An Englishwoman, Vivienne, finds she is dying of cancer, and goes out to a remote French village, where a close friend, Rose, helps her through the final, mostly trivial, challenges of life. A new drug that won't work. A pain in her feet. The need for the companionship of a little cat.
"I can't say what brought me here... my dreams... a friend..." All delivered in that tragic minor key, so beloved of artistic bohemia, discouraging robust speech, hoping that misty vagueness somehow indicates genius.
Well, vagueness is the word. Where does this actually leave us? What were her dreams (apart from just living in the mountains)? Who is the friend? Is it that male figure framed against the sky? Is he an old lover, or perhaps the Redeemer making his first greeting?
If we found Vivienne more intriguing, we might delve a bit deeper into some of her dialogue - only to find it endlessly drowned-out by the music track, especially that intrusive accordion, so incompatible with delicate, gossamer thoughts. (We literally can't hear one word of her answer to Rose asking "Seriously, what are you going to do about the pills?") And what is meant by 'La Valse Triste. Vivienne Chandler' in the credits? I certainly couldn't pick out anything resembling a waltz theme.
It lends an ironic edge to the title 'Ceaseless Sound', for which there is no apparent explanation. I think we have to note that this is the work of a university production group, and sheer immaturity bulks-up big in the result. Prestigious awards have been won by 8-minute epics. But not this one.
"I can't say what brought me here... my dreams... a friend..." All delivered in that tragic minor key, so beloved of artistic bohemia, discouraging robust speech, hoping that misty vagueness somehow indicates genius.
Well, vagueness is the word. Where does this actually leave us? What were her dreams (apart from just living in the mountains)? Who is the friend? Is it that male figure framed against the sky? Is he an old lover, or perhaps the Redeemer making his first greeting?
If we found Vivienne more intriguing, we might delve a bit deeper into some of her dialogue - only to find it endlessly drowned-out by the music track, especially that intrusive accordion, so incompatible with delicate, gossamer thoughts. (We literally can't hear one word of her answer to Rose asking "Seriously, what are you going to do about the pills?") And what is meant by 'La Valse Triste. Vivienne Chandler' in the credits? I certainly couldn't pick out anything resembling a waltz theme.
It lends an ironic edge to the title 'Ceaseless Sound', for which there is no apparent explanation. I think we have to note that this is the work of a university production group, and sheer immaturity bulks-up big in the result. Prestigious awards have been won by 8-minute epics. But not this one.