Welcome to Stuart Fernie’s Blog
Penny Forum
Reflections on a variety of films and topics - Seven Samurai, It's a Wonderful Life, Don Quixote, We're no angels, War for the planet of the apes, Dunkirk, The African Queen, Babette's Feast, Dances with Wolves, The Prisoner (1967), Inherit the wind, humour in drama, nature of regret, the influence of multimedia, memoirs of a teacher of French.
Friday, 7 March 2025
Introduction
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)
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)
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)
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)
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)