Tuesday, 30 August 2022

Reflections on The Dreyfus Affair with reference to "I accuse!", "Prisoner of Honor", "An Officer and a Spy" and the Enlightenment Movement.

 

Reflections on The Dreyfus Affair

with reference to “I accuse” (1958), “Prisoner of Honor” (1991)

 and “J’accuse” / “An Officer and a Spy” (2019)

and The Enlightenment Movement

 

The Dreyfus Affair might have been a relatively straightforward case of detecting the actions and identity of a spy among French military authorities and convicting him, but it developed into a hugely complex, influential and divisive event that started in 1894 and continued until 1906. I shall attempt to provide a cursory synopsis of what it was about before discussing, briefly, three films on the subject and then offering my own thoughts on these events and, as I see it, their correlation with the Enlightenment Movement.

Having discovered, in 1894, the existence of a spy/informer in their midst, responsible for the sale of sensitive information to the German Empire, the high command of the French Army sought to act rapidly and quietly in identifying the culprit in order to avoid embarrassment and any loss of confidence among the French people. As a result of this pressure, a lack of professionalism and cultural and personal prejudice against Jews, Jewish officer Alfred Dreyfus was quickly accused and convicted of high treason. Those in authority were sure they had their man but his conviction was the result of scant and insubstantial investigation and evidence combined with dubious courtroom proceedings.

The situation was aggravated and misdeeds compounded when the newly appointed head of military intelligence, Colonel Georges Picquart, gathered evidence that pointed to a different suspect and therefore cast doubt on the conviction of Dreyfus, but this was refuted and rejected by those who now sought to protect the army’s reputation and status, as well as their own. However, Picquart’s belief in truth and justice was such that he could not allow the innocent Dreyfus to be sacrificed for the sake of the army’s standing and he, along with a number of like-minded luminaries, including Emile Zola, persisted in pursuing the case, leading to pain, challenge and conflict for all concerned, indeed virtually the entire nation, until Dreyfus was exonerated and reinstated in the army in 1906.

I first became acquainted with the Dreyfus Affair when I heard reference made to Dreyfus in the film “Papillon” in 1973. I read a couple of articles which gave me a rudimentary knowledge of events and issues, but it was only when I saw “Prisoner of Honor” several years later, and considered using it as an element of a study course with pupils, that I realised the depth and scope of the issues raised, and I connected these events to the principles of the Enlightenment Movement, at least in my mind.

Since then, I have done some further research and watched two more films on the subject – “I accuse!”, made in 1958 by José Ferrer, and “J’accuse” or “An Officer and a Spy” made by Roman Polansky in 2019. Each film, and I include “Prisoner of Honor” made by Ken Russell in 1991, has much to recommend it and all three reveal similar reasons for the miscarriage of justice at the hub of the affair.

“I accuse!” and “Prisoner of Honor” both establish Major Ferdinand Esterhazy as the true spy from the start and thus arouse indignation at the ill-founded arrest of Alfred Dreyfus. The unveiling of evidence against Esterhazy and in favour of Dreyfus’s innocence is told with an almost journalistic distance, as if offering historical observation. Both are highly engaging and offer understanding depictions of all the characters and their motivations, even those responsible for Dreyfus’s incarceration, though there is never any doubt regarding the injustice they are doing to Dreyfus.

“J’accuse” or “An Officer and a Spy” is more of a detective thriller as we follow the trail Picquart pursues and we share his doubts, questions and frustrations regarding the case against Dreyfus and the authorities’ refusal to recognise the injustice that had been done. We also share the consequences for Picquart as he puts truth, justice and professionalism above orders and career. Sombre and intensely realistic, “J’accuse” offers an authentic, clear-minded and involving account of events.

It seems to me that this affair is a tale of incompetence and a lack of professionalism, fuelled by antisemitism, on the part of complacent and self-satisfied authorities consumed by position and pride rather than responsibility and accountability.

The case was eventually won by an insistence on the burden of proof and the principle of accountability as opposed to faith in the judgement of the elite who governed. This was a clear, if convoluted and lengthy victory for advocates of the principles of the Enlightenment Movement of the eighteenth century, the repercussions of which spread and reverberated throughout nineteenth century society and politics.

Very roughly, the Enlightenment Movement questioned the necessary existence of God and God-given morality, and therefore challenged the basis of the authority of those who governed with a mix of political and religious power at that time. Decisions and judgements were to be based on the concepts of reason, justice and equality as opposed to personal or religious conviction, or commercial advantage, and this Movement may be said to have influenced events such as the Mutiny on the Bounty, the French Revolution, and the general move toward democracy and accountability in the nineteenth century.

To me, the Dreyfus Affair does much to encapsulate what the Enlightenment was all about. The authorities wished to maintain the façade of the infallibility of the hierarchy, requiring faith in the unchallenged judgement of the governing elite, principally to maintain the trust and confidence of the people. However, the trust and the confidence of the people are likely to be eroded by inattention to fairness, justice and truth as, if these values are denied to any one individual in a society, they may be denied to all.

The state is the totality of the individuals who form it. If one such individual is sacrificed unjustly for the benefit of the state, or its image, this damages the very foundations of a state whose purpose is to protect, defend and nurture its component parts. Such a principle should not be sacrificed to self-protection, ambition and greed. Pride should be derived not from position and authority, but from the way society treats its individual members.

In the case of the Dreyfus Affair, recognition of the existence of objective truth was resisted in favour of a stance that supported particular political and social viewpoints and ambitions. It is, perhaps, a sad reflection on these modern times and human nature that some of today’s politicians and so-called community leaders and their followers persist in denying truth and facts, preferring to promote their own distorted and inaccurate versions of events to advance their own ideology and ambitions.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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Thursday, 4 August 2022

Reflections on characters and themes in Ingmar Bergman's "Persona"

 

Reflections on “Persona”

Written and directed by Ingmar Bergman

Starring Bibi Andersson and Liv Ullmann


Ingmar Bergman’s intriguing and deliberately perplexing film has prompted many interpretations and while I cannot know what Mr Bergman’s original intentions were, I did come up with a few ideas that helped me chart a way through the film and while this is by no means a full analysis, I thought I would offer these few thoughts and notes as a start point to engaging with the film and as a minor contribution to the debate inspired by it.

In the middle of a performance, actress Elizabeth Vogler stops, looks around as if she is seeing things clearly for the first time, laughs and then ceases speaking. She withdraws from the world and takes to her bed, and Elizabeth’s doctor assigns nurse Alma to care for her. We then follow Alma and Elizabeth’s experiences in trying to effect Elizabeth’s recovery in a summer house on the coast.

Elizabeth Vogler is having an existential crisis, a breakdown if you will. In the midst of her performance, she suddenly sees in the fabric of society a tissue of lies, fabrications, pretences and falsehoods. Just as she is pretending to be someone else whose emotions and reactions she is faking, she sees she is surrounded by people who also act as they lie, pretend and compromise constantly in life.

The absurdity of this realisation causes her to laugh but also evokes a desire to no longer participate in this great existential conspiracy and turning away from truth, and so she ceases to communicate and seeks to withdraw from society.

She has a short and somewhat dry and academic conversation with her doctor who confirms Elizabeth’s breakdown and allows her (and us) to understand the situation, though of course this abstract diagnosis offers nothing in terms of a solution.

Thus, nursing sister Alma is employed to care for Elizabeth. She will provide a form of therapy in the hope of encouraging Elizabeth to re-engage with the world, and she hopes to achieve this through open discussion, sympathy and emotional engagement.

However, in my opinion, the key to understanding what is going on here is to recognise that Alma is the product of Elizabeth’s psyche, fabricated to help her heal from her breakdown. Come to that, I would suggest the scenes involving her doctor and perhaps even all the scenes in the hospital are also fabrications of her mind. The conversation with the doctor giving an analysis of Elizabeth’s condition may be based on a memory, but it is too dry, condensed and unfeeling to be “real”. This is Elizabeth’s hurt recollection of being more or less dismissed – bear in mind the doctor suggests this is another role she should simply play out until she tires of it. Indeed, this may be the reason Elizabeth invented Alma as an instrument of helping herself.

The scenes between Alma and the doctor are also inventions of Elizabeth’s mind. The rooms are very plain with little detail and are quite nebulous, suggesting a dream-like nature, and the conversation between the two is fairly abrupt, business-like and unconvincing. Really, this is Elizabeth’s attempt to justify and convince herself of Alma’s usefulness by way of the authority-figure of the doctor.

When Alma goes on to introduce herself to Elizabeth, her speech rather resembles a character synopsis you might find in the preface of a play, betraying, perhaps, her true roots and Elizabeth’s mindset.

At the beach house, Alma speaks to Elizabeth with familiarity, sweetness and affection. She speaks with a childlike openness, innocence and purity, reflecting that part of Elizabeth’s psyche – the sweet innocent girl she once was before being “corrupted” by society, self-awareness and ambition. Alma’s purpose is to draw Elizabeth back from disappointment, disillusion and despair. She is there to offer a different perspective, gentle at first but becoming more assertive in time, while also seeking understanding and clarification as to how Elizabeth arrived at this juncture in her life. When Alma speaks, Elizabeth is effectively speaking to and debating with herself.

Alma recounts a tale from her past, offering an account, or a memory for Elizabeth, of how she and a friend had sex on a beach with a couple of complete strangers, and this was the greatest sexual experience of her life, before and after the event. The reason? This was an act of pure, unbridled pleasure that involved no relationship, pretence, compromise or façade such as she would undoubtedly go on to encounter in her more socially traditional experiences, and this will prove relevant to events at the beach house.

When Elizabeth’s husband visits the beach house unexpectedly, he speaks sincerely and seriously to Alma but he clearly sees Elizabeth, despite Alma’s protests she is not his wife. He shows patient understanding and sympathy, and both share words of encouragement and love, with Alma treating him like her husband and this culminates in intimacy during which Alma tells him he is a wonderful lover but then gets very upset and once again claims she is sick of lies and pretence.

Alma is Elizabeth and she gets upset because her husband is not her greatest lover, as we now know, but she feels she has to engage in lies and pretence in order to flatter and appease her husband, the type of conduct Elizabeth has rejected and seeks to escape.

When Alma and Elizabeth have a face-to-face discussion regarding Elizabeth’s coldness toward her son, Alma is clearly aware of Elizabeth’s innermost feelings and fears, and she helps Elizabeth confront her own fear of responsibility, genuine emotion and devotion, with no room for social fakery and acting.

As time passes, Alma and Elizabeth’s personas seem to draw on one another and get ever closer. While Alma still displays love and affection, she becomes visibly and audibly more assertive as she tries to break through Elizabeth’s emotional isolation, suggesting Elizabeth recognises the progress that has been made and she will not allow herself to regress. Indeed, at one point their two faces are conjoined, suggesting potentially conflicting attitudes and outlooks in a single person and a need to come to terms with this by showing compassion and exercising self-control.

At the end, just one person gets on the bus to begin her journey home. Alma and Elizabeth have become one.

 

A true and intense psychological drama, “Persona” gives us an insight into the workings of the mind as it takes us along for Elizabeth’s journey to recovery, aided by alter ego Alma.

I can’t say this is an easy film, but it is intriguing, stimulating and rewarding.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

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