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Bright Star

Bright Star

Drama · Romance · 2009

In 1818, high-spirited young Fanny Brawne finds herself increasingly intrigued by the handsome but aloof poet John Keats, who lives next door to her family friends the Dilkes. After reading a book of his poetry, she finds herself even more drawn to the taciturn Keats. Although he agrees to teach her about poetry, Keats cannot act on his reciprocated feelings for Fanny, since as a struggling poet he has no money to support a wife.

Movie details

Bright Star

“First love burns brightest.”

2009 Drama · Romance 1h 59m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

In 1818, high-spirited young Fanny Brawne finds herself increasingly intrigued by the handsome but aloof poet John Keats, who lives next door to her family friends the Dilkes. After reading a book of his poetry, she finds herself even more drawn to the taciturn Keats. Although he agrees to teach her about poetry, Keats cannot act on his reciprocated feelings for Fanny, since as a struggling poet he has no money to support a wife.

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 Bright Star?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Jane Campion

Written by

Jane Campion · Andrew Motion

Abbie Cornish

Abbie Cornish

Fanny Brawne

Ben Whishaw

Ben Whishaw

John Keats

Paul Schneider

Paul Schneider

Mr. Brown

Kerry Fox

Kerry Fox

Mrs. Brawne

E

Edie Martin

Toots

Thomas Brodie-Sangster

Thomas Brodie-Sangster

Samuel

Claudie Blakley

Claudie Blakley

Maria Dilke

Court is in session

Put Bright Star 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.