6.8/10
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Photographing Fairies (1997)

Photographer Charles Castle is numbed with grief following the death of his beautiful bride. He goes off to war, working in the trenches as a photographer. Following the war and still in ... See full summary »

Director:

Nick Willing

Writers:

Chris Harrald, Steve Szilagyi (book) | 1 more credit »
Reviews
5 wins & 3 nominations. See more awards »

Photos

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Cast

Cast overview, first billed only:
Toby Stephens ... Charles Castle
Emily Woof ... Linda
Ben Kingsley ... Reverend Templeton
Frances Barber ... Beatrice Templeton
Phil Davis ... Roy
Hannah Bould Hannah Bould ... Clara Templeton
Miriam Grant Miriam Grant ... Ana Templeton
Rachel Shelley ... Mrs. Anne-Marie Castle
Edward Hardwicke ... Sir Arthur Conan Doyle
Clive Merrison ... Gardner
Stephen Churchett ... Mr. Dawson
Mary Healey ... Mrs. Dawson
Maggie Wells Maggie Wells ... Mrs. Hoopdriver
Richenda Carey ... Fierce Woman
Jeremy Young ... Des
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Storyline

Photographer Charles Castle is numbed with grief following the death of his beautiful bride. He goes off to war, working in the trenches as a photographer. Following the war and still in grief, Charles is given some photographs purporting to be of fairies. His search for the truth leads him to Burkinwell, a seemingly peaceful village seething with secrets where he becomes drawn into a web of passion, romance, and violence. Written by Philip Stanton

Plot Summary | Plot Synopsis

Genres:

Drama | Fantasy | Mystery

Motion Picture Rating (MPAA)

Rated R for some sexuality | See all certifications »
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Details

Country:

UK

Language:

English

Release Date:

19 September 1997 (UK) See more »

Also Known As:

Der Elfengarten See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Edward Hardwicke (Sir Arthur Conan Doyle) has played Doyle's Dr. Watson many times. See more »

Goofs

During Castle's trial, a stenographer is shown typing at a shorthand typewriter, like in American trials. England never has had court stenographers - the judge or magistrate takes notes. See more »

Quotes

Gardner: Everyone of you here, ladies and gentlemen, has something in common, something that links you to your neighbor. We are all of us searching for a clue that shows us what life truly promises us, for a way of seeing what lies under the simple surface of things. Now recently, we've had continued messages at seances, messages indicating that a visible sign was coming through. Ladies and gentlemen, that sign is here. People talk about the miracle of photography. I'm going to show you a photograph of ...
See more »

Connections

Version of BBC2 Play of the Week: Fairies (1978) See more »

Soundtracks

Symphony No. 7 in A major, Op. 92, II. Allegretto
Music by Ludwig van Beethoven
Performed by The Philharmonia Orchestra
Conducted and orchestrated by Terry Davies
See more »

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User Reviews

A superb British Fantasy
14 September 2000 | by FilmFlaneurSee all my reviews

Along with other great English fantasy films like The Company of Wolves, Things to Come, The Devil Rides Out and Jonathan Millers's BBC-filmed production of Alice in Wonderland, this is an intelligent and complex production, miles away in mood and concern from the typical American product. In a film that reminds one of his father Robert's The Asphyx, (as it also involves the attempt to film the supernatural by nineteenth century photographers) Toby Stephens is ideal as the intense, mourning photographer Castle, haunted by the abrupt death of his wife.

The central concern of the film, that of seeing, or not seeing (or perhaps more perhaps *comprehending*, or not - is established in the opening shot of the film: the blurred face of Castle alone in the group photograph he takes of his wife and others. In an image which anticipates those of the fairies later on, he is the one blurred, here the 'ghost' on his film. Appropriately, in a film full of echoes and symbols, this long shot out from Castle's wife's iris recalls his later, obsessive, photographic enlargement of another eye: that of one of the girls photographed with fairies.

The death of his wife then reduces Castle further, through grief and shock, to a state almost like that of a somnambulist. He walks through life, hovering between the shades, oblivious to fear and the concerns of the real world - as evidenced by the unexploded bomb he encounters without any sense of danger, ticking like the time piece he keeps to remember his wife. Castle doesn't care. He wants to die - a sense of foreboding which stays with the viewer from the beginning to the end of the film. He even 'photographs the dead' in his studio, witnessed by his work for the soldier's parents. Even when a new sexual relationship becomes a possibility, later in the film, he cannot rejoin this aspect of life though spiritual malaise.

This thread is continued later in the scene later where Castle enters the church to hear a sermon by the bereaved Kingsley. Earlier that morning he has taken the flower-drug and has 'died' watching the fairies. Now he appears, bloodied like a victim in Macbeth, as the pale ghost at the ceremony..

Castle's attempt to photograph fairies, spirits who hover between life and death, is obviously an attempt to capture something back from the spirit world that has captured his wife. Such is the delicacy and subtlety of the films structure and symbolism, however, that at the end one could feasibly argue that Castle actually died with his wife on the mountain and - rather like in The Occurrence At Owl Bridge Creek - what has happened since the opening scenes has just been the dream of a dying man!

Performances are generally excellent (although Ben Kingsley's wig and stare are slightly disconcerting). Those who found the actual fairies disappointing in effect were perhaps expecting something grander. Some of Castle's hallucinations reminded me of Jacob's Ladder and Kingsley's demise of the killer's suicide in Peeping Tom.

As a last instance of the film's care with presentation and sophistication, one may take the music. The chief elements that reoccur are a sombre dirge like bass-motif and a light waltz. Only at the end of the film does recognise that the bass-motif is an altered element of the famous Beethoven slow movement which plays throughout the last few scenes. Like Castle himself, it is transfigured - or 'completed' by events.


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