Not exact matches
That his elegant and penetrating account of community could proceed without a single reference to memory,
narrative, liturgy, or
drama says
much about the demands of the «paradigmatic» at Harvard.
The many
narrative layers of this
drama should fit reasonably snug in the context of the plot's progression, but if there is a sense of excess to the material, then it is stressed by a sense of episodicity, which sees the film spending too
much time with each segment, yet not enough to flesh them out enough to make the eventual focal shifts smooth.
Without a substantial heroine driving the
narrative, in a plot that is too light on fantasy and mystery, The Legend of Longwood fails to make
much impact, despite its captivating façade and unfortunately the film becomes just another forgettable adventure quest
drama.
We get clever flashes of the
drama to come and a bit too
much narrative that these characters are headed toward some kind of a destiny.
The monster is also the secondary focus of writer / director Hideaki Anno's screenplay,
much in the same way that the earthquakes, tornadoes, hurricanes, meteors, etc. of disaster movies are just a
narrative rationale for
drama.
Inhabiting the space like strange bedfellows from different times and places, the characters are not so
much actors in a legible
narrative or
drama as they are complexly enigmatic, strangely absorbed in their own thoughts.
The Baths» conditions act to disrupt the
narrative flow of the
drama so that scenes play out in fits and starts, to incite a profound level of disorientation and to conjure memory where notions of time and space become confused — past historical events and climates arrive in the present
much like a sudden change in the weather.