Here, Meetings falters again, as the imagery resembles a cable-TV recording of a play, with a two-camera setup and minimal editing.
#SUDOKU SUSSER WINDOWS MOVIE#
The movie then reboots, this time with an actress named Carole ( Pulp Fiction alum Maria de Medeiros) performing onstage in 1992, three years after Beckett's death.
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Suddenly shifting to a scene in which Beckett is recalling a "stark revelation" about the world, at the end of a jetty at night, this two-part intro marks the first of many missteps Meetings takes: If the contrived visuals weren't enough, the heavy string music tips this opening into the realm of cliché. Meetings begins with a flurry of ink, pen and paper, representing the epistolary correspondence between Beckett (uncannily portrayed by Stephen McHattie, who sports an impressive head of vertically groomed grey hair) and a little-known poet, Paul Susser (Vincent Hoss-Desmarais). Try as Barichello might to break with convention, the film feels more like a television production than experimental art. But he doesn't quite live up to the task.
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But Beckett's works don't exactly belong alongside "Hang in there" cat posters: Ceaseless failure was central to the Nobel Prize-winner's endeavour to extend the limits of language and communication.ĭirector Rudy Barichello attempts a similar boundary-pushing project in Meetings With a Young Poet, an interpretive biopic based on Beckett's life and works. (It's even tattooed on tennis star Stanislas Wawrinka's forearm.) Taken out of context, the line has an easy, life-affirming ring to it.
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'Fail better," wrote Samuel Beckett in Worstward Ho, a quotable quote if ever there was one.