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"Strawberry Mansion" is an eccentric hybrid, like a handmade Valentine.īecca Morrin's production design is a huge contribution, as is Lydia Milano's art direction. The influences are present, but they're free-associative rather than literal. the Volcano," " The Congress," and even "Idiocracy." Emir Kusturica's haunting " Arizona Dream," where the four insomniac protagonists wander in and out of each others' often-incompatible dream worlds, is also a reference point. Dick's Do Androids Dream of Electric Sheep?, " Eternal Sunshine of the Spotless Mind," " Stranger Than Fiction," "Joe vs. There are so many fun connections here: shades of Philip K.
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Audley, a wonderful actor, moves as though in a daze: Preble doesn't know how to make those associations, he only sees dreams as assets to be monetized. Penny Fuller is such a comforting and lively presence, glimmering a smile at Preble, waiting for him to get it. This is a film about making associations, about opening yourself up to the powerful emotions held in those associations. The dreamworld bleeds into the real and vice versa, leading Preble to make his observation that he thinks he is losing his mind.
Caterpillars take on enormous meaning, as do beets. There are talking human-sized mice in sailor suits, manning a "Master and Commander"-type ship, as Captain Preble sets out onto the high seas searching for young Bella. There are blob-like creatures who show up repeatedly-sometimes they are made of mud, sometimes of grass, sometimes they appear to be made up entirely of video tape. Preble moves through Bella's dreams, getting to know her through her associations and symbols. Their dream adventures are many, but there is always the threat of interruption, of being "found" by Buddy, who keeps showing up, wielding buckets of fried chicken, shouting advertisement slogans, all designed to put Preble back into the passive state of consumer.Īudley and Birney have created an open space where associations float, or zig-zag, or intersect, where fascinating strange things happen-and maybe they're connected, but maybe they're not-since that's how dreams are. Turns out, the young woman is young Bella ( Grace Glowicki), ethereal and adorable, smiling at the confused Preble as though she has known him all her life. There's a knock on the door of the pink room, and a woman's voice is heard asking for him. Immediately upon meeting her, Preble's dreams start to change.
He straps a big papier-mache contraption to his head, in order to "view" her dreams, and attempts to resist her charming attempts to relate with him personally, to stop and smell the roses, to share his thoughts and feelings.
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Since Bella did not make the mandatory upgrade to the airstick, and recorded all of her dreams on VHS tapes, Preble, the humorless civil servant, has an enormous job ahead of him. Arabella (or, " Bella") has years of un-logged dreams, and Preble must catalog it all. Preble is sent to audit the dreams of Arabella Isadora ( Penny Fuller), an eccentric elderly woman who lives in a pink house in the middle of a field. Preble is so used to this state of affairs he doesn't even realize he's being targeted as a consumer in his most private space. The film opens in the middle of his own recurring dream: he sits in a pink room-pink walls, appliances, table-and is presented with a bucket of Cap'n Kelly chicken and a bottle of Red Rocket soda by a jolly "buddy" ( Linas Phillips), whose only job is to deliver food (the same food, the same brands) and keep Preble from veering off the expected path.
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It would be like getting all the Super Bowl commercials downloaded directly into your subconscious without your consent (kind of like that time in 2014 when Apple decided every iTunes subscriber wanted the new U2 album, whether they purchased it or not).Īlthough James Preble is a professional dream auditor, he is unaware of this more sinister aspect of his job. In addition, advertisers can now "get to you" in your dreams, and commercials are woven into the fabric of the unconscious and subconscious worlds. The air stick tallies up everything seen and experienced in dreams, all of which is taxable. Consumer-driven algorithms, in concert with powerful state-run advertising agencies, infiltrate people's dreams, via a little "air stick" hooked up beside the bed.
"Strawberry Mansion" takes place in 2035, and 2035 doesn't look all that different from now, although there are some new-fangled technological developments.
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