A delightfully unique film which explores a historically researched image of Lewis Carroll as a man with a fixation (albeit merely platonic) on young girls, and expands the premise to consider the effect that his obsessions may have had on the later life of his model for Alice. Holm's impersonation of Carroll is of a gentle but, at times, pathetic figure whose passion for the company of Alice Liddell is matched only by that for the development of his characters and narrative that were to become the "Alice in Wonderland" and "Through the Looking Glass" classics, for which Alice Liddell was his model. The young Alice is sweetly and endearingly played by Amelia Shankley in the flashback sequences with Holm, but the film is also centred around the attendance at a celebration of the centenary of Carroll's birth of the now 70-year old Alice, portrayed by Coral Browne. This older Alice is shown as a woman who has been shackled by her long celebrity as the role-model for the famous literary character and who has lived her life in a way which ensured that she was always seen to live up to that pure public image of her. As she travels to and arrives in America for the celebrations, various factors conspire to force her to acknowledge her symbolic insularity - the contrast between the brashness of the New World and the strictures of a society in which she has lived - the love affair which breaks out between her travelling companion and one of the reporters who meets her ship on arrival, an affair which initially brings to the surface strong but automatic emotions of aversion and disapproval. Gradually, she starts to question and, ultimately, to reject her past and all the values implicit in it. This is symbolised most vividly in the dream sequences in which she interacts with some of the characters from the "Alice" stories. Whilst created by Jim Henson's Muppet workshop, these images of Carroll's creations are not the cuddly, friendly visions reminiscent of, for instance, the Disney adaptation or other mainstream productions, but are much more darkly drawn, much more foreboding, much more, in fact, like the original illustrations of Carroll's work by John Tenniel. Rather than in the interests of authenticity, it seems that this depiction is chosen in order to represent the powerful hold of constriction in which these characters have held Alice. In the dream sequences, the creatures begin by continuing their overbearing influence over Alice but she gradually comes to question their power and their very existence as the circumstances unfold which cause her to evaluate her own life, until, in the final dream sequence, she ultimately rejects them completely, thus releasing herself to live out the rest of her days free of their restrictions and of the constraints of her whole past life. Throughout all these tribulations and inner examinations, Corale exudes a haunting and ever-calm aura in one of the most subtle examples of underacting it is possible to imagine.
