Short Take: Brief Encounter

This review originally appeared on Pol Culture.

It is not enough to say the films of British director David Lean are well realized. They often feel more completely realized than seems possible. His extraordinary command of detail can be felt in every aspect of a production. Sets, locations, costuming, music, lighting, shot compositions, staging, editing, and, of course, dramatic effects--they are thought out and presented with the utmost care and meticulousness. His work sets the standard for storytelling craftsmanship. It's true of the spectacles for which he's most famous, and it's also true of small-scale efforts such as 1945's Brief Encounter. Adapted and expanded from the Noël Coward play Still Life, it tells the story of two married upper-middle-class train commuters (Celia Johnson and Trevor Howard) who meet and, in spite of themselves, fall in love. Lean builds the film around Johnson's extraordinary performance; she fully catches the viewer up in the agonizing conflict between her blossoming affection for the Howard character and her deep sense of commitment to her marriage and children. Every element of the picture, from the richly atmospheric depiction of the train station to the inspired use of Sergei Rachmaninoff's Piano Concerto No. 2, enhances the dramatization of the woman's dilemma. This is one of the most powerfully intimate love stories ever filmed. The performances by Howard and the supporting players are uniformly excellent. The screenplay is by Lean, Anthony Havelock-Allan, and Ronald Neame. Robert Krasker provided the beautifully moody cinematography.