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Originally produced as a three-part miniseries for New Zealand television, this extraordinary film is based on the life of Janet Frame, an introverted, sensitive girl who was later misdiagnosed as schizophrenic and spent eight years in a psychiatric hospital. She would later become one of New Zealand's most celebrated poets and novelists, publishing her first books while she was still confined to a mental ward. She had endured over 200 electroshock treatments and had almost been lobotomized by careless physicians who took no time to understand that she was merely awkward and shy and suffered from little more than routine depression. From a solid screenplay by Laura Jones, director Jane Campion (
The Piano) tells this story without soapy melodrama, but rather as an exploration of a challenged creative spirit--a journey into a writer's mind, exploring the power of imagination as a mechanism of survival and self-defense. Three talented actors play Janet Frame at different ages throughout the film, with Kerry Fox giving a powerful performance as the young-adult Janet, whose own skill and creative tenacity would prove to be her salvation. Frightening, harrowing, and ultimately a source of humanistic enlightenment,
An Angel at My Table (titled after Frame's autobiography) is a film you won't soon forget.
--Jeff Shannon
From The New Yorker
Based on the autobiography of the New Zealand novelist and poet Janet Frame. The film covers the first forty years or so of the writer's life-she was born in 1924-and takes close to three hours to tell the story. When it's all over, you feel that you know far too little about Janet Frame and far too much about the film's director, Jane Campion. The movie (which was made as a three-part miniseries for Australian television) is a succession of odd, mannered tableaux, more or less in the style of Campion's 1990 art-house hit, "Sweetie." The compositions emphasize the peculiarities of Janet's appearance, especially in her childhood and awkward adolescence: she has a stiff, frizzy mop of bright-orange hair, and her teeth are badly decayed. The Janet Frame we see in this film doesn't seem to have an inner life, and without that she has no life at all. Even the most dramatic events in her life are treated so flatly and elliptically that we're unable to respond; time after time, we find that we can't orient ourselves in crucial scenes, because the director hasn't bothered to establish the characters or the setting. Writers' lives are weird enough without being subjected to this sort of willful disruption of their emotional continuity. Campion's perverse exercise in biographical filmmaking deserves a new title: "My Incomprehensible Career." Janet is played by three actresses: as a child, by Alexia Keogh; as a young teen-ager, by Karen Fergusson; and, as an adult, by Kerry Fox. Screenplay by Laura Jones. -Terrence Rafferty
Copyright © 2006
The New Yorker