For Donata Wenders, Cabdriver (2003) is a monochromatic image of a silhouetted figure navigating his cab in London through the torrential rain, framed by the blackened interior of the car becomes as much an atmospheric moment of modern history as the protracted narrative of the Dickens play they endeavour to see. Wenders writes: “On our way into the city, the smell of old elegant leather seats, mixed with the noise of the pouring rain drumming onto the roof of the cab, were the perfect preparation for diving into the world of Charles Dickens.” It is the deliberate tonality of the photograph, and of the interior pierced by a window onto another world, that give it as much of the drama of Dickens as does the intensity of the rain itself.
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