by Jon Partridge
There is an enduring fascination in the US with the quainter side of British history: Downton Abbey, Call the Midwife, Pride and Prejudice and so on. Tradition, pomp, manners and a very stiff upper lip, even in the face of unbridled passion. Twilight Time’s latest release is in a similar vein to these classics. 1987’s A Month in the Country, directed by Pat O’Connor, is an adaptation of its namesake novel by J. L. Carr and features some notable British talent in stars Colin Firth, Kenneth Branagh, Natasha Richardson, and Patrick Malahide.
Set during the summer of 1920, the film tells of a British veteran, Tom Birkin (Colin Firth), who returns to rural Yorkshire in the North of England after World War I. He takes a job working on the restoration of a recently discovered medieval mural, an excuse to retreat to a more remote local to deal with the trauma of his experiences. Idyllic life suits him, and as his work progresses he strikes up a friendship with archaeologist James Moon (Kenneth Branagh); however, a local vicar (Patrick Malahide) is opposed to his presence and work in the village. Birkin finds solace at a local chapel and its community while striking up a romance with the vicar’s wife (Natasha Richardson).
A plots go, this one is relatively simple, but A Month in the Country is more of a character piece, a look into the fragmented lives of two men as they try to pick up the pieces. After the horrific events of World War I, the loss in the UK was profound; soldiers returned home with their memories to a changed country. The film succeeds in capturing this melancholy as well as showing geographically and mentally how parts survive and endure. It’s a wonderfully moving depiction of the era as well as the personal tales of two survivors, with Firth and Branagh doing exemplary work. The efforts to restore the painting serve as a well deployed metaphor running through the film’s narrative. As the layers of plaster and dirt are peeled back so are aspects of Birkin’s character. The film is as much about healing as it is hurt, coupled to a beautiful score by Howard Blake. It’s a quietly touching piece of work.
THE PACKAGE
The included commentary touches on how the original negatives and most 35mm prints were lost after the film’s release. It was only a few years ago that one was discovered, allowing its restoration and release on Blu-ray.
The transfer itself is acceptable, taking on something of a artificial sheen; details are subdued, presumably stemming from the use of this sole print source of the film. Some artifacts are present. Despite this the colors are solid, showing off the English countryside to good effect. The quality may disappoint some; fans may be better informed and know what to expect. We’re getting to the point release-wise where more and more classics are being made available, and many buyers need to be better informed about these processes and what expectations they should have.
Special features include the aforementioned audio commentary with Twilight Time film historians Julie Kirgo and Nick Redman, the former also providing the liner notes. There is also a original theatrical trailer and an isolated music and effects track.
THE BOTTOM LINE
A Month in the Country is a slower, more reflective piece of cinema. Its great cast tackle some emotional themes, and with the beautiful backdrop of pastoral England produce a quietly moving and intimate piece. Whilst the quality of the presentation is a little underwhelming, there is much to appreciate here.
A Month in the Country is available now from Twilight Time in a limited edition release of 3000 units.