Tamara and I have been trying to get it together to see this for a while, both inspired by the likely look of the film (in my case, at least, encouraged by the trailer). Anyhow, we finally managed it last night, Shaun joining us (because he likes Dylan Thomas, of all reasons!), and I'd have to say that it was about as I anticipated, though not all that I'd hoped. The 1940s setting comes to life, which is to say that it's at once vivid and somehow faded, scarlets and spotlights and soft, nostalgic edges, in sets, costumes, and all the little details; in the central roles, Keira, Sienna, Cillian, and Matthew Rhys as Thomas himself, all look right and do solid work.
Actually, locating the centre of the film is no easy exercise, which is one of the problems with it...the figure of Dylan Thomas is the hinge but he comes across as something of a cipher, and the relationship between Vera and Caitlin, while rendered with some conviction and depth, isn't quite developed in a way which convinces that it's what The Edge of Love is actually about; the spectre of the war haunts events, somewhat as it does in Atonement but even more so, yet can't be said to be the film's central concern in any meaningful sense. It's a film that either doesn't quite know what it wants to be, or does know but doesn't quite succeed in getting there...I think it shoots for melancholy, sweeping, romantic (the lush Badalamenti score is a strong hint in respect of all three of those), and at the same time warm, a bit earthy, filled with life, but it's just not quite there; it sets itself at meaningful character study but also indulges in broad-brush impressionistic gestures, and again it falls a bit short of what it aims for. (It also feels much longer than it is, which can't be a good sign.)
On balance, though, the good outweighs the bad; I wouldn't watch it again, but I was pretty happy to have seen it.
Though lovers be lost love shall not ...
