Never Let Me Go

Despite what they say, this is not a sci-fi flick. The underlying secondary plot is a tad sciencey but it is definitely not a sci-fi flick so do not expect the likes of robots, time machines or dinosaurs. You shall be massively disappointed if you do. Adapted from Kazuo Ishiguro's novel of the same name, it is more so a love triangle, lingering on unrequited love for the most part whilst the the supporting storyline comes into play.

Kathy, Tommy and Ruth (portrayed by Carey Mulligan, Andrew Garfield and Keira Knightley respectively) are three children living a seemingly carefree childhood at Hailsham, a boarding school in 1950s England, until one grim day the harsh reality of their existence is revealed to them - they will reach adulthood to serve their implemented purpose, the role for which they were specifically created, clones constructed precisely for organ donation. Not clear whether the children fully understand their destiny, their innocence and quiet acceptance is what makes it all the more disheartening.

Throughout their time at Hailsham the gentle, observant Kathy and the shy, awkward Tommy appear to share a genuine and rather touching friendship, with a glimmer of potentially blossoming into a tender romance, hopes of which are dashed when Ruth intervenes and seizes Tommy for herself. Their relationship, unfortunately for Kathy, is not short-lived, and continues for the remainder of Hailsham and further into their time at 'The Cottages', a place where they are shifted to along with others of their designer race. Kathy's longing and unspoken love for Tommy is all too real and crushing, and eventually with Ruth continuously flaunting their relationship to her and mercilessly taunting her, Kathy settles upon becoming a 'carer', an option for clones to prolong their fate by nursing others of their kind as they fulfil their duty as organ donors. Kathy sets out to embark upon her new responsibility whilst Ruth and Tommy's relationship ceases, and so all three companions drift apart.

Many years later, for it is now the eighties, the three are subsequently reunited. Kathy is now frail and feeble as a result of her two donations, she believes she has one left to go before she reaches 'completion', a term for a clone's imminent death. Tommy too is fragile after his donations but remains forever upbeat and optimistic. Ruth, wrecked with guilt at 'stealing' Tommy from Kathy due to jealousy and a fear of being left alone, wishes to atone and redeem herself before her death, and so has managed to procure the address of 'Madame' who she believes has the power of providing the ever elusive 'deferral' - it is assumed couples in love can apply for this 'deferral' as a means through which to extend their already limited lives for a short period.

As Ruth 'completes' on her third and final donation, Kathy and Tommy, armed with many pieces of his art, make plans to visit this 'Madame', who used to own 'The Gallery' at Hailsham. They gather his art is the key to assisting 'deferral' in their favour, a solid way of proving that their love is authentic. Upon reaching the address, Kathy and Tommy are greeted by 'Madame' as well as their former headmistress, and further with the cruel truth that there is no such thing as a 'deferral', it has always simply just been a rumour, 'The Gallery' existed as a forum through which to challenge the ethics of cloning - a vehicle for exhibiting the reality that clones too have a soul. Kathy and Tommy leave dejected, the latter dies soon after whilst the former learns that her first donation is impending.

First and foremost, let's discuss what is wrong with the movie. The fact that nobody questions their fate or rebels against the system. They just silently accept their situation and willingly accomplish their expectations. There is no fight, no resistance, just compliance and cooperation. Whilst at Hailsham, the children are fed scary tales of what may happen should they loiter beyond the boundaries. At 'The Cottages', although they must clock in and out via their identity tag bracelets, they are pretty much free to roam around at their leisure so it is not understood why they always return. Why do they choose to abide by the rules when there is a distinct lack of strict regiment? Not once does there appear to be any form of aggressive authority that they should undoubtedly fear so it is unclear as to why they all remain so passive.

Also, Tommy doesn't make for a very convincing object of affection in the love triangle. Too weak-willed and vulnerable, he is not your regular dashing and charming romantic lead. However, perhaps this is what makes him an easy target for somebody controlling and manipulative like Ruth, and what makes him so irresistible for a nurturer like Kathy. I particularly don't care for the idea that Ruth 'stole' Tommy. Kathy and Tommy were never involved to begin with, and even if they were you can't steal a person from another. He was fair game as far as I'm concerned, yes Ruth had her own motives for seducing Tommy but he was pretty ready and willing so it is not entirely rational to condemn her actions alone. Oh and Kathy's hair is just so horrid throughout the movie, especially her fringe, to the point where it is just so distracting that I couldn't seem to focus on anything else, truly mesmerising for the wrong reasons. And a massive ewwww for Keira and her skeletal ways. I really don't need to elaborate any further on that one.

The bleak, dystopian world the clones experience allows the ethics of cloning to be addressed subtly and indirectly. It must be remembered that the cloning here is for medical purposes - the replacement of organs - not for any other selfish or threatening reason. And by ethics I refer to the more non-religious aspect of it. Considered as providers of spare parts and as second-class citizens, the clones are thought of as a somewhat intermediate of humans and say, robots, illustrated well in the scene where Ruth 'completes' - the surgeons extract the organ they desire and then immediately clear the operating theatre as she dies, without once acknowledging her at all, so cold and heartless that it is almost ironic in the sense that the clones are able to actually muster up more sensitivity and sentiment than their original carbon copies. Just because they are formulated in a laboratory doesn't make them any less human, which is the message 'The Gallery' at Hailsham stands to convey. The clones have emotions, something which sets them apart from robots, and it is these emotions the movie focuses on - from Tommy's rages to his positivity and hope, from Kathy's sympathy to her pain of unrequited love, from Ruth's jealousy and fear of loneliness to her guilt - a rainbow of emotions are presented to show that the clones are human through their ability to feel. What then makes it right to create a life in order to later destroy it for the sake of another?

Although the general mood is dismal and gloomy, the main essence of the movie is to display optimism. This is probably why the clones tend to grin and bear their circumstances. Tommy's attitude demostrates this well, he is able to remain cheerful and idealistic despite his evident deterioration. None of the clones seem to fear their fate, Ruth even welcomes her 'completion' whilst Kathy is remarkably brave despite all that she has seen as a carer and all that she has lost in her life. Passive they may well be but they display an inner strength which maybe derives from becoming detached from their bitter reality and dismissing it as something trivial and matter of fact. As the movies draws to a close, Kathy is grateful and "lucky to have had any time with" her love, and ponders whether the life of a clone is really any different from the ones of those that they save through organ donation, for "we all complete" she concludes. And that is true for death is natural, inevitable, and all in all life's ultimate goal.