A Ghost Story for Christmas: 5
You could say this is a little over ambitious. The dreamlike toing and froing from the present to the past isn’t as smoothly realised as it could be. But, it’s made up for in sheer whack factor in the final ten minutes.
Once again Clarke is creating incredible images. I audibly gasped when Sir Richard and Croome were backdropped by the undulating waves. There’s so much care and attention taken in little things- the red wine splashing across the floor when the witches are hung, the impossible lighting slashing through the portrait of his forebear (something that beautifully underscores this piece’s themes of generational guilt and complicity.) The switches between times could, as aforementioned, have been smoother but that doesn’t make them any less effective.
And then of course the finale, directed with as much zeal as there was hatred in the shrivelled, immolated corpse of Mothersole. Body horror meets folk horror meets ghost story.
A Ghost Story for Christmas: 5
You could say this is a little over ambitious. The dreamlike toing and froing from the present to the past isn’t as smoothly realised as it could be. But, it’s made up for in sheer whack factor in the final ten minutes.
Once again Clarke is creating incredible images. I audibly gasped when Sir Richard and Croome were backdropped by the undulating waves. There’s so much care and attention taken in little things- the red wine splashing across the floor when the witches are hung, the impossible lighting slashing through the portrait of his forebear (something that beautifully underscores this piece’s themes of generational guilt and complicity.) The switches between times could, as aforementioned, have been smoother but that doesn’t make them any less effective.
And then of course the finale, directed with as much zeal as there was hatred in the shrivelled, immolated corpse of Mothersole. Body horror meets folk horror meets ghost story.
