'The Burnt Orange Hersey' is an enigmatic psychological thriller situated in the subtle end of the genre. Operatively, the social, cultural and psychological terrain which constructs the creative fabric of this production is informed by the ultra-privileged few, reflected in the esoteric collection and adoration of high art - paintings in particular. Behaviourally, this pattern of engagement, high art appreciation and collection, reflects personal and public statements of elitism which may or may not have a rational basis in fact.
Possibly, much of the valuation and specificity of art appreciation may be only the production of social construction - someone's opinion. Even so, art does have, on occasion, very real and eye watering, economic symbology. Those who authenticate and value art certainty function to enforce a self-fulfilling prophecy which informs much of the economic value of works of art, and thus, their collectability.
Dramatically, this production features a small cast of well selected players, who manage, as characters, to encourage the belief, they themselves seek or reside within the proximity of privilege and elitist lifestyles as a matter of their own speciality, beauty or erudition. The premise is founded on base human greed, desire and a powerful sense of entitlement. Arguably, and ultimately, this may motivate one character to a complete disregard for human life, humanity and good sense in attempt to fulfil this belief in their entitlement - to riches, fame, elitist recognition, success. Psychologically, this is one commonly framed explanation for criminal white- or blue-collar offending.
Contradictorily, some of this production's characters are benign, not overly soiled by the inherent disparities and inequities which bracket gross displays of privilege and its entitlements - likely out of wilful ignorance. As such, they merely transition through the landscape of privilege as birds through a natural feature. However, powerfully situated in tension with the inherent beauty and ambiance of European villa life is the emergence of intense desire unfulfilled, where envy and jealousy give way to criminal entitlement and brutal, criminal self-justification. Thus, we observe the transition of one key protagonist from critical social mediocrity, as a art critic; one who sabotaged his own career, to something entirely self absorbed, menacing and monstrous.
This is a smoothly crafted and played production. It boasts a strong cast, if salubrious, all of whom deliver believable performances. Visually, this scenario plays out across a social landscape which endorses the normality and speciality of privilege as a natural feature of human existentialism, belaying the inequities and disparities so inherent to their way of life for the majority of the world's population.
Possibly, much of the valuation and specificity of art appreciation may be only the production of social construction - someone's opinion. Even so, art does have, on occasion, very real and eye watering, economic symbology. Those who authenticate and value art certainty function to enforce a self-fulfilling prophecy which informs much of the economic value of works of art, and thus, their collectability.
Dramatically, this production features a small cast of well selected players, who manage, as characters, to encourage the belief, they themselves seek or reside within the proximity of privilege and elitist lifestyles as a matter of their own speciality, beauty or erudition. The premise is founded on base human greed, desire and a powerful sense of entitlement. Arguably, and ultimately, this may motivate one character to a complete disregard for human life, humanity and good sense in attempt to fulfil this belief in their entitlement - to riches, fame, elitist recognition, success. Psychologically, this is one commonly framed explanation for criminal white- or blue-collar offending.
Contradictorily, some of this production's characters are benign, not overly soiled by the inherent disparities and inequities which bracket gross displays of privilege and its entitlements - likely out of wilful ignorance. As such, they merely transition through the landscape of privilege as birds through a natural feature. However, powerfully situated in tension with the inherent beauty and ambiance of European villa life is the emergence of intense desire unfulfilled, where envy and jealousy give way to criminal entitlement and brutal, criminal self-justification. Thus, we observe the transition of one key protagonist from critical social mediocrity, as a art critic; one who sabotaged his own career, to something entirely self absorbed, menacing and monstrous.
This is a smoothly crafted and played production. It boasts a strong cast, if salubrious, all of whom deliver believable performances. Visually, this scenario plays out across a social landscape which endorses the normality and speciality of privilege as a natural feature of human existentialism, belaying the inequities and disparities so inherent to their way of life for the majority of the world's population.