It is surely difficult to encompass the life of anyone in little more than an hour. This bio-drama concentrates on the last days of Dylan Thomas, with flashbacks to his youth and happier days. The result is a successful arc of the man's life, ultimately disappointing as it was.
Thomas was an intemperate boor haunted by past failures and as unhealthy fear of an unpromising future as this dramatization tells it. Certainly most of it is true.
So many literary luminaries are self-destructive and personally disappointing. That one more does not stand as an icon to strength of character is no revelation, but it does give an alternate view of Thomas' works. Long after "Fern Hill", he goes to America not to anoint the masses, but to escape the prison of his marriage. And "Do Not Go Gently into that Good Night" becomes less a passionately strong urging to remain steadfast and more a pitiful pleading to not be abandoned. But meaning, like beauty, is in the eye or ear of the beholder.
Tom Hollander gives a strong performance as the poet and he is surrounded by a corps of captivating actors. New York City in 1953 comes alive and provides an appropriate backdrop for the poets downfall. What started as a green and golden existence dies among the figurative gray ash heaps of Eliot's 20th century, perhaps too innocent and too frail to survive in a world of ragged claws.
Thomas was an intemperate boor haunted by past failures and as unhealthy fear of an unpromising future as this dramatization tells it. Certainly most of it is true.
So many literary luminaries are self-destructive and personally disappointing. That one more does not stand as an icon to strength of character is no revelation, but it does give an alternate view of Thomas' works. Long after "Fern Hill", he goes to America not to anoint the masses, but to escape the prison of his marriage. And "Do Not Go Gently into that Good Night" becomes less a passionately strong urging to remain steadfast and more a pitiful pleading to not be abandoned. But meaning, like beauty, is in the eye or ear of the beholder.
Tom Hollander gives a strong performance as the poet and he is surrounded by a corps of captivating actors. New York City in 1953 comes alive and provides an appropriate backdrop for the poets downfall. What started as a green and golden existence dies among the figurative gray ash heaps of Eliot's 20th century, perhaps too innocent and too frail to survive in a world of ragged claws.