Silent Films Redux: Underground, Dr. Jekyll and Mr. Hyde, The Light of Asia...

For a while now, the silent film accompanied by live music has been making a come back in London and beyond. It is an extraordinary way to spend an evening: watching cinematic history in the making while listening to composers' and musicians' interpretations of the visual. Here are the three I have seen recently:



UNDERGROUND (1928) directed by Anthony Asquith, score by Neil Brand, with Timothy Brock conducting the BBC Symphony Orchestra

A stunning romance-comedy-noir-thriller starring above all else the London underground of the late 1920s, this is some extraordinary filmmaking. Light and shadow, German expressionism, Russian montage, Hitchcockian suspense, Chaplinesque humor, and it has one of the best chase sequences ever filmed. So much more entertaining than most films made today. The score was perfection, full of fabulous themes and wonderful surprises, the timing and flexibility of the orchestra conducted by the amazing Timothy Brock quite simply unbelievable. The film, beautifully restored by the BFI, was dismissed by reviewers when first released. If the packed and enthusiastic audience at the Barbican has anything to say about it, this print and score will surely set the record straight.



The screening at the Barbican was followed by a riveting Q&A with Brock, Brand, Robin Baker (Head Curator, BFI National Archive), Matthew Sweet (Writer, Historian and Broadcaster), and chaired by Francine Stock (TV/Radio presenter and novelist.) Wonderful stuff was revealed like how the harmonica sequence had to be played by a melodeon, how Asquith introduced the helicopter shot before the helicopter, and how David Thomson, according to Sweet, very wrongfully dismisses Asquith in his Biographical Dictionary of Film. (I subsequently read the entry--Underground isn't mentioned--and he does seem unreasonably nasty about Asquith, but we love David Thomson precisely because he can be so viciously wrong.) But what I appreciated most was the sheer love of film and music eminating off the Barbican stage from all of the speakers, most especially Neil Brand. I missed his score for Hitchcock's Blackmail which I understand was another triumph. Now in October in New York he will be conducting the New York Philharmonic in his restored score of The Gold Rush. If you happen to be in the big apple then go, go, go.

In the meantime, here's almost two minutes of that chase scene I mentioned from Underground. This is from the rooftop of the Lot's Road Power Station which is still there in romantic semi-ruins right down the road from where I live in London.



DR. JEKYLL AND MR. HYDE (1920) starring John Barrymore, directed by John Robertson, screenplay by Clara Beranger, live score written and performed by Blue Roses



It was raining, we were late, we were riding Boris bikes across Hyde Park and couldn't find anywhere to return them. We finally arrived at the Electric Cinema in Notting Hill to see Dr. Jekyll and Mr. Hyde, myself resembling in look and mood the latter. But settling into the plush red leather seats with a glass of red wine to warm us up, we were fast restored by this wild evening to our better selves. The very creepy, scary, weird film in which John Barrymore very impressively becomes a hideous, hairy, distorted version of himself, was accompanied by an equally macabre and intriguing score played and orchestrated by Blue Roses. There have been too-many-to-count film versions of this Robert Louis Stevenson story about our dark double-nature, but this one is the original and fascinating to watch. It was written by Clara Beranger, who would go on to have a very successful Hollywood career scripting over 70 movies.



This screening of Dr. Jekyll and Mr. Hyde was part of the wonderful BIRD'S EYE VIEW FILM FESTIVAL's Sound & Silents strand which presents classic silent films by pioneering women filmmakers alongside specially commissioned scores by cutting-edge contemporary female musicians.

Upcoming from Bird's Eye View Sound & Silents: British Composer Mira Calix rescores early animation The Adventures of Prince Ahmed at the Aubin Cinema, Shoreditch, on Sunday 23 October. (www.birds-eye-view.co.uk)

THE LIGHT OF ASIA (1925) directed by Franz Osten & Himansu Rai, written by Niranjan Pal with New Live Score By Pandit Vishwa Prakash




I had seen Franz Osten's amazing A Throw of the Dice at a screening in Trafalgar Square about a year ago so when I heard the BFI was showing The Light of Asia I quickly bought tickets. After an overlong introduction to the film (the occasion was actually a celebration of the filmmaker Niranjan Pal who went on to found with Osten and Rai the movie studio The Bombay Talkies Limited) the movie was finally screened. The film recounts the saga of Prince Siddhartha, who rejects his privileged life to search for Truth and becomes Buddha, or the Enlightened One. The story was just not as compelling as A Throw of the Dice based on the episode from "The Mahabharata" chronicling a harrowing love triangle. Still, they both shared the incredible Rajasthan settings, the erotic and exotic costumes, the jungles and palaces, elephants, camels, and tigers. Orientalism abounds but so does breathtaking beauty and astonishing filmmaking. The meticulous attention to lighting and patterning of Weimar cinema here meets the fantastical tradition of Indian storytelling. And the Prakash score was sublime.


A THROW OF THE DICE (1929) directed by Franz Osten


I know of two more silent film events upcoming in London which I will sadly have to miss but they promise to be great, great evenings.

THE FIRST BORN directed by Miles Mander with a live performance of Stephen Horne's new score at Southbank's Queen Elizabeth Hall on Thursday, Oct 20 at 19:30. (bfi.org.uk/lff)

THE PASSION OF JOAN OF ARC directed by Carl Dreyer (and one of the all time great silent films) with music from the London Symphony Orchestra on November 6 at 19:30. (Iso.co.uk)

If Only God Were A Woman: The Tree of Life and Bridesmaids

I thought I would hate Bridesmaids--I tend to loath films that pander to women and end up digging them even deeper into the demeaning morass where they are forced to wallow by the prevailing misogynist culture. Instead, I liked it quite a lot--an excellent send up of the cliched wedding story, even if the satire wasn't as razor sharp as it could have been. But I laughed so much more than I thought I would--and much more by a long shot than I did watching The Hangover. The women were just plain consistently funny. I also appreciated that, though the men in the film were by no means front and center, at least two of them got some very strong, even hilarious, lines--a big difference from the male buddy movies in which the women are usually throw aways. And so Bridesmaids managed to be a good bad girl buddy film, full of stark and raunchy truths about us, while maintaining our moral superiority. Perhaps, Margaret, there is a God and she's got a helluva sense of humor. In truth, there was still quite a bit of pander in Bridesmaids (the premise itself, the cupcake business, the iheart moments), but there was quite a bit of surprising writing and acting with refreshingly little concern for the male gaze. I am convinced that contrary to what they preach in Hollywood, and the numbers back me up on this one, that men find the woman's perspective refreshing too (and erotic, and challenging, and intriguing). A little less fear from the powers that be and that green light is going to be getting a whole lot of action for women-centric films. (Don't worry, I'm not holding my breath. That's what everyone said after Thelma and Louise--how many years ago now?) In any case, a film that has a scene of a bride in a white gown taking a shit in the middle of a busy street deserves an Oscar (I know, in some other universe, maybe that one in which God is a woman).

As for The Tree of Life, I thought I was going to love it. I've never loved Malick to the degree others have (the way he's always so obviously reaching for profundity makes me cringe--boy was I in for it), but I have always admired his grand ambition and immense filmmaking skills. When I heard people were walking out of The Tree of Life saying the film was nonsense, my pretentious, antipopulist self decided I would love it. I actually found the film very funny, with all those exploding stars, primoridial muck, dinosaurs, Brad Pitt (of the rainbow brood) with the infant's foot and that final scene which made me yearn for more films like Last Year at Marienbad. But it's never really all that fun to be laughing when you're not supposed to be. And I found so much of it tedious--Malick pretending to be Spielberg trying to be Tarkovsky--brought to mind once again the lyrics from that great "Hair" song: And I'm a genius genius/I believe in God/And I believe that God/Believes in Terence/That's me that's me. Though I would tell no one it was a film that had to be seen (Bridesmaids on the other hand I would just), I never really wanted to walk out as it was on the whole nice to look at, the boys were wonderful, the music so very heavy duty Christian but still great to hear. Best comments from the blogosphere: "This film was complete and utter self-absorbed masturbation. American faux-angst, faux-reflection, emotionally-thin bullshit … The sighs of boredom, fidgeting and deflated expectation culminated in cinemagoers at the Curzon Soho today leaving with barely the will to live." -Socialsurgeon; "I think in his desperate search to make the perfect transcendental film, Malick is using a bigger and bigger canvas and taking longer and longer to say less and less. There is nothing in this film that isn't intimated with greater subtlety, sadness, and a truer sense of the sublime in his first three films." -Jeromenewton. As a female viewer, I felt almost entirely excluded, women really having no place at all in this film except as a male fantasy of the perfect mother. Always irritating. I did have a great thought though as I was leaving the cinema: If only God were a woman Malick might have made the epic he was hoping for.

Other films I've seen recentlyish:

Source Code: What a great old-fashioned yet au courant sci-fi thriller that made perfect sense in the end and didn't rely on too much schmalz. Concept brilliant--three cheers for the multiverse theory (did you know that William James coined the term?)--acting by Jake Gyllenhaal and Michelle Monaghan adorable. Good chemistry. This was everything that other film with Leonardo di Crappio should have been but wasn't (Inception). Loved Vera Farmiga though the trailer for her new film Higher Ground in which she stars and directs has me worried she wants to be Terence Malick. What's with the God theme these days? Please someone make a film in which it's discovered that God is a lesbian.

Hanna: Opening sequence excellent. All down hill after that though the young actress playing Hanna (Saoirse Ronan) was mega watchable. Action scenes went on too long and blended into each other. First time I've seen Cate Blanchett not totally at the top of her game. Tom Hollander great as evil guy.

Pirates of the Carribean: I love Johnny Depp but even with the excellent decision to get rid of the fey Keira Knightly and bring on my heartthrob Penelope Cruz, this was still so very tired even Jack Sparrow seemed to have trouble keeping his eyes open.

Le Quattro Volte: An Italian version of The Tree of Life. An overdose of pretention. I actually should have walked out of this one it was so unbearable, though the detail of the shepherd ingesting the dust off the church floor to help cure his chronic cough was a nice touch.

Make Way For Tomorrow

I'd never heard of Make Way For Tomorrow, but Leo McCarey had also directed one of my favorite films, The Awful Truth (made the same year, 1937), and I had been meaning to go for some time to one of The National Gallery's Saturday afternoon screenings of classic films. Their flyer billed Make Way For Tomorrow as "one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, ageing, and the generation gap." It sounded promising enough, though not a subject I would usually leap at. I had no idea what I was in for.

The story centers on an elderly couple who haven't planned for retirement. He is fired from his job and can't get another. The bank forecloses on the house and the couple finally tell their five adult children what has happened. There is no obvious solution as none of the children is particularly well off so the couple is split up, the mother going to live in New York City with a son, the father to a small country town where he sleeps on his daughter's sofa. The movie plays out the dreadful humiliation of what the aged must endure when entirely dependent on their children, and the heartlessness, frustration, pity, and guilt the children experience when faced with the "burden" of their parents. It is a shockingly real portrait of middle class family life across three generations and more than relevant to today's audiences. It is also an acute and beautiful portrait of a long term marriage.

With magnificent subtlety and artistry, this movie, perhaps more than any other I have ever seen, gets right at the awful truth of the human condition. It is certainly one the most honest and loving portrayals of basic human cruelty ever created. And some of the best acting--with Victor Moore and Beulah Bondi giving extraordinary performances as the old couple--ever captured on screen. The writing was pitch perfect, the screenplay by Viña Delmar, who also wrote the screenplay for The Awful Truth. (She was the author of a series of best-selling novels with titles such as Bad Girl, Kept Woman, and Loose Ladies about the real issues facing the modern woman.)

The film was, of course, a failure at the box office as the subject is simply not one most people want to face, myself included. But it is a subject that we actually do confront every hour of every day and the brutal truth of the film is our own: Ageing and death is the deepest, darkest of sins not only in our society at large but within our very families. Not only do we resent and despise those close to us for committing the sin of getting old, we know our turn is at hand and loathe ourselves for it. The last thing we are prepared to do for ourselves or for others in any meaningful way is to Make Way For Tomorrow. Though the very end of the film is relentlessly bleak, in the stunning denouement when the couple tour New York City during their last hours together before being split up again, this time surely permanently, McCarey gives us a deeply moving vision of old age in the fullness of its elegance and integrity.

Orson Welles said that the movie "would make a stone cry" but this film is not sentimental. Nor is it a cold-eyed view of man's inhumanity to man. Its devestating power to make us weep is found in how generous and understanding McCarey is to each of his characters, all of whom, even those most apparantly selfish, display the whole gamut of emotions from sheer loving kindness to begruding niceity, to petty meanness, to heartlessness, to sadistic pleasure. No one is innocent, and we're all guilty.

Make Way For Tomorrow was an inspiration for Ozu's Tokyo Story, a fact I find at once surprising and obvious. I always thought that slow, subtle, penetrating depth of vision into family dynamics so uniquely Ozu's, but McCarey's influence on Ozu is indeed perfect.

McCarey claimed Make Way For Tomorrow was the best film he ever made and in 1938 when he won the Oscar for The Awful Truth he held up the golden statue and told the audience, "This is for the other one."



Four More Films I've Seen Recently in Brief:

Silken Skin--directed by François Truffaut, his fourth film, made in 1964, this is a gorgeous movie about a married French intellectual's passionate love affair with a stewardess, exquisitely played by Françoise Dorléac, Catherine Deneuve's older sister who would die tragically in a car accident soon after the making of this film. Wonderfully detailed, delicate and engaging, that is right up until the last scene of the film which is just silly and reminds me of how hard finding the right ending can be.

The Hereafter--directed by Clint Eastwood, entertaining enough but mostly plodding and never soars, except in a very early scene in which Cécile De France is nearly killed by a tsunami. Very beautiful and very eery on many levels. Matt Damon was adequate but Bryce Dallas Howard's brief cameo stole whatever of the movie there was to steal.

Blue Valentine--another portrait of a marriage, though this one was so one-dimensional as to be confusing, causing this viewer to repeatedly wonder: am I missing something here? The script was flat and cliched but Michelle Williams outstanding performace saved the movie from being a complete waste of time. Ryan Gosling also acquitted himself well. Still, I don't understand how this film got made.

Morning Glory--entirely forgettable romcom with Diane Keaton, Harrison Ford, and Rachel McAdams. If only Viña Delmar were still around...

End of Year Roundup--Somewhere, Forbidden, Inception, The King's Speech, The Wrestler, The Shining, Invasion of the Body Snatchers...

SOMEWHERE
I actually saw "Somewhere" long ago at the London Film Festival but disliked it so much I couldn't bring myself to write about it at length. Apparently, neither could Anthony Lane, who gave me the idea for a roundup, and whose assessment of the film very nearly matches my own--"In one prolonged shot, Johnny circles his car fast around a track, but the futility of a noodling movie star is hardly a revelation of the absurdity of the human condition, or whatever this movie is supposed to be about." Indeed, Stephen Dorff's Johnny Marco is the flattest imitiation of a Mastroianni-esque character one could devise. "Somewhere" was as bad as "Nine" in its complete misunderstanding and degradation of Italian cinema, not to mention women. (The only viable female is Johnny's eleven-year-old daughter played by Elle Fanning and an obvious stand-in for Coppola's younger self.) I was a fan of "Lost in Translation" despite my big problems with its gross condescension towards the Japanese. Bill Murray and Scarlett Johansson were just so incredibly watchable, whereas "Marie Antionette" was entirely unwatchable. "Somewhere" has some nice shots of the Hotel Marmont and Sunset Boulevard but was mostly just plain boring and horribly misguided. But this is blissfully a roundup so I won't go on. Let's just say the highest compliment I can pay this film is that it made me think of the lyric from "Hair":
Claude Hooper Bukowski/Finds that it's groovy/To hide in a movie/Pretends he's Fellini/And Antonioni/And also his countryman Roman Polanski/All rolled into one/One Claud Hooper Bukowski.
If only Sofia Coppola had a tad more of Claud Hooper Bukowski's ambition.



FORBIDDEN
"Forbidden," seen at a Frank Capra retrospective at the National Film Theatre/British Film Institute (one of the great perks of London), was a surprise. Not your usual Capra or Stanwyck fare--the film is about a librarian who has a passionate affair with a married man--an ambitious but very likeable politician (only Capra could pull any of this off)--while on holiday and subsequently gives up everything--including their child--for him. The power of Stanwyck's performance allows the film to investigate love's complexity with a rare depth and maturity. I actually came away from the film empathasizing with her choices. Nevertheless, Capra himself loathed the film calling it "two hours of soggy, 99.44% pure soap opera." During the filming, Stanwyck fell off her horse, injured her back, and had to spend every night of the rest of the filming in the hospital in traction. Capra would blame the film and the equestrian accident for Stanwyck's definitive refusal to marry him.


INCEPTION
Glad I saw this on a plane and very post hype. But still I was bored. Doesn't even come close to the genius of "Memento" or even "The Matrix." Saw everything coming way before it did and the love story was plain stupid.




THE KING'S SPEECH
Oops, wrong King. So what if it's historically inaccurate. So what if it's a feel good story that lacks any subtlety whatsoever. It's entertainment at its best in the sense that it doesn't have any ambition to be anything more than it is so fulfills its promise from start to finish. Besides, I saw it with my mother who loved it because she remembered as a kid listening to the stuttering King on the radio and being embarrassed for him. If Colin Firth doesn't get an Oscar for this I'll eat my hat. And Geoffrey Rush deserves a nod. Without them this film would have been nothing at all.













THE WRESTLER
I saw this with my mother too and she repeated throughout the entire film: "Why would anybody ever want to watch this?" I thought Mickey Rourke's performance eerily too good. The film comes nowhere near the brilliance of "Raging Bull" but does have moments of sublime intensity. The love story with Marisa Tomei (always wonderful) and the daughter thread very banal. I was actually relieved at the lack of redemption, but could have been spared the Christ image during the denouement. Finally, I have to agree with my mother here.


THE SHINING
Quite simply one of the best films ever made. This should be required viewing for any student of film, really anyone interested in the creative process. It is a veritable primer in perspective. A multi-layered work of genius, my favorite scene, of course, is when the amazing Shelley Duvall peers down at the typewriter Jack has been writing his magnum opus on, while the camera takes precise aim up at her, the typewriter smack in the center of the frame. As she reads the by now infamous line, "All work and no play makes Jack a dull boy," she--and we--are struck dumb by the great and horrifying truth that creation and destruction are one. The film is the enactment of T.S. Eliot's line, "There will be time to murder and create," via the inimitable horror/humor of Stephen King as envisioned by Stanley Kubrick. Unbelievable. I so identified with Jack it was disturbing.


INVASION OF THE BODY SNATCHERS
By far the best of the three versions is the one starring Donald Sutherland and Jeff Goldblum. My mother's verdict: "This should be required watching for all citizens of the United States every six months to ensure we all don't become Republicans."


THE TRIPLETS OF BELLEVILLE
One of the most deeply feminine and feminist films I have ever seen, albeit made by a man.





THE SOCIAL NETWORK
I saw this on the plane home from LA. I had avoided seeing it because I just didn't think I could take one more film telling me how irrelevant women are. But on a plane I can take anything and yes women are entirely irrelevant here but I did enjoy the epic battle between Jew and Gentiles. Ah those Winklevoss twins really got what was coming to them (a 60 million dollar settlement). And what a hero for our times that Zuckerberg, a veritable saviour. He's given us Facebook, a monument for all time, a wonder of the world, a human cultural legacy up there with the pyramids, The Divine Comedy, Star Wars. Where would we be without him?

Howl

Howl is a howl, of laughter or pain take your pick. Poetry made accessible to the masses is a nice idea (for more and frankly more interesting see: www.motionpoems.com) but the literalization of Ginsberg's poetry through less-than-inspiring animation by Eric Drooker was just too much for me. The film is a primer on how to take a great work of literature and banalize it beyond recognition. James Franco's performance was exceptional and he'll probably win an Academy Award or something for it but to me it felt like a lot of strutting and fretting for his 90 minutes upon the stage, full of sound and fury but, contrary to Ginsberg's poem, trying to Signify Something. (In the new year I will go see Derek Jacoby play King Lear at the Donmar and with any luck--and so far all signs positive--his performance of "howl, howl, howl" will redeem all.) The obscenity trial was a pretty flat courtroom dramitization. And even though the cameos were fantastic--Mary Louise Parker and Alessandro Nivola in particular--they could do just so much. My present infatuation (I have a feeling I'm not alone), Jon Hamm, sadly couldn't muster any kind of enthusiasm for his role. I thought perhaps the casting was wrong and that Hamm should have played the prosecution lawyer (David Straithairn did the best he possibly could) instead of the defense lawyer but I doubt that would have helped. The film will undoubtedly increase sales of Ginsberg's "Howl" so I suppose, then, "Howl: The Film" won't have been a total loss.

The Kids Are All Right

I laughed, I cried (not really), I was thoroughly entertained. This is a solid comedy and about lesbians no less! Wow, did I ever think I'd see the day when a film about lesbians would make it into the (albeit arthouse) mainstream? I am a fan of Lisa Cholodenko's other films High Art and Laurel Canyon. But whereas Cholodenko's other movies are interested in the relationship between the surface of things and the twilight zone below, this movie stays rigorously above the water line. Don't get me wrong, I like the film in a superior made-for-tv-movie kind of way but wish I had seen it on an airplane instead of at the London Film Festival. Whenever I bring my objections to the film up among friends and acquaintances (of the left-leaning kind, the right-leaning kind having not even consciously registered the existence of the movie), I am almost immediately asked if I have any gay friends. So let me just state once and for all Filmfatale's Gay Credentials: Some of my best friends are gay! So here is my greatest objection to the movie: THE SEX. Though there are many sex scenes, some rather hot, there is not one viable sex scene between the two lesbians. The couple--excellently played by straight women extraordinaires Annette Bening and Julianne Moore--like to launch their foreplay with gay male porn, a hilarious scene, full of oily male torsos, but then Annette and Julianne disappear under the blankets and that's it! Mark Ruffalo (also excellent, as are the kids) has great, steamy, and graphic sex with his hot African-American goddess of an employee and then with adorable-femme Julianne Moore fulfilling two standard white male fantasies. But what about the lesbian audiences or the straight women even??? We're probably 99% of the audience! But when did that ever matter. Once again our gaze is irrelevant, especially if the movie wants to make it into the big leagues. Aargh. Other objections: It's totally unrealistic that the family had no lesbian friends. They seem to live in complete isolation from the gay community, and so very fearful (though humorously so) that their son might be gay. The only friends we do see are a very heterosexual couple. Which brings me to my next niggle. Did Annette and Julianne's relationship have to be such a straightforward copy of the typical upper-middle-class heterosexual couple? Couldn't the writers/director have given us just a bit more complexity? Yes, of course, we all strive towards normalizing ourselves to middle class values, even lesbians, but it's never as easy or as plain as all that. Lisa Cholodenko's fine comedy opted for mainstreaming over plumbing the depths.

Never Let Me Go

Kazuo Ishiguru is one of my favorite living authors but I will not here compare book to movie because, well, though it sits on my shelf I haven't read the book, but I also admire how Ishiguru himself said that once he signed over the film rights, as far as he was concerned whatever was created was something he could lay no claim to, he was simply eager to see what would happen.
The film describes a world, very near to our own (end-of-the-20th-century Britian), in which clones are created as living organ farms in order to increase the life-span of non-clones (presumably for those who can afford such a thing as there seem to be far fewer clones than non-clones and the clones are very well taken care of). The film had the potential to be great. The script was solid enough, though lacked a layer or two of finesse, the production gorgeous, if a little too gorgeous in that Merchant & Ivory way, which might have added something wonderfully creepy but the cinematography and production design seemed more intent on looking good than on providing contrast to the content. My biggest objection, however, was the casting. The three stars--Keira Knightly, Carey Mulligan, and Andrew Garfield--were excellent but the trio (and Keira Knightly most glaringly) had too much of the Movie Star aura about them to let this film deepen and mull as it needed to. Three unknown actors would have made a huge difference in allowing the material to truly disturb. Instead the audience is constantly distracted from the claustrophobic and horrific sadness of the story by the cult of the glam personality. (Same goes for Charlotte Rampling.) The result, I fear, is that most people will come away from this very prescient, not-so-science-fictional tale with the idea that it is a metaphor for and musing on our own mortality, when it could have been a very subtle and sophisticated damnation of our capitalist society and the rigid class system that prevails despite all attempts (albeit feeble) to do away with it under some guise of social justice. Of course, the film's greatest strength is also it's greatest flaw. It works hard to convey the idea that in this world cloning for organs seems so utterly reasonable that no one, neither the clones themselves nor the society at large, seriously objects to the practice. It's just accepted as another of life's necessary evils. We're all going to die some day anyway, the organ-donating clones just somewhat before their time and after two or three gruesome operations. This speaks to so much of what occurs every day in our here and now--organ farming actually does happen, but also horrific pracitices such as clitoridectomy or slavery or gross disparity of wealth, one country has an obesity problem while another starves. We all, more or less, accept these things, relying on the truism that this is just how it is, there's really not much we can do about it. It's a utilitarian world, after all. But the film never really leads us here. With all its high production qualities and fancy cast, implausibility reigns and the audience is sure cloning for organ farming could never, ever, happen, especially in England, or America, where there is a strong tradition of humanism and individualism and especially of fighting the enemy without (while entirely ignoring the enemy within). I was not unhappy I saw this film but it was most certainly was a missed opportunity.