Helm and Forster seem to have been reading the philosopher Daniel Dennett (for instance his 1991 book Consciousness explained. Boston: Little, Brown & Co) because their film offers Dennett's model of consciousness as post-hoc verbal commentary on action. But fiction is very much about consciousness, and the film also raises the question of what it might enable. Does it enable us to act more voluntarily, or to experience our lives more vividly, or to guide ourselves better in relation to love? We can compare the film's model of consciousness as voice-over with the poetic consciousness of William Shakespeare, the ironic consciousness of Jane Austen, the thoughtful consciousness of George Eliot, or the associative consciousness of Virginia Woolf. Can models of consciousness in fiction affect our experience? What kind of consciousness might we aspire to?
It is hard not to like this film. Its tone is droll, and its characters are appealing. It doesn't, perhaps, go as far as it might, but you can imagine your own implications. On a five-point scale I give it three-and-a-half. That is to say it's a pretty good film. You can access a fuller review by clicking here.