Filmmakers looking for a novelist with whom to replace the depleted stores of
Jane Austen, Henry James, and E.M. Forster could do worse than Elizabeth Bowen:
her handful of novels are brilliantly bedimmed and whimsically subversive
jewels of 20th-century romantic disillusionment. Neither would it be hard to
improve on this adaptation of Bowen's 1929 novel The Last September.
Directed by first-timer Deborah Warner from a screenplay by the novelist John
Banville, the film compresses the witty tragedy of vanity crushed by the forces
of history and social mediocrity into a picturesque, pat, and pointless episode
of Masterpiece Theatre.
Those enjoying the fine weather at the estate of Sir Richard (Michael
Gambon) and Myra (Maggie Smith) Naylor in County Cork in 1920 take little
notice of the ongoing Irish Rebellion. Anglo-Irish aristocracy, the Naylors
note the inconvenience but appreciate the presence of the British military,
whose officers provide suitable dancing partners for their 19-year-old,
fancy-free niece, Lois Farquar (Keeley Hawes). One of those, Captain Colthurst
(David Tennant), has the misfortune to fall in love with her. And Lois herself
has the bad taste to renew acquaintances with childhood pal Peter Connolly
(Gary Lydon), a feral Fenian hiding out at the old local mill.
The literally bodice-ripping details of the meetings between Lois and Peter are
among the filmmakers' more regrettable inventions. Sometimes September
approaches the magic of the original: the eerie image of a man
carrying a gramophone across a tennis lawn at dusk, or the play of headlights
over distant trees as army lorries patrol for terrorists. And Fiona Shaw as
Marda Norton, a late visiting guest, adds a note of arch elegance. But it's too
little too late -- for the most part, the mercurial precision of Bowen's prose
translates into a green and gold murk, as if shot through the rust and algae of
a stagnant fountain.
--Peter Keough
Film Vault Suggested Links
Rebel Rousers 
The Legend of 1900 
Waking the Dead 
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