 |
| "I
have read the script for the proposed film and consider it a sensitive
and fine piece of work. Neil's biographers say that he wrote The Other
Landscape to 'explore the mysteries of death, evil, misfortune, and delight.
It is beautiful, sombre, alive and positive, wildly ambitious and strangely
youthful'. The script covers so excellently all these observations; it
even adds something to the book." Dairmid Gunn [Neil's nephew and executor of the Neil Gunn Literary Estate] |
|
"An atmospheric piece of
writing which captures the setting and the period of the novel extremely
well." |
|
"An intense and unusual
project." |
| This
is an adaptation from the novel by Neil Gunn novel and as a prospective
piece of cinema succeeds extremely well. The themes of creativity, death, the mystery of God and the universe are far too grand to handle in a 90 minute drama, but in this case a skilful weaving of imagery and symbolism, combined with a sense of spectacle, help to carry off an ambitious subject. As well as the large scale dramatic scenes, a myriad of smaller details play their part in contributing to development of the themes, and texturing the narrative. The untamed natural landscape plays a large part in developing the themes and in giving a dramatic backdrop to the events. What distinguishes the treatment most of all is the way in which the strengths of the visual language match the quality of the written word. Right from the beginning the visual hallmarks are pressed home. The script has obviously been written by writers experienced in dialogue and the spoken word is entirely convincing. The characterisation is accomplished. David Urquhart, the lead character, is the perfect investigator and explorer to lead us through the story and we see him maturing as it unfolds. The Major is a clever device to help articulate Urquhart's thoughts and feelings about Douglas Menzies the composer. In cinematic terms the writers understand the potential of montage well. Moving from contrasting location to location, back and forward in time, gives the script its necessary dynamism. Mystery and surprise are two features of the plot which continually engage us. Because the quest is a dual one involving both Urquhart and Menzies, our interest is greater. Incidents such the fire, shipwrecks and cliff tragedies are not only dramatic events in themselves, but also add to our sense of a larger presence in the face of which man is powerless. Is it God or Nature or both? We are left to decide for ourselves. We do know however that both protagonists are fulfilled in their quests. Northern Arts |