Dido Elizabeth Bell, die uneheliche Tochter eines britischen Admirals mit einer Kritiker-Film-Bewertung: unterirdisch schlecht mittelmässig gut weltklasse 4 / 5. Das britische Drama von Amma Asante erzählt die wahre Geschichte von Dido Elizabeth Belle, der unehelichen Tochter eines britischen Aristokraten. Insofern ist DIDO ELIZABETH BELLE nicht nur ein erlesen gestalteter Film mit opulenter Ausstattung und hervorragend komponierten Bildern.
Dido Elizabeth Belle (Film)Insofern ist DIDO ELIZABETH BELLE nicht nur ein erlesen gestalteter Film mit opulenter Ausstattung und hervorragend komponierten Bildern. Das britische Drama von Amma Asante erzählt die wahre Geschichte von Dido Elizabeth Belle, der unehelichen Tochter eines britischen Aristokraten. Das intime Coming of Age einer Schwarzen in der feinen britischen Gesellschaft verwebt Amma Asante in ihrer zweiten Regiearbeit»Dido.
Belle Film Navigation menu VideoKenwood: The Story of Dido Elizabeth Belle
Lady Ashford James Norton Oliver Ashford Tom Felton James Ashford Timothy Walker Wimbridge Sam Reid Edit Storyline This movie was inspired by the true story of Dido Elizabeth Belle Gugu Mbatha-Raw , the illegitimate mixed race daughter of Royal Navy Captain Sir John Lindsay Matthew Goode.
Edit Did You Know? Trivia The credits cite David Gant as playing Johan Zoffany in the role of the artist who paints the famous portrait of Dido and Elizabeth, but many art experts now believe the work is by David Martin in the style of Zoffany.
In , the painting was owned by the Mansfield family and on view at their home, Scone Palace in Perth, Scotland.
Goofs When Elizabeth and Dido play the piano, it sounds like a large modern piano, not the small 18th-century piano onscreen. Its keys look very old, even though pianos had existed for a few decades, and had just become popular.
Most pianos in use at the time would have been fairly new. Quotes [ first lines ] Captain Sir John Lindsay : How lovely she is.
So much of her mother. Do not be afraid. I am here to take you to a good life. A life that you were born to. Was this review helpful to you? Yes No Report this.
Frequently Asked Questions This FAQ is empty. Add the first question. Edit Details Official Sites: Official site. Country: UK.
Language: English. Runtime: min. Sound Mix: Dolby Digital. Color: Color. Edit page. Clear your history. Steve Christian Executive Producer.
Julie Goldstein Executive Producer. Steve Norris Executive Producer. Phil Hunt Executive Producer. Compton Ross Executive Producer.
Ben Smithard Cinematographer. Awards Leaderboard: Top Movies of British Independent Film Awards Winners. January 20, Full Review….
June 13, Full Review…. August 13, Full Review…. August 7, Full Review…. March 13, Full Review…. View All Critic Reviews Jan 20, Solid performances of a pretty remarkable story.
Julie B Super Reviewer. Dec 16, Carlos M Super Reviewer. Oct 05, There are plenty of songs of this film's name to pick from, because this film's title is pretty generic, although when it comes to the film itself, it is refreshing to see a British film about prejudice against blacks Well, it's not that refreshing if you're that one person who is familiar with director Amma Asante, because it's been ten years after "A Way of Life", and she's still on racism, so I reckon even the British sisters have to represent.
Hey, I hate how black people were treated all over the world, and are still being treated in certain places, but there's enough carrying on about civil rights in liberal America, and now, "12 Years a Slave" is getting everyone in the UK up in arms.
Well, that's probably a good thing, because, again, black people weren't doing so hot outside of America, and someone should address that even the Mulatto royals couldn't catch a break in the 17th century.
If nothing else, it should make for an engaging story, and sure enough, it does here, even if this film tries a little too much harder than "12 Years a Slave" to be British.
This film is so British that it comes complete with a great deal of dryness, with often bitingly witty, but stuffy dialogue and a subdued atmosphere which render the film, maybe not dull, but a little bland especially when the narrative is dragged out.
There was never to be all that much activity in this film, not with a minimalist story concept that I will touch more upon here in a second, but just over minutes still feels too long for momentum to be maintained within the storytelling that ends up dragging its way to a predictable point.
British-grade dryness is not the only familiar trait in this film, which is generic something fierce as a predictable, trope-heavy portrait on high-class affairs in 18th century London, no matter how much they incorporate elements regarding race relations that are themselves conventional.
This really is nothing new, to my surprise, and this film cannot afford to be so predictable, because, again, its story is thin enough as it is, carrying intriguingly worthy themes and heart, but basing it all around idle chit-chat and subdued action that the filmmakers sometimes try too hard to compensate for.
Timely melodramatics come off as cloying from time to time, when Amma Asante's direction imbues the atmosphere with a sentimentality that could itself be compensated for if this film, even with its natural shortcomings, had some sort of edge, and didn't tap dance around strikingly harrowing visuals or a consistency in issues which would supplement the genuineness and the overall effectiveness of the thematic weight of this drama on racism and typical high-class issues.
Let me tell you right now that if this story was told by a liberal American, it would have beaten you half to death with its themes, and as things stand, no matter how passionate Asante may be about ethnicity's rocky history in British society, - whose race issues have admittedly been underexplored in film - the overt subtlety counteracts many of the subtlety issues, but there is too much sensitivity and ambition in this dramatic interpretation of a story of only so much meat, and nearly no real originality.
The final product ultimately sputters out quite a ways shy of what it wants to be, yet it does actually come close enough to endear, and immerse.
Claudio Campa's and Ben Smith's immersive art direction is not particularly unique, although it is pretty lavish, joining production designer Simon Bowles and costume designer Anushia Nieradzik in restoring upper-class London with an extensive craftsmanship and handsomeness.
Ben Smithard's cinematography further define the film's good looks, too chilled in color to stun, yet clean and well-lit enough to catch your eye time and again, while a score by the great Rachel Portman proves to beautiful in its violin-driven sentimentality, in spite of its being conventional and often abused by director Amma Asante at the expense of full dramatic subtlety.
Asante is either overblown with her dramatic atmosphere or overly safe with her portrayal of pressing issues within the subject matter, and yet, she never gets too cloying, nor does she ever get too safe, and when she finds a proper balance in dramatic storytelling, her efforts resonate, compelling you with glimpses of what could have been.
Indeed, there is some potential in this imagination of events surrounding a painting of the titular Dido Elizabeth Belle, which is melodramatic sure, but no more so than the usual British drama of this nature, being generally convincing, if familiar, and intimate, if minimalist, with themes on British race relations, challenging tradition with true love, and conflicts in family and honor.
This subject matter does have a lot of promise, and for betrayal screenwriter Misan Sagay places against the potential, she delivers on enough sharp and recurring dialogue to hold your attention, and enough busy set pieces to keep dullness at bay, while fleshing out nuanced, compelling characters whose human value plays as instrumental a role as anything in making the film as engaging as it ultimately is.
Quite frankly, it may be the performances that bring to such a point, for it is the portrayal of compelling characters that most compels, with standouts including Tom Wilkinson as a man of an integrity he aims to maintain alongside the love of his apparently blemished family, the lovely Sarah Gadon as a lady who fears for her struggles and the struggles of her best friend, Sam "Aussie Armie Hammer" Reid as an open-minded humanist with a questionable love interest, and, of course, leading lady Gugu Mbatha-Raw as a respectable, good-hearted lady who must face emotional devastation and uphold composure against the oppressions that fall over her as both a woman of black blood, and as a woman in general.
Mbatha-Raw is not given the material to be stellar, but she is a revelation, a worthy, driving lead who helps greatly in defining the final product as compelling, in spite of its natural and consequential shortcomings.
Overall, the film is a little blandly dry and tends to drag its feet, not unlike other British films of its type, but the tropes don't end there in this generic, conceptually thin, and either sentimentally or safely drawn story, thus, the final product fails to reward, but through immersive art direction, beautiful cinematography and score work, and a largely worthy story, brought to life by heartfelt direction and writing, and carried by a solid cast, Amma Asante's "Belle" stands as an improvable, but admirable portrait on racial and high-class social issues in 18th century England.
Cameron J Super Reviewer. Sep 01, An very good historical film tackling slavery, race and the class system in Enlightenment Era Britain. Excellent costumes and locations with a typically outstanding performance by Tom Wilkinson.
Gugu Mbatha-Raw portrays strength and incredible vulnerability in a very effective way. Good performances all around -- well, except for Draco Malfoy who bumbles through the plot line like a Slytherin trapped in his Harry Potter school days.
Despite Felton and the not-quite-ready-for-prime-time sound editor, the film is really, really worth seeing. Christian C Super Reviewer. A contemporary obituary of Sir John Lindsay, who had eventually been promoted to admiral, acknowledged that he was the father of Dido Belle, and described her: "[H]e has died, we believe, without any legitimate issue but has left one natural daughter , a Mulatta who has been brought up in Lord Mansfield's family almost from her infancy and whose amiable disposition and accomplishments have gained her the highest respect from all his Lordship's relations and visitants.
The Earl and Countess of Mansfield lived at Kenwood House in Hampstead , just outside the City of London. Childless, they were already raising their motherless great-niece, Lady Elizabeth Murray , born in It is possible that the Mansfields took Belle in to be Lady Elizabeth's playmate and, later in life, her personal attendant.
At Kenwood House, "Belle was treated like the rest of the family when she was in company with only the family," says Mansfield.
Dido Elizabeth Belle worked as an amanuensis for Lord Mansfield in his later years - which reflected not only her education and abilities but also the trust and regard in which she was held by her great-uncle.
Belle lived at Kenwood House for 31 years. Her position was unusual because she was born into slavery according to colonial law. Lord and Lady Mansfield to some extent treated her and brought her up as a member of the Murray family.
As she grew older, she often assisted Mansfield by taking dictation of his letters, which showed she had been educated. One of Mansfield's friends, American Thomas Hutchinson , a former governor of Massachusetts who as a Loyalist had moved to London, recalled in his personal diary that Belle "was called upon by my Lord every minute for this thing and that, and shewed the greatest attention to everything he said".
He described her as "neither handsome nor genteel — pert enough". She had a very high cap, and her wool was much frizzled in her neck, but not enough to answer the large curls now in fashion.
I knew her history before, but my Lord mentioned it again. Sir Lindsay, having taken her mother prisoner in a Spanish vessel, brought her to England, where she delivered of this girl, of which she was then with child, and which was taken care of by Lord M.
He calls her Dido, which I suppose is all the name she has. He knows he has been reproached for shewing a fondness for her — I dare say not criminal".
A brief reference to Belle occurs in volume II of James Beattie 's Elements of Moral Science. She was called Dido, and I believe is still alive.
Lord Mansfield ruled on a related matter of the status of slaves in England in his capacity as Lord Chief Justice of England and Wales.
When called on in to judge Somerset v Stewart , the case of an escaped slave whose owner wanted to send him back to the West Indies for sale, he decreed:.
The state of slavery is of such a nature, that it is incapable of being introduced on any reasons, moral or political; but only positive law , which preserves its force long after the reasons, occasion, and time itself from whence it was created, is erased from memory: it's so odious, that nothing can be suffered to support it but positive law.
Whatever inconveniences, therefore, may follow from a decision, I cannot say this case is allowed or approved by the law of England; and therefore the black must be discharged.
Mansfield's ruling that slavery did not exist in common law and had never been introduced by positive law was taken by abolitionists to mean that slavery was abolished in England.
His ruling was narrow and reserved judgment on this point, saying only that the slave's owner had no right to remove Somerset from England against his will.
Mansfield later said his decision was intended only to apply to the slave at issue in the case.
At the time, it was suggested that Mansfield's personal experience with raising Dido Belle influenced his decision. Thomas Hutchinson later recalled a comment by a slave-owner: "A few years ago there was a cause before his Lordship brought by a Black for recovery of his liberty.
A Jamaica planter, being asked what judgment his Lordship would give [answered] 'No doubt The Observer.
History Extra. Fox Searchlight. Retrieved 7 June Los Angeles Times. Retrieved 2 April Archived from the original on 16 August Retrieved 30 June Entertainment Weekly.
Archived from the original on 16 May The Daily Telegraph. The Guardian. Retrieved 24 July Retrieved 7 August Retrieved 17 May Rotten Tomatoes.
Retrieved 18 May Kermode Uncut. Retrieved 13 December Retrieved 3 January Retrieved 15 March Digital Spy. Retrieved 16 December Chicago Film Critics Association.
Archived from the original on 27 November Retrieved 12 December Archived from the original on 13 April Retrieved 11 December Deadline Hollywood.
Retrieved 16 February Palm Springs International Film Society. The Desert Sun. Archived from the original on 16 December Retrieved 12 January Films directed by Amma Asante.
A Way of Life Belle A United Kingdom Where Hands Touch NAACP Image Award for Outstanding Independent Motion Picture.Trivia In Januarythe Writers Guild of America ruled that Misan Sagay would get sole writing credit. Boruto Folge 26 Elizabeth Belle Lindsay was born inthe natural daughter of Maria Belle, an enslaved African woman in the West Indiesand Captain Sir John Stellaris Beste Eigenschaften, a British Royal Navy officer. Oct 05, He has written for a host of other publications and resides in Brooklyn. Dido Elizabeth Belle wird als uneheliche Tochter des britischen Admirals Sir John Lindsay und einer afrikanischen Sklavin geboren. Sie wächst in England bei ihrem Großonkel, dem Aristokraten Lord Mansfield und seiner Frau, auf, und genießt. Dido Elizabeth Belle (Originaltitel: Belle, Verweistitel: Belle – Die Nichte des Lords) ist ein britisches Drama von Amma Asante aus dem Jahr Das britische Drama von Amma Asante erzählt die wahre Geschichte von Dido Elizabeth Belle, der unehelichen Tochter eines britischen Aristokraten. Das intime Coming of Age einer Schwarzen in der feinen britischen Gesellschaft verwebt Amma Asante in ihrer zweiten Regiearbeit»Dido. Film and television. Belle ( film), a Belgian-French drama film by André Delvaux. Belle ( film), a British film by Amma Asante. Belle's, an American comedy TV series that premiered in