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Brideshead Revisited

Brideshead Revisited

Drama · Romance · 2008

Befriended by aristocrat Sebastian Flyte, Oxford student Charles Ryder finds that the power and privilege experienced by the family is seductive. On a visit to the ancestral home, Brideshead, he falls in love with his friend's sister, Julia. However, as his ties to the Flytes deepen, Ryder finds himself at odds with their strong Roman Catholicism.

Movie details

Brideshead Revisited

“Privilege. Ambition. Desire. At Brideshead everything comes at a price.”

2008 Drama · Romance 2h 13m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

Befriended by aristocrat Sebastian Flyte, Oxford student Charles Ryder finds that the power and privilege experienced by the family is seductive. On a visit to the ancestral home, Brideshead, he falls in love with his friend's sister, Julia. However, as his ties to the Flytes deepen, Ryder finds himself at odds with their strong Roman Catholicism.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Brideshead Revisited?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Julian Jarrold

Written by

Andrew Davies · Jeremy Brock

Matthew Goode

Matthew Goode

Charles Ryder

Ben Whishaw

Ben Whishaw

Sebastian Flyte

Hayley Atwell

Hayley Atwell

Julia Flyte

Emma Thompson

Emma Thompson

Lady Marchmain

Michael Gambon

Michael Gambon

Lord Marchmain

Patrick Malahide

Patrick Malahide

Mr. Ryder

Ed Stoppard

Ed Stoppard

Bridey Flyte

Court is in session

Put Brideshead Revisited on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.