Set Fire to the Stars

This was an astonishing little film. What a performance from Elijah Wood. I did not know he had it in him. What can one say. Pitch perfect work. The Dylan Thomas character was great, and probably quite accurately portrayed, as a tormented soul. Great characters throughout, and excellent directing. The cinematography was breath takingly beautiful. If you are the literary sort, or enjoy poetry, this is quite a film. The locations were lovely, the sets were totally believable, the props were amazing, and the entire production was outstanding.

If you are looking for a lot of action, take a pass. This film is all about drama.

Understated and stylish window into Dylan's later years. Both Celyn Jones and Elijah Wood offer up immersive performances in this affecting and brilliantly scripted film. There have been a handful of films and documentaries released to celebrate the centenary of Dylan Thomas- yet few stand on their own two feet as well as this. It's largely due to the focus on a specific period of Dylan's life and to the fact that the film is ultimately a beautifully observed portrait of a relationship between two men. You don't need to be a Dylan Thomas fan to enjoy this film: every scene could be a photograph, Gruff Rhys (of the super furry animals) has scored a soundtrack with echoes the jazz of some of Dylan's own poetry, and Kelly Reilly does a wonderful turn as Dylan's famous wife Caitlin. It is clear that both Andy (this is his directorial debut) and Celyn are talents to watch.

A black and white two hander some what similar in concept to Christopher Munch's Lennon/Epstein double header "The Hours and Times" or Simon Curtis' more recent "My week with Marilyn" Set Fire to the Stars shows us a semi-fictionalised account of a few days in the lives of Welsh poet Dylan Thomas (Celyn Jones) and the literary professor John Brinnin (Elijah Wood) who brings him to perform in New York. A raging alcoholic Dylan Thomas leaves behind a trial of destruction while also teaching Brinnin that poetry is about more than technique but about feeling and living and being.

Early reviews cited some disappointment that this film wasn't more in the spirit of Withnail and I. The link is understandable as a large section of the film features two opposing personalities (one of whom clearly struggles with drink) spending time together in a remote cabin but the comparison is a little lazy. Though at times laugh out loud funny this is a long way from some Brit-com romp and is instead a thoughtful and thought provoking piece on the difference between the academic and the artist.

Celyn Jones' performance as Dylan Thomas is perfectly pitched. It would have been easy for him to have slipped into caricature but he makes Thomas real and presents us with a man who is clearly troubled but who is also brimming full with warmth and passion. As is clear from the poet's work he was all too aware of the fleeting nature of life and Jones shows that. His Thomas doesn't want to waste a moment (often to the detriment of those around him). He is also aware of his gift with words but unlike the academics he meets doesn't want to look too closely at why his poetry works in case through knowing he loses it all.

While Thomas is about the magic of the words (demonstrated best by the look of pure joy when horror writer Shirley Jackson finishes her tale) Elijah Wood's Brinnin is about wanting to know why those words were chosen in the first place. There is a moment when Brinnin asks one too many questions about poetical technique and Thomas/Jones goes from laughter to a face twisted with rage in an instant. His Dylan is a wild beast who you do not want to rile. For me the best scene in the film is when he tires of the masters from the Ivy League Universities and decides to prick their pomposity with a few well delivered limericks. Jones shows us not just a drunk at a table but an artist all too aware he is about to press the self destruct button. We also see in Jones' performance the regrets and fears that Dylan had to live with because of his behaviour as well as the understanding of the power his words carried. "Tell him Dylan Thomas thinks he's great" he suggest to Brinnin when reviewing the work of one of his students; knowing that sometimes less really is more.

The success of Lord of the Rings has clearly given Wood the freedom to pick roles that interest him and John Malcolm Brinnin is no exception. His performance is subtle but with the massiveness of Thomas next to him it needs to be. It would have been easy for Brinnin to simply be the straight man, the academic clearly out of his depth and picking up the pieces left in Thomas' wake but the character goes deeper than that. Wood's Brinnin isn't just hanging on for the ride, he is very much part of it and his character develops throughout. He goes from wanting to protect his career to protecting his friend.

The acting across the board is of a particularly high class. Shirley Henderson and Kelly Reilly (who emerges nymph like from Dylan's self consciousness) have been singled out by many for praise but mention should also be made of Kevin Eldon as Shirley's cuckolded husband Stanley, Steven Mackintosh as Brinnin's boss Jack and an exceptional turn from Richard Brake as the mysterious "Mr Unlucky." The script written by Jones and Goddard is based upon Brinnin's 1957 "Dylan Thomas in America" but the film actually covers no more that the first 30 pages of 300. The critically lauded scene of the meeting with Shirley Jackson for example is one brief paragraph. The integral letter from Thomas' wife Caitlin mentioned in no more than a couple of sentences. Drunken exploits are referred to in Brinnin's book but never expanded upon. It is remarkable that so much of the script is fiction because it flows and feels so true. The script is clever, witty and moving. The quality of the acting obviously helps but those words have got to come from somewhere.

Visually as well the film is stunning. It is a snapshot of a moment of Thomas' life and the cinematography reflects that; capturing beautiful moments in crisp black and white. There is a wonderful overhead shot of Dylan in the bath, fully clothed and surrounded by floating candy wrappers. Comedy and tragedy there for all to see. Accompanying the images is Gruff Rhys gorgeous soundtrack, a new breed of Welsh poet.

There are other reasons to admire and love this film. Viewers should know that it was shot in less than two weeks by a crew for many of whom this was their debut feature film. You should know that this was filmed entirely on location in Swansea, Wales with a few carefully placed fire hydrants creating the illusion of New York. That none of these things are apparent from what is on the screen is just another reason to be stunned by what has been achieved.

Superb reviews here of a magnificent film.

One complaint.

Too often the music kills the moment.

When no-one is speaking, and also when someone is speaking, the scene would be more intense without musical sounds that intrude.

Many years ago, in the 1940s I believe, H.L.Mencken wrote strongly of his irritation when musical sounds were introduced into films for dramatic effect.

This is a film largely about the spoken word and human frailties, in brilliantly simple black-ands-white settings that are intimate whether in a field, a forest or a cabin.

Of course it's merely personal opinion, but to me the music here merely clutters a classic.

Though not really my thing at all, the film was well structured.

Set Fire to the Stars tells the story of Dylan Thomas during his time with poet John Brinnin as he helped him in his spoken word tour.

Set Fire to the Stars attempts to be as intense as the artist that it's based on and portray a life that's both wild and sad. The type of story we'd expected about a 1950s poet I guess.

It can be amusing. Most appealing for artist who either think there Dylan Thomas or feel like John taking care of Dylan.

It's a very cool title, and it has cool art direction somewhere between fact and fiction that glamorizes the world of Dylan Thomas lives in, though Dylan is not that glamorous.

Very cool cinematography as well. the Black and white really sets the mood. Also loved how the music blended into it. The technical film aspects put you in the illusion that the movie really was made in 1952.

One really great highlight was when the actors recited the words of the writer's they play.

A pure motion painting that really captures the time period it's about.