- Paperback: 72 pages
- Publisher: BFI Publishing (1 Nov 1993)
- Language English
- ISBN-10: 0851703623
- ISBN-13: 978-0851703626
- Product Dimensions: 18.9 x 13.5 x 0.6 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 343,307 in Books (See Top 100 in Books)
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Celia Johnson, writes Richard Dyer in his affectionate but clear-sighted account of "Brief Encounter" "is probably what most people remember of the film, along with trains and Rachmaninov." Johnson's performance as Laura, a woman torn between passion and domestic duty, is at the center of the narrative. Though it's a film made by men, it is the woman's voice we hear recounting the story of a small-town love affair and her renunciation of it. And it is Johnson who most subtly expresses what Dyer calls "the heartbreakingly touching awkwardness" of the film's emotions.
This emotional restraint, the sense of powerful feelings kept under wraps, is brilliantly described in Dyer's analysis; it is what gives "Brief Encounter "its peculiarly English feel. And it is also, as he explains, what makes the film speak so directly to a gay audience, for whom the subject --forbidden love in ordinary lives--has a special resonance.
This emotional restraint, the sense of powerful feelings kept under wraps, is brilliantly described in Dyer's analysis; it is what gives "Brief Encounter "its peculiarly English feel. And it is also, as he explains, what makes the film speak so directly to a gay audience, for whom the subject --forbidden love in ordinary lives--has a special resonance.
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Most Helpful Customer Reviews
5 of 6 people found the following review helpful:
5.0 out of 5 stars
A Classic Read,
By Miffy (UK) - See all my reviews
This review is from: "Brief Encounter" (BFI Film Classics) (Paperback)
I have seen the film many times but reading the book was pure joy, It tkaes one back to when people had real values. To be tempted to stray Is normal but real love Is sometimes annoying and humdrum and needs to be worked at we have to stop thinking just of ourselves. As the book shows our actions can have a devastating effect on others. When these people meet and fall In love they have to weigh up what will be lost or gained. A simple train journey leads to much soul searching.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.3 out of 5 stars (3 customer reviews) 7 of 8 people found the following review helpful:
5.0 out of 5 stars
Homage and critique powered by intelligence and love.,
By darragh o'donoghue - Published on Amazon.com
This review is from: "Brief Encounter" (BFI Film Classics) (Paperback)
'Brief Encounter' is both celebrated and despised as THE British film par excellence. The story of a short liaison that never gets beyond boat-rides in the park and a ham-fisted rendezvous in a friend's flat, the containment of transgressive emotions within a stiff-upper-lip sensibility is seen as quintessentially British. The film is also a major example of what is known as the 'woman's picture', one whose address (its story, mood, feeling, allusions, assumptions) is primarily to women.It is both these received opinions Richard Dyer, Britain's finest academic writer on film, wishes to investigate, using, as he says, the heroine's own method in telling her story, adapting his in the light of personal experience and knowledge from others. The film's status as a woman's picture is ambiguous - the story is told by a woman (in other words, she has narrative authority), and coloured by her sensibility and the habits of her cultural consumption (the books she reads and films she sees); on the other hand, her internalised confession cannot find voice within the male-dominated world of the film. In any case, this 'woman's picture' was written, directed and made by men. Dyer, with great sensitvity, explores the many ways in which 'Encounter' offered women a space to articulate their own inner lives and social positions, as well as asserting the claims of patriarchy on them. The film's 'Britishness' is even more problematic. 'Encounter' was not a mass success, and its image of 'Britain' - English, middle-class, middlebrow, white - is very narrow and hardly representative of the major differences within one class, never mind the different classes, races and worldviews that constituted Britain even in 1946. Dyer show how the couple's limiting their own desire is echoed in the way the film's middle-class whiteness insists on distancing itself from the social and racial Other. Nevertheless, he argues: 'A nation's characteristic culture may on inspection usually be a narrow and class-specific one, but it is nonetheless what passes for the national culture'. He also discusses the ambiguous importance of 'Encounter' for gay audiences, as both a means of camp resistance to the dominant culture (by mocking what seems to be 'quintessentially British', and implicity exclusive), but also (as written by gay playwright Noel Coward), a displaced narrative of 'forbidden love' kept in the closet. Unfashionably, Dyer examines 'Encounter' textually, as if the film was a unified artefact that arrived fully formed out of nowhere. He is not very interested in the production process, the economic pressures on aesthetic choices, or the individual contributions of personnel (with the exception of lead actress, Celia Johnson). More fashionably, he downplays the film's 'auteur' credentials, not considering writer-producer Coward at all. The most brilliant section of the book is an analysis of the opening scene, showing us how, through camera movement and composition, director David Lean economically, even poetically sets up the film's characters and themes. More of this would have been very welcome. Still, this is a marvellous book, full of Dyer's usual generosity, lucidity and circumspection - he relates other points of view or interpretations with great fairness and precision (how very English!), before offering his own - most academics set up other writers just to knock them down. He proves that detached intellectual engagement with this brilliant film does not preclude profound emotional investment. 4 of 7 people found the following review helpful:
5.0 out of 5 stars
a lovely book,
By seamus enright - Published on Amazon.com
This review is from: "Brief Encounter" (BFI Film Classics) (Paperback)
The most endearing thing aboutthe bfi classics series is the way film critics personalise films and avoid the sort of critical detatchment and recourse to jargon that blights much contemporary film criticism. Dyer, an expert on Gay cinema and author of several excellent books on this and other aspects of film, continues this trend with a lucid study of this classic tale of heterosexual trysts. Though he plausibly argues for a gay subtext and points out how it's sense of Britishness is one that depends on defining the country in opposition to other cultures, it's his detailing of how his mother viewed the film and how his own crital perceptions of the film have cahnged throughout the years that are most memorable. The one dissapointing thing about the book is the lack of detail about the production of ther film, though, as usual there are plenty of excellent shots from the set of the movie.
2 of 4 people found the following review helpful:
3.0 out of 5 stars
A Brief Look at "Brief Encounter",
By Mara Kurtz "MK" - Published on Amazon.com
This review is from: "Brief Encounter" (BFI Film Classics) (Paperback)
If you love the film as much as I do you will read anything that includes the title. This is very short, interesting book that reads a lot like a final paper in a graduate film class. Lots of deconstructing and the suggestion of some unusual theories (did Laura "imagine" the relationship with Alec?). Nevertheless, there is enough here to remind the reader of the great lines from the film and interesting information not found elsewhere.
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