Directed by Richard Laxton from an original screenplay by Emma Thompson, who wisely wrote a key role for herself, “Effie Gray” is the epitome of a period film that is done tastefully even while concerned with basic emotions and sexuality. It also is exquisitely photographed (Andrew Dunn directed photography), affording additional pleasure on that score while relying on a true, documented situation on which to build this absorbing fictional treatment.

Casting Dakota Fanning as Effie Gray proved fortuitous, as she gives a mature, affecting performance that reflects the bewilderment and pain she endures after she is married to the eminent John Ruskin, who never sleeps with her.

The word that has come down from the Victorian era is that Ruskin, aloofly played in the film by Greg Wise, was repelled by the sight of his wife’s body, a mystery because Gray was considered attractive. Although not quoted in the film, the real Effie Gray wrote a letterto her father, in which she said of her husband’s never having made love to her: “He alleged various reasons, hatred to children, religious motives, a desire to preserve my beauty, and, finally this last year he told me his true reason…that he had imagined women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person the first evening 10th April.”

Thompson’s screenplay depicts a stifling effect when after the marriage Gray enters the Ruskin home in which he is dominated by his parents, especially his mother, who also insists on dominating her daughter-in law. Julie Walters sternly portrays Ruskin’s mother, David Suchet his father.

There is a scene on a family trip to Venice in which Gray is tempted by an attractive young Italian, but fights off her desire and flees him. An enjoyable touch in the Venice sequence is the appearance of the ever-striking Claudia Cardinale as the Viscountess. But the Venice episode aside, it is inevitable that Gray will meet someone she can desire. He arrives in the person of aspiring painter John Everett Millais, an ambitious disciple of Ruskin, played with understanding and sensitivity by Tom Sturridge. On a trip to Scotland Ruskin leaves him alone with Gray even though he knows what is developing.

The drama accelerates (smooth editing by Kate Williams) as Gray confides in Lady Eastlake (Thompson), who has befriended her, about her marital situation. Eastlake finds the news astonishing, and so begins a daring move to have the marriage annulled, which was scandalous at the time.

There is a delicate examination by a doctor to verify Gray’s virginity, and in a poignant scene legal papers are served on Ruskin in the presence of his parents, who appear to be shocked at the ground cited.

Although by then Gray and Millais realize their love for one another and eventual intended commitment, utmost propriety must be observed or the move for annulment will be endangered.

With all of the emotion swirling about, the screenplay and direction maintain decorum in the tradition of good taste. The film’s co-producers are Donald Rosenfeld and Andreas Roald, with Rosenfeld having previously been president of Merchant Ivory Productions, known for an overall style of which “Effie Gray” may remind you. The essentials are communicated without any descent into exploitation.

The cast also includes Robbie Coltrane, James Fox, Riccardo Scamarcio, Sir Derek Jacobi and Polly Dartford. The costuming is impressive (Ruth Meyers was costume designer), and composer Paul Cantelon provided a score that underlines the film’s era and emotions.