Taking characters and themes from an iconic literary work and moulding them into a parable, performed as an ensemble piece of modern-day street theatre and presented as a short movie, is a risky venture that could go horribly wrong without a great deal of skill and talent. "Refuge of the Dragonflies", based on two chapters of "The Hunchback of Notre Dame"-Victor Hugo's great novel set in medieval Paris-is a bold and ultimately successful adaption.
Poetry comes in many forms and poets work in many ways. Michael O'Rourke has imbued his movie with a beautiful array of images, words and music that only someone who understands poetry could produce. The knowledge and love of poetry, music and literature shows in every shot. Even the character of Moondog is an homage to the blind poet and musician who lived on the streets of New York. The photography in this short movie is shot through with lovely shimmering images, the night shots are beautifully lit. The original music adds yet another haunting dimension. The acting is excellent too, the cast of new actors deliver convincing characters. It's obvious that a lot of work has gone into making this movie.
So far, so good.
But in amongst the poetry and beauty, there is a darkness, another drum beating. In the streets of every city there is an edge, a fear, an oppression. There is violence, cruelty and death. There are those to whom life has such little value that they think nothing of snuffing it out in the blink of an eye. Life hangs in the balance, just as the poet does at the hands of his tormentors in the Court of Miracles, the racial tensions and tribal warfare of America's street gangs brought into sharp focus. And perhaps a subtle reminder that liberty and justice is not for all. Indeed, the movie abounds with metaphors.
Even the Church represents darkness with Frollo, driven by his lust, attempting to rape La Esmeralda and the brute Quasimodo being unleashed on the poet.
But can poetry ultimately bring light to darkness?
The dragonflies are safe in the arms of La Esmeralda for now, but the future is uncertain.
Can love triumph over despair?
The poet and La Esmeralda leave us with a poetically enigmatic conclusion.
Which, like the best poetry, is just as it should be.
Poetry comes in many forms and poets work in many ways. Michael O'Rourke has imbued his movie with a beautiful array of images, words and music that only someone who understands poetry could produce. The knowledge and love of poetry, music and literature shows in every shot. Even the character of Moondog is an homage to the blind poet and musician who lived on the streets of New York. The photography in this short movie is shot through with lovely shimmering images, the night shots are beautifully lit. The original music adds yet another haunting dimension. The acting is excellent too, the cast of new actors deliver convincing characters. It's obvious that a lot of work has gone into making this movie.
So far, so good.
But in amongst the poetry and beauty, there is a darkness, another drum beating. In the streets of every city there is an edge, a fear, an oppression. There is violence, cruelty and death. There are those to whom life has such little value that they think nothing of snuffing it out in the blink of an eye. Life hangs in the balance, just as the poet does at the hands of his tormentors in the Court of Miracles, the racial tensions and tribal warfare of America's street gangs brought into sharp focus. And perhaps a subtle reminder that liberty and justice is not for all. Indeed, the movie abounds with metaphors.
Even the Church represents darkness with Frollo, driven by his lust, attempting to rape La Esmeralda and the brute Quasimodo being unleashed on the poet.
But can poetry ultimately bring light to darkness?
The dragonflies are safe in the arms of La Esmeralda for now, but the future is uncertain.
Can love triumph over despair?
The poet and La Esmeralda leave us with a poetically enigmatic conclusion.
Which, like the best poetry, is just as it should be.