Fanny Brawne, Feminism and Bright Star. 1. Background: Historical view of Fanny Brawne

1. "A heartless flirt unworthy of a great poet": Fanny was historically painted as an insufferable flirt who cared nothing for Keats, using him for her own amusement while also "ruining" him. A. "an art-ful bad hearted Girl." (George Keats), "A cold and conventional mistress" (Joseph Severn), a "poor idle Thing of woman-kind" (John Hamilton Reynolds), "[she] was vain and shallow, she was almost a child; the gods denied her the ‘seeing eye,’ and made her unaware.” (Louise Imogen Guiney). Letters of a Critic and the publication of Keat's love letters. B. "To Fanny" used as argument for her "ruin" of the poet: Physician Nature! let my spirit blood! O ease my heart of verse and let me rest; [...] Who now, with greedy looks, eats up my feast? What stare outfaces now my silver moon! Ah! keep that hand unravished at the least; Let, let the amorous burn— But, prithee, do not turn The current of your heart from me so soon C. Vitriol levelled at Fanny similar to that seen towards the partner's of celebrities in modern days; compare to Dylan O'Brien and Britt Robertson. 2. "The unwed widow": The release of Fanny Brawne's letters to Fanny Keats from a private collection in 1939 led to a more sympathetic view of Fanny and her relationship with Keats. A. Sudden 180 led to very (overly) romanticised view of Fanny Brawne and her relationship with Keats and a feminist championing of Fanny and her effect on Keats' work.

1. 2. Fanny in Bright Star

1. Initially leans more to the "unwed widow" view of Fanny and the romanticised view of her relationship with Keats and the feminist view of Fanny as a competent individual in her own right who had significant influence on Keats' work. At the start, Fanny is vivacious/intelligent and has her own work (seamstress) A. opens on image of Fanny's needle stabbing through fabric/initial emphasis is on Fanny's work rather than Keats'. Initial interaction of Fanny in drawing room: quick witted and eager to spar, stylishly dressed. [CLIP: 00:01:11 - 00:06:50] B. Fanny's stitching cut with Keats' writing puts them on equal footing. [CLIP: 00:53:40-00:54:48]

2. However fails to uphold this, over the course of the film Fanny's work disappears and is wholly replaced by Keats. A. Her own work is subsumed by Keats': poetry tutorials, the classics, reading and reciting his poetry [CLIP: 00:35:20-00:37:20] B. Sewing diminishes or is presented differently. Complex dresswork/the crocheted scene she gives Keats after his brother's death vs later more traditional/less imaginative/more mundane work later in the film. [SCREENSHOTS] C. Ends with Fanny destroying herself with the tools of her trade (scissors cutting ribbons/hair) after Keats' death. [CLIP: 1:50:45-1:51:35]

Point for Discussion: "As in many Hollywood pictures, an initially independent and resourceful heroine slides inexorably toward domestic captivity, her ambition strangled by Romantic love." (Scott, 510) Discuss.

(Possible points if prompting needed: reduction of females to love interests in hollywood movies (other movies/books where this occurs), the bechdel test (does the movie have a) at least two named women b) that talk to each other c) about something other than a man) - very low standard but large number of current movies still fail) Bibliography: "Bechdel Test Movie List." Bechdel Test Movie List. N.p., n.d. Web. 17 Oct. 2014.
Laurier, Joanne. "Jane Campion’s Bright Star: The Story of John Keats and Fanny Brawne." Rev. of Bright Star (Jane Campion; Ben Wishaw; Abbie Cornish). World Socialist Web Site. International Committee of the Fourth International, 5 Nov. 2009. Web. 16 Oct. 2014.
Motion, Andrew. Keats. London: Faber and Faber, 1998. Print.
Richardson, Joanna. Fanny Brawne: A Biography. Michigan: University of Michigan Press, 1952. Print.
Walsh, John Evangelist. Darkling, I Listen: The Last Days and Death of John Keats. New York: St. Martin's Press, 1999. Print.