On the Composition of Bright Star

There are few films as effortlessly beautiful as Jane Campion’s Bright Star (2009) the story of John Keats’ romance with Fanny Brawne. The romance, like all great romances is tragic, and Campion realises that the power in this story lies in her skill behind the camera, not in changing a classic narrative formula. Everything about Campion’s mise-en-scene compliments the story; the characters’ costumes reflect the seasons and their emotions and reflect Fanny’s trade as a seamstress. The framing of every scene recalls images of traditional painting and the same care has been taken here by Campion that Jean-Pierre Jeunet took with Amelie (2001), but without the syrupy colour addition. The score by Mark Bradshaw feels so relevant it speaks volumes about the characters while they say nothing. Campion’s direction is pitch perfect and the two leads (Abbie Cornish and Ben Whinshaw) turn in subtle, but powerful performances. Cornish is a revelation and her Fanny Brawne is strong and independent in a decidedly male time period, yet at the same time vulnerable; her reaction when she hears of Keats’ death is as powerful as any other portrayal of grief. At the heart of Bright Star, along with the romance is the poetry. Keat’s work is recited regularly throughout the film and other poets’ work is discussed. Knowledge of poetry, especially the meanings behind Keats’, would no doubt make Bright Star an even more enriching experience. However, without that, this remains one of the standout romantic films and a near perfect representation of a director at the top of her game.