In the heyday of Hollywood-ised historical costumers, this splashy story of "one man's journey through the light and dark" of 17th century England would have rated above average. Now that such endeavours are few and prestigious (The Madness Of King George) or epic (Braveheart), it inescapably courts odious comparisons. Adapted from Rose Tremain's bawdier and more soulful novel, this emerges as an earnest, male version of Forever Amber.
As the court of King Charles II (Neill) makes whoopee in a London of squalor and sensuality, young Doctor Robert Merivel (Downey Jnr.), whose specialities are debauchery and whoring, lands a palace appointment and revels in luxurious idiocy. Then H.M. orders him to provide marital cover for a royal mistress (Polly Walker) as her "paper bridegroom" and Merivel does the one thing forbidden him: he falls in love with his wife. Thus he loses everything, to find himself.
The first half of this schizophrenic film - a surprising undertaking from the director of Promised Land and Soapdish - has the opulent and bizarre to offer, including Oscar-nominated costumes and Hugh Grant as a popinjay artist. But the unrequited love of a foolish wastrel is an easily exhausted subject. The second half, concerned with Merivel's redemption, is more satisfactory as his character is improved by tragedies culminating in London's Great Plague and Fire.
Ryan appears halfway as a lunatic with a tentative Irish accent, but it is David Thewlis who makes the strongest impression as the Quaker physician who inspires Merivel to better things. The film itself is redeemed by the pleasing stresses on the theme of restoration (chiefly of individuals' humanity) making this more likeable and entertaining than not.