Non lasciarmi

As a fan of the book I had a mixed reaction to this adequate yet overall uninspiring adaptation of Kazuo Ishiguro's brilliant novel.

Looking back at my viewing experience I was reminded of the early adaptation of 'Uncle Tom's Cabin' from the earliest era of films, in which the filmmakers expected you to have read the book and simply showed you interpretations of various scenes.

Alex Garland's screenplay boasted the ambition of including a little bit of everything from Ishiguro's 300 page book in his slightly under two hour movie. The result is a simple abridgment, we have time to realize the love brewing between the characters, the strained friendship between Mulligan's Kathy and Knightley's Ruth, and the dilemma of their caregivers at Hailsham. But the film lacks much the catharsis and the commentary that made the book so great.

Romanek has proved himself to be a capable director, but here he made some negative decisions which really removed much of the impact of the plot. Adam Kimmel's cinematography is a stand out here, and given the competition so far I wouldn't be surprised if he receives an Oscar nomination for his work.

The calm collection and stoic nature of much of the acting can be seen as insipid or uninteresting to some. But I found the acting to be quite appropriate, the tight lipped, proper British style of this movie provided an nice contrast and balance to a story which could have turned into a mindless melodramatic tear jerker if not handled correctly.

In the end, I think active viewer-ship is of paramount importance to this movie. The film is never interested in simply handing the audience its ideas. Rather it called upon us to dig for meaning. I would say the plot itself served as a bit of a metaphor, and that intrigued me. And, despite some of the negative artistic liberties which were taken in this adaptation, I feel that it did well enough to create an involving, though provoking, and sometimes heartbreaking experience.

Despite its flaws, 'Never Let Me Go' has been one of the few strong film that we've had this year. And, if your one of those people who goes to the movies once or twice a month, I'd say 'Never Let Me Go' is one of your better bets for an agreeable experience at the movies right now.

Recently I got a chance to see Never Let Me Go, a film based on the acclaimed novel by Kazuo Ishiguro.

I ask those who read my review to take it with a grain of salt, as the film is sharply divisive between love and hate. Those who love it say it's emotionally devastating, those who don't find emotion to be lacked. But from my point of view, I find it to be an elegant feature.

Carey Mulligan stars as Kathy, a passionate young girl who is in a complicated love triangle that also includes Tommy (Played by Andrew Garfield), the not so secret love of Kathy's life, and Ruth (Played by Keira Knightley), a jealous woman who stole Tommy while the three of them were attending a mysterious boarding school known as Hailsham, where all students are bred for a specific purpose explained to us at the end of the first act.

Alex Garland, the writer of films such as 28 Days Later, may not have been the most obvious choice to pen the script, but since seeing the film, I understand why. It may come across as a melodramatic romance, but at Never Let Me Go's core is an enigmatic Science-Fiction, make no mistake about that. Even if you don't find the passion to be translated effectively on screen, you can tell it was there on paper. The result is a captivating feature leading to a finale that, as far as emotions go, is heartbreaking to behold, but it wasn't overwhelmingly tragic.

I also admired the performances. Not just from Andrew Garfield's fine performance as Tommy, not just for Charlotte Rampling, Sally Hawkins and Nathalie Richard making great use of their small roles, or even Keira Knightley's exceptional, and gripping performance as Ruth, the true driving force is Carey Mulligan. The Handling of her character is perfect, made even more so by her gentle performance of quiet passion.

It's also a beautifully shot feature, sporting lovely cinematography by Adam Kimmel, as well as a lovely score by Rachel Portman. Although at times her score feels a little intrusive to the more quiet nature of the visuals, her strings score captures a strong essence of each character's emotional state.

Like I said, take a huge grain of salt in regard to Never let Me Go, which I give ***1/2 out of ****

I was in awe of the visual overtones in this gorgeously made film. Deep, subtle, beautiful and cryptic--"Never Let Me Go" is sure to instigate profound conversations after the screening. Like "Dead Man Walking" (1995) and "Million Dollar Baby" (2004) there's a social morale buried under this sumptuous love story.

The film follows the friendship of three children growing up in a tightly-secured boarding school in Britain, beginning in 1978. They are cutoff from the outside world; a life without a choice, but a life with a designated focus. The story spans almost three decades, following them from childhood to adulthood. The surroundings are ever constant, even though the film follows them for three decades.

I would love to reveal what these special individuals are modeled and raised for, but giving away that revelation wouldn't be fair to the viewers. I must say, it's a very unique premise; one that gives the audience a very improbable connection between images and content. "Never Let Me Go" struck a nerve. I felt for these characters, very deeply. I wanted them to realize what these young and loving individuals could've achieved in the world they grew up in. They were brainwashed into thinking they were isolated from everyone else, but in reality, there were no boundaries. They could've escaped from the life they were brought-up in and should've rebelled from the establishment. Angry, sad, sweet, longing, optimistic—I love it when a film channels these ambivalent emotions and allows me to ponder about an alternate direction for the characters to venture into. If a film does that, then it must work.

After viewing this movie, I'm very curious about picking up the novel to see how the filmmakers translated the descriptions into these picturesque images. My guess is that the book is written on the same lines as "The Horse Whisperer"—with deft metaphors and rich characterizations.

As much as I wanted closure to the narrative, I think the film does a great justice by leaving the audience in the dark. It gives the viewer more room to think, and it stimulates an array of intelligent inquiries. "Never Let Me Go" dares the viewer to look beyond the beautiful imagery and delicate character interrelationships, and discover a multitude of hidden meanings and themes. Above all, this is an exquisitely crafted tale about love, loss, individuality, and the boundaries of life.

The concept of the story can be well appreciated, as it probes into one of the most vexing conundrums of medical and societal ethics ever attempted in modern times. However, there are various plot holes, which I won't delve into here, as such might provide unintentional spoilers.

Other films, which are perhaps a bit more technically realistic and futuristic, have probed this same conundrum in their own context, and that may be the ultimate shortcoming of this production. Even now, medical science is progressing in directions which could eventually make this depicted scenario completely obsolete.

Having said that, though, the caliber of acting and storytelling here is first rate. The focal point of this production is not on a sci-fi style of motif, but rather exploring the social complexities that this type of depicted scenario might create, and likely would create if something like this were ever to come to pass.

As a character study of the human condition under extraordinary circumstances, this is a compelling enough production to hold almost anyone's attention. Everyone delivered their characters exceptionally well, but Carey Mulligan really shines here.

As other reviewers have suggested, this may not be for everyone. No action scenes here, no glitzy sci-fi tech and all that, but as a compelling story remarkably well told and acted, the time spent watching this is not wasted.

Maybe I just didn't connect with Never Let Me Go. Maybe I couldn't key into the inner-pain and suffering that came with the three leads, Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Kiera Knightly). For some this will be enough to see that because of the restraint they show, because they stick to the 'plan' that has been laid out for them by some cultish group of people, it is just heart-breaking. For me, it just didn't do it for me, since the stakes are so high but it's all passivity. Maybe I like to see my film characters *doing* things, not just staring at each other in blank oblivion. Or maybe I like to see something else, better, done with a premise.

The background of Never Let Me Go, this society, is very fascinating: an alternate reality in the late 20th century where scientists and doctors have figured out ways to keep people living long past their usual life expectancy by using organ donations... not the usual kind via organ- donor cards, but by using people from childhood, as if grown in school- farms, for the express purpose of not having a life inasmuch as awaiting to give their bodies away to other people. To be fair, and to director Mark Romanek's credit, this isn't really spelled out right away, and there is some mystery until a teacher at the school, Sally Hawkins' character, cant stand it anymore and finally lays it out for the students, who are so pre-programmed that it does not quite stick out to them (there's a nice little moment where after she lays out the details in the class, a paper goes flying from the wind and young Tommy goes to pick it up, a moment of subtle connection that works).

This is interesting stuff, a good idea, yet I kept thinking as the movie went on and the next two acts after childhood went on in the story (it's told in thirds, split between 1978, 1985 and 1994) what the rest of this society is like. How much of it is just like the regular/real-world? Does the society end up more like in The Matrix where the machines start making babies for the express purpose of organ donations? What happens when cloning comes around (albeit that was expressed in the lessor but still not-bad movie The Island)? And why is every child so passive in this context? Are there uprisings or rebellions against the well-off organ-fine masters? And what about the person whom Ruth tries to see is the one that was her "basis" or whatever?

Again, subtly, which Romanek is trying for here (and based no less on a book by one of those stuffy English authors who wrote Remains of the Day), is not a bad thing. But it's so passive and subtle, so restrained, that the life seems to be choked out of a film that needs drama and conflict. The cinematography is pretty, sometimes even brilliant, but it's more attuned to the music of the film, which can equally be stifling. The actors are also in a similar aesthetic, although (and I didn't think I'd ever say this) Kiera Knightley actually runs away with the acting prize, if only cause she has more to do. Carey Mulligan has shown in An Education (nay, the great Doctor Who episode 'Blink') that she can be a touching, effective actress, but her performance here is one-note, perhaps dictated by a one-note written person. And Andrew Garfield isn't much better, though there are a few scenes late in the film where he finally springs to life, albeit in melodramatic shoes.

Never Let Me Go is a meditation on ideas of personal livelihood squeezed into a not-very-interesting love-triangle story, where we don't get much context as to how Kathy and Tommy, who seem to be all (child-like) lovy- dovy as kids suddenly split apart and Tommy and Ruth are together, only then to later somehow get together. There isn't dramatic thrust with that, so then there's the science-fiction angle, which is treated with delicate hands but maybe too-delicate ones. When I keep on thinking about what else is there in this world that the writer and director have created, and yet is never shown, it makes for some problems. Again, for some this restraint and passivity might be just right, maybe as the whole point of it. For me, it fell flat.