Friday, 7 March 2025

Introduction

                                    Welcome to Stuart Fernie’s Blog



Please scroll down or find on the right links to articles, pages of reflections on films and books, and occasional pieces of short fiction.

Articles include advice and questions to assist in the writing of essays about films, thoughts on "The Count of Monte Cristo" (French version, 2024), "Midnight Express", Jason Bourne, Advocating Arts and Humanities, "Heaven's Gate", "Civil War", "The Ghost and Mrs Muir", "Ad Astra", Duality in 19th century literature, "Living", "Hell in the Pacific", "Point Blank", "Vera Cruz", "Dr Strange in the Multiverse", my interpretation of "Il faut cultiver notre jardin", "Jean de Florette" and "Manon des Sources", "Drive my car", "The Batman", the place of acting in society, thoughts about religion and fate, "The Banshees of Inisherin", "Full Metal Jacket", "The Bishop's Wife", "Moliere", "Les Fleurs du Mal", "Soylent Green", "Bad Day at Black Rock", "The First Great Train Robbery", The Dreyfus Affair, "Persona", "The Seventh Seal", "A Clockwork Orange", "Night Moves", "Lonely are the Brave", "In the heat of the night", "The League of Gentlemen" (1960), thoughts on the nature of film noir, "Star Trek", "Seven Days in May", "Dead Poets Society", "Good Will Hunting", "Callan", "The Hill", "Cool Hand Luke", "The Hustler", "Road to Perdition", "The Verdict", "Three Colour Trilogy", "Jojo Rabbit", "Jeremiah Johnson", "Collateral", "Joker", "Barry Lyndon", "The Bridge at Remagen", "Le Mans '66 (Ford v Ferrari)", Charles Foster Kane ("Citizen Kane"), "The Deer Hunter", "Highlander", "No Country for Old Men", "Gattaca", "The Adventures of Robin Hood"(1938), "Apocalypse Now", "Spartacus", "The Bridge on the River Kwai", "The Long Good Friday", "Once Upon a Time in Hollywood", "The Third Man", "Finding Forrester", "The Outlaw Josey Wales", "Untouchable" (2011),"Unforgiven", "The Manchurian Candidate", "The Wild Bunch", "The Treasure of the Sierra Madre", "Papillon" (1973), "Public Eye", "Existentialism in society today", "Seven Samurai", "It's a Wonderful Life", "Don Quixote", "We're No Angels", "The African Queen", "Babette's Feast", "War for the Planet of the Apes", "Dunkirk", “Dances With Wolves”, “Inherit The Wind” and “The Prisoner”. 

link to my YouTube channel with video presentations of a number of my pages.

After I retired from teaching, I thought I’d write my memoirs, “What have I done?”, and present them online. Please find links to these memoirs, some French support pages and reflections on "Les Miserables" below.


I can be contacted through the comments sections or at stuartfernie@yahoo.co.uk

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Reflections on the 2024 French film version of “The Count of Monte Cristo”

 

Reflections on “The Count of Monte Cristo” (2024),

focusing on elements to do with the Enlightenment Movement and Existentialism

Screenplay and Direction by

Matthieu Delaporte and Alexandre de La Patellière,

based on the classic tale by Alexandre Dumas

Starring

Pierre Niney, Bastien Bouillon, Anais Demoustier, Laurent Lafitte et al

Somewhat condensed and altered from the original highly complex tale, with some events, actions and characteristics transposed to different characters, the 2024 French film version nonetheless remains faithful to the intentions and spirit of the original. It explores themes such as justice, revenge, fate, love, identity, education and hope without sacrificing elements of action and adventure.

Underpinning everything, however, are the precepts of the eighteenth-century Enlightenment Movement which influenced thought, society and politics in the nineteenth century by casting doubt on the existence of God and morality and demanding accountability from those responsible for government, law and order. These concepts are fundamental to the storyline and the principal theme of revenge (or justice) in “The Count of Monte Cristo”.

Edmond Dantès is imprisoned not as a result of immorality or even a crime against French law, but as a consequence of human jealousy, spite and ambition with three men conspiring to sacrifice his remaining life, and potential deeds and influence to benefit their own interests, desires and aspirations. Dantès has no recourse to natural justice (or God’s law), French law or common humanity. These three men have colluded to deprive Edmond of what we would nowadays see as his human rights and this act, taken to extremes, emphasises the possibility that if God and morality do not exist, all that remains is what men are capable of doing to one another if they are unwilling to show common respect and compassion, and if they are willing to place their own interests above the needs and rights of others.

Edmond holds on to hope in the form of his memories of and love for Mercédès, the woman he was about to marry when he was abruptly arrested and condemned to a life of isolation and misery in the Château d’If, though even that begins to wane and he starts to despair.

However, hope and even society are restored when the Abbé Faria, a fellow prisoner also condemned to rot in the Château d’If, makes contact by accident as he attempts to tunnel his way out of the formidable prison.

The Abbé is an intelligent, wise and learned man who is willing to share not just his efforts to tunnel and escape but also, and perhaps more importantly, his knowledge, wisdom and intelligence. He provides Edmond with an education as they study and contemplate truth, maths, languages, philosophy and reasoning. This has a twofold effect on Edmond. It effectively releases his mind from physical captivity by giving him purpose and a sense of spiritual achievement, and it enables Edmond to consider matters with discipline and understanding, calmly calculating responses and actions rather than responding emotionally and in haste.

Of course, the Abbé’s death allows Edmond to make a daring escape and the Abbé has shared with him the whereabouts of a vast fortune, here the lost fortune of the Templars. The Abbé has, then, a huge impact on Edmond, both in life and in death, and it could be argued that God sent the Abbé, a man of God, to Edmond as a means of evolution and escape. Fate sees to it that Edmond crosses paths with numerous other characters essential to his story and while a case may be made for divine intervention or the hand of fate, it should be recognised that the Abbé’s impact was due to his personal qualities rather than because he was a man of God, and Edmond advances due to his determination, the choices he makes and the actions he takes.

The fortune he has accessed may also be viewed as the result of divine intervention, fate or luck, but the point is Edmond does not use it for self-indulgence or to abuse the power and influence his wealth affords him. He restricts himself to his own affairs and uses the money as a means of rewarding those he sees as deserving, though also as a means of fulfilling his dream of vengeance, but he is in control. He is disillusioned by society, its laws and its officers and recognises no other authority but his own. Indeed, at one point in the film, Edmond enters a church and speaks directly to God, telling Him that he, Edmond, will take responsibility for his actions and the punishment he will mete out on those who wronged him. Edmond has seen little evidence of God’s justice and so he declares he will impose his own brand of justice, though questions will eventually be raised concerning the difference between justice and revenge.

This existential solution, with Edmond taking moral matters into his own hands because he fails to perceive any divine influence or input, leads eventually to the whole matter of the impact of our actions on others…

Edmond, along with Andrea, Angèle and Haydée, wish to see retribution for what they have suffered at the hands of Danglars, Villefort and Morcerf, and Edmond has concocted a plan by which these men will suffer and lose what they gained through their mistreatment and abuse of others. However, pain, suffering and death are wrought upon innocents, or at least those not directly involved in the original wrongdoing, leading Haydée and Mercédès to point out to Edmond the potential injustice in terms of consequences for others of his plan and actions.

Indeed, if he persisted in blindly actioning his plan without regard for the fate of those involved collaterally, he would be little better than those who originally betrayed him for their own advantage. Account must be taken of the effects of our actions on others and this involves an appeal to humanity and conscience.

Edmond brings about the carefully orchestrated downfall of his wrongdoers but he is now no longer the same idealistic, positive and sweet man of his youth. Identity is governed principally by character and experience. Edmond was betrayed, sacrificed and forgotten by those he trusted and loved, and while resentment and thoughts of revenge provided purpose and fuelled determination, allowing him to survive, escape and evolve into the Count of Monte Cristo, they came close to overwhelming him and transforming him into the type of creature of which he so rightly and heartily disapproved.

Mercédès and Haydée manage to rekindle or recall his humanity and Edmond limits himself, choosing to avoid killing Albert in a duel and advising Albert and Haydée to run off and be happy together, thus choosing life over revenge, recalling a choice made by Angèle earlier in the film.

In at least one other film version, Edmond reconciles with Mercédès and lives happily with her and Albert who may or may not be his own son… In the book, Haydée declares her love for Edmond and they set off for the Orient together. In this film, Albert and Haydée find love together and Edmond writes to Mercédès, telling her that while he still loves her, he is too scarred by his experiences to be able to fulfil their love. He is seen on board a ship, essentially alone, coming to terms with his past and seeking a new future, and I consider that an apt and fitting ending in keeping with the existential precepts expressed elsewhere in the film.

I must say I found this version a pleasant surprise. I liked the balance between action and plot and I enjoyed the well-developed characters and brisk direction. It had enough depth to engage and enough style to entertain with strong performances all round, but especially by the villains of the piece.

 

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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Sunday, 2 February 2025

Advice and questions to help in the analysis or discussion of films and in the production of essays

 

 

Advice and questions to help in the analysis or discussion of films,

and in producing an essay

 


During my thirty-five years in teaching, I helped a number of pupils prepare essays, principally on films but occasionally on plays and books, usually by asking questions that would elicit reflection and help build their essays.

I thought young students setting out on essay-writing might find the following advice and questions of some help in responding to a film and in constructing an essay about it.

 

Useful definitions

Principal and secondary characters

Very roughly, principal characters may drive change and plot while secondary characters are affected by plot or add to our understanding of principal characters, theme and plot.

Themes

Themes are underlying universal concepts or ideas that may have relevance to readers’ own lives, e.g. love, compassion, freedom, justice, morality, responsibility.

 

Advice

In writing a general discussion of a film, one possible framework is:

Overview   Give a brief outline of what the film is about, mentioning storyline and substance.

Characters    } Discuss the principal characters and their traits while linking them

Themes        } to themes you may have identified.

Conclusion  Give your considered assessment of how successful the film is.

 

Consider how the film (and its characters) make you feel and try to explain why.

 

In writing your essay, try to be relevant, reasoned and concise.

 

Overview

Can you encapsulate what the film is about without reference to detail?

Did the producers have a purpose in mind when they made the film?

Can you identify any themes?

Is attention drawn to a particular character or issue?

Is there clarity in the ending or is it ambivalent?

 

Characters

Can you differentiate between principal and secondary characters?

What do you make of the characters? Are they sympathetic, unpleasant, comical or do they have a mixture of traits?

Is there a conflict between characters? If so, what is the source of the conflict?

Do the characters change in the course of the film? Do they evolve, remain largely the same or deteriorate?

Are ideas expressed by any of the characters, and how are they expressed?

What can you deduce about the characters from their words and actions?

Are there consequences of verbal exchanges or actions?

Do characters challenge others, conventions or traditional thought?

Does one character influence others?

Is there a collision between points of view?

 

Themes

Do any of the characters support a particular position or stance?

Does the author/screenwriter seem to favour a particular point of view?

What themes can you identify, and are they presented positively or negatively?

Are characters being used to illustrate certain themes? If so, how?

Does the film challenge conventional views or stances?

 

Conclusion

Did you find the story and characters engaging? Why or why not?

Was the ending satisfying? Why or why not?

Did the production flow or were there inconsistencies?

Were you struck by the style of the making of the film? Did this contribute positively or negatively?

Was the storyline strong throughout or was the film padded?

Did the production have integrity or was it self-indulgent?

Can you identify particular strengths or weaknesses (pace, rhythm, performance, direction, script, music, production values, photography, length)?

What do you feel about the film? Did you find it entertaining, engaging, thought-provoking, amusing, confusing, intriguing, touching, clear-headed?

 

If you have been asked to write on particular aspects of the film, consider definitions of the terms used in the question and think of ways in which the storyline, characters and themes meet the criteria set in the question.

At least some of the questions above may assist you in this task.

You should assume the reader of your essay knows nothing about the topic so you need to convince the reader of your views by constructing a reasoned and clear essay in support of your observations.


Thank you for taking the time to read this article. I hope you found these notes of some benefit.

 

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                         YouTube

Thursday, 23 January 2025

Reflections on characters and themes in “Midnight Express”

 

Reflections on “Midnight Express”

Directed by Alan Parker

Screenplay by Oliver Stone

Based on the book by Billy Hayes

Starring Brad Davis, John Hurt, Randy Quaid,

Irene Miracle, Bo Hopkins et al.

 


While “Midnight Express” is the film version of Billy Hayes’ account of arrest and imprisonment in Turkey in 1970, I think it is fair to say the film offers a somewhat modified version of events. Director Alan Parker and scriptwriter Oliver Stone have used the base material to convey and study issues and themes that are valid, compelling and even essential in terms of discussion of what constitutes a just and caring society, but the details of Billy’s cinematic story are not necessarily historically accurate. Of course, that in no way diminishes the film’s effectiveness as a work of art and may even have allowed the film makers greater freedom to express their ideas and concerns in the course of the film, and while the producers may be accused of taking things to extremes, that is often the basis of drama as it leads to clarity of conflict, consequences and feelings.

Billy Hayes is no criminal but, through youthful indiscretion, he is tempted to sneak two kilos of cannabis through Turkish customs on his way home to America. He is caught and, as the authorities wish to make a daunting example of him, he is eventually sentenced to thirty years in prison, in particularly harsh and difficult conditions. The film examines his experiences but also begs questions and invites reflection on a number of issues and matters of social relevance and concern.

The first issue to be raised is that of cultural and legal differences between nations and the impact these can have on attitude, conduct and punishment. Although Billy is aware that he is breaking the law, he gives in to temptation in his desire to share cannabis with his friends. This may be at least partially due to youthful recklessness and a more liberal attitude at home, but he does not appear to view this as a major crime and he misjudges and underestimates the attitude and approach of the Turkish authorities. He and his father do little to help the situation by treating officials with a degree of casual disrespect. This highlights incongruities and friction that may arise due to disparities and contrasts in cultural and legal divisions.

That said, it is often difficult to alter one’s ingrained perceptions to accommodate a fresh and radically different outlook, and our film seems to imply that perhaps authorities could take this all too human failing in to account in terms of sentencing depending, of course, on the gravity of the crime. However, it is clear that Billy is a little man being used as a pawn by authorities in a bigger game of setting an example to discourage similar acts, and his case is seen by the prosecutors purely in terms of legality and punishment with little or no heed given to background, circumstances, character and rehabilitation. Indeed, Billy’s situation begs questions about justice and the proportion of the punishment to fit the crime. Should the criminal justice system, whether in Turkey or elsewhere, not be governed by considerations of fairness and compassion?

Our film effectively presents a plea for common humanity and it also invites the audience to consider the purpose of incarceration in the broadest terms. Is the objective merely to punish, humiliate or even take revenge, or is there room for rehabilitation and reform, taking account of remorse and the capacity to change? At one point, Billy intimates that he has learned his lesson (suggesting recognition of guilt) and that rather than make an example of him, the prosecutor and the courts would be more laudable or admirable if they showed mercy in his case. I think it was Dostoevsky who suggested (and I am paraphrasing here) that one can measure the worth of a society by the way it treats its criminals.

If a man is deprived of hope, a sense of value or individual worth, and he has no recourse to natural justice, what does he become? Billy is reduced to a shell operating on the most basic level, lost in this prison labyrinth in which conventional social structures and humanity do not apply as civilisation appears to turn its back on the abuse and wretched destinies of those incarcerated.

A visit from his former girlfriend provides a glimmer of hope as he is reminded of self-worth and the existence of life outside his prison, and this much-needed wake-up call provides the impetus to survive and form a plan to escape. With no prospect of release or humane treatment, Billy will no longer meekly accept the brutal authority of his captors as he realises he has no option but to take his destiny in his own hands and make a bid to escape, or slowly die…

The setting of this film is Istanbul and while it may be viewed simply as a modified recounting of Billy’s experiences, the universal themes explored here have been examined in a number of films set in a variety of countries including Britain, France and America. Nor should these themes be regarded as relatively recent. In 1844 and 1862, writers Alexandre Dumas and Victor Hugo published “The Count of Monte Cristo” and “Les Misérables” respectively and each examined the consequences of unjust imprisonment, disproportionate sentences and the psychological harm done by brutal and inhumane treatment.

 


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

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                                   YouTube

Tuesday, 7 January 2025

Reflections on the nature of conflict in the Jason Bourne films

 

Reflections on the nature of conflict in the Jason Bourne films

Directed by Doug Liman and Paul Greengrass

Principal screenwriter Tony Gilroy

from books by Robert Ludlum

Starring Matt Damon, Franka Potente, Julia Stiles, Brian Cox, Joan Allen, 

David Strathairn, Albert Finney et al

 


The Jason Bourne films (and here I am referring to the original trilogy of films) were a series of high-octane spy thrillers renowned for their style, intensity and engaging characters which exercised a huge influence on other action/adventure films produced in the same time period.

Filming techniques and the accompanying music serve to heighten sensory and emotional response but everything is underpinned by and rooted in a battle between amorality and purity of heart, tinged with a sense of guilt and an occasional desire for redemption.

Jason Bourne is trained to be an unquestioning and highly effective tool in the service of his C.I.A. masters. He put his faith in the authorities and fulfilled dubious missions under their instruction without challenge or hesitation until, while on a mission to assassinate a target, his underlying humanity caused him to hesitate and as a result he was badly wounded and left with amnesia.

As he struggles to uncover and pursue clues to his identity and the life he has chosen for himself, he discovers he has a wealth of combat and judgment skills that enable him to avoid or elude a variety of dangerous situations while we, the audience, discover his masters do not necessarily possess the integrity we and Jason might expect of them.

The storyline cleverly avoids tarring the entire C.I.A. with the same brush and implies that a number of senior figures are perhaps tainted by disillusion, ambition or cynicism and are willing to pursue their own ends without accountability, using Jason to help them achieve their aims. Of course, Pamela Landy remains a beacon of hope and integrity, though even she is sidetracked by disinformation and bureaucratic red tape.

However, the stroke of genius in terms of emotional engagement and hope for principle, integrity and morality is that through his amnesia Jason has rediscovered purity of heart and independence of mind and spirit.

This is a fascinating turn of events which appears to imply the innate goodness of man who is influenced and perhaps corrupted by his response to experience, encounters, events and emotion. Although he is fortunate enough to have retained the skills he accumulated during his training, Jason’s slate is effectively wiped clean and this allows him to view situations and circumstances with objectivity and reason.

Although he can recall only fragments of his past, he follows enough clues and builds enough of a picture of his life to find it questionable. As he recalls these fragments, he judges his actions in his former life and questions his motivations. His perceptions and judgments are now unaffected by previous thoughts, experiences and outlooks which may have been blurred, manipulated or falsified. The fundamental faith he had in his handlers is lost through objective analysis of evidence, experience and consequences. The only person of standing in the C.I.A. community who proves herself worthy of his trust is Pamela Landy, and this trust is gained by way of reason and action.

I think this fundamental juxtaposition of amoral and Machiavellian methods to pursue one’s own ends, and the professed pure-hearted desire to lead a simple, peaceful and independent life is the reason for the Bourne films’ success. Jason is the little man being pressured and manipulated by forces well beyond his ken but because he is now free of imposed societal respect and fear, and because he has the means and indignant determination to right newly-perceived wrongs, he is well placed to defend himself as it becomes necessary.

It boils down to the age-old conflict between good and bad, or at least the idealistic and honest versus the conniving and opportunistic, though in this case the protagonist is able to use the antagonists’ own methods against them and that adds a sweet sense of retribution.

While Jason’s success in bringing down his opponents is satisfying, his true victory is in the fact he is left to lead his life on his own existential terms, something to which many of us aspire. Having gained a different perspective, he sought independence and peace but he was willing and able to defend himself using whatever level of force his opponents were prepared to use against him, but without initiating the aggression.

This may not be the first time a government agent rises above the moral level of his or her creators and uses his or her skills against them (I’m thinking of television’s “Callan” and Luc Besson’s “Nikita”), but I think Jason Bourne is the most successful in terms of entertainment and emotional engagement.

I have to say the use of amnesia to liberate and exercise man’s innate goodness and allow an objective review of one’s own life is a masterstroke and, although a vaguely similar device was used in “Unknown” and “Sleeping Dogs”, once again it is used to greatest effect here.


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

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                         YouTube

Tuesday, 26 November 2024

Advocating arts and humanities

 

Advocating arts and humanities



Some fifteen years after gaining our degrees (and some thirty years ago), my wife and I decided to attend a sort of “reunion” organised by the university in a town local to us, to which graduates were invited in order to meet, socialise and receive updates and news from our alma mater. We had hoped to catch up with some familiar faces but in fact we were surrounded by a sea of unfamiliar and older faces, mostly from scientific, medical or legal backgrounds. Slightly disappointed, we nonetheless chatted and dined with these people with whom we shared an educational bond, though our background was in the arts (languages, philosophy and archaeology).

After our meal, a senior academic figure from the administration of the university, whom we failed to recognise as he was from the faculty of science, stood to address us. We were keen to hear how the faculty and departments we attended had fared since our departure, and to hear familiar names, both staff and students, who had perhaps risen in the teaching ranks or to prominence in other fields in the intervening period. The speaker went through a lengthy list of faculties and departments, rather dryly and in a matter-of-fact manner providing details of successes, achievements and other news-worthy items. He focused on the various science, medical and legal departments, talking with great pride and admiration, but leaving us to wonder when or even if he was going to refer to our “home” departments…

Eventually, just as we began to think he was going to forget or omit our faculty, he made mention of “arts” and our ears pricked up. However, having vaguely introduced the topic and regained our waning interest, he said pointedly “Frankly, it’s like monkeys on typewriters to me…” before very briefly and somewhat glibly informing us of the continued existence of our faculty, much to the amusement of our fellow former students. He may have provided relevant information on developments but my ears were ringing with his dismissive words and condescending tone and I failed to take on board any information he may have intimated. I was shocked at the disrespect shown by this officer of the university toward students and staff alike, but also toward a great field of endeavour, study, learning and achievement. My greatest regret concerning that evening is that we did not rise from our seats and leave in protest. The thought crossed my mind at the time and I intended calling out “We’re a couple of the monkeys” as we left, but of course I did not have the courage or the confidence to carry it out.

At our graduation, the retiring head of the French department, which I attended, delivered an inspiring speech tinged with elements of frustration and perhaps even some indignation, in which he stated quite unequivocally that the arts give purpose to all other educational pursuits and ventures, perhaps suggesting he had met, in academic circles, the attitude and mentality my wife and I came across at our reunion.

It seems to me that it is somewhat short-sighted and narrow-minded to dismiss the arts and humanities so thoughtlessly and easily. Science and fact are clearly essential to our perceptions and the development of knowledge, but they are not sufficient in themselves and they feed into a larger scheme of things – an understanding of ourselves and our world. I submit that the general purpose of the arts is to advance our knowledge of society, human nature and our place in the universe by providing an overview of our actions, motivations and objectives and as such they provide purpose and order for the rest of our educational activities which feed our desire to understand the workings of the world around us.

If an acceptable definition of art is “an attempt to convey concepts, ideas and emotions, typically through words, images or sound, in a concise and engaging manner”, then I consider art an essential contributor and tool in the dissemination of our knowledge and understanding of ourselves and our environment.

In the years since my graduation, as a teacher, YouTuber and Podcaster, I have tried to transmit not just language skills and information, but a regard and appreciation for the arts in terms of literature, cinema and theatre. We grow or develop as we encounter situations, gain experience and face feelings, and we can learn to navigate these more easily by studying and learning from the experience and reflections of others through images, literature, song, cinema and theatre.

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)

Sunday, 13 October 2024

Characters and themes, and strengths and weaknesses in "Heaven's Gate"

 

Reflections on “Heaven’s Gate”

Written and directed by Michael Cimino

Starring Kris Kristofferson, Christopher Walken, John Hurt et al.

 

The following article is based on a viewing of the 2012 216-minute Blu-Ray version of the film.


The 19th century is renowned for its gradual move toward social understanding, compassion and accountability among those in authority. In contrast, “Heaven’s Gate” demonstrates the consequences if authorities (right up to government level) are willing to put the narrow and ruthless interests of the influential wealthy, here in the form of stock and landowners, above principle, law, order and the aspiration to justice, all at the expense of humanity.  

At its heart, “Heaven’s Gate” explores a most worthy main theme or cause as it presents the story of the persecution and assassination of a large number of immigrants in the Wyoming of the 1870s by an association of wealthy stock owners who, tired of seeing some of their stock stolen and killed to feed starving immigrant families, hire some fifty men to kill those on a 125-strong death list in the hope of discouraging further theft. It is suggested that this course of action gained approval in the upper echelons of government as these businessmen are legally entitled to protect their property and there is no consideration of the situation or rights of poor citizens who set out to build homes for themselves while contributing to the development of their adopted country.

Plenty of scope, then, for the defence of humanity, principle and justice, and the engagement of emotion and intellect on the part of the audience, if only through the incitement of indignation and outrage. However, this opportunity is largely squandered through issues of pace, purpose, clarity and self-indulgence.



There are many positives. The sheer scale is quite breathtaking in terms of the natural vistas and the numerous crowd scenes. Atmosphere and tension are established. The conflict is at times quite visceral. There are divisive characters and the appealing premise of a threat to justice. There are sympathetic immigrant characters who display admirable qualities and intriguing if questionable main characters. The central theme of power and wealth versus principle and humanity is highly attractive, and the performances are by and large perfectly acceptable, even good. Sadly, however, writer and director Michael Cimino appears to have written a script and produced a film that he wanted to see and understood, but he failed to respect the needs and understanding of his audience.

In later versions of the film, numerous lengthy scenes were cut altogether but I would suggest nearly every scene is needlessly and indulgently long, thus losing engagement and patience on the part of his audience.

The script needed to be reviewed and edited before shooting began. There are regular issues of clarity in terms of character identification and background, as well as pace and purpose. Attention is drawn to certain reactions or events and this is not followed through. We may reach the end of a scene and not really understand its import or why a character responded or didn’t respond in a certain way. Conclusions may be reached that are not well supported by previous dialogue. There are inconsistencies in character development or changes and attitudes that beg questions which remain unanswered. The tone is almost universally downbeat, even gloomy, apart from one relatively upbeat and comic sequence – Mr Cimino might have raised the spirit of the piece and the audience if he had incorporated some comic relief at various points in the film rather than restrict it to one anachronistic sequence.

Of course, these issues may have come about as the result of losing two full hours of material from the original five-and-a-half-hour version.

Another element that contributed to the downbeat tone and lack of engagement is the lack of hero-figures. Jim Averill is the obvious candidate but his conduct falls far short of hero status and I’ll return to him shortly.

The only other character I think we’re supposed to view as vaguely heroic in terms of development and evolution is, surprisingly, Nate Champion. Presented as a cold-blooded killer, we are supposed to gain sympathy and perhaps some respect for him when he spares a young cattle-thief and then displays apparently genuine feelings for Ella, the local brothel keeper and occasional prostitute, even asking her to marry him. It seems to me that we are eventually to believe he has had a change of attitude and mind when he turns on one of his employers as a result of Ella’s rape, but this is a personal reaction and not because he has developed any understanding of or compassion for his victims. We do not feel any particular sympathy or sense of injustice when he is pursued by his former employers. He remains the same ambiguously conflicted but fundamentally heartless man who now exercises his capacity to kill coldly as a result of following his feelings rather than orders. He has not had a change of heart, expresses no regret and displays no heroic qualities as such.

Another recurring character originally presented as potentially influential and even, perhaps, heroic, is Billy Irvine, first seen with Jim Averill at a Harvard graduation ceremony in 1870.

I would suggest that this whole lengthy Harvard section is largely unnecessary except to imply that Jim and Billy come from wealthy backgrounds and to draw attention to the idea of mixing the cultivated with the uncultivated in the hope of raising standards, a premise proposed by the reverend doctor which is rapidly and quite eloquently dismissed by Billy Irvine in his address to those gathered for the graduation. Twenty years later, we learn Billy has joined the stock owners’ association and offers only meagre and ineffectual opposition to their plans to kill a large number of immigrants before conceding and accepting them. In the end, the audience may even be forgiven for wondering what useful role Billy plays in the proceedings except, perhaps, to boost Jim Averill’s standing by comparison.

In 1890 it appears that Jim is a respected marshal. However, he does little to merit this position or the audience’s respect, at least initially. When entering a store in Casper, he does nothing to help an immigrant who is being badly beaten, though he stops the beating as he leaves the store, telling the man’s aggressor he has won and advising the immigrant’s wife and family to move on. Shortly afterward, Jim comes across the same family and discovers the husband has been shot dead. After exchanging a few words, he drives on, leaving the newly widowed immigrant to struggle with her wagon as she drags it toward their land. These are not the actions of a committed or principled lawman or even a caring human being.

Although he was moved by the plight of the immigrants, Jim did little to help them until he was stirred to take a stance against the forces of wealth and power by the brutal rape of his girlfriend Ella by members of the association’s gang of hoods and killers. Even then, he appears to hesitate but finally throws in with the immigrants who, facing destruction, make a stand against those willing to casually wipe them out. In the end, however, they lose the battle and Ella is killed in an ambush during which Jim kills the cattleman responsible for the attack and then he mourns Ella.

In one or two other places, there are nods to existentialism as Jim suggests each of us must make our own decisions and make our own way. I wondered if this was at the core of Jim’s lack of action in the face of injustice and his refusal to marry or take responsibility for Ella, but the scenes at the end of the film caused me to review these thoughts.

Some thirteen years later, we find Jim living in opulent luxury on board a yacht. He is accompanied by the same beautiful girl he pursued in Harvard at the start of the film and we realise she may be his wife.

He looks around and appears tearful, disappointed, regretful and perhaps even embarrassed or ashamed by his surroundings. Was Jim a rich man playing at being poor (as was stated at one point in the film)? If he had another life to which he could return, was this Harvard-educated man (who used his knowledge of Roman battle tactics to help the immigrants in the final battle) ever truly committed to his work as a marshal? Does this explain his unwillingness to take action? Was he married while he was seeing Ella and does that explain his lack of commitment to her?

As he looks upon the opulence and security that surround him and he appears upset, is he doubting the value he has given to his life? Is he troubled by his conscience? Did he simply and too easily give up the worthy cause of defending the poor from self-serving rich people who effectively run the country? Did he take the easy option of rejoining the rich set after his adventure in Wyoming?

There is much that could have been great about “Heaven’s Gate” but the audience should not have been left to interpret scenes or input motives, background and character. It is reasonable to expect guidance, pace and purpose from the director and writer.

Apart from structural issues, the film may have fared miserably at the box office because ultimately there is no-one to root for, not even a tragic hero to support, and the film offers no positive outcome or hope, and that is hard to swallow having invested three and a half hours in the film.

Of course, there is always the possibility that this negative outlook was just what Mr Cimino was aiming for as a reflection of society and its infrastructure.

 


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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