Catholicism.It's a great religion.You sin all you want, then you confess.Problem solved.You gotta woo these people.This family don't live in the real world.- They're mortgaged up to the hilt.- Get to the point.You want my wife? Make me an offer.- I'm not just giving her away.- Don't do this. It's demeaning.Try a little harder.You're a rich man, Rex,you've already got what you wanted.You can never have enoughof what you want.No, you're right.You're taking her off my hands.That's a favor.I'll tell you what I'll do.You give me a couple of your junglepics, and I'll give you an annulment.I hear you're worth collecting.Come on, Charlie boy, say yes.You know you want to.You don't have to speak.Just nod.I'll have my driver take me to London.He can pick up the paintingsin the morning.You know she's mad.Can't even give you children.Lost the only one we had.Julia?I'm so sorry. I didn't know.- It's just a shock.- Shh.Shh. Don't.I've always known, ever since nursery.I tried to be good, I really did.I tried. I married Rex.All through the backgammonand cigars, I tried.But it's not enough. It's never enough.God had to punish me.So he took my little stillborn...My child. My girl.With you, I thought I couldreally and truly be free.But coming back here, it's like a thread,an invisible thread drawing you back,inch by inch,until all of a sudden,you're a child again.And that voice inside your head,the one that Mummy plantedall those years ago in the nursery,every night in the nursery,filling your head with it.And the voice is telling you,whispering,"Wicked little Julia,bad little girl, living in sin."And here I am again with you,living in sin.It's over. It's over now.- Everything set?- That's everything, sir.- Thank you, Wilcox.- Best of luck, sir.Who's that?Go back. Turn around.I have to go back.- Staff, immediately!- Yes, sir.Come on, quickly now!I'll help with that.Come on, hurry!- Yes, sir.Shall I help, Tompkins?- Hurry!The sedan chair.- Right, very gently. Very gently.Hurry.- Get a move with the chair.Come along, come along.Somebody got the rug?Up. Gently.Clear the stairs, please.- Could I have the medical bag?- Father!- Dear Julia.Come on, please. Come on!I'm sorry, I was to call,but we have been travelingwithout a stop for three days.It was Cordelia,she was visiting us in Venice...What happened?- We want the bed readyas soon as possible.His heart. Some long word at the heart.Hurry up.He's dying.He has come home to die.Come on, everybody, that's it.Chop-chop.Come along.We must get Lord Marchmainto the great dining room.Thank you.He's sleeping.Do you think we shouldlet Sebastian know?You could, but I doubt he'd come.The last I heard of him,he was still struggling rather.The monks have him as a porterin the hospital in Morocco.He seems to like it.I think they've rather taken himunder their wing, dear old thing.Still, salvation of a sort.Bridey, you need to call for a priest.I'll have a word with Father Mackayabout dropping in this evening.Julia, your father doesn't want a priest.All he wants is to die in his old home.Our father's soul, all sinners' souls,face mortal danger.It is our duty as Catholicsto see that we do all in our powerto save those we love from themselves.Hateful woman.She wants me dead.What about you?- Do you want me dead?- No.You know the familyare sending for a priest.They seem determinedto drag God into it.Why should you care?You don't believe in God.You said so yourself.Have you suddenlybecome my conscience?I've already seen Sebastianruined by God.I don't see why I should watch ithappen again with your daughter.How very caring of you.You forget, I was there.I watched that woman crucify my son,little by little, and I was silent.What does that say about me?You're not responsiblefor what she did.But are we not alsoour brother's keeper?You, Charles, and me?I let Sebastian down.I let everyone down.This way, sir.Dear, no, that's too many!- Papa...- Your father needs to rest!- Get him away.- I've brought Father Mackay to see you.- Get him away! Get him away!- Out!Everybody out! Out! Out!- I'm so sorry, Father.- Not at all. Give him time.I've known worse casesmake beautiful deaths.What were you talkingto my father about?He doesn't want a priest.Please, Charles.Please don't interfere with mattersthat don't concern you.Julia...Let's get out of here.We'll go to Italy.- Capri.- I can't leave now, my father's dying.When this is over,I can make you happy.- Why should I believe you?- Believe me.You just bought me from Rex.What are you talking about?According to you,I'm worth two pictures.I thought I'd fetch at least three.Don't be ridiculous.- That was Rex.- You agreed to it, Charles.- I had no choice!- You agreed!I thought I was doing the right thing.I thought I was doing what you wanted.No, you thought you were getting meand the house, together.- Is that really what you think?- You tell me. Please, tell me.What does Charles Ryder really want?Can you imagine what it was likefor me to be invited into Brideshead?Me,Charles Ryder,"the painter from Paddington,"as your mother so sweetly put it.There was no humiliationI would not have enduredjust to be part of that dream.And your mother, that woman is morealive now than she ever was.She's in every brick,every stone, every slate.Sebastian was right.We should run away.- Why did you bring me here?- We can still leave.- Bridey...- Don't interfere, Charles.Now, try and remember your sinsand tell God you're sorry.I'm going to give you absolution now.And while I'm giving it,I want you to tell God you're sorryyou offended him,and then I want youto make a sign, if you can.- Amen.- Amen.Amen.Please, God,please, if you're there, forgive him.Forgive me. Oh, God, forgive me.Let him have a sign.Sebastian used to loathe this painting.Daddy gave it to Mummyas a wedding present.Tell me.I wanted too much.It's nobody's fault.But you're not coming with me.I can't shut myself off from His mercy.Can you understand that?I don't want to make it easier for you.I hope your heartbreaks.But I do understand.I have to let you go.Whether by fate or thedivine ironies of some higher power,I find myself returned once moreto Brideshead.Let it go.Did I want too much?Get him out of my sight!Did my own hunger blind me tothe ties that bound them to their faith?Am I only now, shadowed by war,all moorings gone,alone enough to see the light?Worst place we've struck yet.No facilities, no amenities,and the nearest villageis a five-mile walk.Mind you, there's a rumorof a big push coming.They'll be shippingus off to France soon.Yes, very soon.Where are the family now?Does anyone know?Some Lady Flyte liveson her own here, normally.She's overseaswith the women's service.Her elder brother died in the Blitz.They're all Roman Catholic.- I take it you're not religious, Hooper.- Me? God, no. Can't see the point in it.You're born, you live, then you die.Do you have any hopesfor the future, Hooper?Hopes? Oh, aye, plenty.It's our time now. You watch.The old ways, all this, they're gone.Future belongs to us,so long as we don't get shot.How about you, sir?You got someonespecial waiting for you?Me? No.I've loved and lostfor more than one lifetime.Would you like meto drive you back, sir?No, not yet. Carry on, Hooper.Very good, sir.Sergeant!Special thanks to SergeiK.

心不在焉地扫了一遍：一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。

认真看了第二遍：认出来是Emma Thompton。

相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。

Sebastian和情妇阿姨不过关。

Sebastian小雷。

眼神、风骨都不见，只见柔弱。

情妇阿姨天雷。

她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？

然后看了第三遍。

抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：轴心人物关系和矛盾纠结点。

1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。

2008版：Charles v.s. Lady Marchmain。

她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。

在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。

Charles Ryder所谓何求。

What is Charles Ryder really want?预告片以Julia问Charles的这句话做结。

小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。

爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。

不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。

走很容易，随大流，谁不会；想走好，难于上青天。

原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。

所以问1981版的Sebastian是否酷儿是一个伪问题。

他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。

Brideshead庄园是他和Charles戏耍的大迷宫。

但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。

然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？

面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。

重访故园，“to have seen what I have seen，see what I see”。

这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。

Contra mundum这个短语源自阿塔纳修坚持主张三位一体同在，反阿里乌斯主义而遭流放的故事。

阿塔纳修坚持自己信仰的真理而与全世界做对，相信自己与全世界作对但与神同在。

塞巴斯蒂安第一次带查尔斯前往故园时说contra mundum，他大概相信身边这个朋友是理想中的朋友，是两个人可以执手对抗世界。

此处我想到了《莫里斯》中的一句话：At times he entertained the dream. Two men can defy the world.凡是经历过这样的情感的人，都会明白contra mundum两个词里蕴含的勇气和希望，人甚至因为爱而自由。

查尔斯是塞巴斯蒂安挣脱家庭和宗教束缚的绳索，并非没有查尔斯此人的出现塞巴斯蒂安就要分崩离析，而是他的出现让他看到了发自内心的快乐的可能。

我没有看过原著和81版，08版电影饱受诟病的一点就是它把主题简化为双性恋的爱情，但我觉得这只是非常浅薄的一个层面。

塞巴斯蒂安对查尔斯的感情会因为影版中的一个吻大变质吗？

有无一个暧昧的接吻并不影响塞巴斯蒂安对查尔斯超越情欲的爱。

他们首先是挚友，但我想要强调的是，在塞巴斯蒂安和查尔斯的关系中，是塞巴斯蒂安单方面对查尔斯持有这种崇敬的、奉若神明的爱，如果他们的感情是双向平等的也就不会有塞巴斯蒂安最后流落摩洛哥的结局。

初看时最为触动的台词是脆弱又美丽的塞巴斯蒂安在那个夏日说：If it could only be like this always – always summer, always alone, the fruit always ripe... 在当下就开始追忆当下是过分珍惜的标志，也是悲剧的开端。

但是它动人的谜底其实在塞巴斯蒂安在摩洛哥身患重病，查尔斯最后一次见他时，塞巴斯蒂安说的话：It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now. I am happy here. 没有关系，我向你要求得太多，我一直都知道，真的。

只有上帝能给你那种爱。

这是我的生活了，我在这里很快乐。

塞巴斯蒂安明明没有对查尔斯有任何行动上的要求，却说“我向你要求得太多”，因为他要求的是另一个人以他这样深刻的情感联结的方式爱他。

虽说他是对查尔斯说，“只有神明能给你这样的爱”，其实这话也说给他自己。

影版的故事并非不是一个充满宗教救赎色彩的故事，塞巴斯蒂安的神明曾经是查尔斯，但是他又预见到了此般夏日不可能长存，明知必然失去却依旧将其奉为“伟大的朋友”，在凡人之间十八九必是悲剧，除非遇到那个另一个自我。

在摩洛哥的塞巴斯蒂安真的快乐吗？

大概是一种看破红尘的空寂，平静而空虚，离开了控制他的人生的家庭，失去了曾以为可以一起对抗世界的朋友兼爱人，或许更糟，后者从不是一个可以跟他一起对抗世界的人。

但是在假象拆穿之后，念及柔情，他还是dear Charles查尔斯这个塞巴斯蒂安心中单向的爱人，究竟意味着什么，他绝不是一个可有可无，任何有着相似条件的人就能够替代的人。

这关涉到“爱人”意味着什么。

“你不像任何人，因为我爱你。

”爱是可以说出contra mundum的感情，是生存的勇气。

当塞巴斯蒂安的梦被查尔斯和他姐姐接吻打碎时，他失去的不仅是一个幻想中的爱人，还有他在重重束缚中面对生活的勇气我个人非常不喜爱查尔斯，他是一个明知塞巴斯蒂安的感情，明知自己无法同等地奉还，依旧享受其中的利益而不知收手的人。

其实人都是这样贪心又为平庸的理由牵绊的，但我私心希望塞巴斯蒂安爱上的那个人比他更好一些，希望他是一个圣徒，可以成为塞巴斯蒂安生命中的活着的神明，或许那样他就不至于整日买醉最后自我流放。

近来觉得自己越来越过成自己曾经喜爱的文学和影视作品中的模样，或许是双向的选择和影响作祟，但有一些故事和感情作为故事来看是动人的、美好的，但没有人真的希望自己是那个自我流放到摩洛哥的塞巴斯蒂安。

希望大家都能找到那个contra mundum的人，但是那个曾经幸福地对抗世界的人是与上帝一同对抗世界，凡人不行。

Julian Jarrold的古典风格，我是极为喜欢的。

我这里引用的“古典风格”并非特指一个时间上的古典，而是影像的细腻。

如此细腻使得影像和小说达成某种节奏上的一致，就像铺了水的大理石台上自由滑动的玻璃茶杯，顺然得由此及彼，毫无障碍。

影像里人物的动作、表情都不多不少，恰到好处。

比如Charles第一次受邀去见Sebastian，Sebastian坐在那里剥鹌鹑蛋，直到Charles进来，Sebastian把自己剥好的鹌鹑蛋给他，仿佛是事先就预备好的食物。

其实，我很难说清楚，到底这里所谓的“古典风格”究竟是什么？

或许正像克尔凯郭尔在《恐惧与战栗》的序言中说的，“我们时代的人们都不在信念之处止步，而是径直前行”。

而古典影像，恰恰在“径直前行”之处多多少少的有所止步、有所悬疑。

古典影像，似乎就是在这里、这些个悬疑之处，开始了对人物内心情感的不尽探索。

Julian Jarrold导演的这部“Brideshead Revisited”，为人诟病的反倒不是对原著小说的肆意改编，从电影本身来说，而是Julian Jarrold似乎从影片一开始就设置了某种不完整性。

什么意思呢？

问题就出在Charles身上。

一方面我们觉得导演对Charles这个角色的塑造不够深入，正如有些人提到的，Charles始终没有在电影中展开自己的内心挣扎，包括在他以军官的身份重访布赖兹赫德庄园之时，导演也只是轻描淡写般掠过。

另一方面，败笔之处，又恰恰是Julian Jarrold自己有意在这么做。

比如影片一开始，Charles的独白里有说到，“我再也无法辨别这些情感，到底是我自己的，还是从那些我曾经无限的渴望中窃取的”。

经历了那么多之后，对于Charles来说，竟然只剩下了唯一的，也是他认为属于自己的、纯粹的，内疚（guilt）（不安、悔恨）。

也许这是导演有意设置的一个位置呢，让Charles像夏日午后的一阵暖风，吹进布赖兹赫德庄园里面的晦暗角落，待其觉察自己要离开之时，已然阴冷，这是他始料未及的。

（不得不说，Julian Jarrold电影的符号性非常强，并不是我有意牵强，比如Charles和Julia第一次碰面，是车辆彼此掠过之时的短暂一瞥，而在影片末尾，同样又是车辆彼此掠过之后的短暂一瞥，只不过，这一次，把原先还执意着要逃离布赖兹赫德庄园的Julia，彻底的留在了布赖兹赫德庄园。

）假如Charles果真就是一阵夏日午后的暖风，那么我们又能对一阵暖风追问什么呢？

但是偏偏的，Julian Jarrold把电影里的人物推到了这么一个位置，推到一个绝境之中。

那么这究竟是如何的一个绝境呢？

Charles和Sebastian之间的英伦式友谊，对于两个人各自的分量是不一样的，到后来Charles去摩洛哥找到Sebastian时候，Sebastian说，我要的太多了。

这孩子实在聪明的很，也许他早就觉察了Charles并不会最终陪伴他，但是没想到的是，这个事实来的那么直接那么突然。

威尼斯之夜，彻底改变了这部戏的重心。

Charles和Julia之间的感情以一种突袭般的冲动，豁然荡开，这个决口只听得风声，不见洪水。

而经由威尼斯之夜，Sebastian则被离弃到一个无人照看之地，剩下的似乎也只有决绝的离弃。

假如说，Sebastian的位置是离弃的位置，对于布赖兹赫德庄园的离弃（以自我离弃的方式离弃母亲）；Julia的位置还在浮动，在一个属于布赖兹赫德庄园的围墙的位置；那么，Charles的位置又是在哪里呢？

Charles和Sebastian之间那若有若无的同志之恋，始终没有明晰，如此不明晰，导致了最终的，Charles对Sebastian的拒绝（在Julia的生日/订婚宴会上）。

起初我还以为Charles在周旋。

就像Sebastian父亲的情妇叮嘱他的，必须小心处理他和Sebastian之间的友谊，因为Sebastian很难回头了，但是Charles呢？

他的后知后觉，或者是他的隐秘欲望，使他始终面临一个绝境之中的疑问：你难道不在是利用Sebastian的感情吗？

利用Sebastian以接近Julia？

而你接近Julia又何尝不是在企图布赖兹赫德庄园（如影片中Rex所说的）？

也就是说，在影片中，因为Charles的“无知”，使得我们很难判断Charles的真诚，很难明确他的一个交付给爱的真诚位置。

我想，在Charles和Rex“交易”之时，躺在门首的Julia大约是深深体会了这样绝境的。

以至在后来，Julia不禁反问Charles，难道我就值你的两幅画吗？

我为什么要相信你？

这难道仅仅是一个女人的矫情之语吗？

恐怕不是。

对于Julia这个人物的塑造上，导演Julian Jarrold似乎再一次使用了他在2007年拍摄《成为简·奥斯丁》时用在奥斯丁身上的手法，就是在逃离和返家之间的折回。

当然了，这是一个很大的问题，就像Julia的母亲和Charles之间的谈话，一个无神论者活着到底有什么意义。

起码从Charles和Julia身上，我们也可以看出，他们彼此所面临的绝境是不一样的。

当Julia在将死的父亲床边祈祷之时，她在祈求主的宽恕，影片很直接的暴露了她的心语，她一边祈祷一边抽泣着说：“求你，主，求你。

如果你在，请宽恕他。

”接着话锋一转，她祈祷说：“宽恕我，哦主啊，宽恕我，让他划个十字吧。

”对于Julia来说，布赖兹赫德庄园突然之间不是需要逃离的，而是需要去直面的罪、去直面的宽恕。

老父亲在将死之时，领受自己的罪孽，在牧师的颂祷中，得到宽恕。

这不是单单他一人的宽恕，也是对Julia本人的宽恕。

（在刚到威尼斯那天，Julia曾和父亲拌嘴，说她父亲才是不要家庭不要家人的人，而不是她母亲；其实暗地里表示了Julia对父亲的怨恨，如此怨恨对于天主教而言，是一种罪孽。

）在天主对父亲以及对自己的双重宽恕之仪式中，Julia告别了她的父亲，也告别了她自己。

连带着她的绝境也一起告别。

Julia的绝境，从抱怨、怨恨（这些都促使她决定要逃离布赖兹赫德庄园）之中解脱出来，重新交付出来的，不是别的，正是信仰。

再接着说Charles的绝境。

当他和Julia站在那幅巨大的圣母像前，镜头仿佛给了Charles前面一段悬崖、一段深的空。

他不知道能从这空的里面获取什么，他只是知道他已经失去了Julia，不是因为阴谋、不是因为经济、也不是因为爱情，而是信仰。

当Julia对他说，我不能拒绝主的宽恕，问Charles能不能理解？

Charles说：“我不想让你好过，我希望你的心，伤透。

”接着他又说：“但是我真的能理解。

我不得不放你走。

”于是，Julia就真的走了。

还在Julia为父亲祈祷之时，Charles就已经觉察了这一点，他表情战栗，却又无可奈何。

因为信仰要拿走的，正是他无法给出的。

假如说之前的时候，在Sebastian和Julia之间，Charles还是处在后知后觉中承受着绝境般悬疑的话，那么在与Julia的最终告别之中，Charles则完全处在了绝境之外。

像是在一个瞬间，他之前忧伤、同情、感怀、爱、友谊的从来之地，一个“无知无觉”的绝境，被突然攫走，替换为一个有知有觉的绝境，那么试问，他还能如何面对呢？

也许对于Charles来说，战争充当了一个多面手。

一方面战争召唤了原始的、古老的摧毁力量，将那些信誓旦旦的、规规矩矩的天主教破坏以及摧毁，哪怕只是表面看起来那样；另一方面，战争推迟了那个最终到来的绝境对他的质问，或者说，战争填补了绝境的空口袋。

但是无论如何，Charles已然无法释怀，这或许也是他一开始就有的心理准备。

也就是说，他不去恳求宽恕，而是把“Gulit”交给时间。

所以在开头，他才说，“Guilt”如同他逝去的信念一样纯粹。

这份纯粹也只有时间能够保藏。

对于导演来说，何尝不也是如此呢？

时过境迁，唯有时间充当了重新开启它们的通道。

It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now.

Everything这么这么美的Sebastian Flyte，和Charles Ryder的相遇就说了自己最想要的最不可求的爱和快乐。

To art and love. 他不像其他的贵公子们，嘲笑着Charles的出生，他带着Charles来到了Brideshead，当他揭开雕像的白纱时，这成了一切的开始，故事的开始，是他最美的时候，也成了最好的回忆。

Sebastian 怀有浪漫的爱，羡慕Charles有着明确的人生目标，听到Charles说自己想成为画家之后，一直称Charles为艺术家。

他静静地坐在喷泉旁边，喝着藏在帽子底下的香槟；一边泡澡一边和Charles下着棋，输了，任性的扫走棋子；在故园的傍晚，和Charles喝着不同的酒，似乎连喝酒这件事情都变的这么美好。

他说If only it could be like this always. 身边有着爱的人，看着美丽的风景，喝着自己最爱的酒，如果一直是这样，Sebastian可能就不会有这么绝望和心碎的眼神了。

他绝望于永远无法逃离这深入骨髓的信仰，心碎于自己爱的人舍弃了自己。

来到威尼斯，疯狂的夜晚，站在河对岸，看到Charles亲吻了自己妹妹。

来到小教堂，Charles想要解释什么，伸出食指，嘘...... ...... 转身，Always Alone...... ...... Sebastian落寞的背影，心碎的眼神，我大概是要为之伤心了。

他看着你的时候，是真的很爱的你的感觉；他听你说话的时候，是真的全身心的相信你所说的话。

哪怕你下一秒说要毁灭这个世界的时候，他也一定递上武器给你，陪着你向前冲去。

是这样的爱啊～他未曾责怪迁怒过任何人，他喝酒，他醉酒，沉醉在日日夜夜的酒精中，是想不要面对这令人心碎的一切，喝垮了自己的身体，却未曾对Charles说出过一句责怪的话。

哪怕是妹妹在21岁的成人礼上宣布订婚，第一时间来到了Charles身边，想要安慰他。

I am a sinner. Cast out from God's love.如果人类的出生就伴随着原罪的话，那么Sebastian在遇到Charles之后，就开始了自己的赎罪。

如果深入骨髓的信仰是深埋的火线，那么Charles的舍弃就成了一切的导火索。

远离了自己的家人，远离了囚禁着自己的故园，在摩洛哥忍受着身体的病痛。

阳光透过树荫，他闭着眼睛，洒在身上的阳光，身旁的绿荫；他转头睁开双眼，看到Charles慢慢走到自己眼前，大概这一切能够用一句 哀默大于心死来形容。

我这个罪人，不受上帝的眷顾，在这里赎罪。

在牛津，Sebastian对Charles说：It's so clever fo you, knowing what you want. I have no idea what I want. Except to be happy. If I can.在河边，Sebastian对Charles说：Just the place to bury a crock of gold. I should like to bury something precious in every place where I have been happy. And, then, when I was old and ugly and miserable, I could come back and dig it up and remember.在故园，Sebastian对Charles说：If only it could be like thsi always. Always summer. Always alone. Fruit always ripe.在威尼斯，Sebastian对Charles说：Why this is hell, nor am I out of it.在摩洛哥，Sebastian对Charles说：It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love. This is my life now. I am happy here.

Sorrow如果电影到这里就结束，那么这是一部令人心碎却不舍的电影。

离了Charles的Sebastian在摩洛哥，离了Sebastian的Charles在伦敦，继续着各自的赎罪，不能结束，直到闭上双眼，滑下罪孽的十字架，请求上帝的宽恕。

其实因为小本这么出彩的表演，我对后面半段的电影并没有继续的期望（因为离了小本）。

可是Sebastian的父亲，最后死在故园里，还是让我深深的看了一番。

逃离了宗教，逃到了意大利，一边说着宗教让我厌恶的话，临死，还是祈求着被原谅，自己的孩子看到他划十字架时的长舒一口气，这真的是深入到骨髓的信仰。

如果再重新来一次，我想Sebastian会说 Run away. Run far away and don't ever look back. 可能最好的结局 就是放开一切。

Sebastian跨越了千山万水，伤透了自己的心，是否在摩洛哥的养护院里找到了自己的宁静？

Charles是否真的爱Julie？

可我相信Charles是真的热爱艺术，才能画出令人赞叹的Jungle，也是会在最开始说出 Because a camera is a mechanical device which records a mment in time, but not what that moment means for the emotions that it evokes. Whereas a painting, however imperfect it may be, is an expression of feeling, an expression of love. Not just a copy of something. 如果他是为了证明自己才去爱Julie，那么我是真的相信他是喜欢过Sebastian的，所以才会在故园的傍晚接受了亲吻，哪怕就这么一瞬，也是遵从了自己的感受的。

索尔仁尼琴说：永远不要鼓励人们去寻求快乐，因为快乐本身不过是市场的一个偶像罢了。

而应该鼓励人们互爱。

一头野兽在咆哮眼前的猎物时会感到快乐，而我们人只有在互爱时感受到爱，这是人类可以取得的最高成就。

小本那一眼，是万年，是千言，是放手。

如果说维持一种18世纪以来的保守精神是正能量的话，《队列之末》这部文学作品和电视剧就是从正面来写一个对自己形而上的追求无比诚实的人如何度过一生。

《故园风雨后》就是从反方的角度来写，就是《队列之末》第四本里被西尔维亚怂恿的美国橄榄油巨富之妻租下传了10代的格罗比庄园，砍掉了精神传承的象征雪松，顺带拆塌了主人公的婴儿室和主人公哥哥的图书室，这还是次要的，主要的是他们带着美国暴发户的心理租下这里是为了改造所谓的旧世界。

引发了无论是主人还是原来佃户所有人的反感。

《故园风雨后》里的男主查尔斯是个有才气一心想要赢得全世界的人，关于性取向和爱情的事情不说，从他的画来说，取得成功的丛林系列，并不是多高明的画，倒是迎合了无聊的有钱人神秘主义倾向。

他笃定能把茱莉亚带走，想必是背后对她家庄园的经济情况做了一番详细的调查，用钱是可以解决的。

但他的问题不仅仅是虚伪，还自负，茱莉亚的丈夫说当年是结婚前才改信了天主教，茱莉亚的母亲也明确的告诉了查尔斯，我阻止你们相爱的原因主要不是门第差，是宗教信仰。

如果查尔斯当年真的爱茱莉亚，委曲求全一下也不是不可以，他非要绕一大圈用了八年时间功成名就回来，出这口气，在追求真爱的路上绕的有点远不是吗？

对于爱情这个命题，确实不懂，大部分人没有得到过爱情，少有的一部分人机缘巧合阴差阳错获得了爱情，还有一部分人是凭借着自己的努力克服了所有的难题，第三类人能够得到爱情必须依靠爱的另一半的倾力配合，以这种途径获得爱情的人们在后续的生活中也会继续共同克服各种困难，他们如果遇到事儿，可能也根本不叫事儿了吧。

上面提到的两部作品中的男女主人公，根本不配合，这是他们在爱情上失败的原因。

你爱一个人，那个人根本不回应，你还是爱着她，她还是不回应，最让人气馁的就是这种。

「If you asked me now who I am, the only answer I could give with any certainty would be my name, Charles Ryder. For the rest, my loves, my hates, down even to my deepest desires, I can no longer say whether these emotions are my own, or stolen from those I once so desperately wished to be. On second thought, one emotion remains my own, alone among the borrowed and the second-hand, as pure as that faith from which I am still in flight. Guilt.」「If only it could be like this always. Always summer. Always alone. Fruit always ripe.」「I act only as God directs.↓Rubbish. God's your best invention. Whatever you want, he does.」「I'm sorry.↓Whatever for?↓Everything.↓It's all right. Truly. I asked too much of you. I knew it all along, really. Only God can give you that sort of love.」「I miss you.↓How sweet of you to say that. Dear Charles, it was my fault for bringing you to Brideshead. Run away. Run far away and don't ever look back.」「I always thought you were the lamb to be slaughtered, when all along it is they who are hunted. They really is no end to your hunger, is there, Charles?」「You tell me. Please, tell me. What does Charles Ryder really want?」

查尔斯·赖德想要的到底是什么？

作为平民大学生，周旋在一个贵族家庭的两代人之中。

受老妇人的委托照顾贵公子，有点象《天才瑞普利》；原著中两个牛津同窗多少有些暧昧的关系变得明目张胆，有点象《莫里斯》；出入贵族之家，追求贵族小姐，又有点象《红与黑》……只是哪一个都象得不那么彻底，相比之下没有以上任何一部作品的深度，与众不同的宗教争论也深入不下去。

《故园风雨后》（Brideshead Revisited）08版的电影整个感觉就是这么十三不靠，不左不右不高不低，希望各方都讨好却哪一方的痛脚都不敢触及。

没看过小说原著，据说曾经引进过81版的电视剧，不记得看过，或者是已经没有了印象。

相信是注入了好莱坞的金钱，英国的艺术品味也就没了本色。

塞巴斯蒂安一开始就说查尔斯知道自己想要什么，这让压抑而迷茫的他羡慕不已。

查尔斯学的是历史，想当的是画家，传统与时尚都是他的追求，虚荣与情感都是他的渴望。

但如他所说，想要的太多，以至于那些爱与恨、追求和渴望到底是不是自己的都已经说不清了，自己是谁的答案也只剩下一个名字。

总的来说这部电影可能更接近《红与黑》，冲突在象征逐渐没落的旧时代的布莱兹赫德家族与代表新兴资产阶级的平民画家之间展开，旧道德土崩瓦解并非因为新时代的冲击，而是宗教的桎酷使自身丧失了生命力。

查尔斯代表的新兴阶层对财富地位的饥渴与贪婪使他们追名逐利，利用一切可以利用的资源，友谊、爱情、信任……并将这些资源吞噬殆尽，最终面对的是自己苍白贫瘠的灵魂，当“穷得只剩钱”的时候，查尔斯们似乎又觉得曾经认为是桎酷的宗教信仰也是某种富足了。

查尔斯·赖德想要的到底是什么？

爱情、友谊、信任、尊重、金钱、地位、荣誉……噢，最后还要加上灵魂的救赎。

连查尔斯自己也说他想要的太多了，真的太多了。

影片里的查尔斯基本上就是个野心勃勃向上爬的小人物，但是没有于连、瑞普利那样不择手段毁灭一切的激情和胆量。

他的所有情感追求都是功利的，有分寸的，收放自如的，不疯狂的。

他明知塞巴斯蒂安对他的感情，明知自己不愿回应，但仍然呆在塞巴斯蒂安身边，享受他提供的一切，最后所谓“如果我知道会这样”的托辞显得无比的虚伪狡诈。

追求朱莉娅原本是男女之间发生的再正常不过的事，但有塞巴斯蒂安在前，就不能不让人想到这种追求的功利目的，查尔斯想要的是朱莉娅还是朱莉娅的庄园？

是否追求朱莉娅比跟塞巴斯蒂安暧昧更安全更容易达到目的？

如果查尔斯就是这样彻头彻尾的功利的小人，故园也就没什么风雨了。

波折在于查尔斯从来不曾否认自己的野心，却又从来都坏得不纯粹。

与塞巴斯蒂安的暧昧并不因为追求朱莉娅而结束，多年后即使知道找回离家的塞巴斯蒂安是个不可能完成的任务，但还是含情脉脉地跑到异国他乡去暧昧了一把，让人感觉当初的纠缠也是出于真情。

再次遇到朱莉娅，即使两人各自成婚，却还是不顾舆论压力走到一起，让人感觉当初的追求也是出于真情。

然而被证明的真情仍然是不纯粹的，查尔斯没把塞巴斯蒂安带回家，用自己的画换到了朱莉娅的自由，却又把她让给了上帝。

诸多种种的不纯粹，让查尔斯在各种势力各种感情各种信念之间来回地游移，哪一种都不真正拥有，哪一种也不真正拒绝，什么便宜都想占，什么亏都不想吃。

大约是哪一种纯粹了直白了就好莱坞了，而哪一种都不纯粹都含蓄着才英国，是好莱坞在讨好英国品味，还是英国水准向好莱坞的钱屈膝？

抑或是彼此拍马互利共赢？

查尔斯·赖德想要的是什么？

08版的《故园风雨后》想要的是什么？

——答案只能是，要得太多。

打算去看看伊夫林·沃的原著，或许要得不那么多的《旧地重游》反而能够带来更多的东西。