The intention here is to create a novel in form and movement. It is like most Davies's films, styled in the same characteristic manner. The form means scenes progress in a way that is reminiscent of Bergman's Cries and Whispers' that is, complete in themselves and not always related to the previous action.
Within this template the film is quite successful: the design and the actors, all contribute to something that strives to make a film about an artist. That may not be very interesting and its presentation is quite static, but then, so were the lives of the people depicted.
Where it is flawed is the script, which, no doubt was crafted with some attention, yet, with a limited set of rhetorical devices: paradox, homily, hyperbole, irony, for instance; it soon becomes quite irritating. So many scenes run through a few set pieces with these rhetorical plays which are intended to amuse but repeat themselves and without any forward motion. There it resembles Bergman too: the self chastising, the self examination, accusation and reproach; the moral duty to become better, and while this may recreate the anxieties of the people involved, it is not accomplished writing.
Unfortunately this film has the moral worthiness of chapel instruction without a better insight into its subject.
