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In his penultimate film, Wittgenstein, Derek Jarman attempts to grapple with the life and ideas of the brilliant, tortured philosopher Ludwig Wittgenstein, applying to the great man's life a framework that can only be described as the mingling of avant-garde theater with the aesthetics of a children's TV show. Primary colors abound, vibrant hues that serve to separate Wittgenstein from those around him, and the film as a whole from the historical story it purports to tell — The former is responsible for many of the film's more playful touches, and he opens the film by introducing himself, his bourgeoisie family, and the many tutors who are enlisted to teach him as a boy. The alien, who should really not exist, sets the film's tone: nothing can be assumed, an axiom that's driven home by Wittgenstein later in the film when he poses the old question about the sun going around the earth versus the earth going around the sun. It's a film, essentially, about thinking, a problem for a visual medium that Jarman solves by stripping down the surroundings and infusing the simple sets and costumes with as much color and vibrancy as he can muster. Many of Jarman's interjections into the story of Wittgenstein are puzzling in the extreme, devoid of context as the whole film is. His set and costume design frequently verge into absurd beauty, as in the scene where the economist Maynard Keynes (John Quentin), dressed in a ridiculous electric blue suit, meets with his aging ballerina wife (Lynn Seymour) whose graceful movements in a frilly blue costume turn the scene into a dance in sympathetic colors.In addition to its engagement with Wittgenstein's ideas, the film also deals with the philosopher's conflicted sexuality, which seems to have caused him as much anguish as his considerations of philosophical problems. The film's other characters seem to have less trouble with such basic problems, and in some ways the film questions the importance of philosophy at all, much as Wittgenstein did at various points in his life. Wittgenstein cannot so easily accept this, cannot tolerate aspects of the world being roped off from analysis and explication, and the film's unanswered central question is whether Wittgenstein or Keynes is right on this point.This is obviously a very complex and fascinating film, all the more so for the way in which it leaves such crucial questions unresolved. Wittgenstein's philosophy is presented in his own fumbling, often contradictory words, taking shape throughout the film as he postulates and then rejects new theories and new ways of understanding the world. As a metaphor for the strivings of philosophy, always seeking to fully understand the world and always coming up against illusions and barriers, it's a nearly perfect way to end the film.
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