I like the storyline of this show,it attract me so much

A Brilliant Conflict

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

I began to fear that this film would be a travesty of Waugh's superb novel when I saw Stephen Fry doing promotional interviews for it in which he claimed that the reason Waugh's title had been changed was because Waugh had actually wanted to call the book "Bright Young Things" but had been dissuaded by his publisher. Balderdash, of course. Obviously, some ill-read fellow in the film business had expressed the view that the title "Vile Bodies" suggested a horror film - perhaps about a depraved coroner? - rather than a sharp satirical comedy. Still, this annoyingly foolish pretence didn't quite prepare me to expect a film quite as awful as this one actually is. Fry seems to have no understanding of Waugh's novel at all, and even transposes it from the 1920s - the actual era of the "bright young things" - to the 1930s, when the absurdities of the rich, in an era of worldwide economic depression, were considerably less tolerated. The entirely fictitious and unspecified war which breaks out at the end of the book becomes World War II - even though Waugh's novel predates that conflict by nine years! Could it be that Fry didn't actually know this? The relentless cheapening of Waugh's fine satire is made worse by the employment of a large number of the best actors in Britain (not to mention Dan Aykroyd and Stockard Channing from America), most of whom are wasted - none more so than John Mills, in his last movie - and many of whom are encouraged by tyro director Fry to over-act irritatingly. Only Fenella Woolgar and David Tennant seem to have actually read the novel, or anything else by Waugh. The novel is, after more than eighty years, still as sharp as a razor; this film seems as shallow, empty and stupid as its characters.

The film Bright Young Things, adapted from Evelyne Waugh's acclaimed fable; Vile Bodies is manic in its pace. As such it is reminiscent of His Girl Friday (1940) with its legendary speed of comedy delivery. The difference with His Girl Friday the speed of the comedy delivery is applied to loquaciousness with a bit of slap stick. Director Stephen Fry of Bright Young Things on the other hand utilises speed to articulate the decadence of the period. As such he is affective in his endeavour of making his point of a decadent aristocracy.The depressing aspect of the film is that the aristocracy are portrayed as decadent party animals, unlike the poor who in their pursuit of escaping their worries are (in today's post modern Britain) often labelled as 'feckless' by the tabloid press. But as the impoverished poor struggled to feed themselves across Europe during the inter-war period, the aristocracy idly carried on without social conscience or obligation to responsibility. Such decadence at the expense of the poor contributed towards the rise of extreme politics in Europe during the 1920s.Contributing to the masses' public perception of the idle rich decadence of the inter-war period was the tabloid press. The press baron in the film is shown as suppressing the realities of the issues affecting the ordinary people of Britain for profit, and thereby concealing truth.While Fry adeptly captures the decadence of the 20s in Bright Young Things, Peter O'Toole steels the film with his outstanding satirising of the stereotypical English eccentric. As the eccentric of the upper classes O'Toole's character Colnol Blout is the epitome of English two faced diplomacy of the ruling classes. The example being when he writes a cheque out for £1000 to help his prospective son-in-law to marry his daughter, when he signs it in the name of Charlie Chaplin. A typical English snub no less!Excellent film, well acted and brilliantly directed.

They managed somehow to wring Waugh's uproarious novel completely dry of any humor in the process of adapting this film to screen. A formidable, if not commendable task. Personally, I think the characters would often have to react to the various plot twists--e.g. when the protagonist (first) learns he will no longer be able to marry his girlfriend (I can't remember their names) and informs her of this--with something like apathy or resignation. I don't think, in the example I gave, Waugh suggests that either of them are significantly devastated by this (as one would normally be), but rather only slightly put out by it for a moment (which is what I find funny about it), whereas, if I remember correctly, in the movie the girl acts genuinely disappointed.But I could be way off the mark, and I apologise if that's so. To be fair, Waugh's satirical wit strikes me as being particularly difficult to adapt. And I wasn't calling anyone involved in the movie a 'howling cad' -- that's just a reference to the book.

I had never heard of this movie, just got it in the mail from my movie club. It sounded like some sordid sex movie and so I had no interest in watching it. However, since injuring my back being laid up bored, I thought I'd check out the trailer, at least. Since it looked like a period movie, I thought I'd give it a go. It started slowly, not really introducing much of a conflict or plot. What I liked about it was the attention to period detail and the great character development. What I didn't like about it was the boring content and lack of a compelling plot. There was some promising use of color in the direction at the beginning of the movie, but for some reason that didn't continue! The brightest moments in the movie were the scenes with Peter O'Toole and Dan Aykroyd.