You Can Fall
October 17, 2002
“The casting of Morvern was always going to be the clincher, the decision that would either elevate or ruin the entire project – and, by implication, the next three years of Ramsay’s life. She was, she says, open-minded: it was one of those times where she’d know what she wanted when she saw it. Which, presented with a black and white photograph of Samantha Morton, she did. ‘And it didn’t look like an actress’s picture at all,’ she says. ‘It was just this woman staring into space, like she was in some kind of trance. And I actually didn’t recognise her. I just thought, Morvern. That’s Morvern. It was only when I looked at the name that I realised, oh yeah, right, Samantha Morton.’”
More from the interview/review:
Hypnotic and elliptical, it’s a film that takes time to process, a pure-hearted display of how spellbinding cinema can be. You’re unlikely to see anything like it again. Occasionally, Ramsay’s camera recalls the skewed brilliance of David Lynch, or the photography of Nan Goldin, but most often the film points to nothing but its own nerveless originality. Just as Ratcatcher weaved magic from rundown Glasgow tenements, so Morvern elevates the mundane into the extraordinary: drab supermarket aisles become epic, unfamiliar landscapes, the blinking lights of a Christmas tree a tender visual elegy.
Posted in: v1
Written by Paul Love who lives and works in Edinburgh building useful things. You should follow him on Twitter