FILM / Cats: Reality, Unreality, Surreality? / Jeanne Obbard

Ultimately Cats doesn’t fail on its plot or lack thereof. I think it falls apart on this question of falseness versus realness, and what it is exactly the filmmaker expects from the audience, and where we are allowed to insert our own imaginative work into the story-telling endeavor. All cinema (and all storytelling art) hinges on a mutually agreed-upon suspension of disbelief. But Cats can’t decide what it wants us to believe. . . The tagline for this film is “You will believe,” but I’m pretty sure the failure of belief isn’t just with us.

The Saint, as it is always referred to by us, was very much a part of me, ingrained you might say, and even after all these years . . .  But, you know, I never really thought of it like that then, it was always—well, it was always just there, like snow in the winter, the midsummer rains, time flowing like a river ever passing, never past.

The term “infant in the statue’s name gave me pause because what I saw was a reproduction of a child, not an infant. The statues were standing and holding objects while wearing crowns. Anyone who has ever cared for an infant knows that infants do not stand upright. And, no hat is staying on a baby’s head without some kind of elastic chin strap, tape, or other assistance, yet these babies were balancing crowns.

The film truly kicks off when Georgia is diagnosed with a terminal illness. The shock makes Georgia realise she has been wasting her life waiting, and she needs to take advantage of the time she has left. She packs up herself, and all the money she has, and takes herself on a solo trip to the hotel resort in the Czech Republic where Chef Didier presides as head chef. This is the eponymous Last Holiday.