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Customer Reviews of Basil

But... nothing. Falls flat. NO chemistry between any of the three protagonists. No real cameraderie between Basil and John. NOTHING between John and Julia and (deadly problem) ZERO between Basil and Julia. It is difficult to feel for any of them at all. I cannot say what was missing here... maybe a tragic flaw or two to identify with...

I love costume dramas and this one was just not up to snuff (like Dangerous Beauty). The film is a lot like Jared Leto... very beautiful but lacking any sort of magnetism.

So-so Victorian Costume Drama Based on Wilkie Collins
Based on Wilkie Collins' 1852 novel, "Basil" stars Jared Leto as the hero of the title. Basil, son of rich and aristcratic father Derek Jacobi, falls in love with beautiful but mystrious girl Julia (Claire Forlani). The problem is, Basil knew that his stern father would never acknowledge the daughter of merchant as his future bride, so in spite of his better judgment and advice from his friend Manion (Christian Slater), he continues his relations a secret until terrible truth is found out.

As is with many Collins' novels, the story is melodramatic and full of surprises, but the film seems to be too full of them. Every five minute you see something happen, which is certainly enjoyable. However, as far as emotional power goes, "Basil" is far from convincing. When the film should be sensual, it fails to be so, leaping to the next scene without raising the tension that should have come from, say, the clandestine meetings between Basil and Julia. There is no thrilling descriptions of ever-changing love and distrust found in works like "Wings of the Dove." The same can be said about the frail father-son relation in Basil's family, which should have been more explored.

My material says the writer/director Radha Bharadwaj (known for Madeleine Stowe film "Closet Land") was very impressed with the original book when she was 12 years old. Born and raised in India, the director clearly is conscious of social class and gender, so the book's thriller part is reduced to certain degree, and instead the contrast between men and women, or traditional aristocracy and new middle-class is stressed.

Her decision is understandable, but I don't know if it was a good idea to adapt the novel that way. And you should know that "Basil" is usually considered as one of Wilkie's juvenile works (only his second novel published during his lifetime) His major works are still "The Moonstone" or "The Woman in White" both of which are filmed in 1990s for British TV. So why "Basil"? That part remains vague after watching the film.

The best thing in the film is no doubt Claire Forlani. But her fans should be told beforehand that though Ms. Forlani in blue costume (standing besides beautiful birds) is gorgeous and exquisite, her charms do not materialize to the full because of too fast speed of story. Chrstian Slater (who also co-produced) and Jared Leto are not so bad, handsome as ever, but it is painfully obvious that they are Americans.

One final word for Collins fans. Don't get angry. The film takes GREAT liberty when it shows Clara not as Basil's sister; when Margaret Sherwin is changed to Julia Sherwin (does this mean that 'Margaret' is no longer a popular name?); and when Manion walks outside without a hat on his head even though you know that no confidential clerk of respectable merchant does that.

As Victorian constume drama "Basil" is just a so-so film. You don't have to hurry to watch it.

Basil's elder brother Ralph is played by Crispin Bonham Carter, cousin of Helena.

Basil
I was not sure what to expect from this one. Never released theatrically...a film most people don't seem to know even exists, but featuring some big names, especially in the Hunk Division. But I think it generally succeeds, and I was not bored. In fact, I became quite interested in what was going to happen in this sinister love story. Yes, here we have a sinister love story.

First of all, it's a pleasure to finally see Claire Forlani gracing a period-piece, and letting loose her English accent. I've waited quite a while for this experience, and it's nice that I also enjoyed the movie for other reasons. This is a movie steeped in Victorian mores, and features three young--either impetuous, or conversely, calculating--Britons, shirking such mores in search of either love or revenge. The result is our titular character, as played by Leto, fracturing his already precarious relationship with his stuffy, austere pater (Jacobi), which means he also risks ostracizing himself from all his father stands for: polite society, grandiose inheritance, and a proper place in Victorian London. Be the son that father and England demand, or risk it in the pursuit of the gypsy-eyed ice-maiden, Julia (Forlani). One problem: the romance starts on this note "She is rude, she is aloof, she was completely terrible to me--John, I must see her again! When can it be arranged?".

I think the chemistry between the three leads--Forlani, Leto, and Slater as the mysterious John--works when you consider that the above bit of paraphrased dialogue forms the crux of the romance that unfolds. It is a romance with some scourge, or disease, hiding behind it. I do not expect the usual chemistry that goes with youth falling in love, or even playing hard to get, since all the evidence suggests some horrible agenda at work behind the scenes--hence Julia's incessant coldness, Basil's frustrations, and John's too-perfect-seeming relaxed gentlemanliness. The question is: who is hiding what?

Blood does run red, as red as some of the gorgeous decor in this beautiful-looking film, with its fiery red drapery and cushions. The sets are wonderfully colourful and ornate--or they feature sudden contrast, when Basil's intended birthright, Windermere Manor (Castle? Place?...okay, I forget exactly), turns to grey and decay, or as Basil's noble place in society slips and he tracks through the offal-ridden browns of lower-class lanes, wondering what went wrong.

The movie becomes quite dark as ruinous secrets get revealed, causing blood and scars. Ultimately, the infected love story works itself out, and Basil faces a final humiliating confrontation with his estranged, probably unforgiving father, but with one psychological trump-card...a certain memory of his father that reveals him to be little more than a blustering hypocrite. The denouement alone hints at slight hope on one front.

People had pace problems with this? Just how fast is this type of story supposed to be moving? I think it moves no slower than some of its high-profile period-drama counterparts. It has mystery and intrigue that prompt layered and enigmatic performances from young actors who are not just playing young lovers thrashing around, but rather young people playing a dangerous game where love is just part of the strategy. Forlani is as gorgeous as ever, and again, nice to get a look at her in this type of film.

Much better than I was expecting.