19. The Book Of Vision; movie review

 

THE BOOK OF VISION

Cert 15

99 mins

BBFC advice: Contains strong bloody images, sexual violence, domestic abuse, upsetting scenes

Can a movie get away with style over substance? Not in my opinion.

The focus in Carlo S. Hintermann's The Book Of Vision is imagery and, with Terrence Malick as the executive producer, no surprise that some of it is particularly arresting.

For example, at one point a young boy slides horizontally through the wall of his mother's bedroom until he is above her face. He then dribbles into her mouth.

What does this mean if anything at all? 

I am afraid that if it was a metaphor that went straight over my head in common with much of this movie.

The Book Of Vision stars Lotte Verbeek as a student of the history of medicine who becomes obsessed with a manuscript of 18th-century physician, Johan Anmuth (Charles Dance).

In contrast to modern medics concentrating on pure science, Anmuth believes there is a part to play for his patients' feelings, fears and even their dreams.

Hintermann's movie entwines past and present - with Dance, Verbeek and Sverrir Gudnason taking both historical and contemporary roles

Unfortunately, I just found the parallel stories, combined with the aforementioned surreal imagery confusing.

As the credits closed I was left wondering what the picture was trying to say and then I realised that it may not have been saying anything at all.

In addition, some of the scenes are surprisingly stilted - indeed, it is as if the dialogue has been dubbed.

Anyway, I was unimpressed.

Reasons to watch: The Terrence Malick influence

Reasons to avoid: Very difficult to follow

Laughs: None

Jumps: None

Vomit: Yes

Nudity: None

Overall rating: 3/10

Did you know? During the 18th century there was a search for a simple way of healing the sick. The writer and lecturer John Brown believed that there were only two diseases, sthenic (strong) and asthenic (weak), and two treatments, stimulant and sedative; his chief remedies were alcohol and opium.

The final word. Carlo S. Hintermann: "Charles Dance was just the actor I wanted. There’s his theatre legacy, years spent in the Royal Shakespeare Company… he’s a very technically sophisticated actor. I wanted to draw a gentler side out of him, a desperation that I knew he could express." Cineuropa

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