I think I first discovered "Brief Encounter" in the early 80's. Ever since then it is the movie I pull out when I need a good old fashioned sob fest.
So many perfect elements:
-The bittersweet music of Rachmaninoff
-The breathtaking B&W cinematography
-Trains as a metaphor for limited time, carrying people in and out of our lives (and of course there's the sexual subtext).
-The writing. All you have to say is "Noel Coward". One of the best examples of opening up a play for the big screen.
-A little comic relief provided by Stanley Holloway and Joyce Carey.
-Trevor Howard, so charming and polite yet quietly passionate.
-Celia Johnson, whose luminous eyes perfectly project a refined manner one minute, then disabling shame the next.
-David Lean's direction. He obviously knew exactly what to do with all this repressed emotion and guilt.
-A perfectly ironic and tragic climax.
I won't bother with a plot rehash, but I will point out a few of my favorite moments.
-The "date" where they take the boat out. Begins on such a carefree note, then ends in the boathouse with the tortured declaration of doomed love.
-Laura on the train, day-dreaming about going to romantic places with Alec. Haven't we all done exactly that, only to have the dreams fade into reality.
-The scenes following the one in the friend's apartment. Our modern sensibilities are bewildered by Laura's shame, but it's a testament to Celia Johnson's performance that we still have such empathy for her.
-The walk to the platform when Alec reveals his "solution" to their situation. The look on her face and the way she says "Oh Alec" strikes a very specific nerve for me. Then the dialog when she's leaning out of the train window, and the train pulls away ever-so-slowly . . . probably the best heartbreakingly romantic scene ever. That is, UNTIL . . .
-The Dolly Messiter scene, and the brilliant way it is telegraphed earlier in the film. Of course by that time I'm on my second box of tissue.
I don't give many 10's, but this one was easy.
So many perfect elements:
-The bittersweet music of Rachmaninoff
-The breathtaking B&W cinematography
-Trains as a metaphor for limited time, carrying people in and out of our lives (and of course there's the sexual subtext).
-The writing. All you have to say is "Noel Coward". One of the best examples of opening up a play for the big screen.
-A little comic relief provided by Stanley Holloway and Joyce Carey.
-Trevor Howard, so charming and polite yet quietly passionate.
-Celia Johnson, whose luminous eyes perfectly project a refined manner one minute, then disabling shame the next.
-David Lean's direction. He obviously knew exactly what to do with all this repressed emotion and guilt.
-A perfectly ironic and tragic climax.
I won't bother with a plot rehash, but I will point out a few of my favorite moments.
-The "date" where they take the boat out. Begins on such a carefree note, then ends in the boathouse with the tortured declaration of doomed love.
-Laura on the train, day-dreaming about going to romantic places with Alec. Haven't we all done exactly that, only to have the dreams fade into reality.
-The scenes following the one in the friend's apartment. Our modern sensibilities are bewildered by Laura's shame, but it's a testament to Celia Johnson's performance that we still have such empathy for her.
-The walk to the platform when Alec reveals his "solution" to their situation. The look on her face and the way she says "Oh Alec" strikes a very specific nerve for me. Then the dialog when she's leaning out of the train window, and the train pulls away ever-so-slowly . . . probably the best heartbreakingly romantic scene ever. That is, UNTIL . . .
-The Dolly Messiter scene, and the brilliant way it is telegraphed earlier in the film. Of course by that time I'm on my second box of tissue.
I don't give many 10's, but this one was easy.