To the Renoir cinema in Bloomsbury for the last performance. All quiet and peacefull until we climbed the steps to the square, when we were given, unasked, a peformance of Hark the Herald Angels Sing. On the 21st of November. Although Obama has been in the White House for nearly a year, the coalition between American consumer capitalism and the brand of Christianity embraced by George W Bush and his friends is still a power in the universe. Their Jesus Christ rejoices in the merry tinkle of the shop tills filling the pockets of the capitalists. Surely can’t be the same man as he who expelled the money changers from the Temple courtyard?
The film was Bright Star, which tells a story heard by British school children almost as often as the Bible stories, about the doomed love affair between Fanny Brawne and John Keats, the poet who produced a battery of memorable poems before dying of tuberculosis at the age of 25. But the Australian director, Jane Campion, has brought a fresh perspective to this oft told tale. The audience, deeply moved, remained rooted in their seats as the titles scrolled across the screen, accompanied by the muffled sound of a Keats poem it was impossible to identify. In the final scenes the children can seen through the window playing in the snow on Hampstead Heath, while indoors Keats is coughing up blood, alongside Fanny, played by Abbie Cornish. Moments later the coffin is seen, on a sombre white background, but in Rome, not in Hampstead. And we are told that for years afterwards, Fanny continued to walk the wooded paths of Hampstead Heath, no doubt, hearing yet again the voice of the nightingale, which inspired one of Keats’ finest poems.
As always with factions such as this film, I was curious about what was true and what was fake about this film. Several scenes were shot on what was most definitely that part of Hampstead Hearth near Keats’ House. This part of the heath looks much the same as it did 1821. A does Keats’ House, which is in a street which is now called Keats’ Grove. But the house in the film was most definitely not Keats’ house. According to Wikipedia, Campion used Hyde House in Bedfordshire. Presumably because the main house is now a thriving museum, too busy to have a film crew crawling all over it.
The characterisation of the main characters was, however, authentic. Not much is known about Fanny, but Campion’s portrayal of her as a strong-minded independent woman fits with what we do know. She is very modern in giving voice to the anger she felt that Keats, by dying was leaving her. And the ear-splitting expression of the despair she felt when she was told he was dead, was even more harrowing.
But I was prepared to believe that Fanny may well have behaved like that, way back in 1821.
Contrast Keats, about which much is known. In real life, as in the film,and despite his exceptional talents, he was full of self-doubt and considered himself a failure. Unsurprisingly, because some of the critics of the time, mocked him for his Cockney origins, ‘the most incongrous ideas in the most uncouth language’. One critic even suggested he was insane.
In fact, he was the son of an ostler born in Moorgate within the sound of Bow Bells. His father died when he was eight and his mother when he was fourteen. He was brought up by his grandparents in humble circumstances. But nevertheless he somehow got a decent education, which gave him a good understanding of Greek literature for instance. And which enabled him to hold his own with the likes of Samuel Taylor Coleridge, who also lived in Hampstead.
Currently the leading academic authority on Keats is Andrew Motion, whose vast biography of the poet provided the spark which caused Campion to make the film. He also acted as consultant during the making of the film. You can read his 67 page chapter on the relationship of Keats and Fanny on the web. That chapter quotes extensively from the poetry and their letters but Motion loses me with his Freudian interpretations. He identifies sexual frustration as a key element in their love affair and then goes on to dissect the poem, Bright Star, inspired by Fanny. So much so that he takes the line from that poem and provides this interpretaion:
This is why the last phrase of the poem, “or else swoon to death,” seems to carry more weight than all the accumulated reassurances of the preceding lines. Even if “death” punningly connotes sexual satisfaction rather than actual mortality, it still suggests that the “ever” Keats wants is an impossibility.This is why the last phrase of the poem, “or else swoon to death,” seems to carry more weight than all the accumulated reassurances of the preceding lines. Even if “death” punningly connotes sexual satisfaction rather than actual mortality, it still suggests that the “ever” Keats wants is an impossibility.
This line is also an echo of Keats’ awareness of the reality of early death, expressed so forcefully in Ode to a Nightingale, written after the death of his brother:
Now more than ever seems it rich to die, to cease upon the midnight without pain.
Keats nursed his brother through the final weeks of his life, and finds comfort from the fact that he is now released from pain and suffering. In so doing Keats wrote his own death sentence. True he diid not actually know what we know about turberculosis, but he did know about the probablity of early deaths which has also struck down his mother and father. So the last lines of the poem contrasts the hope for an impossible everlasting love with the fear of impending death.
And the poem reflects Keats’ manic depressive temparament. Jane Campion catches the manic side beautifully in one scene when Keats is clowing to amuse the children of the extended Brawne family, who were frequently present at his meetings with Fanny. It is a stage performance in the kitchen. Spike Milligan could not have done it better. And the children loved it.
The top picture, from The Observer, shows Keats (Ben Whishaw) tapping on the wall to talk to Fanny, who indeed lived in the house next door, though whether they communicated this way is open to doubt The bottom picture is from the Keats’ House collection.