Customer Reviews

Firelight

5 star:		(108)
4 star:		(19)
3 star:		(1)
2 star:		(2)
1 star:		(4)

 

 

I bought my own copy after renting it three times, and I'd buy it on DVD in addition so I could see it letterboxed. I'm hooked--it's a marvel of film. I love everything about it. Why else would I be writing this review? The writing, photography and acting are perfection. The range and delicacy of feelings that flicker across Stephen Dillane's and Sophie Marceau's faces fascinate me, and their relationship with each other and with their daughter have a kind of deep, satisfying truthfulness. I appreciate Firelight's underlying moral that breeding is a serious matter, that sex transforms us and makes us 'one flesh'. The one false note, for me, was Elisabeth's assertion that her desire destroyed Charles' world. Not so. Not at all. Charles' world is ruined by his father, Lord Clare, who lives only for pleasure and who has no sense of duty to his family. Dutiful, faithful Charles and Elisabeth, united by their child, are freed and made whole by their desire for one another. It's a very Anglican sensibility. I probably wouldn't recommend Firelight to someone whose modern mind feeds on violence, casual sex and celebrity, but it's perfect for the rest of us. I want this film to be hugely successful on video so Hollywood will take notice, and everyone in it will have the satisfaction of knowing their work is recognized and appreciated. So buy it, recommend it to your friends. Enjoy.

I saw Firelight last year during its all too brief big-screen run and was stunned.

But even though it is a visually perfect film, the two lovers are more than simply exquisite - they have breadth and depth. They actually take on dimension and draw us into their world and time: we share their fears, denials, passions, and the joy they ultimately find in their love.

In addition, the scenery (bleak outdoors, lush in) and weather (winter) were mesmerising because they were deeply a part of the context. Even the ancillary characters (Connie and Lord Godwin especially), were well-played and endearing. Real.

This is absolutely one of my favorite movies. It is a definite MUST HAVE for every lover of romantic period films. Particularly if you like them sensual and erotic without coarseness.

Firelight is a kiss from William Nicholson that touches and warms the skin beneath the lace.

Released in '97 `Firelight' is a delicate, atmospheric and romantic period film that in my estimation is more than an equal to such well known English classics as `Wuthering Heights' and `Pride and Prejudice.' To compare it with something familiar to movie viewers I would say it has a lot in common with `Jane Eyre' with a little touch of the American tale `The Miracle Worker.'

Sophie Marceau is not only beautiful as expected, but delivers a very emotional, controlled performance as the new governess to a wealthy Englishman's child who also happens to be her own daughter. Stephen Dillane also provides a superior performance as the little girls Father and is the perfect choice for Sophie's love interest.

`Firelight' has it all; great acting, strong storyline, enchanting soundtrack and lush, sometimes breathtaking cinematography. The sequences filmed of the lake house are magnificent.

Don't bother waiting around for a U.S. version to be released, the Asian all region DVD is perfect. Order a copy while they're still available.

Firelight is the story of a young Swiss governess(played by Sophie Marceau)who comes to reside and teach a young girl, Louisa, in the English countryside. It is there that she meets the girls father Mr.Godwin (played by Stephen Dillane)and secrets threaten the once quiet life of all parties involved. Marceau who plays Miss.Laurier to perfection shines in this role. She is not only stunning in face and form (perfectly matched for the period in manner and gesture) she delivers one of her strongest performances since Braveheart with Mel Gibson. She is luminous, and is a joy to watch. Stephen Dillane who plays Mr.Godwin is a wonderful match for Marceau. He is "rugged" yet incredibly sensitive and perfectly suited to play the gentleman of the period. Marceau and Dillane have an enormous amount of chemistry on screen, and watching them is both a joy and heartwrenching at the same time. If the incredible performances are not enough to entice you the cinematography and artistic direction should. The English countryside in the middle of a stark winter is bleak and gray and yet oddly beautiful and inviting at the same time. The colors are magnificent and the details are impecable. Some aspects are predictable, but one forgets such predictability when faced with such moving performances and stunning direction. It would be a terrible loss to miss such a wonderful, and yet sadly overlooked film such as Firelight. I loved it and recommend it to anyone who loves a beautiful love story and a strong drama. It is certainly a "keeper" in my opinion

Passion has no limits...nor reason, either. How else can I explain my passion for this little film with so many little flaws but with so much that is captivatingly lovely? The "reasonable" critics would tell me this film is not worth the trouble, but my eyes, my ears and my heart tell me differently. No recent film has left such lingering sounds and images in my mind as "Firelight". Sophie Marceau (Elisabeth Laurier) is ethereally beautiful, a delight to hear and a genuine vision to watch. Stephen Dillane (Charles Godwin)is her rustic match, conveying both the passion of his fascination and the angst of possible discovery and scandal. Although the plot may twist and present perfect examples of predictable Victorian situations and solutions, this "gothic" story is well-delivered by the principals. William Nicholson is obviously a man of taste, and has fashioned his film with a loving hand and a careful blend of actors, cinematographer, costumer and especially the composer, Christopher Gunning. He has used three basic themes and orchestrated them to perfection to enhance the characters and the story. It is rare that I buy a film's video and soundtrack immediately after a first viewing, but I did for "Firelight". This was no easy task, as neither video nor soundtrack are easily found. But the search was well worth it, and I shall enjoy both for years to come.

A beautifully filmed literate story of passion and the decisions which are made based upon desires. Stephen Dillane and Sophie Marceau positively sizzle as an Englishman and the Swiss woman he pays to be the surrogate mother of his child. All is supposed to be done in businesslike anonymity, but of course emotions soon enter into the proposition. Marceau gives away her newly born child as agreed but never recovers from the decision. When she shows up on Stephen Dillane's doorstep as his new governess, things heat up pretty quickly. With a fine script, great direction and attention to detail by the art director and cinematographer, Firelight is a treasure of a movie which was missed by most people when it was screened theatrically last fall. I really loved this movie and plan to purchase it the minute it is available. If you liked the Jane Austen movies, the Bronte movies or any other period piece with substance, you should truly enjoy this film.

I too have fallen under the spell of Firelight. It is perfectly paced, carrying the viewer along as the story unfolds. How did the director, William Nicholson, coax such subtle yet revealing expressions of longing and passion on the faces of his actors? Watch closely Sophie Marceau's face as she views her child for the very first time. This is a day that would probably never happen! What might this English daughter be like? What is her name? What is her face? Marceau's thoughts and feelings pass over her face like a whisper, yet so poignantly. This movie is full of such instances. Stephen Dillane's face when he sees Elisabeth reappear in his life is absolutely worth a thousand words! It's unforgettable. There's very little dialogue in this movie; indeed it's not missed. In fact this film has been prepared so concisely that a lot of the details are left to the fantasy of the viewer. It's as though the director is saying, "I won't bore you with these minute details. Fill them out for yourself." And you will. The love scenes are memorable, proving that it's the intensity of feeling between the partners rather than superior technique in love-making that counts for more. But this story is predominantly about the love between parent and child, that most moving and touching love. The actress who plays the little girl is perfect. All the supporting actors and actresses are perfect. This movie has spoiled me for a great many others I've seen since.

This is a well acted, quirky period piece with an unusual story line. Here, an English gentleman (Stephen Dillane) is looking for a weekend of fairly anonymous sex in hopes of fathering a child, as his invalid wife is not up to the task. An impoverished Swiss miss (Sophie Marceau) is desperate for money due to her family's circumstances. She passes muster during the initial interview with the English gentleman and is hired for the job of potential surrogate mother. Their nights of anonymous sex turn out to be a surprise for both of them, yet they part with the understanding that they will never again meet. Their union having proved fruitful, she ultimately gives birth to a child, their daughter, who is taken from her immediately after birth and given to the father, as contracted. For seven long years they are separated. They are then all brought together, causing upheaval and tumultuous changes in all their lives.

This is a well acted drama with fine performances by the entire cast. The only wrong note is struck by the child who plays the seven year old daughter. She is simply odious and obnoxious, making the viewer itch to slap her. There is nothing that the child does that makes the viewer feel the child's desire for a mother. The other performers, however, more than make up for this one dimensional child actress. Moreover, the cinematography is quite beautiful, with stunning shots of a fairytale lake house. All in all, this is a film that those who love period pieces will enjoy.

In 1838 young Swiss governess Elisabeth Laurier enters into a private arrangement with an unnamed British gentleman, brokered by the matronly Mrs. Jago, possibly a midwife. She will bear him a child in return for a large sum of money. Unable to have children with his incapacitated wife, he (Charles) chooses the surrogate mother with the care of one practiced in animal husbandry. Miss Laurier is an intelligent, healthy young woman whose father is in debt, perhaps in debtor's prison. She chooses to raise the sum to free her father by bearing a child rather than to "sell myself for life" in a marriage of convenience to a rich man. Subtle and beautiful, this carefully choreographed film doesn't waste words or gestures. Seven years have passed when the story resumes, and Elizabeth has finally traced her child to this estate and been hired as the latest governess. After minor setbacks, she quickly insinuates herself into a parental role with the misbehaving Louisa, despite Charles' unsuccessful attempt to see her off the property. Lord Clare, Charles' father, lives high in London, borrowing money against the estate and counseling Charles that living ones' life for pleasure is the only thing that matters. He polkas the property into the hands of the moneylenders (think "Scrooge and Marley" here!) Frank and drastic choices must be made by all.

It was unfortunate that the lion's share of published reviews were written by critics who clearly didn't understand the literary back story of British culture at the time this film is set. The trick to "getting it" is to be a reader of 19th century British novels. I recommend Bronte, Austen, Hardy, Dickens, and a smattering of the books by twentieth century British historian and Regency romance writer Georgette Heyer. This film isn't a bodice ripper, nor is it a knock-off of Jane Eyre; the presence of a comatose wife is not sufficient to hold up the comparison, unless Jane Eyre is allowed meld with The French Lieutenant's Woman. The screenplay is, instead, reminiscent of a story that could come from the pen of Thomas Hardy. Much remains unsaid in this film, but falls in the realm of "understood" by those familiar with the literature of the period. An unmarried pregnant gentlewoman cannot work as a governess and must keep her pregnancy secret, possibly in the country or confined indoors, out of the public eye. She would have been supported by the father, possibly in the company of Mrs. Jago, the midwife, for the year of pregnancy and recovery. Finding a chink to learn the identity of the father would not be impossible, and the story flows in a logical manner. I disagree with another viewer who doesn't like the child actor in the role of the daughter Louisa. She acts the role of a willful, spoiled child so well that I think the reviewer missed the fact that she was acting also. You're supposed to dislike this child in the beginning.

The staging of this film is as remarkable as the story. Prior to this film, I didn't know who Stephen Dillane was. Since viewing this one, I have discovered other of his performances, and am amazed at his natural movement from one character to another. I hear he is fabulous on stage. Unlike many actors who play themselves in every film, Dillane makes every performance original and entirely natural. Likewise with Marceau; her manner, speech, and gestures are unique to each film she makes. The supporting cast were exemplary, and the attention to set details must be credited, I think, to the screenwriter and director, William Nicholson. One would think that his ability to create such a movie would propel him into more directorial endeavors, but though he loved the resulting film, it failed at the box office, and he hasn't pursued any more directing. Too bad!

There are times in the film when British and French accents are slightly difficult to understand by this American ear. I found that viewing this film the first time with subtitles cleared up the problem. The only version of this film available to purchase today that will work in region 1 DVD players is a Hong Kong NTSC release that is formatted to TV. A recent wide-screen European Region 2 release is a hopeful sign of renewed interest--perhaps it will cross the pond and be available here again in its full theatrical format. Decryption software is available for download and purchase in order to watch this film on a computer's DVD player, masking the region code. It is an extra measure of work in order to view this film, but wide screen is definitely best. This sleeper deserves to be rescued and re-released.

This hauntingly beautiful movie has stuck with me ever since I saw it on the big screen when it first came out in the local "art" theatre in 1997. Superbly cast, acted, directed and filmed, down to the finest detail, even the child, in my opinion was just right for the daunting task of the total story line.

In today's cinema the challenge of including nudity and sex seems to be something offered more for either the tittilation of the director, or for the hoped for prurience of the intended audience. It is usually justified by "being essential to the story line". Lo and behold -- in this film it actually is. The ensuing relationship between the governess and the laird could not be fully understood were it not for the well presented early scene aboard the trysting ship.

Perhaps the only oddity I found in the entire tale was the presence of the American character who appeared to have been inserted to meet some Union requirement, and had a slightly "hammer to fit" feeling about his presence. Otherwise I have often described this as the almost perfect movie.