7.3/10
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9 user 5 critic

Robinson in Space (1997)

Robinson is commissioned to investigate the unspecified "problem of England." The narrator describes his seven excursions, with the unseen Robinson, around the country. They mainly ... See full summary »

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Robinson is commissioned to investigate the unspecified "problem of England." The narrator describes his seven excursions, with the unseen Robinson, around the country. They mainly concentrate on ports, power stations, prisons, and manufacturing plants, but they also bring in various literary connections, as well as a few conventional landscapes. Written by Will Gilbert

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10 January 1997 (UK)  »

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Did You Know?

Crazy Credits

Quoted texts include: Chapter 23 of 'The Revolution of Everyday Life' by Raoul Vaneigem in 'Leaving the 20th Century'; translated and edited by Christopher Gray; published by Free Fall Publications. 'The Production of Space' by Henri Lefebvre; translated by Donald Nicholson-Smith; published by Blackwell. 'The Adventure of the Copper Beeches' by Sir Arthur Conan Doyle. 'Seaports' in Paris Spleen by Charles Baudelaire; translated by Louise Varese; published by New Directions. 'Capitalism, Culture and Decline in Britain 1750-1990' by W.D. Rubinstein; published by Routledge. 'Space, Place and Gender' by Doreen Massey; published by Polity Press. 'Wartime, "genius" honoured at last' by David Ward; in The Guardian on 13 December 1994 'Laughter' by Henri Bergson as quoted in 'The Postcards from Utopia' by Stanislaw Czekalski in Umeni 1-2 XLIII/1995 published by UDU AVC Prague 'The Life of the Automobile' by Ilya Ehrenburg; translated by Joachim Neugroschel; published by Pluto Press; Translation Urizen Books See more »

Connections

Followed by Robinson in Ruins (2010) See more »

Soundtracks

A Matter of Life and Death
Prelude
Composed by Allan Gray
Published by Peter Maurice Music Co. Ltd
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disliked this as much as I enjoyed the earlier, London, released in 1994
24 January 2008 | by (United Kingdom) – See all my reviews

I disliked this as much as I enjoyed the earlier, London, released in 1994. The reason, I think is that I know more about and care more about London, and much as the first film was almost gleefully depressing in its portrayal of a dead place under the Conservative party, I know the predictions were wrong. The London film remained interesting because of the difference between how it was seen by Keiller 15 years ago and how it is today. Whereas here I am less intimately involved with the various places depicted and Scofield's uninterested and expressionless verbalisation of the drivel of a soundtrack helped not a lot. It is also interesting to note that the general socialist drift of this film has also been shown to be wrong. All those sarcastic remarks about lack of British manufacturing and dark murmurings about the Japanese taking over, all seem irrelevant as an expanded service industry and tourism helped by cheaper imports from China and India, seems to have more than filled the gap.


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