Jon's Review of "Brief Encounter"

When I originally Netflix'd this movie, I didn't intend to create a review for it - I was merely looking for a 40's romantic melodrama to fall asleep to on the weekend - the synopsis intrigued, and, combined with the artistic direction of Lean, provided all that was necessary to give it a rent. Now, weeks later, I find myself mildly haunted by the basic premise, it's caustic emotions and it's thrilling use of Rachmaninoff's Piano Concerto No. 2.

A director takes a risk when they utilize narration for a movie - it's either squarely hit or miss. With 1946's "Brief Encounter", we are receiving the voice of Laura (Johnson) as if it were a journal entry or a letter to her husband. The use of narration is used (thankfully) sparingly and only to punctuate the premise where needed for exposition. It only falters when it gives us too obvious emotes ("After all, I am just a normal woman"); but overall, especially at the conclusion, is effective in endearing us to the almost ambiguous feelings one has in an affair.

The structure and devices reminds one of a thriller, which provides effective tension - it starts off with a train at night, a station, the normal work-a-day attendees and a man and a woman seated too closely together to be anything but 'involved'. He looks at her with complete focus; she seems abandoned in the moment. As they are about to reveal some distinction to their relationship we are interrupted by the rattled boor in the form of Laura's acquaintance. She has broken their proscenium arch; a train whistle cues the man to go. They give brief and undetectable cues of each other's leave. He mysteriously braces her shoulder and is out the door. Then we begin to work backward from the moment to discover what that moment meant.

I don't want to give anything away - it's almost too predictable if set before you too simply, and that wouldn't be the point. Of course, any story is that way, it's how creatively the journey is presented. As with my review for "Great Expectations", I am going to reiterate the fundamental distinctions of this time period of cinema - Lean's mastery of his team to create a compelling and mysterious milieu of these two lovers - that is woefully short of romantic, but, precisely because of that lack of melodrama, makes their story too real. From the dingy train station, where much of the story roots itself, to the spartan cafeteria they have lunch - even the shots of country are devoid elements that would over stimulate the emotions of two very adult people. Even when they reveal everything to each other, it takes place in the cacophony of a boat rental office - among tarps and bracings. It truly submits one to explore with them....

The script was adapted by a short play of Noel Coward's (Still Life). Of course, it had to be expanded upon and writ large to fill the 85 minutes. And, as revealed in the staid commentary of a film historian, the last collaboration between Lean and Coward. (If you're wondering why you haven't heard too much of this film, it was buried for some time and lovingly brought out of the vaults to be restored and remarketed.)

trivia: while I have an awkwardly acute memory, I remarked to myself
that the motifs in Rachmaninoff's Piano Concerto No. 2 sounded
oddly like "All By Myself", by Eric Carmen, my wife concurred and
some internet sleuthing did determine that ---- did use snippets of
classical pieces to craft his music, him being a pianist - so there
you go! (Now, I am enthralled by the piece, bought it off of napster -
but cannot associate it with anything but having an affair, c'est dommage!)