Trauma

TRAUMA is one of those films that invokes mixed responses from audiences depending on their expectations: it seems to polarize people into love/hate categories. While not a great movie, TRAUMA has the courage to pose a storyline that is more involved with the interior aspects of a mind altered by physical events. We are asked to observe the world through the eyes of a battered brain which happens to belong to a man with a tattered past. If linear stories are preferred then this is not a film to recommend. For those viewers willing to crawl inside the malfunctioning mind, this film is mesmerizing and full of rewarding moments.

Ben (Colin Firth) is seen in the opening flashbacks driving a car at night with his wife Elisa (Naomie Harris). There is a car crash and Ben awakens from a coma in a hospital, convinced that Elisa is dead. He wanders the hospital, drawn to the morgue where the caretaker (Cornelius Booth) enhances the mystery of the place. Ben learns from the TV room that a famous singer Lauren Parris (Alison David), for whom Elisa has been a dancer, has been murdered. His mind disintegrates and everything that follows is a mélange of delusion mixed with bits of reality that exquisitely define how the post traumatic stress syndrome can be driven to psychosis if not recognized and treated.

Ben leaves the hospital (or does he?) and continues his art career in a vast building undergoing reconstruction (a building that has been a hospital....), befriended by his mate Roland (Sean Harris) and by his landlady 'Charlotte' (Mena Suvari). More flashbacks (mostly childhood memories) occur as Ben talks things out with a 'psychiatrist' (whose face we never see...) and during episodes with channeler Petra (Brenda Fricker) he is informed that Elisa is not dead. Ben becomes a suspect in the murder of Lauren Parris and his chasing after evidence ultimately leads to a series of disasters, a series of metaphors and delusions, all of which find Ben sitting back in the hospital where he started.

Did any of this story really happen, or was it the fabrication of a mind traumatized to the brink of breaking? That is left for the viewer to decide. Though plagued with some static moments and a lot of conversation buried in background music and sounds, Director Marc Evans with writer Richard Smith take us on a suspenseful journey, made all the more bizarre by some extraordinary camera work and tremendously inventive settings. Not a movie for everyone, but for those willing to enter the Post Traumatic Stress Syndrome mind, this case study is rewarding. Grady Harp

I watched this all the way through, though I cant pretend I liked it. The overwhelming impression of this movie was confusion. I had zero idea of what the hell was going on. All the effects of a shocker movie were there, the insects,the momentary glimpses of things undetermined, to raise the tension, the creepy caretaker, the muted colouring, the mutilated corpse, flashbacks, the almost abandoned building which was an ex hospital with, handily, a morgue in the basement ! etc etc. For me a movie must have entertainment value, there was none here, the story was nasty all the way through. Acting ? Colin Firth, Mena Suvari... first class as you would expect when you manage to acquire actors of their standing you want to put them in a better vehicle than this movie.

It sometimes gives masterpieces:of course "spellbound " comes to mind.But "Spellbound " was made at a time when screenplays were elaborate and there was no place for vagueness.

"Trauma" turns on the ambiguousness: nightmares,hallucinations, shrink consultation,medium,investigation,TV news,it's hard to find your way through this muddled plot.It borrows sometimes from "Jacob's ladder" ( the nightmare (?) in the hospital)but its conclusion,unlike Adrian Lyne's work, does not make much sense.

A man (Colin Firth,28 in the movie,actually 44 when the movie was made)has lost his wife in a road accident and he was at the wheel.At the same time ,a female pop star is murdered.The widower suffers from amnesia and when he tries to find back his past, it will be nothing that he expected of course...

As for Colin Firth,why don't you watch "another country" or "apartment zero" instead?

Another dismal dud from the British film industry. This has all the things that make the average Brit movie so dire: downbeat story and settings, pretentious 'realistic' performances and an incoherent, showy style. Any film that starts with the death of a character that we - naturally - feel absolutely nothing for gets off on the wrong foot. After a short while we're as confused as poor old unshaven Colin Firth, who wears a puzzled frown throughout. Mena Suvari turns up now and then, but really shouldn't have bothered. Indeed, she might as well have phoned her performance in like she did in American Pie 2. Everything stinks about this film: the laughable press headlines (would The Mirror really have 'Caught You! Killer could be on film' as a header in the circumstances the film presents?), the stupid, grim settings (who lives in a barely converted hospital?) and the obscure, confusing story development that tries to be clever but just annoys. I can't imagine anyone enjoying this turkey.

An unemployed loner (Firth) recovering from a road accident becomes obsessed with a murdered pop star and with the prospect that his wife, supposedly killed in the crash, might not be dead after all.

In recent months we have had two excellent British films released in our cinemas. Geoffrey Rush gave what could well be the performance of his life in "The Life And Death Of Peter Sellers" and "Lock Stock And Two Smoking Barrels" producer Matthew Vaughn made a fine impression with "Layer Cake", his directing debut. "Trauma" is a Warner-BBC co-production that is both confused and pretentious and it seems longer than it's running time. Director Marc Evans fails to generate any suspense and the twist in Richard Smith's screenplay when it comes is hardly worth waiting for. Some moody cinematography from John Mathieson and a good performance from Colin Firth offer a little compensation, but one can't help thinking that this should have been confined to the BBC's airwaves rather than our cinemas.