Indeed, it understands the process of physical recovery as being an escape from the body's tyranny.Thus, the kinds of detail Falck chooses to photograph change as the characters' frames of reference change. The film stays close to both, but it exploits neither. The film is wholly aware of its fantastic potential (the writer calls the girl his "princess"), and it is just as aware of each exploitable turn in its tale of suffering and success.As with most women's pictures (a genre I highly admire), there is a fair blend of agony and ecstasy in "A Time in the Sun." But as with most women's pictures, the ecstasy is chiefly agony, and in health as in sickness the heroine has a pretty sloppy time of it.The misery of Hodgkin's disease and the radiation treatments (nausea uncontrollable itching) is matched by the pain and anxiety of childbirth.
Such a story, though in this case based on fact, pertains more to fantasy than to fiction. He marries her anyway, and gets her pregnant-whereupon she has both the baby and a complete reversal of the symptoms of her illness. And it becomes apparent that Ake Falck's "A Time in the Sun," which opened yesterday at the Carnegie Hall Cinema, has a visual program, a pleasant one, to match its decently sentimental story.The story concerns a handsome, successful young writer who meets a lovely young nurse who is dying of Hodgkin's disease.
Somewhat later, atter we know the characters, it devotes such close attention to fragments of human anatomy that it seems at times to be recalling those "geography of the body" movies that in provincial film societies used to substitute for art (and sex).But much later, after the hero and heroine have married and settled down to her pregnancy, the area of vision has widened to include rarely less than a bed, a body, or a corner of a cozy apartment.
AT the very first, as the credits come on, it looks like a kind of micro-cinematography.
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