With the two unseen protagonists set up in a symbiotic relationship, the stage is set for a tour which nominally follows in the footsteps of Daniel Defoe. Using Reading as some sort of central base, Robinson plans to venture in all directions of the compass, with the initial wanderings following the route of the Thames. Upon the borders of this aqueous artery, businesses, stately homes, schools, golf courses and more reside. By commenting on the most interesting examples of each, Robinson's friend begins to weave the threads of society into a coherent whole. Though the ultimate aim of the exercise is unclear, beyond pleasing their sponsors, it's soon obvious that this pilgrimage is an efficient way for Robinson to orientate himself in the world around him (a palliative to the uncertainty which has ruled his life so far).
Entirely the project of one man, director, writer and cinematographer Patrick Keiller, Robinson in Space follows the lead set by his earlier work London. Very much a philosophical journey through a country that is often taken for granted, Keiller picks up on the quotidian details that drift under other people's radar and places them within a larger context. However, this doesn't automatically imply that the film is a dry, academic documentary of interest only to Keiller's friends. The reality is that a great deal of ironic humour lurks below the deadpan, dense narrative that defines the path of the film. By jumping easily from the intellectual to the trivial (and back again), Robinson in Space refuses to telegraph its next move, retaining a welcome freshness.
The core of Robinson in Space is the monologue and its juxtaposition over a series of images which are more-or-less related to the text. Plainly the result of diligent research, the script ably switches perspective between the historical, literal, cultural, societal and political while throwing in knowing asides when appropriate. Order is imposed upon the flow by the travelogue style of the movie, yet this never threatens to stifle the dynamically composed snapshot of England which emerges. Instead numerous subtexts (some of which deal with the environment, architecture and politics) are kept finely balanced. The result is a narrative which provides instantly recognisable cultural landmarks, allowing it to function on both a personal and an intellectual level.
Interestingly, the personal approach of Robinson in Space applies to the audience and Keiller alike. His preoccupations emerge loud and clear, vestiges of his earlier existence as an architect and artist, colouring the slightly surreal anecdotes and observations. For the viewer, Robinson in Space is likely to appeal in a variety of unique ways, with the starkest differences appearing when the film plays to British and foreign audiences. While it may be instructive to outsiders, the inner reference point which being a native endows is likely to make the film a far more rewarding prospect to those with a personal attachment (perhaps to some of the locations used). The only drawback to this mostly enlightening package is that it starts to drag after a while, at about the point that the unchanging pace makes its presence felt. Robinson in Space is a rare experience (an intellectually fulfilling movie) and that alone makes it worth catching!
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