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One thing that scene had me pondering that Davies has never had, pardon if The Neon Bible is an exception, an adult man as his point of view. Even in his documentary his viewpoint was from his childhood. Men are limited to reminisce yet adult women like here are allowed to move through time to the, for them, present.

Death and Transfiguration is an example of that, but maybe the only one, now that you mention it.

I couldn't remember that as a straight example. If I remember right it is his most abstract narrative.

It's not exactly straight (in more ways than one), but it ping pongs between the protagonist as an adult and as an old man on his deathbed, so it has two adult male points of view, really.

Though that fits very well with my comment on reminisce.

knives wrote:Though that fits very well with my comment on reminisce.

I suppose so, but the format of Death and Transfiguration is very unusual, with the adult material appearing as present day and the old age material as, in a strange kind of way, a projection into the future. And I don't think you get any sense of Wilfrid Brambell 'remembering' the rest of the film / his past: he's not even an especially conscious protagonist, but more one isolated in the visceral pain of the (future) here and now.

Guess I should just rewatch which is as nice a thing to do as anything else.