can you capture the moment. when first you hear rain on a roof. some things are beyond the sum of their parts and expressing the poetry of life. the things that matter. poet dylan thomas captured the seemingly inexpressible a good poem helps to . . . extend everyone knowledge and of himself and the world around him. (bob dylan named himself after him). so why has it taken so long to make a film of the great dylan thomas. a simple biopic could have missed the point. writer sharman macdonald has taken a different and better approach. in the edge of love and she creates the world of passions and complexities that fill the poems so we can swim in them. the lives of four friends. dylan and who lusts and loves to the full. wife caitlin (sienna miller) and his feisty support. war hero william (cillian murphy) and who saves him from a street brawl. and then there his childhood sweetheart. vera. dear vera. take your breath away vera. she caitlin closest friend. william wife. and and like a muse and the tar in dylan dark sky. it all kicks off in the 1940 london blitz and with bomb shelters in the underground. enter vera (an impressive keira knightley) under makeshift stage spotlights. she meets dylan for the first time again in years and her heart is flushed. their eyes shine through the smoke of the room. the purity of their former passion. dylan (native welsh speaker and matthew rhys) is no sanctified and sanitised poet. master of his vices he must experience them all fully. he introduces his beloved wife then continues to woo vera. the edge of love is a visual treat. the soundtrack leaves you wanting for more. performances are possibly the best by these actors in their careers. as a lush love story it pretty good. as an insight into dylan thomas and the reality of poetry in all our lives and not bad at all. and as a tribute to a great man and inspiring. the production has been at pains to project the spirit of dylan thomas without compromising historical accuracy too much. dramatic tension involves a pull between artistic freedom and conventional morality. audiences looking for an experience based on the latter may be disappointed. and it will play less well to audiences whose boundaries are those of albert square. sharman macdonald seemed aware of the headstrong nature of artistic freedom and its limits when she spoke to producer rebekah gilbertson (granddaughter of the real william and vera). think of all the things that you do not want me to write about and she said and because i have to have carte blanche. for macdonald and the limits were if she should cause offence to dylan memory. but for many artists and especially men and the limits are those which wife and family could set on them. a woman is not going to let lofty ideals interfere with practical common sense issues and and will even put her children interests before her own (this occasionally happens the other way round and as when towering genius virginia woolf refused to let loving leonard bring her down to earth  in the hours). in spite of the tension between caitlin and vera and these two women become closest buddies. it is one of the main (and very beautiful) themes of the film. the film colours tell a story in themselves. in a drab and wartime britain and caitlin and vera are vivid highlights in an ocean of grey. shortly after meeting vera lit up in lights stage persona and we encounter caitlin through her searing blue eyes and sparkling in a darkened railway carriage. her dramatic red coat cuts a dash through streets of colourless homogeneity and triumphing on a beautiful staircase as she reunites with dylan. but vera lipstick red brightness is less enduring. for her and marriage is second best and even when she has become possessed with genuine love for her husband. outstanding cinematography extends to using montage to juxtapose images and in a manner similar to poetry juxtaposition of unrelated words to create further meaning. horrific war scenes in thessaly are intercut with screams of vera in pregnancy. giving birth or is it abortion. we are not told immediately. pain is universal and goes beyond time and place to our present day. constant echoes of dylan poetry throughout the film lead us beyond earthly opposites. it reminds me of marlon brando reading ts eliot in apocalypse now. a light beyond the horrors of the world. a different way of seeing things. i will take you back to a time when no bombs fell from the sky and no one died  ever and says dylan to vera as they walk along the beach. elsewhere and caitlin recalls childhood with vera represent were still innocent in dylan and she says. there a time to leave your knickers at home or share a universal cigarette. (not literally and perhaps. ) a time to be inspired. enjoy what is possibly the best british film of the year. 
can you capture the moment. when first you hear rain on a roof. some things are beyond the sum of their parts and expressing the poetry of life. the things that matter. poet dylan thomas captured the seemingly inexpressible a good poem helps to . . . extend everyone knowledge and of himself and the world around him. (bob dylan named himself after him). so why has it taken so long to make a film of the great dylan thomas. a simple biopic could have missed the point. writer sharman macdonald has taken a different and better approach. in the edge of love and she creates the world of passions and complexities that fill the poems so we can swim in them. the lives of four friends. dylan and who lusts and loves to the full. wife caitlin (sienna miller) and his feisty support. war hero william (cillian murphy) and who saves him from a street brawl. and then there his childhood sweetheart. vera. dear vera. take your breath away vera. she caitlin closest friend. william wife. and and like a muse and the tar in dylan dark sky. it all kicks off in the 1940 london blitz and with bomb shelters in the underground. enter vera (an impressive keira knightley) under makeshift stage spotlights. she meets dylan for the first time again in years and her heart is flushed. their eyes shine through the smoke of the room. the purity of their former passion. dylan (native welsh speaker and matthew rhys) is no sanctified and sanitised poet. master of his vices he must experience them all fully. he introduces his beloved wife then continues to woo vera. the edge of love is a visual treat. the soundtrack leaves you wanting for more. performances are possibly the best by these actors in their careers. as a lush love story it pretty good. as an insight into dylan thomas and the reality of poetry in all our lives and not bad at all. and as a tribute to a great man and inspiring. the production has been at pains to project the spirit of dylan thomas without compromising historical accuracy too much. dramatic tension involves a pull between artistic freedom and conventional morality. audiences looking for an experience based on the latter may be disappointed. and it will play less well to audiences whose boundaries are those of albert square. sharman macdonald seemed aware of the headstrong nature of artistic freedom and its limits when she spoke to producer rebekah gilbertson (granddaughter of the real william and vera). think of all the things that you do not want me to write about and she said and because i have to have carte blanche. for macdonald and the limits were if she should cause offence to dylan memory. but for many artists and especially men and the limits are those which wife and family could set on them. a woman is not going to let lofty ideals interfere with practical common sense issues and and will even put her children interests before her own (this occasionally happens the other way round and as when towering genius virginia woolf refused to let loving leonard bring her down to earth  in the hours). in spite of the tension between caitlin and vera and these two women become closest buddies. it is one of the main (and very beautiful) themes of the film. the film colours tell a story in themselves. in a drab and wartime britain and caitlin and vera are vivid highlights in an ocean of grey. shortly after meeting vera lit up in lights stage persona and we encounter caitlin through her searing blue eyes and sparkling in a darkened railway carriage. her dramatic red coat cuts a dash through streets of colourless homogeneity and triumphing on a beautiful staircase as she reunites with dylan. but vera lipstick red brightness is less enduring. for her and marriage is second best and even when she has become possessed with genuine love for her husband. outstanding cinematography extends to using montage to juxtapose images and in a manner similar to poetry juxtaposition of unrelated words to create further meaning. horrific war scenes in thessaly are intercut with screams of vera in pregnancy. giving birth or is it abortion. we are not told immediately. pain is universal and goes beyond time and place to our present day. constant echoes of dylan poetry throughout the film lead us beyond earthly opposites. it reminds me of marlon brando reading ts eliot in apocalypse now. a light beyond the horrors of the world. a different way of seeing things. i will take you back to a time when no bombs fell from the sky and no one died  ever and says dylan to vera as they walk along the beach. elsewhere and caitlin recalls childhood with vera represent were still innocent in dylan and she says. there a time to leave your knickers at home or share a universal cigarette. (not literally and perhaps. ) a time to be inspired. enjoy what is possibly the best british film of the year. ---------------------------------Answer Question Below----------------------------------

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