Peter Greenaway is arty. Painfully so. However he readily admits that this film is "self-conscious", "manufactured" and he says that all cinema is probably as "artificial" a form as you can get.
This film is beautiful to look at. Greenaway was inspired, visually, by paintings of the mid 17th century, particularly those of Vermeer. Almost every shot is composed like a painting. Many of the shots are symmetrical, walls are filmed flat so that the horizontal lines are parallel with the top and bottom of the frame. Objects are placed on tables as if subjects for a still life. Lighting is used in an alternation of light, shade,light,shade receding to the back of the picture, which is a signature of the type of 17th century, Western art that Greenaway is paying homage to.
The substance of the film follows weighty themes, all of which are explained in great detail through the director's commentary: evolution, light and twin-ship.
What is lacking is emotion. This is a cerebral film. Your emotional reaction to it will be through the imagery, be it beautiful or repulsive. You will not engage with the characters on an emotional level. You'll find them hard to relate to. The performances are stilted and amateur theatrical. It is fortunate, then, that Michael Nyman provides a fantastic score (present on almost every scene and almost outstaying its welcome) which prevents the dialogue (the script leaves a lot to be desired too) rendering everything flat.
Rent this if you enjoy visuals for their own sake, if you wear spectacles and if you like holding your chin in your hand and frowning. I qualify on all those points, so I enjoyed it a great deal.
Extra points for an extraordinarily thorough director's commentary on the DVD which serves to pull out all the hidden depths. Though one could make the point that an explanation that adds so much extra understanding leaves you feeling that the film failed adequately to convey much of what was intended.
DVD easter eggs (worth seeing): http://www.dvd.net.au/hidden.cgi?movie_id=10484
This film is beautiful to look at. Greenaway was inspired, visually, by paintings of the mid 17th century, particularly those of Vermeer. Almost every shot is composed like a painting. Many of the shots are symmetrical, walls are filmed flat so that the horizontal lines are parallel with the top and bottom of the frame. Objects are placed on tables as if subjects for a still life. Lighting is used in an alternation of light, shade,light,shade receding to the back of the picture, which is a signature of the type of 17th century, Western art that Greenaway is paying homage to.
The substance of the film follows weighty themes, all of which are explained in great detail through the director's commentary: evolution, light and twin-ship.
What is lacking is emotion. This is a cerebral film. Your emotional reaction to it will be through the imagery, be it beautiful or repulsive. You will not engage with the characters on an emotional level. You'll find them hard to relate to. The performances are stilted and amateur theatrical. It is fortunate, then, that Michael Nyman provides a fantastic score (present on almost every scene and almost outstaying its welcome) which prevents the dialogue (the script leaves a lot to be desired too) rendering everything flat.
Rent this if you enjoy visuals for their own sake, if you wear spectacles and if you like holding your chin in your hand and frowning. I qualify on all those points, so I enjoyed it a great deal.
Extra points for an extraordinarily thorough director's commentary on the DVD which serves to pull out all the hidden depths. Though one could make the point that an explanation that adds so much extra understanding leaves you feeling that the film failed adequately to convey much of what was intended.
DVD easter eggs (worth seeing): http://www.dvd.net.au/hidden.cgi?movie_id=10484