UK 87m Dir: David Lean Key Cast: Celia Johnson and Trevor Howard
Based on: Still Life by Noel Coward (Play)
Brief Encounter is a real British classic. Laura (Celia Johnson) accidentally gets some grit in her eye from a passing train and is helped by Alec, a doctor (Trevor Howard). They end up meeting the following week and begin a gentle affair every Thursday, despite both being married.
Many say that this is a film about English reticence. It focuses on Laura and how uncomfortable she is with being unfaithful to her husband. Some might say it's old-fashioned but personally, I think it stands up rather well today. In terms of the setting you'd only need to imagine a modern train and a Starbucks and it could fit right in. It's about being unfaithful and I think any woman with a husband and children would feel very similarly to Laura does. Perhaps in an age when divorce is more acceptable the relationship would have more chance to flourish but breaking up the family would always be an obstacle.
The film is both incredibly simple yet really complicated. The story itself is straightforward and there are hardly any characters. Yet the themes are conflicting. It is a warming love story that genuinely works- a chance meeting, happy times together and a sad ending. Yet the thought that it's wrong is always there in both Laura's mind and the audience's. Rarely do viewers feel as conflicted as the characters. When she finds herself alone in a flat with Alec it's impossible to decide whether or not she should consummate the relationship. Laura and Alec both want to yet because they both know they shouldn't they don't rush into it and are interrupted before they get started.
It's such a well-made film too. A good use of locations means this is mostly set in an actual train station which adds to the atmosphere all the more. Much of the events of the film are told by Celia's inner monologue, such a clever idea and we even see some of her imaginations come to life. There's a great soundtrack too with Rachmaninoff's Piano Concerto No. 2 playing throughout the film. It might be nearly eighty years old but many modern directors could learn a thing or two from David Lean here.
Simple but complicated and brilliantly well-made.
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