Being of English origin the film has a particular fascination. Certain things become apparent if you know England well, but also I suspect on repeated viewing.
A tale of conceit, deception and power. The conceit of the Draughtsman, all too apparent, is matched by the conceit of the upper classes as the film unfolds. The pictoral conceit referred to in the film repeatedly is matched by a pictoral conceit played on the viewer: the wigs were never that big, the house, garden and grounds stunning and the weather too perfect.
Deception exists at many levels. The viewer is deceived as to where the houses and events take place. The allusions are to Southampton and surrounding areas. Being from the Southampton area I realized this wasn't Southampton. Though it could possibly have been. The deception was convincing. The location is Kent. I believe this deception, which fits so nicely in the film anyway, was pulled so that the owner of the house where the film is centred around would not be invaded by tourists. A nice touch which I suspect follows the line in the film, something like this), "Do you think Mrs Talbot is a lady who likes her gravel being kicked around by a pack of dogs."
The arrogance and exploitation of the ladies of the house by the Draughtsman, readily apparent, is more sinisterly exceeded by the arrogance and exploitation of the Draughtsman by the ladies. The Draughtsman provides a cover for murder, solves the problem of transfer of the property by siring a child and finally ends up as the scapegoat for murder. While the Draughtsman may appear to be playing with the household for his own amusement, the Draughtsman himself is the focus of a much more brutal and more deadly game.
Like all the best films there is much going on in the film. The lines and language are wonderfully rich. The camera merely shows you the events. And it is not above deceiving you as a viewer. Trying to make sense of it all is great fun. Many things I didn't even see until the second or third viewing, let alone make sense of them!
A beautiful allegory which slowly unfolds and challenges the senses. Much like The Prisoner (1967) tv series, and hopefully The Prisoner (2000) movie.
A tale of conceit, deception and power. The conceit of the Draughtsman, all too apparent, is matched by the conceit of the upper classes as the film unfolds. The pictoral conceit referred to in the film repeatedly is matched by a pictoral conceit played on the viewer: the wigs were never that big, the house, garden and grounds stunning and the weather too perfect.
Deception exists at many levels. The viewer is deceived as to where the houses and events take place. The allusions are to Southampton and surrounding areas. Being from the Southampton area I realized this wasn't Southampton. Though it could possibly have been. The deception was convincing. The location is Kent. I believe this deception, which fits so nicely in the film anyway, was pulled so that the owner of the house where the film is centred around would not be invaded by tourists. A nice touch which I suspect follows the line in the film, something like this), "Do you think Mrs Talbot is a lady who likes her gravel being kicked around by a pack of dogs."
The arrogance and exploitation of the ladies of the house by the Draughtsman, readily apparent, is more sinisterly exceeded by the arrogance and exploitation of the Draughtsman by the ladies. The Draughtsman provides a cover for murder, solves the problem of transfer of the property by siring a child and finally ends up as the scapegoat for murder. While the Draughtsman may appear to be playing with the household for his own amusement, the Draughtsman himself is the focus of a much more brutal and more deadly game.
Like all the best films there is much going on in the film. The lines and language are wonderfully rich. The camera merely shows you the events. And it is not above deceiving you as a viewer. Trying to make sense of it all is great fun. Many things I didn't even see until the second or third viewing, let alone make sense of them!
A beautiful allegory which slowly unfolds and challenges the senses. Much like The Prisoner (1967) tv series, and hopefully The Prisoner (2000) movie.