6.8/10
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10 user 2 critic

My Wrongs 8245-8249 and 117 (2002)

Adapted from a monologue in his "Blue Jam" radio series, Chris Morris' first short film is a haunting black comedy about a man who no longer uses his name because he's decided he's ceased ... See full summary »

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(screenplay), (monologue) | 1 more credit »
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Won 1 BAFTA Film Award. See more awards »

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Cast

Cast overview:
...
Him
Miranda Pleasence ...
Imogen / Mum (as Miranda Pleasance)
Simon Greenall ...
Father in Church
...
Father in Park
Christopher Ettridge ...
Bus Conductor
Hayley Bird ...
Girl in Park
Eve Darby MacLennan ...
Girl in Church
Geoffrey Beevers ...
Cleric
...
Rothko (voice)
...
Gerbil (voice)
Ged Day ...
Seventies Dad
Tom Panton ...
Dog Warden
Michelle Hebbron ...
Family in Park
Isabel Mitchell ...
Family in Park
Samuel Mitchell ...
Family in Park
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Storyline

Adapted from a monologue in his "Blue Jam" radio series, Chris Morris' first short film is a haunting black comedy about a man who no longer uses his name because he's decided he's ceased to deserve one, and a dog called Rothko who says he is the man's lawyer. As reality bleeds into hallucination, Rothko decides to take the man for a walk... Written by James Wilkinson <wilko_3000@yahoo.com>

Plot Summary | Add Synopsis


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6 November 2002 (UK)  »

Also Known As:

Dog Daze  »

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Did You Know?

Crazy Credits

Stunt Ducks - David Hemming's Bird Slave Circus Action Baby - The Amersham Hurlable Child Kennel Mr Considine's Personal Flautist - Lilliana Hopetrap See more »

Soundtracks

The Nights Are Cold
Written by Richard Hawley
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User Reviews

 
Genius
29 March 2006 | by (United Kingdom) – See all my reviews

This is an ingeniously quirky short film. It may be slightly too strange for some viewers - the story and technique (in particular the sound) are barmy - but it cleverly succeeds in arresting the viewer's attention in its short space of time. The film creates a bizarre metaverse experienced from the point of view of Paddy Considine's lead character in which animals talk and think in more logical terms than their human counterparts. Obviously, we believe Paddy is slightly mad, leading to various scenes in which he comically finds it increasingly difficult to relate to the social etiquette he is expected to conform to.

Morris's directorial style makes it hard at times to laugh out loud - he refuses to allow his audience to dwell on "the funny bits" - but think about what you've seen and you'll probably wet yourself. This makes repeat viewings very rewarding, especially with such a sly, wink-wink denouement.


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