Very disappointed :(

everything you have heard about this movie is true.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Fantasy book author William Nicholson made his first and so far only effort at movie-direction with this 1997 English Gothic romance based on his own screenplay. Sophie Marceau (the French princess in Braveheart) plays a Swiss governess named Elizabeth in late 1830s England. Desperate to pay a family debt, she sells herself to an anonymous English gentlemen for three days in his efforts to produce an heir for his family. Harsh and uncaring at first, they fall in love, but both have agreed never to see or speak to each other again for the sake of keeping up appearances. Elizabeth conceives a baby girl who is wisked away seconds after birth. Heartbroken, Elizabeth writes letters to "My English Daughter" until she can no longer keep her promise. Seven years after the baby's birth she tracks the child down; now a spoiled brat living on a remote Sussex estate. The daughter acts up as she pines for her usually absent father. Her father's wife has been in a vegetative state for a decade after a riding accident, and even the the daughter knows she is not the real mother. Elizabeth takes a job as the girl's governess to be close to her, unbeknownst to the girl's father. When the father, Charles Godwin, returns from London he is appalled at the mother of his child showing up again in his life as well as the rekindling of a romantic fire he has desperately tried to convince himself is long burnt out. Themes of duty to family, maternal love, and desperate attempts to hold back passion are played out in perpetually foggy and snowswept landscapes and around fireplaces in the Godwin Victorian mansion.Performances by the actors are uniformly excellent. Marceau and Stephen Dillane as Charles Godwin share a chemistry rarely captured on film; but also look for Dominique Belcourt as the daughter; Lia Williams as Godwin's long-suffering sister-in-law; Kevin Anderson as the visiting American who falls for Elizabeth; and veteran British actor Joss Ackland as Godwin's father whose self-indulgent hedonism dooms the family to ruin. It's never apparent that this is Nicholson's first time out as a director. Nic Morris's cinematography of the English countryside and Marceu's exquisitely beautiful face lit by firelight is something to see, and Christopher Gunning's string-laden score is dramatic and over-the-top which it really should be.Although rife with gray and icy colors, painful family obligation, stark settings, heartbreak, euthanasia, held back emotions, and rigid social mores; the underlying theme of the Firelight is that true love conquers all. It's never really gotten the attention it deserves.Released by Disney's Hollywood pictures, the movie played briefly in American arthouses back in 1998 and was released on VHS the next year to very little fanfare. Disillusioned, Nicholson never directed a picture again, although he hit paydirt when he co-wrote the script to Ridley Scott's Gladiator in 2000. Firelight has been sporadically available since then on demand on the Encore movie cable channel. A Region 0 bare-bones DVD was released in Hong Kong of all places; it's available on Amazon.com and ebay. If you find a copy, it's definitely worth purchasing.

It's 1838 and Elisabeth Laurier, a Swiss young woman, must get money to pay for her father's debts. She agrees to enter into what might be viewed as an indecent proposal with Charles Godwin, a well to do English landowner, in having a sexual relation for the sole purpose of giving him a child his sick wife can't give him. Elisabeth must renounce to all claims of the baby. What starts as a pure sex, with Elisabeth suffering quietly while Charles has his way with her, suddenly turns into pleasure, seen on the young woman's face.Imagine Charles' horror when he returns from a trip to find out his sister-in-law Constance, has engaged Elisabeth as his daughter's governess. Louisa, who has terrorized previous attempts at receiving an education, rebels against this new stranger. Since by this time Charles' wealth has suffered a reverse, and having assured a moth's wages to Elisabeth, he consents in her staying. Charles' wife who is sick, is dying a slow death. It's inevitable that Elisabeth will have an effect on Charles and that she will be able to tame the wild Louisa into accepting her.William Nicholson, who wrote and directed "Firelight", created a film of great beauty. As it is, there are elements of other, better made movies, within the screen play, although it makes good entertainment. Nic Morris' cinematography gives the picture a glossy look that is appealing to the eye. Christopher Gunning's musical score serves the movie well.Sophie Marceau, an actress of great beauty makes an impression as Elisabeth. Stephen Dillard's Charles is equally appealing as the man tormented between duty and new found passion. Dominique Belcourt is perfectly bratty as Louisa. Joss Ackland appears as Charles' father and Lia Williams is Constance.As Gothic romance, "Firelight" will delight fans of the genre. William Nicholson directed his own story with great visual style.

Just by chance, I selected this film at a time of night when I'm ready for sleep. I watched it once.... then, again but fell asleep thru part of it. Two days later, I watched it again (wide awake this time) and that's when I fell in love with it. The first time.... I admit, it was the titillating story... the child was secondary. The second time.... I wanted to watch Sophie Marceau's delivery of her character. The third time.... I realized that Stephen Dillane's delivery of his character was so nuanced, I missed it the first 2 times. He is what makes this story so wonderful.Because I am a big fan of British film, I wondered why I was not familiar with Stephen Dillane's name. After some research, I found that I have seen him in some character roles, but nowhere is he as handsome as in this film. Sophie Marceau is so accomplished that together, some of their scenes unfold as a dance.This film is so delicate, with exquisite timing and phrases, that I can truly say it is as well-done as Campion's The Piano. Elisabeth's shout when she opens the doors to the lake. Godwin's face from recognition to omigod to sweet smile when he sees Elisabeth again. Godwin's explanation that a month with Elisabeth in the house would be an eternity. Their dance at the door when Louisa is screaming to be let out. And many more.If you love stories of heart-felt deep love, this is it. Just be sure to watch it closely and more than once.

I greatly enjoyed this movie, and quite understand why reviews range from the euphoric to the vitriolic. Some will love it, and some will hate it. I have given it five stars out of ten, just to place myself precisely in the middle. For quality it is worth more, and because it may be construed as condoning aspects of immoral behaviour, less. Whether it does actually condone that which is wrong is open to debate. So, too, is the matter of predictability. Are you expecting blissful lovers to disappear into a glorious sunset?For this period drama, you do have to suspend reality and accept the parameters required for the film to work. We are asked to believe that, way back in the first half of the nineteenth century, a comatose woman, seemingly unable even to blink, would have survived for years, and still have significant life expectancy. Medical science makes such a thing possible in our time, but how would the patient have been fed in those days? Don't let such considerations put you off. For other titles, we accept time travel, real people living inside computer memory, oriental gentlemen waving scimitars who run up vertical walls and jump over tall buildings, and still enjoy the show.Sophie Marceau's acting was outstanding. Who would have thought that Elisabeth Laurier in 'Firelight' and Lila Dubois in 'Lost & Found' were played by the same person? Stephen Dillane, playing Charles Godwin, was more than adequate as the other main lead. The rest of the characters were well cast, each contributing significantly to this very moving tale. 'Firelight' covers part of the lives of two essentially principled people trying to find a way through the distressing circumstances with which each was faced. If they took a wrong turn, which of us is going to throw the first stone? Judgment of every individual is God's prerogative. If this film does nothing else, it does show why there is a debate about euthanasia. I had two special adult friends outside our immediate family early in life, one as a child and one as a youth. Both had flaws in their characters, but were excellent mentors. I chose to adopt some of their traits, but not others. A couple of years past retirement age, I bought my first television, and have since discovered films. I find these very instructive, giving me insights into the human condition which I would not have otherwise. As with my mentors, I am using my discrimination when assessing any messages suggested by each movie. I found 'Firelight' emotionally stimulating, its characters eminently admirable in many respects, but used my beliefs and discretion in determining the validity of any moral that may be inferred from its plot. Isn't this what we all do?Some review comments seem to be denigrating Charles Godwin unfairly. It was Lord Clare who ruined the estate by his profligacy. Charles, on the other hand, was trying to keep the boat afloat as a sheep farmer. To suggest that Charles viewed Elisabeth as little more than a chattel doesn't ring true with me. I gained the impression that he was considering her as well as himself right from the beginning. I also felt that their motives tended towards the welfare of others rather than their own selfish ends. The firelight allegory might also be less simplistic than is being suggested. If I am recalling events correctly, I thought the initial use was to introduce a plot continuity. This was progressed to a vehicle used by Elisabeth to allow her daughter the opportunity to break free of her antagonistic attitudes. At some point, the firelight rekindled a significant memory. Finally, for Amy, the firelight was conspicuous by its absence. Were the words, "May God have mercy on us", just a common expression, or were they spoken from the heart? Judge for yourself.I looked for the DVD, hoping that it would have an audio commentary. Guess what? Buena Vista has allowed the title to become currently 'out of print', so I couldn't even buy the film itself (!) That surprised me, considering the number of reviewers and the high average rating. I'm looking forward to seeing this film again, but will have to wait for it to come around once more on TV. Do keep an eye open for it in your programme guides. If and when it appears, it's well worth watching.