Belle (BD) [Blu-ray]

The set and clothes where typically pretty of that era and the beautiful woman who played Belle did a great job portraying a woman finding her way in a society that didn’t know how to treat a black wealthy young girl when there where no black men available to court. Very smartly done and interesting movie about the town who was a shipping hub for slavery. Best.

Totally different…

Such an awesome movie

I did not feel like I needed to stick my white guilt-ridden head in the sand like an ostrich after watching this. But it was a very good movie depicting the struggle of not "fitting in."

I was surprised I couldn't redeem the code (I'm in the USA), and when I checked with Fox they said it's a canada only code. This amazon description doesn't say anything about that so while I enjoy the film and the blu ray is good, it's misleading to let customers pay for a digital code that they can't use at all.

Belle is a uniformly well-done drama, with a moral purpose at its heart. Gugu Mbatha-Raw has a lovely screen presence as Dido Elizabeth Belle Lindsay, the illegitimate daughter of an English naval officer and an African servant. As a child, Dido had become the ward of her great-uncle Lord Mansfield (Tom Wilkinson, in one of his finest screen performances). Mansfield was the Lord Chief Justice of England, and master of Kenton House, where much of the film was set. The screenplay by Misan Sagay implies that the Mansfield family’s love for Dido would eventually inspire Lord Mansfield to render a verdict in a landmark legal case that would mark the beginning of the end of legalized slavery in England. Dido’s idyllic upbringing is shattered, as all involved knew it would be, when she finds as a young woman that, despite an inherited fortune from her father, she is disdained by upper-class English society. Various characters express revulsion for her mulatto race and her illegitimacy. What goes unsaid in this film is that Dido’s appearance was also an unwanted reminder of a discomforting reality for the era: she probably did not owe her existence to consensual relations.The supporting cast reads like a Who’s Who of deservedly renowned actors: Matthew Goode, Emily Watson, Penelope Wilton, James Norton, Tom Felton, Miranda Richardson, Alex Jennings, etc., all decked out in exquisite period costumes, with their scenes enhanced by a luscious score from composer Rachel Portman.Best for last: Sam Reid as John Davinier, a vicar’s son, and an aspiring lawyer. Davinier is devoted to the anti-slavery movement, a subject upon which he bonds with Dido, to her family’s disapproval. Reid appears to have used a first-rate actor’s education to ascend to a performing technique that is all his own. Davinier is not afraid of the aristocrats who look down upon him, nor of the lifetime’s tribulations that an inter-racial marriage would bring into his life, nor of exposing the ruthless men who run a slave trade, because he is not afraid of his God. To render such a man believable, Reid gave Davinier’s face a most peculiar stillness, almost as if the muscles were made of stone. This was a risky trick, which could easily have implied a character’s dullness or an actor’s incompetence, but which Reid transformed into a startling revelation of this man’s spiritual depth and moral strength. Playing the pious common man in period dramas can be a daunting task for any actor; but Reid’s portrayal here offers one of life’s most important lessons, that genuinely virtuous people are the most fascinating, compelling and valuable creatures in the world. The irony in this stellar display of goodness is that the vicar’s son graciously yet relentlessly steals nearly every scene he is in. The highlight of this film for me was Davinier’s confrontation with Lord Mansfield over Dido, which director Amma Asante staged inside the Mansfield family carriage. This scenario is reminiscent in its nature and intent of the celebrated taxicab scene between Marlon Brando and Rod Steiger in On the Waterfront; but the acting here is superior, the pace quicker, and the surroundings more claustrophobic and unnerving. When Reid verbally explodes his declaration of love for the heroine into Wilkinson’s contemptuous countenance, their collaborative brilliance creates a friction that feels strong enough to peel paint. I defy anyone who views this scene to say they think they will ever forget it. Coincidently, both Wilkinson and Reid have played Jane Tennison’s lovers in differing seasons of the Prime Suspect series. Compare Reid’s Davinier with his DI Bradfield in the Prime Suspect prequel: both men are the romantic heroes, yet these two characters have been rendered so differently, that their sole connecting thread is originality. A Sam Reid performance will not remind you of any other actor’s work—not even his own.

Based on true events. Well acted, love the gowns and love the lovely movie. I did purchase this movie to watch as many times as I want

Loved the way her father loved her and made a sacrifice to ensure she received her spot in society. Where the shade of skin determined so much and your gender played a role on what cld be said

‘Belle’ of course means beautiful.In Japan when a young woman or girl smiles and points an index finger at her dimpled cheek she says in effect, “Look at me. Aren’t I beautiful?” Invariably she is and knows it, thinking you will think so too. So the gesture is perfunctory: she just wanted to call attention to her beauty.I thought of this while looking at the portrait of Dido Elizabeth Belle Lindsay. She appears in a painting unveiled in this beautiful drama about both the painting and its subject. Dido (pointing cheekily at her cheek) is pictured with Lady Elizabeth Murray, her cousin. Both are opulent young women in elegant Georgian finery. The year is 1779 and they wear pearls, silk and satin. Both are beautiful, though quite physically different, Dido a brown-skinned mulatto from the West Indies, Elizabeth a pale-skinned, powdered English rose. Although the studious Elizabeth — holding a book in her left hand — is central in the portrait, her right hand stretches out to clutch the left arm of Dido who is almost dancing out of the frame, her back arched, her left leg raised, her smile mischievous. Whereas Elizabeth is rather stiff and strait-laced, Dido is vivacious and lively, all movement, play and fun.However, the amused half smile on Elizabeth’s face betrays her joy at the fun Dido induces. They love each other, it’s clear, and we see that it’s Elizabeth who’s reaching out for this fun, touching Dido as they pursue another of their spontaneous escapades.Dido is exotic, a turbaned cloth wrapped round her raven black hair, a feather sticking up from it. Elizabeth is domestic, the English rose, her auburn hair garlanded with flowers. Both are fresh-faced young ladies who smile out at us from the canvas, inviting us into their pleasurable world, and we almost feel like sharing it with them for a time while watching the film.But appearances, as ever, can be deceiving. There is wealth, finery and privilege on display here to be sure, but it comes at the expense of so much else.The great evil at the heart of this film is the slave trade, supported and protected by the logic of empire. Britain knows this, hardly blind to what it is doing. But the squalid trade is perpetuated by the forces of denial, greed and inertia.Dido Elizabeth Belle Lindsay (1761-1804) was a product of empire, her father Sir John Lindsay an admiral in the Royal Navy, her mother Maria Belle an African slave. Dido was born in the West Indies (illegitimately, of course), her parents unable to marry. But love can transcend anything, it seems, including class, rank and colour. It did so in her case. Her father was a man of feeling. He loved and cherished her, would not abandon her. Instead, he brought her back to England with him when she was possibly only four or five years old (her mother apparently having died). His career in the Navy meant he had to be away at sea much of the time, so Dido was left with an important uncle of Sir John’s — William Murray, known as Lord Mansfield, Lord Chief Justice of the realm at the time (1756-88). Dido grew up at Kenwood House in Hampstead, the lavish estate of her uncle, and lived the rest of her life as an aristocrat in high society.Lady Elizabeth Murray was born in 1760, so there’s some thought that Dido may have been taken into the household as a playmate of Elizabeth’s, a kind of personal attendant rather than a lady’s maid. One thing we know for certain is that the girls bonded as bosom sisters, not as distant cousins. Elizabeth was emotionally colourblind to Dido, and this must have helped others in the household to feel the same. It helped immensely too that Dido’s temperament was calm, her character good, and her mind sharp.Yet within the household the social standards of etiquette of the day were adhered to. Dido was allowed to eat with the family privately. We often see her eating at the family breakfast table, but never at the dining room table for dinner when guests are included. At such moments she had no place at the table in her own home, appearances kept up for the world.Psychologically the drama hinges on this tension. She is loved in the family for who she is, but what she is socially remains problematic. Lord Mansfield as highest judge in the land presides over some court cases that involve slavery. One of these concerns the Zong, a slave ship in which the slaves, shackled together in chains, were jettisoned overboard at sea. What caused this cruel mass murder? Greed, profit and disease. The slaves, sickened and diseased from weeks kept below deck and bound in horrific, inhumane conditions, were weakened. As the ship crossed the Atlantic toward the Americas the slavers realised their cargo was useless. Who would purchase such damaged merchandise? So the better option was to recoup their financial loss via false insurance claims.There was tremendous political and mercantile pressure on Lord Mansfield to rule in favour of the plaintiffs, the slavers. If the case went against them, it could open up a whole new legal set of circumstances that might challenge the legitimacy of slavery. Therefore much of the drama is built round Lord Mansfield’s legal and public decision, as well as what Dido represents and does to sway his decision. Her ally in this is John Davinier, son of a vicar. He’s also portrayed in the film as an abolitionist, an idealistic fighter for human rights at a time when they were hardly recognised, although this may not have been historically true.At any rate, both Dido and John are colourblind, love one another, eventually marry and have three children (though their marriage and family are not shown in the film).The writing, direction, cinematography, costumes, music (by Rachel Portman) and acting are all wonderful. The young female leads are particularly exquisite, Gugu Mbatha-Raw as Dido and Sarah Gadon as Lady Elizabeth Murray. They are fully believable as Georgian women in all their beautiful splendour.Their portrait can be viewed online. Or, if you want to see the real thing and are able to gain access to it, it hangs in a room at Scone Palace in Scotland, the estate where William Murray grew up before he became Lord Mansfield, an exemplary figure in the history of British law whose character, conscience and position of influence helped Britain abolish slavery throughout the empire.

Everyone should have to watch Belle. But it's a pleasure, an absolute pleasure. As well as a glimpe into history and the sort of characters that shaped it. Beautifully made and directed, and great to the last minute. Being able to see the picture of the real Belle and relative was amazing! The face of the real Belle was just as beautiful and had infinitely more character than the film actress, lovely though she was. That the real Belle's character could develop like that says a great deal about her guardians.

Commandez vite ce film inspiré d'une histoire vraie. Les acteurs sont remarquables, les décors splendides et le scénario est fidèle à la vérité historique, à quelques détails près.Je résume l’histoire. Le capitaine John Lindsay, qui était le neveu du Comte de Mansfield, s’était épris d’une esclave, aux Antilles, et, de cette union illégitime et impensable à l’époque, était née une enfant que le capitaine reconnut. Voilà comment vint au monde Dido Elizabeth Belle Lindsay. On sait peu de choses sur sa mère. Elle avait sans doute été capturée par les anglais sur un bateau espagnol, mais l’histoire est ailleurs. C’est probablement à sa mort que le capitaine Lindsay (qui deviendra plus tard amiral) est venu chercher sa fille pour la conduire en Angleterre et la confier à la garde de son oncle. Sa charge dans la marine l’amenait à être plus souvent en mer qu’à terre et il ne pouvait pas s’occuper de l’enfant.C’est ainsi que Dido Belle, le petite mulâtresse, se retrouva dans le château de Kenwood House, près de Londres. Le comte de Mansfield n’était pas le premier venu ! Il était même le « Lord Chief Justice », en quelque sorte le président de la plus haute cour de justice du Royaume. Rien que ça ! Et aussi incroyable que cela puisse paraître pour l’époque, le Comte et sa femme se prirent d’affection pour Belle et l’élevèrent comme leur propre fille. Ils avaient aussi la charge d’une autre nièce, l’autre jeune fille sur le tableau : Lady Elizabeth Murray.Certes, le poids des conventions fit que Belle ne fut pas exactement traitée en égale. Ainsi, elle ne pouvait être à la table commune quand le comte et la comtesse avaient des invités. En revanche, elle reçut une éducation en tous points égale à celle dont bénéficiait sa cousine. Il semble qu’une grande complicité unissait les deux enfants, comme le tableau le montre.Dido Elizabeth Belle était très intelligente, très vive, cultivée, et ces qualités étaient appréciées de Lord Mansfield. Il ne pouvait que réaliser l’absurdité des préjugés concernant la prétendue infériorité des noirs. C’est là que l’histoire devient passionnante car il est permis de penser que Belle a eu une influence, au moins indirecte, mais peut-être aussi directe, sur deux décisions prises par son oncle en tant que Haut Magistrat.James Somersett était un esclave acheté en Virginie en 1749 par un certain Charles Stuart. Vous trouverez sur internet les circonstances qui conduisirent ses amis anti-esclavagistes à demander justice pour Somersett. Et voici l’arrêt rendu par Lord Mansfield le 22 juin 1772 : Dans l'affaire Somersett, le président de la Cour Royale, Lord Mansfield, rendit le 22 juin 1772 l'arrêt suivant :« La situation d'esclave est d'une telle nature qu'elle n'a pu être instituée pour aucune raison morale ou politique, mais uniquement par une loi promulguée, qui reste en vigueur longtemps après que la raison, l'occasion, et les circonstances même où elle a été créée ont disparu de la mémoire. Cette situation est si odieuse que rien ne peut être invoqué pour la soutenir, sinon la loi. Quels que soient les inconvénients qui pourront être la conséquence de ma décision, il m'est impossible de dire que cette situation est permise ou approuvée par la loi de l'Angleterre, et donc ce Noir doit être considéré comme libre. »Une autre affaire eut des répercussions encore plus marquantes :En 1781, 142 esclaves transportés comme des marchandises sur le Zong, un navire négrier de Liverpool, furent jetés à la merLes propriétaires du navire cherchèrent une indemnisation de leurs assureurs pour la cargaison d'esclaves perdue mais le jugement rendu par Mansfield en 1783 établit que le meurtre délibéré d'esclaves pouvait, dans certains cas (sic), être illégal. Lord Mansfield, qui présidait la Cour de justice, refusa l'indemnisation, estimant que le manque d'eau à bord découlait d'une mauvaise gestion du navire par le capitaine. Il reprocha également au capitaine d'avoir surchargé son navire. Mais le procès du Zong ne fut que celui d'une indemnisation de marchandises. À aucun moment il ne fut question d'accuser de meurtre Collingwood et son équipage. Au moins fait-il connaître à l'opinion publique anglaise la cruauté du commerce des esclaves. Cette prise de conscience conduira le Parlement britannique à voter la loi interdisant la traite atlantique (The Slave Trade Act) le 23 février 1807, ratifiée par le roi le 25 mars.

L'émancipation de cette jeune femme est certainement rendue possible car elle est belle mais aussi parce qu'elle est intelligente et accompagnée par des hommes aimants, prêts pour accueillir les changements que va induire, favoriser cette émancipation.Le détail inoubliable : les cargaisons d'esclaves dont les négriers se débarrassent pour toucher l'assurance !Mention spéciale pour le niveau de langage et une certaine sobriété dans le jeu, l'histoire qui sert bien le propos du film : transformation personnelle, familiale, sociale et même internationale.

Stories like this have a good influence on the human soul. This production is beautiful, with excellent acting. A film you can watch again and again.