30 Years Later, Revisiting ‘Brideshead
NYT
By Thomas Vinciguerra Dec. 30, 2011
REVIEWING Evelyn Waugh’s “Brideshead Revisited” in 1946, Edmund Wilson found himself “cruelly disappointed.” After a promising start, he wrote, Waugh abandoned his usual comic motif for a “mere romantic fantasy,” shot through with “shameless and rampant” snobbery and characters both “implausible and tiresome.”
Legions of public television viewers ultimately didn’t care.
PBS may have enjoyed record ratings and 11 Emmy nominations with “Downton Abbey,” the between-the-wars period mini-series returning for a second season next Sunday. But 30 years ago this month another period mini-series, the 11-episode production of “Brideshead Revisited,” constituted the biggest British invasion since the Beatles. It made stars of Jeremy Irons, who played the moody, disillusioned painter Charles Ryder, and Anthony Andrews as the outwardly insouciant but desperately dissolute aristocrat Sebastian Flyte. It popularized such English fashions as Oxford bags and terms like “spiffing” (meaning “excellent”).
And it proved that people will watch 659 very slow minutes of a costume drama if it is sumptuous enough.
The American debut of “Brideshead,” about three months after its premiere in Britain, was a major event. A critic for The Washington Post declared it “the best series ever seen on American television.”
The series’s lush evocation of a bygone era of English high living was infectious. In New York, Bloomingdale’s unveiled display windows of “Brideshead”-inspired fashions. Young men emulated Sebastian by toting teddy bears they named Aloysius. A New Yorker cartoon depicted a woman introducing a dowdy middle-aged companion: “This is my cousin Sebastian. But, of course, not the Sebastian.”
“I still get letters from people saying, ‘We’re having a “Brideshead” party tonight and dressing up,’ ” Mr. Andrews said in a telephone interview. “It’s strangely comforting.”
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