First-time British feature writer-director Gerald McMorrow presents a
mind-bending puzzle. The stories of four different people grow
increasingly connected until in the end, you sit up and say, Oh, yeah,
so that’s what it all meant.
There’s a hopeless romantic, who has been stood up at church for his
wedding rehearsal; a suicidal young female art student blurring reality
and representation; a father in search of his son; and a young
non-believer if a Gothic dystopia set in a never-never metropolis called
Meanwhile whose self-declared quest is to kill a man.
Undeniably, Franklyn looks great. It has the sleek, polished look
of many current films set in other worlds. Without giving too much away,
I can say I enjoyed the future-Gothic design of those parts of the film
not set in contemporary London. Even the here-and-now photography is
controlled and painterly. In fact, in the Making Of,
Caravaggio is mentioned.
found the whole thing a bit unsatisfying when it finally drew into
coherence. Think of it as a middle-brow (and mid-budget) compromise
between the unsettling, bleak minimalism of David Cronenberg Spider
and the glossy, explosive but conventional anarchism of James McTeigue’s
V for Vendetta.
I gladly welcome the message that in the anachronistic universe of
Meanwhile, religion (regardless its creed) and faith are compulsory in
order to expedite political control, I find it is wedged into the film
as a simplistic statement and decoration; it could serve so much more
and become a much meatier topic of a movie, which I guess is not
definitely warrants seeing at least once, if not twice, to make things
crystal clear. The disc features included Dolby TrueHD or 2.0 LPCM
sound, a half-hour making of called “A Moment in the Meanwhile”, a few
deleted scenes and a trailer. I think the trailer somewhat
over-represents the amount of action in the movie. While no masterpiece,
Franklyn should entertain the curious viewer.