Diminuendo

Diminuendo, as it turns out, is unpronouncable to the massess, and so is this film. As with a clumsy portmanteau, it seeks to be more than the sum of its parts. At times a soap opera with a B-list cast, at others a sci-fi thriller with supernatural notes, and finally touching on horror, it's rather bewildering, and as a result seems much longer than an hour and a half. It reminded me 'F/X Murder By Illusion', but without the pace. And there are moments from Richard Attenborough's 'Magic' - from the doll.

On the plus side, it's original. But many of these new ideas make no sense, and fall flat. It feels like it's too ambitious, like it casts aside plot development and characterisation in the pursuit of the dramatic punchline. The central premise of the film, Cello's death, makes the least sense, as we are given no background nor cause except the briefest, badly handled scripted exposition. "Oh, right, OK then", we are meant to say. I could provide a long list of plot situations which will make you shout or lol. The first-meeting sex scene, for example, is a huge stretch (pun intended).

There are a couple of good performances, but the better actors struggle with a clunky and often cliche-ridden script, and the central character's weathered and real world appearance condemns the rest of the cast to skin-deep superficiality. Some of them are more plastic than the robot. On the other hand, I was occasionally tempted to think it doesn't take itself all that seriously, and that there is some kind of buried social commentary about the movie business. Let's hope so.

It won't be the best film you'll ever see, but it might give some food for thought about future possibilities. Unfortunately the future possibilities at the start of this film were never realised.

I don't know what people were expecting from this film, but if you want a sci fi romp with a sexy robot, this will disappoint. At first, I was disappointed, but it ended up being a satisfying reverie on memory, projection and responsibility. Hatch's saggy old face is good to see. Some of the action is stupid, but consistent with the stupidity and cowardice of the characters. Emotional courage and cowardice is another one of the the themes explored in the film. If you like thinking and feeling at the same time, you may like this well-crafted film.

He should have porked this robot. He could have had like 10 of them if the movie was a success and sales were good as a result. Instead he decides to end it all. Seems really pointless.

I liked it. I don't understand the bad reviews. First of all, I had no clue who played Haskell until I looked him up. Second, I knew the face but not the actor's name. Finally, I didn't know he is dead. Hatch did a great job, and so did Koeing. Overall the film was well acted with some humerous moments, albeit revolting, put forth by the male lead in the film. And the film is less science fiction than it is about love loss and mental health, the depth of emotional devistation and desperation one goes through when great love is ripped from one's life.

I feel a film should take you on a journey. Diminuendo does precisely that. Even before we are given the full premise, it sets a mood which I was very much on board for. Subsequently, I found myself quite eager to see where this film was going to take me, as things developed.

The primary cast is exceptional. Richard Hatch in particular. I must admit, I was a fan of his long before this. I feel it is one of his best performances. And as it was his last film, it is one he could be proud of. Granted, I've not often seen him in roles that provided this much opportunity to show his talent. Certainly not to this degree.

There's a B plot which involves an unlikable character, which is. . .well, unlikable. I found the b plot pay off very amusing. It was also well placed, as it followed some rather weighty moments of quiet desperation with Hatch's character, Calvin. In fact, his entire performance, the situation his character finds himself in, and how the director, Adrian Stewart, manages to expose everything Calvin is experiencing. . .

I was quite deliberate in my use of the word "expose." If you have lost someone close to you, there may be recognizable moments here. Director Stewart manages to bring us to a deeper place with Calvin. There's the expected, which is seen externally, but Stewart is hauntingly faithful with what only we see inside. And if you've experienced this, both are like a knife to the heart. Both can bring you to your knees.

I can't speak to what another's reaction might be. All I can say is that this film can feel more personal than most. Some films have scenes described as being "hyper-real." What Stewart does with Diminuendo is color outside of the lines of the Hollywood "hyper-real," resulting in the "real."

There's a particular shot that I would very much like to praise here, but to make note of it may also spoil it.

I'm not so singular that I believe my distinct response to this film at times will be unique. I do see this being a personal, more relatable film experience for many who watch it. Particularly for those who carry someone with them. And eventually. . .don't we all?