'Belle': It's about as perfect as a period piece can be

McClatchy-Tribune News ServiceMay 21, 2014 

Film Review-Belle

Dido (Gugu Mbatha-Raw), left, and Lady Elizabeth (Sarah Gadon) are raised together by their great-uncle in 18th-century England.

DAVID APPLEBY — AP

  • MOVIE REVIEW

    'Belle'

    ★★★★★

    PG for thematic elements, some language and brief smoking images. Fox Searchlight. 1:44. Kentucky Theatre.

Belle is a movie that instantly joins the ranks of the screen's great period-piece romances.

Imagine a Jane Austen adaptation, with all its Empire waistlines and romantic longing, but a film in which the obstacles to love are far greater than mere social standing, a story that transcends its comedy of manners frame and is actually about something?

Belle is loosely based on the life of biracial Dido Elizabeth Belle, daughter of an aristocratic Royal Navy captain (Matthew Goode) and a black woman.

That sort of thing happened in 18th-century England, but polite people didn't speak of it. A child born of such a union faced a hard life of the same drudgery that befell England's slaves and freed blacks — servants, as a class.

"I am here to take you to a good life," her father says after the death of her mother, whom he did not marry. And so he does.

Belle, or "Dido," as her new family calls her, comes to live at Kenwood House in Hampstead, London. She will be raised by her father's uncle, Lord Mansfield (Tom Wilkinson), his wife (Emily Watson), and the lord's spinster sister (Penelope Wilton, Mrs. Crawley of Downton Abbey).

Her upbringing will be alternately kind and generous for its day — and circumscribed. "Papa" might say he is doing this "in accordance with your birthright," but the lord is keenly aware of his times. She will be companion to the other niece they're raising, Elizabeth (Sarah Gadon), and enjoy all the education and privilege life has to offer.

But when company comes, Dido (Gugu Mbatha-Raw) will dine by herself. No sense shocking the proprieties of their guests.

"Too high in rank to dine with the servants," Dido grows up to complain, "but too low to dine with the family?"

Hers is a future "without possibility of a suitable marriage." Dido is smart, talented and beautiful, and they might be writing her off a little too easily — even if this was the 18th century.

Tom Felton does a nasty turn akin to his villainous character from the Harry Potter movies, Draco Malfoy, as a young swell who woos Elizabeth and disapproves of the attentions his brother (James Norton) is giving Dido. Sure, have your fun, he suggests, but one wants "a pure English rose to decorate one's home." Still, Dido's wealth has the boys' snob of a mother (Miranda Richardson) seeing Dido with a more approving eye.

But Lord Mansfield has bigger things on his mind than mates for his nieces. He is the lord chief justice of the King's Bench, and in 1783, all of Britain awaited his ruling on a case involving England's "most important" business: the slave trade.

Whatever tolerance he has developed raising the "cherished" Dido, the wrong ruling on an insurance claim for a cargo of dead slaves could be a bigger blow to the empire than the recent loss of the American colonies.

Director Amma Assante's film is very much a chamber piece, intimate and romantic, full of actors in beautiful period costumes requesting the pleasure of "taking a turn" about the grounds with one other. But it is breathtakingly ambitious for such a piece, taking us back to that age and letting us see slavery, in all its inhuman ugliness, through Mbatha-Raw's huge, expressive eyes.

She is a revelation, suggesting Dido's curiosity and confusion at her odd station in life, and spirit that just wasn't allowed back then in someone of her sex or race.

Assante wisely keeps the camera close on Mbatha-Raw as Dido discovers what typically becomes of people of her skin color, and revels in Dido's haughty dismissal of the passionate young abolitionist and would-be lawyer (Sam Reid) who sets off sparks every time they clash over class divisions, slavery and the lord's "duty."

Misan Sagay's script crackles with Austen-esque banter:

"Girls, will you refrain from shrieking ... like the blessed French!"

"Did you not listen to the rumors when you were spreading them, Mother?"

Beautifully cast, touchingly played and handsomely mounted, Belle is as close to perfect as any costumed romance has a right to be.

This is a story Austen herself would have been proud to claim as one of her own, if young ladies ever talked of such things in polite company.

In Belle's young star, the movies have a glorious new feminine ideal, as bedroom-eyed heartbreaker or wide-eyed innocent, and an English rose for the new millennium.

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