Never let me go

Kazuo Ishiguru, born in Nagasaki in 1954, arrived in England with his family when he was six. He became an Englishman with Japanese features, a British wife and a high reputation as an English-language novelist. His The Remains of the Day was brilliantly adapted by the Merchant-Ivory team: their quintessentially-British class-conscious pre-WWII costume drama notched up eight Oscar nominations in 1994 for best picture, director (Ivory), actor (Anthony Hopkins), actress (Emma Thompson), set and costume designs, musical score and screenplay (adaptation).

Apart from penning two TV movies in 1984, Ishiguru has written two original screenplays: The Saddest Music in the World (2003) for indie Canadian director Guy Maddin, and The White Countess (2005), for Ivory. Both were also period pieces. His novel Never Let Me Go appeared in 2005; a screenplay adaptation was soon crafted by his novelist friend Alex Garland (still best known for his debut novel, The Beach). He and Garland, two of the film's three executive producers, assembled a top-rate cast and crew, primed to create an award-winning romantic drama that's also a horror movie.

For the first half-hour, we observe three children (very well acted by youngsters) at a co-ed boarding school in the 1950s. They, and the audience, slowly realise all the school's children are clones, specially bred to be organ "donors" when they reach their mid-20s; the full, harsh truth is revealed to their class by a new teacher (Sally Hawkins) who is immediately sacked. The trio then re-appear, older and experiencing love, sex and jealousy.

Flashing forward, the scenario shows Kathy (Carey Mulligan) has matured into a self-deprecating 28-year-old, her organ transferals deferred as her gentle character makes her a natural "carer" helping donors, now including Ruth (Keira Knightley), cope with their death by four instalments. Ruth has found out the whereabouts of their schoolfriend Tommy (Andrew Garfield) and has a dying wish to atone for her theft of young Tommy's affections from Kathy.

They meet two donors, (Andrea Riseborough and Domhnall Gleeson), raised at another school, who pass on a rumour that donors can be granted deferrals if they prove true love. The trio conclude that the test of love lies in their childhood artwork, leading Kathy and Tommy to visit their retired schoolmistress (Charlotte Rampling) and art gallery curator (Nathalie Richard). No, they learn, the artwork only proved that the clones did have souls and were worthy donors.

Ruth's final donation made, her breathing tube switched off, her body is abandoned in an operating theatre. Now Kathy must watch Tommy's last, lethal donation, and tells the audience that she has been summoned for her first donation. Even those we help, she states unemotionally, may think they died too soon: that is the champion downer of a movie ending.

The movie is brilliantly depressing, filmed beautifully with a fine period feel, a slow-paced English rural air, by two Americans - director Mark Romanek (best known for the multi-award-winning One-Hour Photo in 2002) and cinematographer Adam (Capote) Kimmel. There is great work too from composer Rachel Portman (thrice an Oscar nominee, winning for Emma) and production designer Mark (Slumdog) Digby.

But, truly sadly, the unconvincing plot lacks depth and guts. It never explains why the donors quietly accept their role in society and premature death sentences. Without external conflict and real passion, the novel may have been a chastening read; as a movie, it became a beautifully arid exercise.