Regular readers know that I am studying the effects of layered narrative, and the various techniques that filmmakers exploit.
A reader suggested this because it overlaps all sorts of things. Within the film are two overlapping realities. And both are lapped onto a specific, well known poem. And the pace of the thing is slow enough for us to steep in ambiguities. Also it has Helena, which in addition to her other charms she will always carry the honesty of Dove Wings and the layering of Fight Club.
So this is a textbook case of what I study. But the reason I am interested is because it can be used to make films, more precisely the narrative capture in films, more effective. But this is not a very good film. Why? Because like many others, the layered mechanics is all there is. These techniques can build a skeleton that runs, but you need blood.
No blood here. You can see that in the first few moments, or hear it. The score has that sort or wandering piano, one note at a time over mellow violins. Its dreaminess by the numbers.
You'll find the allusion to the poem particularly blunt. It appears in the title, as a book from the past and the present, as well as something discussed.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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