Carol Morley has been a key creative figure in British cinema for over a decade, having made such films as the exemplary hybrid documentary Dreams of a Life (2011), as well as The Falling (2014), a film tinged with as much mystery as her latest film, a US-UK co-production set in New Orleans.
People really dislike this film, it turns out, having looked up some reviews while forming my thoughts, and that really surprises me for some reason. There are aspects of the film that feel to me somewhat over-written at times, the way all those little images and sonic clues come back full circle to gain meaning within the plot later on, not to mention that boldly astrophysical subtext — cinematic strategies that certainly aren’t always pulled off with any great success in other films. And yet I think director/writer Carol Morley has a really strong feeling for atmosphere, in evoking memory and trauma, an almost spiritual presence that exists beyond the frame. At times it comes across somewhat like a woman’s take on Twin Peaks in that sense, of unsolved mysteries, a woman spiralling out of control, and rather less like, say, the noirish-ness of Destroyer, another recent film about a veteran woman detective coming apart. Also, Patricia Clarkson is a wonderful actor, perhaps the closest that the North American cinema has to Isabelle Huppert. So, yes, I rather liked this film.
Director/Writer Carol Morley (based on the novel Night Train by Martin Amis); Cinematographer Conrad W. Hall; Starring Patricia Clarkson, Toby Jones; Length 109 minutes.
Seen at Curzon Bloomsbury, London, Sunday 31 March 2019.
As readers of the small print on my reviews may have noticed, I go to see films at the Cineworld in Wood Green a lot (it’s one of the closest cinemas to where I live), which is the last place I expected to see featured in a film, but that shows how much I know. But while Dreams of a Life might be memorable to me for that small fact — the woman whose life it presents met her end in a flat in that same building — it is instead a fantastic film with an emotional effect I can only pinpoint as Uncanny (or Unheimliche if you will). Of course, director Carol Morley has form with that: her most recent film, the eerie The Falling, was one of my favourites at last year’s London Film Festival.
Outwardly there’s not much to say about Dreams, for it’s ostensibly a documentary about a woman called Joyce who was discovered dead in her Wood Green flat in 2006, having lain undisturbed for over two years. But grisly details of her end aside, the film is more interested in trying to find out about Joyce’s life, largely filtered through the recollections of her friends and lovers. As part of this, and perhaps to make clear that this is a film interpreting who Joyce may have been, rather than merely presenting the strange facts of her case file, the film is built around dramatic reconstructions of her with actor Zawe Ashton portraying her onscreen. For it turns out that Joyce was no maladjusted outsider for whom such an end seemed predestined, but instead — it seems — a beautiful, intelligent and apparently happy person. There are darker hints that domestic violence and abuse have contributed, so in a way it’s as much a film about what people keep hidden and how that can be undetected by even those closest to them.
However, perhaps most of all, it’s a film filled with the hopefulness of human contact, and the sadness of losing touch, which is perhaps the real reason for my calling it uncanny, for there’s something strangely familiar that I imagine to it that all of us can relate to. Over its running time, the film casts a real spell, one that is only broken by the end credits, as we hear Joyce singing, her voice dreadfully out of key, almost painfully reminding us that this is still a real person who has died, no mere dream.
Director/Writer Carol Morley; Cinematographers Mary Farbrother and Lynda Hall; Starring Zawe Ashton; Length 95 minutes.
Seen at home (Netflix streaming), London, Tuesday 22 September 2015.
Films set at girls’ schools form a fairly distinct ‘coming of age’ subgenre by this point, many of them distinguished by their undertow of the uncanny. I’m drawn back to Lucile Hadzihalilovic’s Innocence (2004), ten years ago now but still provoking indelibly eerie memories, so the fact that The Falling even comes close to the power exerted by that film is, I’d say, a good thing. It too is shot by a French woman (Agnès Godard, frequent collaborator of Claire Denis) and like that earlier film, the rites of adolescence are intricately bound up with mystery and death. Set in 1969, it centres on two young women, Lydia (Maisie Williams) and the free-spirited Abbie (Florence Pugh), but mainly within the context of their time at school, as they and their classmates share experiences and set themselves against the brusque Miss Mantel (Greta Scacchi) and the airily unconcerned headmistress. What’s interesting is not so much what happens, as in the languorous atmosphere, in which significant events are revealed in an almost off-handed way at times. The camera frequently returns to a sylvan scene of trees looming over a small pond, often empty shots of threatening portent, as if summoning some Pre-Raphaelite vision of drowned maidens, and it certainly adds to the general sense of uneasiness. By the end, things get pretty charged in ways that I’m really hoping function as allegory (in a live Q&A the director was keen to stress that at least some of it wasn’t autobiographical), but as a piece it is stylish, and carried by some excellent acting.
Director/Writer Carol Morley; Cinematographer Agnès Godard; Starring Maisie Williams, Maxine Peake, Florence Pugh, Greta Scacchi; Length 102 minutes.
Seen at Curzon Mayfair, London, Monday 13 October 2014.