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Carrington (1995)

A review by Damian Cannon.
Copyright © Movie Reviews UK 1997
The life of Dora Carrington, as shown in this true-to-life story, meandered between love, tragedy, happiness and despair via an inevitable path. The seeds of this existence were determined early on when Lytton Strachey (Jonathan Pryce) spotted Carrington (Emma Thompson) and enquired "Who is that ravishing boy?". Strachey's dumbstruck reaction at finding that he is a she is more than ample to show that the fairer sex don't appear on his agenda (at least, not in that way). The contrast between them could hardly be greater - he a renowned wit, popular social guest and recognised homosexual in his mid-30s. She a much younger, up and coming painter, callow and naive in her immaturity. Yet, somehow, they each have something the other needs and desires.

Their relationship is given a boost from a strange source; Mark Gertler (Rufus Sewell), Carrington's fiance, is driven to distraction by her refusal to consummate their bond and goes to Pryce for advice. He seems the obvious choice, being older and more experienced than either of them, to explain the joys of physical love to Carrington. However, after holidaying with Pryce, she realises her deep devotion to him and declares her love, with the complete understanding that he can never reciprocate fully. Setting up Ham Spray House together (a move which pushes Mark to the edge of his senses) they embark on a relationship of communal love which will last for the rest of their lives. Due to their different sexual needs they both take a succession of lovers, occasionally sharing. Eventually Carrington is manipulated into marrying one of her conquests, Rex Partridge (Steven Waddington), under the threat of losing Pryce - just one example of her self-sacrifices for the, now famous, writer.

Rex is persuaded to change his name to Ralph by Pryce, who is rather taken with this handsome young man, and fills a position somewhere between the two platonic lovers. In the end though Carrington cannot really give her love to Ralph, having been spiritually betrothed to Pryce all of the time, and he is compelled make other arrangements - but not before he introduces his eternal friend (from their time in the trenches) Gerald Brenan (Samual West). He is yet another man who falls for Carrington (greatly changed from her days as a reserved girl) only to discover how disposable anyone but Pryce is to her. Through the years, and various homes, this heady mixture of people, paintings and rapier-wit sustains all. That the finale is simultaneously deathly sad and strangely uplifting is not too surprising given the contradictions woven into the fabric of their lives.

Carrington, the directing debut for Christopher Hampton, is blessed with a terrific script, great acting, gorgeous visuals and an excellent soundtrack (by Michael Nyman). Every line spoken shows the result of 17 years of effort on the part of Hampton - the recurring epigrams from Pryce are perfect, sound spontaneous and were apparently based on his actual remarks. However, the grip on editing and direction is not quite so firm, particularly in the later stages of the film. Lovers tend to flit in and out, with little background explanation, while the episodes into which the story is broken upset the rhythm (these occur pretty much continuously anyway). The tale of Carrington's life is rather fascinating though, considering how much she gave up to be (in effect) the servant of Pryce. For example, she was an extremely promising artist (as seen in her decoration of their homes) yet she refused to exhibit to the public. A tragic waste of talent in the pursuit of unobtainable fulfillment.

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