,” an adaptation of Edith Wharton’s novel that is far closer in style and mood, in inner music, to Wharton’s writing than is Martin Scorsese’s “The Age of Innocence.” Davies’s 2016 bio-pic of Emily Dickinson, “,” is, in effect, a screwball tragedy, its whirling domesticities perched at the edge of the abyss.
Befitting a movie about a great writer, “Benediction” is a film of copious and brilliant dialogue. The talk is often confrontational and lacerating—Sassoon, even in his youth and even in the face of formidable authority, is depicted as contentious and acerbic. The spell of pugnacity is broken only in scenes of rare mutual understanding, and the characters’ intimacy and dignity are all the more precious for the risk of self-exposure and vulnerability that they face.
The cinematography, by Nicola Daley , also offers scenes of tightrope tension by way of an agile and graceful camera that uses the frame to trace the movement of time . Several of the sequences set in the military hospital offer camera moves that are as limpid and thrilling as a dance. One scene, which culminates in the parting of Sassoon and Owen, condenses a torrent of emotion into a figure of style so exquisite and reserved that it plays like cinematic literature itself.
As for the poetry that’s at the center of the movie—both Sassoon’s and Owen’s—it’s a virtual character in itself, and it’s largely inseparable from the memories of the war that the poems enshrine. Much of it is paired with archival documentary clips of the war, of the marshalling of troops, of recruitment on the home front—and of devastation, of corpses rotting on the battlefield, of grievously wounded soldiers recuperating in benumbed stillness.
There’s something breathtakingly comprehensive about Davies’s achievement in “Benediction.” Its very time frame, reaching from his family’s prehistory to his maturity, suggests his effort to compose something like his own personal British history. The cultural life of music and literature are his own heritage as well.
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