This 1985 surrealistic analysis of the notions of decay, evolution and the trappings of flesh is one of the most vivid films of the decade. Peter Greenaway's film concerns twin brothers, whose wives are killed in a freak swan accident outside the zoo (the title spells out the central location in a pun) at which they work. As they struggle to cope with the notion of their loved ones' decomposition, they form a bond with the only survivor of the accident, a French woman who is to lose her leg.
In parts extremely disturbing, the film contains much footage of plants and animals (and eventually worse) decaying, using time lapse photography that the brothers use as an experimental means to consider the notion of death. There is also much screen time spent watching characters watching a series of David Attenborough-narrated nature documentaries. The central postulate of the first act seems to be the futility of any evolution which can climax only in death.
As with all of Greenaway's films, there is a glorious mix of lush cinematography, full of rich colours and steady tracking shots, and the propelling force of Michael Nyman's pre-Baroque score. As well as the virtuoso use of the time-lapse photography, there are many visual tricks, such as the twins' appearances gradually converging, and this being mirrored in an increasing symmetry in the shot framing, culminating in the most perverse and profound of finales.
The real joy here is the sensual overload that coils around the increasingly surreal plot. The doctor obsessed with amputation, the stranded amputees, the decaying fabric of society compared with decomposed flesh, the resurgence of animalism over humanism, the sexual frustration of losing a partner, the association of animals with nursery rhymes (and the repeated use of the "Teddy Bear's Picnic"); all these ideas and more combine in a visual, sonic and intellectual smorgusboard of decay and despair in modern society.
5/5
In parts extremely disturbing, the film contains much footage of plants and animals (and eventually worse) decaying, using time lapse photography that the brothers use as an experimental means to consider the notion of death. There is also much screen time spent watching characters watching a series of David Attenborough-narrated nature documentaries. The central postulate of the first act seems to be the futility of any evolution which can climax only in death.
As with all of Greenaway's films, there is a glorious mix of lush cinematography, full of rich colours and steady tracking shots, and the propelling force of Michael Nyman's pre-Baroque score. As well as the virtuoso use of the time-lapse photography, there are many visual tricks, such as the twins' appearances gradually converging, and this being mirrored in an increasing symmetry in the shot framing, culminating in the most perverse and profound of finales.
The real joy here is the sensual overload that coils around the increasingly surreal plot. The doctor obsessed with amputation, the stranded amputees, the decaying fabric of society compared with decomposed flesh, the resurgence of animalism over humanism, the sexual frustration of losing a partner, the association of animals with nursery rhymes (and the repeated use of the "Teddy Bear's Picnic"); all these ideas and more combine in a visual, sonic and intellectual smorgusboard of decay and despair in modern society.
5/5
