Peter Glahn is released after years of incarceration as a political prisoner and is now returning to his homeland, the mythical Mandragora where the sun never sets. On board the ship home, ... See full summary »
Peter Glahn is released after years of incarceration as a political prisoner and is now returning to his homeland, the mythical Mandragora where the sun never sets. On board the ship home, he meets the mysterious Juliana Kossel who vanishes after stealing his heart. Once he arrives on the island, he goes to the family ostrich farm run by his sister Amelia. He finds Amelia living with a farmhand named Cain Ball who fears that Peter's return will endanger the agreement he made with Amelia that will see him inherit the farm. Amelia has since fallen for the vain Dr. Isaac Solti who controls the island and has a hold on both Zephyr Eccles, the widow of a local fisherman, and Juliana, Peter's dream girl from the ship. Solti's true obsession is a recently discovered statue of Venus that possesses strange powers. All the characters meet at Solti's lab where the sexual tensions erupt. Written by
Mandragora. There is no night there now. Daylight shouts in your ear. Did night-time hold you down by the wrists? Where did you get those bracelets, bracelet-scars?
Prison. Prison. Prison...
You have the look of a cornered animal, very menacing. Did you go mad?
And what now? Now that you're free.
Home. To Mandragora.
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Lead credits contain a stylised question mark under Frank Gorshins name (in reference to his previous role as The Riddler) See more »
There's a blood vessel that pumps between the selves we drive through the day and the incubus we nourish, a creative self (perhaps cocreated by a love), relatively unconstrained, who we promise ourselves we will birth some day.
The most sublime art is what we imagine that young, more unfettered mind imagines. Its why we live, a large part of it, I think.
This is the domain Maddin has decided to explore. Its a sort of Joycean commitment, a raw commitment to dreams less shaped than usual by borrowed items and fed by distilled urges in blood. Small surprise that these don't fully resonate; its supposed to be strange, strange in disturbing ways.
I like the fact that this goes on too long. It has to go on long enough to plainly state that you are not a tourist, instead you've unknowingly entered something you can never really leave.
In its general shape, it is "The Tempest" meets the "Sarrogossa Manuscript" visually flavored by Max Parrish.
It has dreams within dreams and as they shift different controlling or dreaming minds move to the foreground, even a statue (us). There are sexual enchantments, shifting from honesty and deceit, knowing and manipulated. There's a Prospero and a Miranda, a Bloom/hunter who dreamhunts.
I think if you are serious about self, then you will be about film and that will lead you to Maddin and eventually to this. It isn't his most virile vision, but you can sure see what's going on. And that's worth something.
Ted's Evaluation -- 3 of 3: Worth watching.
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