Photographs by Lord Snowdon from the set of Jonathan Miller’s Alice in Wonderland, published in Vogue (December 1966). All images copyright Condé Nast, New York. Miller writes in the accompanying article:
The film is very elaborate in its setting. […] I wanted to recreate, in addition to a dream, that bursting fatal ripeness of Pre-Raphaelite realism. I wanted the child to move through a world where every detail threatened to blossom with some dreadful vision. Grass blades, dewdrops, bricks, silk brocade, violets, and lace. […] It seems that the film contains the entire visual contents of the child’s mind. Every object and surface she has ever seen and forgotten looms up with fatal clarity. […] We petitioned for that special syrupy English summer heat when insects play cellos in the grass and oak trees stand stock still on their own doilies of midsummer shadow. Because that’s the sort of afternoon when Alice fell to drowsing. […] It’s quite clear that Carroll understood the awful apocalyptic mystery of English nature—its terrible damp, mossy fecundity with hobbits and angels ripening like dragonfly larvae in the ooze.