#caligula #mansfieldpark #poldark https://www.youtube.com/channel/UC5domZkB-eRa6BuFOO8OXaQ. https://dailymotion.com/bethfreed25
Ruskin is annoyed that Lizzie - frequently taking laudanum - and Rossetti are squandering his advance on wild parties and moves Lizzie's studio into his house. Effie warns her not to allow Ruskin to dominate her but she holds her own conversing with him and his mother. Rossetti takes up with buxom working girl Fanny Cornforth, using her as his next model. He is pursued by two of his students, would-be artists Burne-Jones and Morris ,and eventually admits them to the Brotherhood after they have saved his church mural from fading. Excess laudanum makes Lizzie ill but Rossetti fulfils his pledge to marry her on her recovery. However, minutes after the ceremony he is setting lustful eyes on Morris' fiancee Jane.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Ruskin is annoyed that Lizzie - frequently taking laudanum - and Rossetti are squandering his advance on wild parties and moves Lizzie's studio into his house. Effie warns her not to allow Ruskin to dominate her but she holds her own conversing with him and his mother. Rossetti takes up with buxom working girl Fanny Cornforth, using her as his next model. He is pursued by two of his students, would-be artists Burne-Jones and Morris ,and eventually admits them to the Brotherhood after they have saved his church mural from fading. Excess laudanum makes Lizzie ill but Rossetti fulfils his pledge to marry her on her recovery. However, minutes after the ceremony he is setting lustful eyes on Morris' fiancee Jane.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Category
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Short filmTranscript
00:00You
00:30Oh
01:00Here
01:05We go
01:07they may as they gain experience lay in our England the
01:13Foundation of a school of art nobler than the world has seen for 300 years. That's splendid
01:20Mr. Ruskin has been as good as his word. Well, this is far from good news
01:23Mm-hmm. Malaya has sunk into extravagance bordering on irreverence and is again followed by mr. Hunt
01:32Till nothing remains of perspective or truth
01:37What about the Athenaeum?
01:40Pure ugliness for its own sake
01:44I'm glad you find it amusing Gabriel. We have Ruskin. We have a letter from Ruskin
01:50That's not the same thing so now we move on with our mission
01:54Now we persuade Ruskin to buy our work. I should be easy
01:58We'll all paint a masterpiece. Oh, there's a turn up. I was going to paint a masterpiece this week
02:04Ophelia drowning I've already painted the riverbank and flowers as you know, yes, I know
02:09Do you want me to tour the brothels to find a model for you?
02:14I've quite an eye, you know, I shall need tin of course to cover my expenses. No need Gabriel
02:20I mean to hire miss it'll
02:23sit
02:25She's not available. Who's Sid? I miss it'll just a little nickname. I have her
02:30You've got as far as nicknames, but miss it'll is perfect and I can draw no other model without Sid
02:37I'm nothing but Ruskin thinks Ophelia quite the thing. What did you talk to Ruskin about it?
02:44Bumped into him at the Academy. Well
02:47He bumped into me actually
02:50Asked me what I was painting next and so forth. Did he mention me at all?
02:54I'm quiet purely out of interest, of course
03:00In my name come up
03:02We have tickled the great trout Ruskin and now we must land him
03:07Well, I shall certainly be doing my bit to get him to buy and remember Johnny
03:11Ruskin must have no favorites
03:15But what if he prefers one of us to the others?
03:18Then that favorite tells Ruskin that he chooses to buy from all three of us and none of us at all
03:22That's the plan. All right
03:29You won't ask Lizzie to sit for Ophelia, will you it would be an important step though. Well, what about me?
03:36Sat at home with a blank canvas and a blank mind
03:41How do you mean
03:43The difference between a good artist and a bad artist is Lizzie Siddle
03:48That's why I want to keep her. So you need her because of your art, of course, of course
03:54For a moment there. I thought it was because you're in love with her or something Fred
04:00Of course, I'm in love with her
04:02A
04:06Promise is a promise
04:08But then one thought keeps prodding me and it is this
04:12What would Rosetti do if he found himself in my circumstances?
04:17What would Rosetti do?
04:21I woke up in the night in a mug of sweat fuzzy on account of thinking about you in the bar
04:32Thought you would get cold
04:35Then I thought
04:37candles
04:38That's the thing
04:40candles
04:42Keep you warm as warm. I'm you spared the fate of the real Ophelia
04:47Quite so
04:48None of us would want that
04:51No
04:53Remember that Hamlet has rejected her and she is taking her own life a siddle
05:01Fred you might want to write this down Fred is our official diarist miss it'll he records our every word for posterity. So
05:10If you could capture that in a look of
05:13Sad resignation then it would make my life so much easier
05:23Fred if you wouldn't mind
05:30I
06:00I
06:04Quite dry myself. I think sir. I shall accompany you to your door Lizzie. No need for that Fred. I
06:11Was passing anyway and can a company sit him Gabriel. I
06:17Had no idea you'd be calling I had business in the area
06:21What business afraid of a cab waiting sir? Yeah, how can you afford a cab?
06:28That's true
06:30Terrible cheek I know but
06:39Thank you
06:42Sit
06:48Don't you want to see the painting it's good enough for Ruskin. I'm sure it's good enough for me
07:00I
07:02Was sorry I lied about the cab I thought the war could warm you up and you weren't really passing by either
07:08I was really and there was me thinking you were insanely jealous because Millet was painting me
07:15the truth is
07:17I'm jealous of any man who is looking at you when I could be looking at you
07:23I
07:25Fred said I should do it because John Millet is about to become the most famous painter in Europe well
07:31I'm sure that Fred has your best interest at heart
07:34What are you implying?
07:37I'm afraid Fred has grown sweet on you, and he's made it his mission to keep us apart. Why would he do that?
07:45Because he thinks that we may have more than a professional relationship
07:53And he is right is it not
07:58Perhaps you make connections like this all the time, but I
08:02Well let's say I find it very hard to think of any other subject, but you I
08:09Think you're very pleasant company
08:13Well I have been called worse as both and the good painter only you
08:19I'm only good with you
08:26Now the man will be sitting at the piano
08:32If you think I'm having anything to do that dead bird you've got another thing coming poor beast represents the fallen woman
08:40Isn't this just like is that his idea for the painting. I prefer the term inspired by it rather than copied now
08:46Sit here
08:54You need to be facing out Oh reverse farm girl, why didn't you just say so?
09:05No no you need to be sat on the edge of the seat stand up
09:13Facing out
09:16Perhaps
09:17Remembering a childhood home
09:19And in that moment you are breaking away from your gilded cage with a look of startled
09:27holy resolve
09:30A bit more holy resolve and a little less surprised by a broom handle well. I'm more familiar with one than the other
09:35Yeah, then the man
09:37sings on in the piano
09:39Ignorantly intensifying or repentant purpose, and there shouldn't be a single object in the room that isn't either
09:48common or vulgar
09:50Even though the fruit should be left to be preyed on by feverish bird perhaps a repentant purpose might until tomorrow
10:09Is it Fred or is it Millet?
10:12It's what Fred or Millet?
10:14The reason you can't sleep.
10:16It isn't either of them.
10:18So is it as I feared?
10:20It is Rossetti.
10:22You don't know the man.
10:24I know that he's not to be trusted.
10:26I knew that the moment I laid my eyes on him.
10:28I knew that he was a man.
10:30I knew that he was a man.
10:32I knew that he was a man.
10:34I knew that he was a man.
10:36I knew that he was a man.
10:38I knew that the moment I laid eyes on him
10:40with his wild hair and strange clothes
10:43and that insistent stare.
10:45You have just listed three of the reasons why I may just love him.
10:49Love him?
10:51Love him? You haven't told him you love him, have you?
10:53No.
10:55I have been cool and distant.
10:57Thank God.
10:59Because as soon as a man like that hears the word love
11:01he thinks he can behave as he likes.
11:03And I have no say in the matter.
11:05Look at how Mr. Hunt used you.
11:08Gabriel is different.
11:10I know.
11:12It's this difference that worries me.
11:27You promised me.
11:29You promised me you would dissuade her.
11:31Did my feelings have no influence?
11:33Whatever do you mean?
11:35She only became valuable to you
11:37once I made it clear she was valuable to me.
11:39Oh, you should be flattered.
11:42It means I trust your judgment better than my own.
11:45So that's my role, is it?
11:47Food taster to the king?
11:49It takes more than a pair of pointy boots
11:52and your mother's scarf to make you a Pre-Raphaelite, you know.
11:59Hello, Fred.
12:02Hey!
12:04Boy, Johnny.
12:06How's the feed progressing?
12:08I think it may save my career.
12:10Our career.
12:12Yes, of course, our career.
12:14Ruskin knows and is happy with your choice of Lizzie.
12:17Is it? For a model?
12:19My choice of Lizzie? Why wouldn't he be?
12:21Well, just that he took against Lizzie so badly in Hunt's painting.
12:26Don't you recall?
12:28He said she was sluttish.
12:30It would be a terrible pity for us to lose Ruskin's patronage
12:33because you went against his wishes, though.
12:38Um...
12:40I'll meet with you later, Gabriel.
12:42I've just remembered an appointment.
12:44Indeed.
12:46I'm sure you have.
12:48What are you doing?
12:50If he alerts Ruskin of his choice of model,
12:52then Ruskin might go off the whole idea of Ophelia.
12:55I can't help it. I don't amuse him, Lizzie.
12:59Even though I know it's probably her only chance.
13:02You speak as if Millet is the only one Ruskin is interested in.
13:05Well, I can only paint Lizzie and she isn't available
13:09and you told me you had a complete dearth of ideas, so...
13:12Well, actually, that's changed since the last time we spoke.
13:15Really?
13:17What are you painting?
13:19Nothing, really. It's just...
13:21something inspired by Annie.
13:29Effie?
13:35Is this...
13:37Why, you cannot bring yourself to face real flesh and blood.
13:41How dare you interfere with my work?
13:44She looks like a very happy wife.
13:46I am studying them to see if there's any difference.
13:49I don't care.
13:51I don't care.
13:53I don't care.
13:55Happy wife.
13:57I am studying them to see if there is any artistic merit in them.
14:00John!
14:02You proclaim a man that is a very stupid excuse indeed.
14:05They are part of Turner's estate.
14:07I have been entrusted to catalogue them.
14:09I discovered these sketches after his death
14:11and despite their technical brilliance,
14:13I am compelled to destroy them.
14:15Why?
14:17Because it would damage Turner's reputation
14:19and a great man should not have his reputation shredded by tittle-tattle.
14:21Just give me the sketches and we'll talk no more about them.
14:24I'd rather like them.
14:27I think we should keep them for inspiration.
14:31Effie? Effie?
14:35Everything's fine, Mrs Bradshaw. Please go back to bed.
14:37Mrs Ruskin has become a little over-agitated.
14:44Shall we try first, John? This?
14:48Or this? Or this?
14:51Am I so very different from these women?
14:53This is your sickness talking.
14:55My sickness? Well, I'm here to share my sickness with Turner!
14:59Turner was a genius!
15:03Turner was the truest painter Britain has ever produced!
15:05And I'm what?
15:07I'm what?
15:10What am I?
15:13Your best conduct would be encouraged by regular exercise
15:17and mental labour of a dull and accepting character.
15:21Now, I have mentioned Italian and botany as subjects,
15:26and I had hoped that you would endeavour to occupy your mind
15:30by giving a little time each day
15:32to these healthful and unexciting studies.
15:52I'm very excited about the prospect of your ophelia, John.
15:55Thank you. Mr Ruskin is seldom excited.
15:58A painting that deals with one of the great themes.
16:01There are practically no other themes I like to deal with, sir.
16:04What greater subject than a woman trapped in a relationship
16:07with a man who promised love but only delivered rejection?
16:12Driven mad? Driven mad.
16:15Though I often wonder how a woman can be so driven mad.
16:18Driven mad.
16:20Though I often wonder if Ophelia was already mad before Hamlet rejected her.
16:25Cos that can happen, can't it, dearest?
16:28A madness hidden from one lover to another and only revealed too late.
16:34I think it is fair to say that her behaviour is more that of a creature
16:38driven into a corner by her master.
16:41What do you think, Mr Millay?
16:44Me? Yes, Johnny, what is your opinion?
16:49I don't have much room in my head for thoughts, let alone opinions, do you?
16:54Well, now, have you settled on a model?
16:58Well, that is what I wanted to see you about.
17:00What about Effie here?
17:05I was thinking of Miss Lizzie Siddle,
17:09who Hunt used before me, and of whom...
17:11But I'm serious. Effie here.
17:14Do you not think she would look well in water?
17:17Slowly drifting to her death.
17:24But modelling...
17:27Your wife, sir, I mean...
17:31Sir, it isn't a job for a respectable woman.
17:35You're right. It isn't.
17:38Would Miss Siddle meet with your approval?
17:43I've made some sketches.
17:47I'm sure they'll be of some interest to you.
17:49Thank you, Mr Millay.
17:51Thank you, Mr Millay.
18:13I was wrong about Miss Siddle, John. She's perfect.
19:16Nothing in the world is perfect, John.
19:19Yeah, that's true.
19:38Lizzie?
19:41Lizzie?
19:43Lizzie!
19:45Idiots! What were you thinking, you lunatics?
19:51Keep breathing, Lizzie, my love.
19:54I promise you, I've earned you a life above my own.
19:57I've found a cab. He's waiting outside.
19:59Go! Go! Get the door! Get the door!
20:16Oh, my God!
20:19Mr Siddle! Mr Siddle, our Lizzie's been overcome!
20:28You need to call her doctor, Mr Siddle.
20:30She may have exposure or pneumonia or something.
20:33Exposure? What have you been doing with her?
20:35Just to send out for a doctor.
20:37Charlotte, go and fetch Dr Angels and tell him to come straight away.
20:41Don't let her touch you! Don't touch her!
20:45Get her! Do it!
20:58She's upstairs! She's upstairs! Hurry!
21:05My daughter, my beautiful Lizzie,
21:09had a socratic by-birth.
21:12Lying in open water!
21:15In a second-hand dress!
21:18It wasn't exactly open water.
21:20Well, let's hope it's not exactly a fatal pneumonia, then, shall we?
21:23She will not die.
21:25And you're a qualified medical man, are you, Mr Rossetti?
21:27I won't allow her to die.
21:29Oh, I see you, God Almighty.
21:31Oh, no need of a doctor, dear.
21:33We have Jesus Christ himself standing in our parlour.
21:35Please, no blasphemy, Mr Siddle.
21:39If I'm to understand the doctor,
21:42the chill may have a grip on her lungs.
21:45No, this can't be true.
21:47Please, no. I must see her. I can't leave. Not now.
21:52Get out, the pair of you.
21:54You've as good as killed my daughter.
21:57Out of my house and never come here again,
22:00else, as God is my judge, I shall run you through with my own steel!
22:09LAUGHTER
22:17You've killed her.
22:20You and Johnny have killed her.
22:24She is not dead, Gabriel.
22:27The tragedy is that Ruskin had finally recognised Lizzie
22:30for the stunner she is.
22:32Under that cherubic face,
22:34you really are an ambitious little turdwipe, aren't you?
22:37The tragedy is that she may die.
22:40She may die.
22:42My love and my masterpiece.
22:45What of my masterpiece should that be the case?
22:48You have everything!
22:50You are handsome.
22:52You have commissions coming out of your arse.
22:54You have everything.
22:56I have nothing except Lizzie's affection.
22:58And you dare talk as though you're the injured party in this?
23:01She is not dead.
23:03Don't you see?
23:05Even if she survives, she is dead to us!
23:09Do you really think her father will allow her to model for us again?
23:29Do you think it could be over for Johnny?
23:31Try and keep the smile out of your voice, Matt.
23:35It ruins your show of fake concern.
23:38It's just that if we are to be taken on by Ruskin,
23:40then it's up to you or me to impress him now.
23:45I shan't ever paint again.
23:49Not until I know she's alive.
23:53You are very sweet on Miss Siddle, Fred.
23:56Am I right in that?
23:58Sweet doesn't do justice to how I feel.
24:00Well, perhaps now would be a good time to visit her.
24:04But her father warned us against visiting her on pain of death.
24:08What greater demonstration of your feelings for Miss Siddle
24:11than for you to risk death to see her?
24:15And what greater romantic gesture could there be?
24:20That isn't an altogether foolish suggestion.
24:25It isn't, is it?
24:28And...
24:31if you do gain access to Miss Siddle,
24:35perhaps you could ask her when she might return to work.
24:38For Ophelia.
24:42At least Johnny acknowledged my feelings in all this.
24:45And besides, he was probably right.
24:48How could I have better demonstrated my feelings towards Miss Siddle?
24:52What greater romantic gesture could I make?
24:56I wasn't so much sneaking behind Rossetti's back,
24:59but rather, as he himself would put it,
25:02nobly assisting another brother in need.
25:15Ah, Mr Siddle.
25:18I thought I would just inquire into Lizzie's health.
25:22She's alive.
25:23Oh, thank God.
25:26Oh.
25:44When John was about to marry you,
25:47he confided in me that he felt as fearful as Sinbad the Sailor
25:51when his ship was drawing nearer to a lodestone mountain, Effie.
25:56Do you follow?
25:57We were both nervous.
25:59As any couple has said...
26:00I hope she will not pull my bolts out, Mother, he said.
26:04Love does such a thing sometime.
26:07His bolts?
26:08His bolts.
26:11Do I make myself clear?
26:13Not... not entirely.
26:18You always knew my son to be a special kind of man.
26:22Unique in many ways.
26:25Does it strike you as odd
26:26that I am having this conversation with you and not my husband?
26:32A marriage is not a negotiation between equals, Effie.
26:39A good wife must sacrifice everything to duty.
26:49She's alive.
26:51Oh, thank God.
26:53Why didn't you stay and beg to see her?
26:56Because I was bleeding profusely
26:58and it would have been the height of bad manners.
27:00I hear that Mr Millay has taken to drowning his models now.
27:04He'd be better off drowning the head of the Academy.
27:06I blame the company he keeps.
27:09Do you mean John Ruskin?
27:11No, of course not.
27:12Well, I shall tell John tonight when I dine with him
27:15that you were disparaging him.
27:16You dine with the Ruskins, I doubt that.
27:19He likes to dine with all his protégés to check on our progress.
27:22What?
27:23Haven't you heard?
27:24Ruskin is now our patron.
27:26The Brotherhood are all commissioned by him.
27:28I can assure you the Academy will take a very dim view of this.
27:38That isn't true, Gabriel.
27:41I know, but it's worth it just to see the look on his face.
27:47Mm.
27:48Yeah.
27:49The best Lord in the money can buy.
27:52Should take the edge off the pain.
27:54So will you try and see Lizzie?
27:58I think the best thing we can do for Lizzie right now
28:01is to leave her alone.
29:17Gabriel, we're so glad you've come.
29:19We're all simply dying to see you.
29:21You are?
29:22Our daughter's saviour.
29:24Well, I wouldn't go as far as that.
29:26Oh, no false modesty, Gabriel.
29:28I will not hear of it.
29:31This is a little study of Lizzie I've been working on.
29:35Oh, Mr Rossetti.
29:39You've captured her completely.
29:42Her upright posture.
29:45Have you seen Mr S?
29:47And her stern, intense frown.
29:50Gabriel.
29:51It's a very brave man indeed who takes on Lizzie.
29:54But then we know you are a very brave man indeed, don't we, Gabriel?
29:58No, I don't know about that.
30:00I just did what any man would have done in the circumstances.
30:04Plunged into the icy waters,
30:07risking at the very least a terrifying death?
30:10Who did you say wrote that report again?
30:14He doesn't say.
30:16Well, the waters are very icy, Gabriel.
30:19I can say with great certainty that they were.
30:22Indeed.
30:23And whereabouts in the river was Lizzie lying exactly?
30:26The newspaper seems ever so vague.
30:28No more questions, Charlotte.
30:30Anyone can see that Gabriel isn't the kind of man
30:32who likes to dwell on his own heroism.
30:35Thank you, Mrs Sittle.
30:37I can see that Lizzie gets her perception as well as her beauty from you.
30:43Mr Rossetti, you've been making an old lady blush.
30:47Careful. I wouldn't want to incur the wrath of Mr Siddle.
30:51If I could have a word with you, Mr Rossetti.
30:54Of course.
31:00You're a very charming man.
31:02Thank you, sir.
31:04I don't trust charm in a man.
31:07It speaks in weak character and restless genitals.
31:10I can assure you, sir, that I have neither.
31:13You think you've made good, do you?
31:15And what happened to Lizzie?
31:17I can only apologise with the most heartfelt...
31:21An apology means nothing in this modern world
31:24unless it is backed by cash, Mr Rossetti.
31:27And Lizzie doesn't pause again
31:29unless we receive some recompense from the neglectees,
31:32i.e. Mr John Milley.
31:34Anybody can see that Lizzie is a lady by birth.
31:39That's not a body suited to punishment.
31:42It's more decorative like an expensive vase or bonnet.
31:46Well, when you explain it like that...
31:48£30.
31:50£30?
31:51£30 or she never pauses again for anybody.
31:57Her modelling career is over.
32:00£50?
32:02£50?
32:03Abundant tin. There's no doubting it.
32:05Where am I going to find £50?
32:07I don't know.
32:09What would Annie Miller do in the circumstances, I wonder?
32:13Surely you're not suggesting a prostitute?
32:15She's not a prostitute.
32:16Unless you can think of another way of raising the money,
32:19then you won't be seeing Ophelia any more.
32:21Of course. Of course.
32:23Four gins, please.
32:25Four gins, yes, sir.
32:32Thank you, Fred.
32:35For what?
32:37There's only one person who could have written that account.
32:40I may have submitted a small piece
32:42to the talk-and-table column of the Illustrated London News.
32:46You even have me rescuing her from the Thames.
32:48I think you will find I wrote that she was lying in the icy waters
32:52of the Thames, which indeed she was,
32:54even if I admitted to mention that the said icy waters
32:57had been decanted into a bath.
32:59But why would you do such a thing,
33:02knowing it would make me look better in her father's eyes?
33:07I didn't think of that.
33:11But I felt you deserved some praise,
33:13because you did, after all, save Lizzie's life.
33:16I suppose that's true.
33:19I didn't know you could write that well.
33:21Have you read none of my other work?
33:23I make it a point to never read about myself, Fred.
33:27I don't care what the world thinks of Dante Gabriel Rossetti.
33:31Right, well, I see.
33:33I feared it might be because I'm not taken seriously by the Brotherhood.
33:36No. No.
33:39You are the most vital brother of all.
33:42You are the brother that stops the rest of us from tearing each other apart.
33:47I, for one, would never take your love or loyalty for granted, Fred.
33:53Here we are. Fortune, sir.
34:02Look at me.
34:04Grateful for every scrap of attention I get from the man.
34:07A man who, yet again, gains the benefits of my own efforts to better myself.
34:12Not content with his own abundant good luck,
34:15he seems to have taken my share as well.
34:20I feel dashed shame to be asking, but...
34:23I didn't know where else to turn.
34:25John, it's my pleasure to help you.
34:28I don't know how I'll ever get the money to repay you.
34:31Once you've displayed Ophelia at the Academy show,
34:34I'm sure you'll find a buyer.
34:39There is no guarantee it will be accepted.
34:46I think you'll find that it will be.
34:50I think you'll find that it will be.
35:02£30, as promised.
35:05I have to say, you've surprised me, Mr Rossetti.
35:08I'm a man of my word, Mr Siddle.
35:10And a man of honour, too, as I hope one day you'll realise.
35:15I thought your dirty and unsavoury appearance
35:17was a sign of Mediterranean moral weakness,
35:20but I realise now it was merely a sign of your artistic temperament.
35:25I knew that all along, Gabriel.
35:28Yeah.
35:30Thank you, sir.
35:39Goodbye.
35:41Thank you, Gabriel.
35:43What for?
35:44For saving my life.
35:47For saving my vocation as a model.
35:51And for the poems which I loved.
35:54I only did what any man would do for a sweetheart.
36:00We are sweethearts, are we not?
36:04Sweethearts.
36:07Lovers.
36:11Husband and wife.
36:12No, no, come.
36:14You've made it very clear that you do not believe you will ever marry.
36:17If ever a woman could change my mind, it is you, Lizzie Siddle.
36:25Lizzie!
36:26Lizzie!
36:45So he didn't actually propose marriage, then?
36:48He never would.
36:50That isn't the kind of man he is.
36:52No, I realise.
36:53I'm very concerned about the kind of man he is.
36:56His world is not the same as ours.
36:58It would not be as simple or unimaginative as a proposal.
37:02So you are secretly engaged.
37:04So secretly engaged, in fact,
37:06that only one of you knows for sure that you are engaged.
37:09What if marriage wasn't yet possible,
37:12but a young lady's feelings for a gentleman
37:14were greater than the prospect of any shame?
37:16I'd say the young lady was heading for potential disgrace.
37:19If the young lady truly loves him,
37:21then perhaps the potential disgrace would be a small price to pay.
37:24You must not take that step, Lizzie.
37:26I know that you love him, but that is not enough.
37:28It is simply not enough.
37:29You don't understand their world, Charlotte.
37:31They don't live by the rules of society.
37:33No man would if he thought he could get away with such a thing.
37:36Take a guinea for yourself.
37:38What do you do? Kill someone?
37:41I need a model.
37:43And I need one rather quickly in order to impress Mr Ruskin.
37:47And you are absolutely my first choice.
37:51I'm sorry, Mr Ruskin.
37:53I'm sorry.
37:54I'm sorry.
37:55I'm sorry.
37:56I'm sorry.
37:57I'm sorry.
37:58I'm sorry.
37:59I'm sorry.
38:00I'm sorry.
38:01I'm sorry.
38:02I'm sorry.
38:03I'm sorry.
38:04You are absolutely my first choice.
38:13I thought this was going to be glamorous.
38:34I thought this was going to be glamorous.
39:05I'm sorry.
39:06I'm sorry.
39:07I'm sorry.
39:08I'm sorry.
39:09I'm sorry.
39:10I'm sorry.
39:11I'm sorry.
39:12I'm sorry.
39:13I'm sorry.
39:14I'm sorry.
39:15I'm sorry.
39:16I'm sorry.
39:17I'm sorry.
39:18I'm sorry.
39:19I'm sorry.
39:20I'm sorry.
39:21I'm sorry.
39:22I'm sorry.
39:23I'm sorry.
39:24I'm sorry.
39:25I'm sorry.
39:26I'm sorry.
39:27I'm sorry.
39:28I'm sorry.
39:29I'm sorry.
39:30I'm sorry.
39:31I'm sorry.
39:32I'm sorry.
39:33I'm sorry.
39:34I'm sorry.
39:35I'm sorry.
39:36I'm sorry.
39:37I'm sorry.
39:38I'm sorry.
39:39I'm sorry.
39:40I'm sorry.
39:41I'm sorry.
39:42I'm sorry.
39:43I'm sorry.
39:44I'm sorry.
39:45I'm sorry.
39:46I'm sorry.
39:47I'm sorry.
39:48I'm sorry.
39:49I'm sorry.
39:50I'm sorry.
39:51I'm sorry.
39:52I'm sorry.
39:53I'm sorry.
39:54I'm sorry.
39:55I'm sorry.
39:56I'm sorry.
39:57I'm sorry.
39:58I'm sorry.
39:59I'm sorry.
40:00I'm sorry.
40:01I'm sorry.
40:02I'm sorry.
40:03I'm sorry.
40:04I'm sorry.
40:05I'm sorry.
40:06I'm sorry.
40:07I'm sorry.
40:08I'm sorry.
40:09I'm sorry.
40:10I'm sorry.
40:11I'm sorry.
40:12I'm sorry.
40:13I'm sorry.
40:14I'm sorry.
40:15I'm sorry.
40:16I'm sorry.
40:17I'm sorry.
40:18I'm sorry.
40:19I'm sorry.
40:20I'm sorry.
40:21I'm sorry.
40:22I'm sorry.
40:23I'm sorry.
40:24I'm sorry.
40:25I'm sorry.
40:26I'm sorry.
40:27I'm sorry.
40:28I'm sorry.
40:29I'm sorry.
40:30I'm sorry.
40:31I'm sorry.
40:33What are you doing here?
40:35Before you came into my life, it was set on a course so dull, so conventional, so unrewarding, that it would have been better if I had not lived at all.
40:46I'm sure that is not entirely true.
40:48You've opened up a world for me.
40:51A world of new and exciting possibilities.
40:55Well, I'm glad of that.
40:57I see it as my life's work to open up a world of exciting possibilities.
41:03And you've helped me to realise that a life in which you deny your desires is no kind of life at all.
41:13I'm not sure I know what you mean.
41:18When I was ill, I lay in my bed and I made myself a promise.
41:28If I lived, I would henceforth act on my desires.
41:45There'll be no turning back.
41:48Good. Good.
41:53You've pledged yourself to me.
41:56We're as good as engaged.
41:59How could there possibly be any shame in it?
42:25A film by J.S. Bach
42:51With the unveiling of Millet's Ophelia,
42:54the Brotherhood are on the verge of a new era.
42:58You do realise that your life is going to change forever, don't you?
43:04It already has, my love.
43:09It already has.
43:13Miss Siddle, you nearly died modelling for this painting.
43:17Was it a sacrifice worth making?
43:19My passion is art.
43:21And the artist is as great as John Everett Millet.
43:24He doesn't become a model to interrupt.
43:26Well, even when she's freezing to death?
43:29By the time I was freezing to death, I was too cold to talk anyway.
43:33So it appears to be dedication to art.
43:36You nearly died modelling for this painting.
43:38Was it a sacrifice worth making?
43:40My passion is art.
43:42And the artist is as great as John Everett Millet.
43:45He doesn't become a model to interrupt.
43:47Well, even when she's freezing to death?
43:49By the time I was freezing to death, I was too cold to talk anyway.
43:53So it appears to be dedication to art.
43:55May just have been biology.
44:06May just have been biology.
44:12No going back now.
44:14What?
44:16What did you say?
44:18No going back now.
44:20Millet has moved on, wouldn't you agree?
44:30Didn't I tell you, Lizzie?
44:32The first time I saw you in the hat shop,
44:34didn't I tell you that you would be a famous model?
44:36You did.
44:38And there will always be a place in my heart for you because of it.
44:41Nothing is more important to me than your well-being.
44:44Do you understand what I'm saying?
44:46Of course I do.
44:48Miss Siddle, we hear you're sitting for a work by Mr Rossetti next.
44:51Would you like to tell us about that?
44:53I'm sorry, but Miss Siddle will only be speaking to me this evening.
44:57No other interviews, please.
45:05What the hell is this?
45:09Awakening conscience?
45:11Surely I told you.
45:13You know you did not.
45:15This is my idea.
45:17I told him that, and he said it's quite different.
45:20Didn't know you had the monopoly on fallen women, Gabriel.
45:24I told you of my intention to paint a fallen woman,
45:27and you noted Ruskin's interest.
45:29I told you of my intention to paint a fallen woman,
45:32and you noted Ruskin's interest in it.
45:36This thing is my life.
45:39I'm living this.
45:41It must hurt that all your underhand efforts aren't going to pay off.
45:46Why?
45:48Has Ruskin said something?
45:50Yes, sir, that's right. I painted...
45:52Does he need to?
45:54Johnny will tell him our terms, won't he?
45:56That Ruskin will be all of our patrons, or none of us at all.
46:01Congratulations, John. You've changed everything with this painting.
46:05You've enhanced the reputation of yourself and of the Brotherhood.
46:10Thank you, sir.
46:14What do you think, Mrs Ruskin?
46:17I think it captures a very real and familiar emotion.
46:22Quite.
46:23I think that anyone can be driven demented
46:25when their lover inexplicably turns against them.
46:28Thankfully, in these times, we all have more options than Ophelia.
46:33What do you think of my wife, John?
46:39Don't know.
46:40Do you think she would make a good model?
46:43Oh, I see.
46:46You are teasing me again.
46:48Do you find her beautiful, John?
46:50There you go again. Tease, tease, tease.
46:53Do you not take the suggestions of your patron seriously?
46:57My patron?
46:59If you wish it.
47:02Of course I wish it.
47:04Of course I do.
47:07Who should he paint first, Gabriel, myself or my wife here?
47:11I don't know, sir.
47:14Johnny is, as ever, spoiled for choice.
47:23Even if you feel a kind of annoying pain
47:25in not standing side by side with them now,
47:28I'm sure you'll find a way.
47:31Even if you feel a kind of annoying pain
47:33in not standing side by side with them now,
47:37your time will come, Gabriel.
47:39I know that, Mr Ruskin.
47:46Is it true?
47:48It's true.
47:49Well, did he tell her of our terms?
47:51No. Hand on heart, maniac.
47:53Would you issue Ruskin with an ultimatum
47:56if he'd just become your patron?
47:58I suppose not.
48:00That boy, eh?
48:03I'll wager his prick tastes of chocolate.
48:12Thank you. Thank you.
48:15Now, the man is a fool,
48:17and a pompous fool at that,
48:19but it is the woman who I would like you to concentrate on now.
48:23She is a woman who is trapped.
48:25Just as trapped as the poor injured bird at her feet.
48:30She is a broken whore
48:32who has no other use than to be abused,
48:34a discarded rag,
48:36and in this moment she's looking out to her past,
48:38and she knows she can never regain that innocence.
48:43She only knows this on an instinctual level, clearly,
48:45because she has neither the intelligence,
48:47the education, or the vocabulary
48:50to express such regret.
48:55So there we have it.
48:59A sad, helpless, humiliated victim.
49:13Annie! Annie!
49:14I was describing the woman in the painting.
49:16I wasn't describing you.
49:17Why not?
49:18Is she different?
49:19Am I cleverer than her?
49:21Am I more of a whore or am I less of a whore?
49:23I was describing the relationship that the woman has subjected herself to.
49:26You were thinking your own filthy thoughts,
49:28then making sure the woman got her share
49:30by telling the world what a slut she was!
49:33I do feel ashamed about my using you.
49:39And that is why I want to help you.
49:43I know what I am.
49:45I don't need your help.
49:48I want to buy you manners
49:50and education.
49:52Because you're ashamed of me?
49:54No.
49:55Because whether we like it or not,
49:57such attainments will help you to thrive in polite society.
50:01And if you want to continue modelling,
50:03you will need these skills
50:05if modelling isn't to lead you back to your old trade.
50:08And why would you do that?
50:12Because I care for you.
50:16And I'm training you up
50:19so that we might one day step out together.
50:24You mean that?
50:25Of course I mean it.
50:28Nobody admires a noble poor more than me.
50:34We'll see, Auntie.
50:39You didn't mention us, did you?
50:43Tarasco?
50:45I tried.
50:48I tried.
50:51But the words just wouldn't come out.
50:53Relax, Johnny.
50:55Had I been in your shoes, it would have done exactly the same.
50:59Oh.
51:02You have saved my...
51:05everything.
51:07Without Lizzie, there would have been no painting.
51:10Well, that's true.
51:12However can I repay you?
51:15Simple.
51:16Whatever you need.
51:18You have to promise me
51:20that you will never, ever
51:24take Lizzie away from me again.
51:27Welcome back into the fold, Johnny.
51:31I'm not sure I see it like that.
51:33The Academy will.
51:34Myself and Mr Ruskin will make sure of that.
51:43Mr Stone.
51:45Mr Ruskin.
51:47I am proud to be a member of the Brotherhood.
51:51Without them, there would be no Ophelia.
51:54Ophelia is just the beginning.
51:56Myself and Mr Hunt and Mr Rossetti here
52:00are about to change the world.
52:03He is young and talented, isn't he, Ophelia?
52:05Well, well.
52:07The boy's balls are finally out.
52:10The boy's balls have finally dropped, huh?
52:17Perhaps not, Gabriel.
52:19Perhaps not.
52:22With great courage and considerable gusto,
52:25Millais has not only secured a patron for the Brotherhood,
52:28but a new model in Mrs Ruskin.
52:31Though struggling with his model and his principles,
52:34Hunt has found a small consolation in the trappings of notoriety.
52:38While Rossetti seems to be ever closer to the woman I love.
52:43I have to know that Lizzie has given her heart to Gabriel.
52:47I have to be certain.
52:50Isn't it always better that a man knows the truth about the woman he loves?
53:08I can tell you now,
53:11it most avowedly is not.
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