Set Fire to the Stars (2014) User Reviews

Priceless bit of film making

[subxerogravity · 6/10 · 15 June 2016]

Though not really my thing at all, the film was well structured.

Set Fire to the Stars tells the story of Dylan Thomas during his time with poet John Brinnin as he helped him in his spoken word tour.

Set Fire to the Stars attempts to be as intense as the artist that it's based on and portray a life that's both wild and sad. The type of story we'd expected about a 1950s poet I guess.

It can be amusing. Most appealing for artist who either think there Dylan Thomas or feel like John taking care of Dylan.

It's a very cool title, and it has cool art direction somewhere between fact and fiction that glamorizes the world of Dylan Thomas lives in, though Dylan is not that glamorous.

Very cool cinematography as well. the Black and white really sets the mood. Also loved how the music blended into it. The technical film aspects put you in the illusion that the movie really was made in 1952.

One really great highlight was when the actors recited the words of the writer's they play.

A pure motion painting that really captures the time period it's about.

Witchy woman

[begob · 7/10 · 16 March 2015]

The tribulations of an uptight academic as he chaperons a wild artist on a poetry tour of stuffy American universities.

This is beautifully made, especially the rhythm of the scenes in the first half. And it looks good, although there was something off about the Connecticut countryside - thought it might be Canada, never guessed it was Wales.

The leads play well together, but the humour didn't hit the mark for me. I liked the actress who told the ghost story. What elevated this was when Caitlin came stalking through the woods like a witch and wrapped herself around Dylan - powerful performance. It came possibly too late, but it did spark the magic. Pity they didn't fit in another couple of scenes with that character, instead of waving the letter around like a threat.

And I suppose they could have given a visual on Dylan's lyrics - although that might have turned out too wacky. The relay recitation of the poem was great.

Music perfect.

Terrible

[sergelamarche · 5/10 · 5 November 2022]

Film depicting how outrageous the famous poet could be when he was pampered all over with good reviews. His poor host did not have a clue how to treat his adored monster. The monster clearly had mental issues and maybe wanted to destroy his own image while climbing socially to poeple not knowing him. Moreover, maybe he had homosexual tendencies that he hated and took it on his homosexual host. He was in a way, trying to pop the bubble of his admiring fans and efficiently succeeding, to their dismay. How to say. We see this and we can only watch with horror how the english monster can be destructive.

A beautiful thoughtful debut feature film from director Andy Goddard .

[home-townunicorn · 10/10 · 23 July 2014]

A black and white two hander some what similar in concept to Christopher Munch's Lennon/Epstein double header "The Hours and Times" or Simon Curtis' more recent "My week with Marilyn" Set Fire to the Stars shows us a semi-fictionalised account of a few days in the lives of Welsh poet Dylan Thomas (Celyn Jones) and the literary professor John Brinnin (Elijah Wood) who brings him to perform in New York. A raging alcoholic Dylan Thomas leaves behind a trial of destruction while also teaching Brinnin that poetry is about more than technique but about feeling and living and being.

Early reviews cited some disappointment that this film wasn't more in the spirit of Withnail and I. The link is understandable as a large section of the film features two opposing personalities (one of whom clearly struggles with drink) spending time together in a remote cabin but the comparison is a little lazy. Though at times laugh out loud funny this is a long way from some Brit-com romp and is instead a thoughtful and thought provoking piece on the difference between the academic and the artist.

Celyn Jones' performance as Dylan Thomas is perfectly pitched. It would have been easy for him to have slipped into caricature but he makes Thomas real and presents us with a man who is clearly troubled but who is also brimming full with warmth and passion. As is clear from the poet's work he was all too aware of the fleeting nature of life and Jones shows that. His Thomas doesn't want to waste a moment (often to the detriment of those around him). He is also aware of his gift with words but unlike the academics he meets doesn't want to look too closely at why his poetry works in case through knowing he loses it all.

While Thomas is about the magic of the words (demonstrated best by the look of pure joy when horror writer Shirley Jackson finishes her tale) Elijah Wood's Brinnin is about wanting to know why those words were chosen in the first place. There is a moment when Brinnin asks one too many questions about poetical technique and Thomas/Jones goes from laughter to a face twisted with rage in an instant. His Dylan is a wild beast who you do not want to rile. For me the best scene in the film is when he tires of the masters from the Ivy League Universities and decides to prick their pomposity with a few well delivered limericks. Jones shows us not just a drunk at a table but an artist all too aware he is about to press the self destruct button. We also see in Jones' performance the regrets and fears that Dylan had to live with because of his behaviour as well as the understanding of the power his words carried. "Tell him Dylan Thomas thinks he's great" he suggest to Brinnin when reviewing the work of one of his students; knowing that sometimes less really is more.

The success of Lord of the Rings has clearly given Wood the freedom to pick roles that interest him and John Malcolm Brinnin is no exception. His performance is subtle but with the massiveness of Thomas next to him it needs to be. It would have been easy for Brinnin to simply be the straight man, the academic clearly out of his depth and picking up the pieces left in Thomas' wake but the character goes deeper than that. Wood's Brinnin isn't just hanging on for the ride, he is very much part of it and his character develops throughout. He goes from wanting to protect his career to protecting his friend.

The acting across the board is of a particularly high class. Shirley Henderson and Kelly Reilly (who emerges nymph like from Dylan's self consciousness) have been singled out by many for praise but mention should also be made of Kevin Eldon as Shirley's cuckolded husband Stanley, Steven Mackintosh as Brinnin's boss Jack and an exceptional turn from Richard Brake as the mysterious "Mr Unlucky." The script written by Jones and Goddard is based upon Brinnin's 1957 "Dylan Thomas in America" but the film actually covers no more that the first 30 pages of 300. The critically lauded scene of the meeting with Shirley Jackson for example is one brief paragraph. The integral letter from Thomas' wife Caitlin mentioned in no more than a couple of sentences. Drunken exploits are referred to in Brinnin's book but never expanded upon. It is remarkable that so much of the script is fiction because it flows and feels so true. The script is clever, witty and moving. The quality of the acting obviously helps but those words have got to come from somewhere.

Visually as well the film is stunning. It is a snapshot of a moment of Thomas' life and the cinematography reflects that; capturing beautiful moments in crisp black and white. There is a wonderful overhead shot of Dylan in the bath, fully clothed and surrounded by floating candy wrappers. Comedy and tragedy there for all to see. Accompanying the images is Gruff Rhys gorgeous soundtrack, a new breed of Welsh poet.

There are other reasons to admire and love this film. Viewers should know that it was shot in less than two weeks by a crew for many of whom this was their debut feature film. You should know that this was filmed entirely on location in Swansea, Wales with a few carefully placed fire hydrants creating the illusion of New York. That none of these things are apparent from what is on the screen is just another reason to be stunned by what has been achieved.

Mesmerising

[stevelewis92 · 10/10 · 30 May 2015]

This film is the perfect example of why great writing, direction and performances will always be more important to creating great cinema than having oodles of cash and lavish visual effects. Shot in weeks not months, no one misses a beat in this story about an enigmatic, troubled genius. Wood and Jones are mesmerising as Brinnin and Thomas respectively and it's beautifully directed in black and white by Andy Goddard. Finally, a mention for Gruff Rhys whose haunting soundtrack perfectly augments a beautiful film. It amazes me that films like this have to fight to get made. One of the best films I've seen in the last few years. A must see whether a fan of Thomas or not.

A return to The Golden Age of Hollywood.

[The_Educator · 10/10 · 21 November 2014]

Having now watched this film twice I have to say that to me Set Fire To The Stars is a master class in classic film making, Hitchcock often referred to 'pure cinema' the art of story telling via the art of the composition of shots and the smooth editing used to translate the written word into a visual experience and this film truly achieves what Hitchcock discussed.

It takes me back to the classics of film, the films that originally drew my attention and focus into the importance of film as an art form and lead to my career aspirations of sharing the joy and experience I had felt into the minds of the young and impressionable generations of the future. I have been a lecturer in Film Studies for 15 years.

The relationship between Thomas and Brinnin is just so beautifully created it almost feels as though one is part of this close and personal journey they shared. The relationship that develops through the film almost brought me to tears on more than one occasion while watching the film (if not for being a true 'Yorkshire man' then I think I could have shed a tear or two) The pain and frustration that Brinnin feels towards Thomas can be truly felt by the viewer, in one moment their relationship is so perfectly created only for the next scene to totally destroy Brinnin's 'love' for Thomas – pride that almost immediately becomes embarrassment, joy that turns swiftly to sadness – can only be said to be breath taking.

The performances of both Celyn and Elijah are at the height of what one would expect from the classics of Hollywood in its Golden Age, I do have to say that Celyn outshines on more than one occasion - which are the moments that made me feel extremely emotional, a man on the edge who was so lost in excess that I felt extreme sorrow for the character and those around him.

The composition of the shots is without doubt awe inspiring; I did not find one shot that jolted me from this visual feast. I get great delight from films that are obviously so cinematic, sadly something that is missing from so many contemporary films and what distinguishes a film from a movie. The scenes that stood out the most to me are the lake scene, the café scene (which was perfectly composed), the chess game and the woodland – just perfect.

Moving and evocative portrait of a misunderstood genius.

[maggie_kruger · 10/10 · 18 December 2014]

If, like me, before watching Set Fire to the Stars, your knowledge of Dylan Thomas was at best passing, don't worry. As an introduction to, or companion piece to, the great man's poetry, it's beautifully made, with sensitive performances from Elijah Wood and Celyn Jones and amazing photography from Chris Seagers.

Set in 1950s America (although shot entirely in an unrecognisable Swansea), academic John Brinnin (Wood) ferries Thomas (Jones) from party to public engagement, hoping to learn from him. As the film progresses we see his puppyish adoration fade into an almost parental love and disappointed frustration, as the mercurial Thomas delights and annoys in equal measure. It's a testament to both actors that at no point does the film tip into Odd Couple/Withnail and I territory, despite the game of emotional see-saw that Wood and Jones have to play. Supporting roles from Shirley Henderson, Steven Mackintosh and Kevin Eldon underpin the main performances nicely and is a solid nod to the acting talent available yet so often overlooked in the UK.

The technical aspects also hit all the marks. Whilst black and white can sometimes used to give a film more weight than it actually possesses, here it works. During a second-act storytelling scene with Henderson and Eldon, there's an Expressionist feel adding to the atmosphere. Gruff Rhys' soundtrack takes you back to the 50s without resorting to Beat Generation cliché, and the title track will stay with you for days.

Set Fire to the Stars is a clear demonstration of what the UK Film industry can achieve when it's not churning out identikit gangster films or saccharine Richard Curtis romcoms - measured, intelligent and with a clear love for its subject matter. Well worth a watch.

A monumental achievement: where art-house and great entertainment are snug bedfellows

[andrewsnjackson · 10/10 · 3 November 2014]

Everyone in the cinema was quite struck by the profound and beautiful movie that is "Set Fire To The Stars". You could see it in the faces of the audience, as each person figured out which message had the most resonance.

This movie is much more than another biopic of an artist on the fringe of society. And for most audiences, it will be much more meaningful than Dylan Thomas's poetry. It took me a while to process the resonance for me in this movie. I had to filter the welcome enormity of Elijah Wood's screen presence and Celyn Jones' powerful persona. But they gave me enough gentle nudges and artistic clues under Andy Goddard's direction to lead me to the following conclusion: the purpose of this film is to unravel some of the mysteries of male friendship, and to lift the veil on hero worship (which Elijah must experience on the other side, in his real life) and, of course, where Dylan helped, it was on the transformative power of words.

With all this colour going on, the superb aesthetic of the black and white film compliments the mood nicely. Tantalisingly the film gives no pithy answers, or sound-bitten sentimentalism. Instead I need to look inside myself, and perhaps within the poetry of Dylan Thomas, to find some of those answers. Or maybe I just need to watch it again.

This review also needs to pay justice to the sheer entertainment value that is throughout the movie. I loved it - from start to finish. Elijah's performance is incredible. Celyn's character is jaw- droppingly intriguing (and believable), and the music from Gruff Rhys (of Super Furry Animals fame) is beautiful at all times and crosses a range of genres and styles. Everything is in balance, except Dylan's psyche - and that's what makes it fun!

This is a monumental achievement, where intellectualism and pure fun entertainment ride side by side. Perhaps it is the start of a new genre - where intellectual movies have taken their heads out of the clouds and are doing it with a smile. I'm sure that's how Dylan would have wanted it to be.

A beautifully scripted and photographed piece of cinema

[lady924642003 · 9/10 · 9 August 2015]

At times my poetic prowess reaches as far as "One Fish, Two Fish, Red Fish, Blue Fish." Most prose filled literature bounce over my head, but I'm not totally blind to the verse language.

There are a number of movies that have come along to awaken my vernacular intellect. Adaptations of Shakespearean works such as Hamlet, Much Ado About Nothing, Richard III and Othello. Modern films like The Remains of the Day, Six Degrees of Separation, Agnes of God, Inglourious Basterds, even the romantic comedy Roxanne have dialog that's swept from a Broadway stage dripping with idyllic narratives. I can now add Set Fire to the Stars on this list.

My first impression of the semi-autobiographical film of Welsh poet Dylan Thomas' first visit to America by the hands of John Malcolm Brinnin took me to a place where I thought I should be marveling at the actors and sets in a stage play. The lines that leap from the screenplay makes me grateful to be a fan of films such as this. Every now and then one comes along that utilizes speech in a way that makes it masterful.

My second impression instantly made me revel at the glossy black and white cinematography. It's punchier, brighter and crisper than any monochrome 1950s movie I've seen. I can't get that image of New York City's skyline with falling snowflakes out of my head. It reminded me a snow-globe in which the city glowed and shimmered like the energetic place it is.

Other than the stark imagery, the performances are just as captivating. It's both difficult and entrancing to watch Celyn Jones bring the poet to life. To see someone recklessly destroy himself as well as those around him should make one appalled. When Dylan is stripped from New York City and taken to John's quiet country home, it's sort of like caging a wild lion. In the DVD outtake he says to John, "It's like a Presbyterian wake." Dylan does get loose and has a unique way of alluring people to him. He also has a knack of alienating them. It's not due to his celebrity, but his inclination with words and brash demeanor. Celyn as Thomas is a being who is poetry in motion. He's both devil and angel, moral and corrupt, bitter and sweet, tears and laughter.

Elijah Wood is suited well in this period piece with the look of a classic actor from the era in which the film is set. As opposed to Dylan, there's not much known about John Brinnin. However, the way Elijah portrays the Harvard scholar, he makes us believe the literary critic to be reserved but holds a powerful status. We struggle with John every step of the way as he wants to be a colleague and advocate but instead is diminished to a caretaker and scapegoat. Despite all this John is still an admirer. In one scene he watches Thomas recite his poem "And Death Shall Have No Dominion" to the Yale big wigs. Dylan fumbles at first then settles in. The camera closes in on John and you can feel the admiration in his eyes while the others show little sign of validation. Elijah delivers in this film just as eloquently as Celyn.

Together, Elijah and Celyn poured themselves into these men and brought a precarious relationship to the screen. One is loose while the other restrained. John pushed Dylan as much as Dylan pushed John. The two were like oil and vinegar but when mixed properly, they delivered a savory retort. There was a bit of a montage of them working intently on their upcoming engagement at Yale. I would have loved to witness more of that collaboration and listened how they discussed, agreed and bickered. It was a quiet battle between them and when all seemed good, one did something to destroyed what they had working.

The supporting cast is great composed of Shirley and Stanley, a married couple who live near Brinnin's lake home, coming in to have a wild evening of drinking and story-telling. Rosie, a spunky little waitress in a diner and Jack, John's adversary from Yale who wants to see John fail knowing the attitude of Thomas. One of the stronger scenes is the apparition of Dylan's wife Caitlin. Throughout the movie there is a letter from her that Dylan refuses to open. It scares him to do so and that bothers John deeply.

When Caitlin appears to Dylan, she speaks and taunts him with her poetry on why he left her and their children and why he had to. This exchange arouses Dylan to behave in the manner John has been wanting him to act since they met. John is now upset by what Dylan's wife may have written and says, "What did that woman say? What did she say that awoke you from your dream? I need to know. What is it she can scribble down in her violent, cheap-hand that eclipses my entire being?" After they struggle about, Dylan brings the movie to its purpose. "Don't open a book." he says. "Open a window," explaining to John life is in right front of him.

It's hard to believe they shot this film in 18 days. One would think it took months to complete if not for the dialog alone. Not knowing Thomas' work, it doesn't bother me that his poems are not recited in their entirety. I'm glad in fact. As I said, most poems need to rhyme for me to understand them, but just enough of them are spoken to help the screenplay along. But if you're aching to hear them, they are recited by Celyn in the DVD extras.

If this were to be in the running at the Oscars, I could see Set Fire to the Stars getting a nod for cinematography and screenplay. Celyn Jones and writer/director Andy Goddard penned a beautifully scripted and photographed piece of cinema.

Outstanding story, great performances, a rare gem.

[latinfineart · 9/10 · 23 November 2015]

This was an astonishing little film. What a performance from Elijah Wood. I did not know he had it in him. What can one say. Pitch perfect work. The Dylan Thomas character was great, and probably quite accurately portrayed, as a tormented soul. Great characters throughout, and excellent directing. The cinematography was breath takingly beautiful. If you are the literary sort, or enjoy poetry, this is quite a film. The locations were lovely, the sets were totally believable, the props were amazing, and the entire production was outstanding.

If you are looking for a lot of action, take a pass. This film is all about drama.

A film of rare quality

[jhas-31038 · 9/10 · 6 December 2016]

Superb reviews here of a magnificent film.

One complaint.

Too often the music kills the moment.

When no-one is speaking, and also when someone is speaking, the scene would be more intense without musical sounds that intrude.

Many years ago, in the 1940s I believe, H.L.Mencken wrote strongly of his irritation when musical sounds were introduced into films for dramatic effect.

This is a film largely about the spoken word and human frailties, in brilliantly simple black-ands-white settings that are intimate whether in a field, a forest or a cabin.

Of course it's merely personal opinion, but to me the music here merely clutters a classic.

Captivating

[spottedzebra · 10/10 · 30 March 2015]

Beautifully shot in black and white, this film offers a unique insight into Dylan Thomas' tortured soul...and more It's a sensitive yet gritty portrayal that keeps you hooked throughout. Celyn Jones and Elijah Wood have a natural chemistry on screen in their respective roles, with top class acting completing this gorgeous work of art. Jones' energy and dynamism in particular is enthralling. Thoroughly recommend viewing. Oh, and the cinematography is stunning. Loved the ethereal appearance of Thomas' wife. Ps For someone that has not taken an interest in Dylan Thomas before, I am now officially inspired to read his work. Could you ask for any more?

Understated and stylish window into Dylan's later years

[kimberleyanwen · 10/10 · 25 March 2015]

Understated and stylish window into Dylan's later years. Both Celyn Jones and Elijah Wood offer up immersive performances in this affecting and brilliantly scripted film. There have been a handful of films and documentaries released to celebrate the centenary of Dylan Thomas- yet few stand on their own two feet as well as this. It's largely due to the focus on a specific period of Dylan's life and to the fact that the film is ultimately a beautifully observed portrait of a relationship between two men. You don't need to be a Dylan Thomas fan to enjoy this film: every scene could be a photograph, Gruff Rhys (of the super furry animals) has scored a soundtrack with echoes the jazz of some of Dylan's own poetry, and Kelly Reilly does a wonderful turn as Dylan's famous wife Caitlin. It is clear that both Andy (this is his directorial debut) and Celyn are talents to watch.

Hallo, Hallo, Hallo, Hallo! She's a hoot! lol

[juanmuscle · 10/10 · 30 October 2018]

This was so outside the bounds of phenomenal I don't know what I just saw or felt rather cause I watched this not through the facile orbs or through the fostering brain lamo filters oh no! I experienced this masterful wonder the only way one might extract true magic with the god given greatest gift ever, the soul! If you are the type of person that casts away poetry with rudimentary colloquial speech: "Oh no, I would never read that poetry is for F**S! then no, you don't need to watch this because unfortunately my rustic rube dolt you don't and shan't ever have a soul, its impossible for you were born into our great world meaty and thick wholly bereft of one, so yes, go on with your bad selves and do something else, I don't know and I don't want to know...

Yes the penultimate scene or the last was so sweet, so thoughtful and affecting and touching that I couldn't help but reach out , if only I could, to do whatever I or we or God to save the awesomeness that is Mr. Thomas! But unfortunately, some people , god should of made two worlds, one for people with loving souls and the other for whatever I don't care I don't need to be there (tmi) who cares about that god awful planet... but unfortunately our artists have come down plop right into this disgusting living chimera , there is no choice :(

(Last Scene) - me me me me, "terrorize someone else" says Dylan's cohort - where is the forebarance the empathy the humanity , the love in the harmony of sympathy , sympathy for not only ourselves but for our fellow man, the sympathy to regard otehrs no matter what their station in life as human beings, as our fellow brothers and sisters , the sympathy to ask and really mean it , how are you, terrorize someone else, he missed the whole thing, its whats wrong Dylan and can I help? yet in its simplicity therein presides its futility, for what can we truly say or do, even if Dylan stops everything what does it truly matter when those very feelings that drive him to self-destruct will yet exist inside him, but would it really, I mean would it still if we lived in a perfect world where everyone said, 'no, wait a minute no, no more, I'm going to be the best person I can be for the betterment of mankind" Would he or anyone for that matter still feel the need to self-destruct. Would we have those staunch daemons with whose importunate insidious agenda we would need to fight.

John's self-indulgent comments belie anything altruistic when providing Dylan with any succor , it just makes everything no matter how sweet and nice seem like something done out of perfunctory duty thus never truly connecting from genuine affection.

The acting to me seemed stellar and the script thoughtful and genuine, everything this was a work of art!