My genuine compliments to those involved in its execution. Krista Blomberg was exceptionally good in her scenes with Mr. James. I thought that the uncertainty the viewer has by the combo of not knowing precisely what happened ( and how) and the exact relationship of Sylvie to Amanda, made the production more compelling. We have to search the dialogue and body language for clues.
The use of the term ' pentimenti' in this regard is inspired. I have only associated it with the field of Art – Painting and never considered how apt and perfect it is to describe the layering of years of rationalisation, guilt, self-delusion and so forth that Sylvie has laid over her mind in successive waves for ten years in prison.
It brought to mind that many of us do exactly this in life- re-invent ourselves, change, adopt new personas with such force that eventually the ' original person' is forever gone. I recall reading a bio of Marlene Dietrich written by her daughter Maria Riva, oh maybe around early 1990's, and she indicated that her mother created the persona of Marlene and then lived it to such an extent that she became her creation and no trace remained of Marie Magdalene Dietrich who grew up in Berlin in the 1900's. Interestingly, she mainly referred to her as Dietrich when discussing her. Not ' mother' or the like. Lines such as " Dietrich and I then moved to...." and " I was living with Dietrich when...".
But I guess the world of Film is rich in such examples. Was there any of Norma Jean Mortenson left in the ice cream blonde sex goddess that was Marilyn Monroe? Any whiff remaining of the lowly born stage chorine Lucille Fay Lesueur in the take-no-prisoners, archly dominant power persona of Joan Crawford?
I have drifted into sidebar thought territory, away from this specific production, but good film work ( and this is ) always sends me off on tangents of thought and reaction.
The use of the term ' pentimenti' in this regard is inspired. I have only associated it with the field of Art – Painting and never considered how apt and perfect it is to describe the layering of years of rationalisation, guilt, self-delusion and so forth that Sylvie has laid over her mind in successive waves for ten years in prison.
It brought to mind that many of us do exactly this in life- re-invent ourselves, change, adopt new personas with such force that eventually the ' original person' is forever gone. I recall reading a bio of Marlene Dietrich written by her daughter Maria Riva, oh maybe around early 1990's, and she indicated that her mother created the persona of Marlene and then lived it to such an extent that she became her creation and no trace remained of Marie Magdalene Dietrich who grew up in Berlin in the 1900's. Interestingly, she mainly referred to her as Dietrich when discussing her. Not ' mother' or the like. Lines such as " Dietrich and I then moved to...." and " I was living with Dietrich when...".
But I guess the world of Film is rich in such examples. Was there any of Norma Jean Mortenson left in the ice cream blonde sex goddess that was Marilyn Monroe? Any whiff remaining of the lowly born stage chorine Lucille Fay Lesueur in the take-no-prisoners, archly dominant power persona of Joan Crawford?
I have drifted into sidebar thought territory, away from this specific production, but good film work ( and this is ) always sends me off on tangents of thought and reaction.