If you're fond of British costume dramas like "Wives and Daughters" or "Downton Abbey," then this won't be the first time you've seen Michael Gambon as the dithery country squire or, God knows, Maggie Smith as the sharp-tongued lady of the manor or even Keeley Hawes as the out-of-control ingenue that's got everyone so worried about her. This time the setting's a little different—a rural estate in County Cork in 1920, about halfway through the Irish struggle for independence. Other big names in Anglo-Irish drama and letters are involved (novelist Elizabeth Bowen, director Deborah Warner, actress Fiona Shaw, who plays a witchy houseguest), plus 80s fashion icon Jane Birkin in a minor role and a couple of artful Kieslowski cronies as cinematographer and composer. The plot's a bit creaky—KH's character is being courted by an eager British officer, but soon discovers that a childhood friend, now a fugitive IRA gunman, is lurking on the grounds—and the pacing in the opening scenes is suitably Chekhovian, but the resolution is fast and furious, even a bit confusing at one point (how does Peter get away?). Though I'm not sure this prestige project quite adds up to the sum of its parts, we still found it fascinating, and we've watched it on streaming Netflix a couple of times. Film buffs (and home furnishing buffs!) might prefer to send for the DVD to get the full effect of the production values, and the sound levels on streaming are erratic.

"The Last September" tells of the beginning of the end of the Anglo-Irish, circa 1920ish, in Cork, Ireland by examining the clockworks of one family of privilege surrounded by rebellion, on the cusp of degentrification, and trying to keep a stiff upper lip in the face of waning denial. Beautifully filmed and visually delightful, this film sports a wonderful cast who deliver finely nuanced performances. Unfortunately the subject matter is somewhat esoteric, the story meager, and the film burrows into the moment to moment minutia; something which is both it's strength and its weakness. Those who don't get the Brits should pass on this flick. Those who do, may be enthralled by it. I know I was. (B)

"The Last September" is set in County Cork, Ireland in 1920, just prior to the institution of the Irish Free State, the days of Michael Collins. (Mr. Collins and the other scions of the revolution are notably absent in this film.) The view of the film is narrowed to the trials and tribulations of Anglo-Irish aristocrats, and friends, who inhabit their country manor on their last Summer holiday in colonial Cork.The film's strength is its microscopic cinematic views of the lives of the aristocrats and their guests. The filming is rich and startling. Small distracted moments are captured with amazing effect. Reflections in picture frame glass and windows are very compelling. The viewer is sometimes made an involuntary voyeur. This created a discomfort, an edge, for me.Sometimes Gothic, sometimes just frustratingly slow, the film's moods are overpowering. I felt like I had been made one of the aristocratic "tribe", as they call themselves. I could experience their self restraint and quit desperation at times. I found myself twisting in my seat at these moments.Lois, played marvelously by Keeley Hawes, reminded me of Lucy Harmon in Bertolucci's "Stealing Beauty", as played marvelously by Liv Tyler. The film has trouble staying focused on her. Perhaps this is to be expected, since she represents theelusive True Spirit of the Irish, conflicted about passion and pride, freedom and violence. Fiona Shaw captures in her character what Lois must become. The relationship between the two women is a painfully powerful representation of the Death of Self at the hands of conventions, the consequences of classism, sexism and tribalism.The handling of the the other characters seemed cursory and prone to stereotyping. Michael Gambon and Maggie Smith did the work and turned the coal of potentially predictable rich 'county' types to diamonds of lovably faceted eccentrics.The film is not easy. The time did not fly by. There were many laughs. There were many stunning visual and emotional moments. I guess it was like life itself, in a particular place and time.

A great great film on many levels. As always, Maggie Smith turns in an amazing performance, as she has consistently done so throughout her career. Jane Birkin, Fiona Shaw and Michael Gambon also are wonderful to watch. The story itself is quite moving and engaging. Beautifully filmed and scored.