This is a wickedly funny skewering of a prewar London society gone mad with frivolity.
Bright Young Things (2004)
Tomatometer
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Reviews Counted:105
Fresh:69
Rotten:36
Average Rating:6.3/10
Theatrical Release:Aug 20, 2004 Limited
Box Office: $832,836
Synopsis: "Some time in the past when things were much as they are now, only more so..." A satirical comedy as well as a love story, Bright Young Things, marks the directorial debut of actor and writer... "Some time in the past when things were much as they are now, only more so..." A satirical comedy as well as a love story, Bright Young Things, marks the directorial debut of actor and writer Stephen Fry. "Bright Young Things," says Fry, "is a period film shot with modern pace and cinematography. It deals with fame, sexual scandal, greed, night-clubbing and the frantic glamour of youth." While the central plot of Bright Young Things is a romance, it is also a highly topical social comedy that shows a conservative older generation failing to understand the club-culture, music, dance, and frenetic pace of its children. Modern society at its most decadent and colourful is fully on display as is the popular media fuelled by gossip columnists and paparazzi who dominate a tabloid press propelled by rumour and scandal. With a screenplay adapted by Stephen Fry from the classic novel Vile Bodies by Evelyn Waugh, the film boasts an outstanding cast including Stephen Cambell Moore, Emily Mortimer, Fenella Woolgar, James McAvoy, Michael Sheen and Guy Henry as the 'Bright Young Things', alongside a distinguished ensemble line-up that includes Dan Aykroyd, Jim Broadbent, Simon Callow, Stockard Channing, Richard E. Grant, Julia McKenzie, Sir John Mills, Peter O'Toole, Bill Paterson, Imelda Staunton and Harriet Walter. Set in the 1930's, the film concerns a social set known to the press -- who follow their every move -- as the 'Bright Young Things', Adam (Stephen Campbell Moore) and his friends are eccentric, wild, and entirely shocking to the older generation. They are young, party-going creatures who embrace every innovation, from the gramophone to the telephone -- in a self-consciously up-to-the-minute way. Amidst the madness, Adam, who is well connected but totally broke, is desperately trying to get enough money to marry the beautiful Nina (Emily Mortimer). While his attempts to raise cash are constantly thwarted, their friends seem to self-destruct, one-by-one in an endless search for newer and faster sensations. Finally, when events out of their control come crashing into the world, they are forced to reassess their lives and what they value the most. Bright Young Things, a THINKFilm release, is a Revolution Films and Doubting Hall Ltd production in association with the Film Consortium, Vision View and Icon Film Distribution, produced by Gina Carter and Miranda Davis, executive produced by Andrew Eaton and Michael Winterbottom. Behind the cameras, the distinguished production team is headed by director of photography Henry Braham, production designer Michael Howells, costume designer Nic Ede and editor Alex Mackie, with hair and make up by Peter King. -- © ThinkFilm [More]
Starring: Emily Mortimer, Stephen Campbell Moore, Dan Aykroyd, Jim Broadbent
Starring: Emily Mortimer, Stephen Campbell Moore, Dan Aykroyd, Jim Broadbent, Simon Callow, Jim Carter, Stockard Channing, Richard E. Grant, Guy Henry, James McAvoy, Julia McKenzie, John Mills, Bill Paterson, Michael Sheen, Imelda Staunton, David Tennant, Harriet Walter, Peter O'Toole
Director: Stephen Fry
Director: Stephen Fry
Screenwriter: Stephen Fry
Studio: ThinkFilm
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Reviews for Bright Young Things
What begins as farce eventually spirals into melodrama as the world goes to war, and it’s difficult for Fry to maintain the frothy tone that went before.
Lacks the novel's drier-than-dry bite, but compensates with a strong ensemble cast and a series of glamorous party sequences in which the decor has at least as much depth as the guests.
The first two-thirds of the film is so much waggish fun, though, only Moore's Adam actually comes across as a flesh-and-blood human being rather than an amusing literary creation.
As Agatha might observe, it's all too, too yawn-making. Who are these dreadful people and why on earth must we watch them learning their little moral lessons?
The lively whirl of debauched, drug-fueled parties and toffee-nosed exchanges between heiresses and aristocrats fails to mask the essential hollowness of the narrative.
This is just how I'd always imagined one of my favorite comic novels should look and sound.
Stephen Fry's adaptation of Evelyn Waugh's Vile Bodies honors its source with vigor and gusto, capturing both Waugh's cheeky humor and his dark, stringent moralism.
An enjoyable movie that marks a rattling good directorial debut for Stephen Fry.
This brittle, satirical romance is plagued by thick British accents that make it difficult to deceipher much of the dialogue. Perhaps it just doesn't cross the pond too well.
Bright Young Things is a frisky screen adaptation of a satirical 1930s novel about London's bohemian party animals.
Aside from cameos by Jim Broadbent (as the drunken major) and Peter O'Toole (as Nina's reclusive, eccentric father), much of the acting strains for a sophistication that quickly becomes annoying.
By the time Fry lets darkness encroach on these bright young things, including a flapper and a suicidal scribe, the fizz is gone.
Fry's sprightly attempt doesn't entirely avoid some of the clichés of drawing-room dramas actually set in drawing rooms, but his instincts are, happily, subversive.
An easy-to-digest slice of literate entertainment for upscale and older auds that lacks a significant emotional undertow to make it a truly involving -- rather than simply voyeuristic -- experience.
Fry, in a rare instance of a filmmaker fleshing out a novel, treats the characters far more sympathetically than did Waugh himself.
Except for the ending, 'Bright Young Things' is very Waugh, very Fry, very British and very good.
A good picture of London society in the thirties but with only one character worth rooting for is too detached and clinical.
Spectacularly irrelevant, Bright Young Things is well-performed and frequently hysterical but its political resistance is frustrating.
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