Although several of Roeg’s films had been based on published work, the British gave more attention to the connections between Castaway and the book that preceded it than had previously been the case. In part this was because Lucy Irvine’s book had gone through some twenty paperback reprints in Britain by the time of the film’s release. In part it arose because the book was based on the writer’s experiences and Roeg deliberately cast actors who resembled Lucy Irvine and Gerald Kingsland, and sought to deal faithfully with the physical events of their twelve months’isolation.1 Beneath these factors lies a persistent fascination with a particular variant of pastoral myth. The Crusoe story still excites the British with its potent picture of a tropical and liberated alternative to life confined in drab cities. As Margaret Walters remarks, it sells holidays by the million, and just about everything else from drinks to tampons.2 Lucy Irvine and Gerald Kingsland boarded the myth in our time and tried to live it out. That they did so for reasons they did not fully understand when they set out makes it no less fascinating. Furthermore this modern version of the Crusoe adventure is fattened out with an account of a sexual liaison that went wrong, which gives the audience the additional pleasure of witnessing familiar domestic problems disrupting the exotic scene.
KeywordsLost City Conscious Mind Sexual Liaison Fantasy Life Pastoral Myth
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Notes and References
- 3.Terence Doyle, ‘Pages as Pictures’, Films and Filming 387 (December 1986) p.20.Google Scholar
- 8.C. G. Jung, Symbols of Transformation, The Collected Works, Vol. 5, (London: Routledge & Kegan Paul, 1981) p.89.Google Scholar
- 9.Erich Neumann, The Origins and History of Consciousness (Princeton: Princeton University Press, 1970) pp.5–11.Google Scholar
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- 13.C. G. Jung, The Archetypes and the Collective Unconscious, The Collected Works, Vol. 9, 1, 2nd edn (London: Routledge & Kegan Paul, 1968) p.260.Google Scholar
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