Showing posts with label Olivia Llewelyn. Show all posts
Showing posts with label Olivia Llewelyn. Show all posts

Saturday 24 September 2011

Dimensions: Through the looking-glass of time? (2)

More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)


25 September

Here, now (wherever 'here' and 'now' actually are), are the 500 words that have been submitted to the Festival web-page for Dimensions and, as a comment on a piece about the film in Cambridge News, to that newspaper / web-site:


Although it is received wisdom that ‘I can’t be in two places at once [or at the same time, in a variant]’, not only is that usually just an excuse, but it also might not stand up to examination in the light of developments in cloning.

All that apart, more or less, the immense popularity of Dimensions, which has seen it (after having screenings in Screens 2 and then 1) shown again this afternoon meant that I could go through the wormhole of watching again: I know that the phrase does not sound favourable, but this is my review, and I am in a whimsical mood, in no way intended to detract from viewing twice to see what happened to something that I thought fine the first time.

Why did I think it fine? It is an extremely intelligent film that uses the concept and theory of time-travel to say something about what I described in my Festival blog as longing. I still think that it is longing, not just obsession – I think that one can be obsessed about something (e.g. my head being cut off by Jackie Chan) that (unless we are being psychoanalytical), on the face (pun intended!) of it, one does not long for, and long for something that does not obsess one.

I said that it is longing for something that one cannot have or that may not do me any good. In this film, that turns out not to be true on either count, and also to involve a paradox. The events are separated by a period of fifteen years, but, in some respects, the characters seem unchanged, seem stuck in some childish ways (as we all probably are – now who wants to play the psychology card, after all!), seem full of what I want to call longing. (I call it longing not only because I can’t use the German word Sehnsucht, and, because of the connotations, I don’t want to use yearning.)

I asked a question about that at the premiere – the younger actors had had a chance to speak to their counterparts (and vice versa). What I find myself thinking, this time around, is that there is a generational as well as a dimensional character to all that we see, a temporal distortion that, as much as Alice’s worlds reinterpret the present from which she enters Wonderland or the other Looking-Glass House, ripples (a key word in the script) as water, particles or time do with their differing wave-fronts. Which is why Ant Neely’s brother’s house on the river at Cambridge is such a benefit to and feature of this film.

This Cambridge-driven film – Ernest Rutherford split the atom here in 1917, which was then done under both his direction and controlled conditions in 1932 - buzzes with that innovation, but buzzes in the direction of feelings, and Olivia Llewellyn’s acting beautifully embodies the spirit of a bright and clear academic mind, seeking to help Henry-Lloyd-Hughes (as Stephen) achieve his brilliant aims.


Wednesday 21 September 2011

Unlimited dimensions

More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)


22 September

What a brilliantly entertaining evening!

I had deliberately not decided between getting a ticket for Wild Side at 11.00 (in the 'Tartan' strand) or The Disposable Film Festival at 10.45 (in the 'Shorts' (short films) strand), because I might not be able to go to either - and I couldn't, because of compelling matters elsewhere (and ineptly lacking the capacity to bi-locate).

In Screen 2, B8 (more to the front and the centre than I would normally have chosen, because of the sheer popularity evident when I came to buy a ticket for Cambridge film Dimensions) was my seat, where, when waiting for the show to start (which turned out to be director Sloane U'Ren and writer / composer Ant Neely plus almost all of the cast briefly at the front) I got into an interesting conversation with my neighbour about the film and what science might be the basis of what happened.


The film itself was well worth waiting for, and unlike anything else so far in the Festival - picking things out as they occur to me, it had humour (my neighbour and I turned out to have the same sense of humour), stunning visual effects with the titles, a brilliant riverside setting, a script that really kept you guessing about a number of important matters, a type of Faustian pact, a multi-dimensional love interest, boffins and their marvellously whimsical contraptions, and a water-feature that drew all the main characters into its domain.

Oh, I could go on, and mention a splendid tree (not sure what kind) that was another focus, the recreation of the gentility of the twentieth century after the Great War, and a glimpse of Cambridge academic life. However, not only don't I want to give anything away, but those things really say nothing that addresses what the film is about.

Forget the science (wonderfully presented though it is), forget what may already have been public about this film or its budget or how it was made (though those things are facts): this is a film about longing, many people's longing, and for different things, and how that longing affects this brief span that (however long we do live) we are allotted - whether we are longing what we can't have, or doesn't belong to us, or won't do us any good.

It is very well done indeed, and it will have you choked and affected by seeing unfold what holds us back or spurs us on, what makes us who we are or gives us the scope to be something else. If you can guess where the title's 'tangle of threads' will take you, then well sleuthed, and perhaps you were hunting clues!


Later, events took me to the bar with important cast and crew, and I had a chance beforehand to speak to Olivia Llewellyn in a little detail concerning what made this shoot different and the type of thing that she would want to repeat: it was not, as I thought, that what is conventional in the big studios seemed impersonal as such, but that this was different and that there had been a luxury, say, of being with the other protagonists and to build up more of a bond with them off the set. Before that was questions and answers, led by someone not known to me.

Talking to Ant afterwards, neither of us was sure why this person had wanted to talk about the science so much, as if anyone would expect, say, Matt Smith, as Doctor Who, to be questioned about the physics of the TARDIS (but the Doctor always offers people a jelly baby instead or reveses the polarity with the sonic screwdriver), but he did. When things were opened up to the floor, I had my hand straight up, and jumped in with a question about the children whom we see become adults and whether we can see the former in the latter, and it was nice afterwards to have some appreciation for it from those with Ant, Sloane and me in the bar.

I'm not even sure whether it was bizarre, although I have mentioned the notion of longing and what it entails, but, after other audience-led questions, not only was the question put to Ant and Sloane asked whether there was anything that they would have done diferently, but everyone at the front was asked what question they had expected to be asked and what their answer would have been. Perhaps an answer might have combined those two approaches: we would have had a different person leading the session, and can we have a time-machine to go back and put that right?

What I want to do, though, is to take a trip into the future, and see this film get the coverage and exposure that all those who have worked so hard on it deserve. Maybe, in the meantime, I'll see whether I can look at my schedule to establish the possibilities for revisiting this enchanting world, given that (the screening on Thursday 22nd has also sold out), there is now a third on Saturday 24th at 5.00...





(And, of course, getting back late, after staying around carousing until Festival central's ability to let us stay longer finally disappeared, and then making these jottings, was all made possible, consistent with an early bed-time, just by learning the lessons of this film!)



Thursday 8 September 2011

Time enough for travel

More views of - or at (or before) - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
9 September

After Ant Neely kindly alerted me to one of them, I have made time to view some of the dimensions of Dimensions on youtube: so far (and I may stop here - see below), I've seen the trailer, an interview with Ant, and also with Olivia Llewellyn - not, I gather, that one should wish one's life away (or maybe ask to be back where things were different), but it's all making me wish that 21 September were closer, as this whole project looks really inventive and enthused by a small group of people working hard to making it happen.

There are going to be so many good things at the Festival in-between, so that, although finding time for blogging seems pressed now, it will seem com-pressed then, I'm sure that I'll make it. Do I, though, have to brush up on Everett, the 'many universes' theory, and quantum mechanics whilst I still have the chance, or can I rely on my sketchy memory of such things...? (I'm guessing not!)