Buy from our bookstore and 25% of the cover price will be given to a school of your choice to buy more books. *15% of eBooks. Home > Furthermore, Marianne is no longer in control of the dream world because she brought The Pencil into that world and gave it to Mark. When we last see her in the dream world, she finds Mark has gone off in the helicopter having left her a note to say he did wait for her, but could only wait so long because the helicopter had been hovering around all day waiting for him. Ren: Is the horror increased by imagining them hopping along, or does it make them less horrifying?

Marianne Dreams | Bedlam Theatre Marianne Dreams | Bedlam Theatre

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There is nobody in the house so when Marianne awakes again she draws a boy at an upstairs window – a companion during her next dream visit. As it turns out the boy, Mark (Steven Jones) is also in bed in the real world – seriously ill with polio and unable to walk – and has now been pulled into her alternative world. Ali: It pretty much seems to be actually the lighthouse. But it’s hard to tell what’s real and what’s not at this point in the film.

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Adam: But you’re in a similar position as a view to Anna, I think. You don’t trust him, even though he seems kind of decent, because you’ve had these quite disturbing scenes in the paper house, and that’s the same actor, obviously. I must say, the TV show makes this distinctly less “weird” by confirming that Marianne fell off a horse and broke her leg; if she’s hallucinating, it’s because of the boredom of bed (like in the classic Victorian metaphor-for-the-lives-of-women short story the Yellow Wallpaper). If the book features a mystery malady instead, that’s a lot more interesting; and there’s also a political dimension to that, especially in the way that women with mystery maladies like MS/chronic fatigue/fibro are undermined as “hysterics with a mental health problem” rather than people experiencing a genuine health crisis; it spirals out into all sorts of ideas culture has about both good health and also women. Very much like Yellow Wallpaper, actually. Adam: Well, one thing Ali, you pointed out watching the film was that the laws of cause and effect don’t really apply in the way that the book has it. The book’s very much a sequential narrative.

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And yes, I love the ambiguity of the dream world. I always get a weird sense of “hygge” from those cosy apocalypse scenarios, when characters are thrown together in a relatively space refuge from the dystopian madness that’s raging elsewhere. There’s a force in this place. You felt it in the cold wind and now it is in them. It pulls at you, pulls all the energy. I think it would pull the light from the sky if it could.’ Adam: And then an odd thing happens in the film, which is that Mark’s voice in the imaginary voice-over then morphs into the voice of Anna’s mother.