Ada Byron
King, the daughter of Lord Byron, wrote what essentially became the
first handbook
on computers more than a century ago. "Conceiving
Ada" pays homage to this largely neglected historical figure, weaving
in a modern tale of cyber research, a woman's quest for identity and the
genetics of intelligence. The extremely highbrow fare is challenging both
visually and intellectually but lacks the emotional kick to attract more
than a niche audience. While its oddball nature suggests cult appeal, it
will not match the commercial performance of such similarly targeted pics
as "Orlando" and "The Pillow Book."
As the film opens, Amy Coer (Francesca Faridany) is researching artificial
intelligence and cybertechnology. She has developed several agents to
retrieve the past and begins to track down her spiritual mentor,
Ms. Byron King.
The pursuit eventually pays off, much to the bewilderment of the Victorian-era
Ada (Tilda Swinton).
The communication between the two women unlocks a bond that spans two
centuries. While the details have changed, both basically find
themselves diminished
as a result of gender. Ada's research is usurped by another (John O'Keefe),
while Amy's is scuttled by her boyfriend (J.D. Wolfe) in the name of
her health and sanity.
Adding to the dramatic tension is Amy's pregnancy, which allows others
to step in to "protect" her. But she's well defended and resentful
of the roadblocks to her research, and of the prospect that her child
--- to be called Ada --- will experience the same attitudes inflicted
on her
mother and her namesake.
In her first mainstream feature, filmmaker Lynn Hershman Leeson aims
high, in subject matter and in an innovative visual style. But like the
bygone
character, she appears set in the belief that all things are predictable
and that accidental elements are to be avoided. That mutes much of the
story's emotional potential, often reducing the film to a bloodless intellectual
exercise.
Still, Faridany effects a compelling performance that transcends the
cerebral conceits of the material. Also energizing the piece is the late
Timothy
Leary as Sims, Amy's mentor, who offers guidance in conversations along
the computer highway.
The most striking aspect of the film is its integration of conventional
and digital photography. The latter elements are blended into the piece,
punctuating the drama with odd, effective reminders of its scientific
pursuit. The cutting-edge technology by Bill Zarchy is abetted by the
handsome images
created by vet cinematographer Hiro Narita.
Finally, the heady, scientific aspects of "Conceiving Ada" prevail
and inform the film. It sorely needs more "random" elements
of human nature to set the balance right.
Camera (Deluxe color, Panavision widescreen), Hiro Narita; camera (virtual
sets) , Bill Zarchy; editor, Robert Dalva; music, the Residents; production
design, Hershman Leeson; art direction, Laura Haynes; costume consultant,
Terence Graven; digital visual effects supervisor, Jamie Clay; sound (Dolby),
Tony Sanchez; assistant director, Eden Wurmfeld; casting consultant, Davia
Nelson. Reviewed at Toronto Film Festival, Sept. 12, 1997. (Also in Sundance
Film Festival.) Running time: 84 MIN.
Date in print: Mon., Dec. 15, 1997
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