Fascinating docu-blend telling the story of late playwright Andrea Dunbar, who lived in a low-income neighborhood. We also see scenes from her plays being performed in the park of this neighborhood in present day. And increasingly the story becomes about Dunbar’s daughter Lorraine, who appears to be following in her mom’s footsteps of hopeless addiction. And all this (except the outdoor performances) is told through actors lipsyncing the words of the real people. Beautifully staged and totally unique movie, though Katy got depressed by the death and drugs and abuse.
Lorraine and Lisa inside a childhood memory:
Though the synching is remarkably close to unnoticeable, the style takes some getting used to, mainly because The Arbor isn’t dramatized like films with actors generally are. The scenes are more like eerie tableaux where the “characters” tell their stories straight to the camera, wandering the haunted backdrop of Bradford’s Buttershaw Estate and other settings. This ingenious conceit, borrowed from Robin Soans’ 2000 play on Dunbar, called A State Affair, solves the longstanding problem of documentaries penned in by static talking heads.
N. Rapold in Film Comment:
What’s disorienting are the muted tones of the interviews, which were obviously not originally spoken with the intonation of a dramatic performance. This lends a curious low affect to the recounting of extraordinary incidents, and this disjunction, as well as Barnard’s hyper-immaculate RED photography, are a characteristic of other recent film work by artists such as Steve McQueen and Miranda July. As Lorraine becomes the central focus in the second half of the film, her matter-of-fact, downcast delivery becomes a drumbeat anticipating her inevitable downfall.