London, England
27 MAY 2004
FairyTale: A True Story takes place in the England of 1917 where two Yorkshire girls claim to have photographed fairies flying near their neighbours stream. Florence Hoath and Elizabeth Earl offer remarkable performances as the two youths, Elsie and Frances.
These photographs find there way to the famous writer Arthur Conan Doyle (Peter O’Toole) who authenticates the photos and writes an article that captures the imagination of all Britain. Harry Houdini (Harvey Keitel) is less easily convinced, but eventually endorses the two girls in a manner that doesn’t quite equal Conan Doyle’s. Houdini, the master of illusion, makes a good politician, as well.
The power of this film is not the proof or refutation of the fairies existence (you will make your own judgement on this), but the question of belief. This story presents interesting issues regarding the how’s and why’s of human faith in the modern world.
Two significant metaphors represent the struggle between faith and reason. The first are the fairies: representing the world of faith. The film suggests that the world has lost much of its ability to believe. The second metaphor is that of the camera, or its product, the photograph. The camera is technological advancement and the ability to visually capture moments of reality; but it is with this instrument that Frances and Elsie provide evidence for the existence of fairies -a most satisfying irony.
Set during WWI, the people of Europe were re-discovering what America would not admit for another three or decades: industrial enlightenment would not erase conflicts between peoples and make the world a simpler place. Aspirations and platitudes are insufficient. Although they may seem indicative of a culture capable of believing in human fraternity, Frances and Elsie’s photographs confront a naïveté that fails to ask how such faith may bring a better world. Are the images 'real' or merely a diversion for a population engaged in a bloody war?
Adam Christopher Snow © 2004
27 MAY 2004
FairyTale: A True Story takes place in the England of 1917 where two Yorkshire girls claim to have photographed fairies flying near their neighbours stream. Florence Hoath and Elizabeth Earl offer remarkable performances as the two youths, Elsie and Frances.
These photographs find there way to the famous writer Arthur Conan Doyle (Peter O’Toole) who authenticates the photos and writes an article that captures the imagination of all Britain. Harry Houdini (Harvey Keitel) is less easily convinced, but eventually endorses the two girls in a manner that doesn’t quite equal Conan Doyle’s. Houdini, the master of illusion, makes a good politician, as well.
The power of this film is not the proof or refutation of the fairies existence (you will make your own judgement on this), but the question of belief. This story presents interesting issues regarding the how’s and why’s of human faith in the modern world.
Two significant metaphors represent the struggle between faith and reason. The first are the fairies: representing the world of faith. The film suggests that the world has lost much of its ability to believe. The second metaphor is that of the camera, or its product, the photograph. The camera is technological advancement and the ability to visually capture moments of reality; but it is with this instrument that Frances and Elsie provide evidence for the existence of fairies -a most satisfying irony.
Set during WWI, the people of Europe were re-discovering what America would not admit for another three or decades: industrial enlightenment would not erase conflicts between peoples and make the world a simpler place. Aspirations and platitudes are insufficient. Although they may seem indicative of a culture capable of believing in human fraternity, Frances and Elsie’s photographs confront a naïveté that fails to ask how such faith may bring a better world. Are the images 'real' or merely a diversion for a population engaged in a bloody war?
Adam Christopher Snow © 2004
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