Reflections
on characters and themes in “The Offence” (1973)
Directed
by Sidney Lumet
Script
by John Hopkins (also the original play)
Starring Sean Connery, Ian Bannen, Vivien Merchant and Trevor Howard
Following sexual assaults
on a number of young girls, a man named Kenneth Baxter is detained for
questioning as a suspect and is treated brutally by Detective Sergeant Johnson.
“The Offence” presents a vivid picture of a police officer driven to depression
and excessive reaction by accumulated experience of death, violence, despair
and misery. The film depicts the potential, if extreme, consequences on the
human psyche of constant emotional bombardment and frustration.
However, I would say that
much more lurks beneath the surface as existential angst and lack of personal
fulfilment play their parts in the psychological deterioration of Detective
Sergeant Johnson. Johnson is, as are we all, the product of his character, his encounters
and his environment. Although ultimately we must accept responsibility for our
own actions, we all impact or influence one another and as social creatures we seek
to make connections and build sympathetic relationships with others while
trying to achieve balance and keep a sense of proportion in our lives and
outlooks. However, if that balance is skewed by experience and social
dissatisfaction, the consequences can be catastrophic…
In the original play the
action revolves around three dialogues, one between Johnson and his wife
Maureen which offers insight into Johnson’s personal life and his social
environment, one with Johnson’s superior in which we gain understanding of his
professional position and tensions, and then there is the key exchange between
Johnson and suspect Baxter in which we discern vital indications as to
Johnson’s declining state of mind and his resultant actions.
There are several nods to
existentialism as we are offered regular insights into Johnson’s personal
issues and we witness reminders of his solitude and his insular nature. He
doesn’t share his thoughts and feelings with his wife of some 16 years, which might
have afforded him some degree of catharsis. Indeed, a barrier has formed
between them, leading to resentment on both sides, a lack of emotional
fulfilment and even a sense of mutual rejection.
Thinking he may have
killed Baxter, and desperate to be listened to (a theme that will be revisited
several times), Johnson tries to open up to Maureen. Almost by way of
rationalisation of his treatment of Baxter, he sets out to express his thoughts
and experiences in an attempt to gain a sympathetic understanding of the
personal torment he is undergoing, yet he is hesitant to discuss such matters
with Maureen, emphasising the emotional distance between them.
On hearing some of the
gruesome detail he shares with her, Maureen is physically sick and Johnson,
feeling rejected, withdraws emotionally from the discussion, saying he won’t
open up again. This provokes an impassioned and bitter response from his wife which
encapsulates their relationally barren marriage and highlights his sense of
personal isolation and his perceived lack of sympathetic understanding
regarding the torment he is experiencing.
Even worse, however, he
is deliberately hurtful toward his wife, passing vicious comments on her
appearance and his disappointment with her in their marriage. He appears to
recognise this moment as a turning point in his life and is taking stock of how
he arrived at this point, apparently blaming Maureen for his lack of emotional
and, importantly, sexual fulfilment.
He has repressed so much
horror, pain, bitterness and anger that now, some twenty years later, his
feelings are starting to overflow and affect his professional conduct. He has
allowed his feelings, including, we learn, personal disappointment and sexual
frustration, to overwhelm his judgement and conduct.
In his interview with
Detective Superintendent Cartwright, Johnson seeks reassurance and
understanding from his superior. Again, Johnson asks repeatedly to be listened
to as he tries to fathom what is going on inside his head, but Cartwright is
concerned only with regulation, convention and legality, none of which is
useful to Johnson who is effectively having a breakdown. In the end, Johnson is
once again left feeling rejected and not understood so he becomes
confrontational, a reaction that leads only to further isolation.
Johnson comes closest to
achieving understanding and empathy in his conversation with suspect Baxter.
Assuming Baxter’s guilt,
Johnson tries to provoke or goad Baxter into a confession by discussing his
feelings and motivations for the attacks, but it becomes reasonably clear that
in so doing, Johnson may be revealing some of his own dark thoughts and desires…
When searching for
missing girl and probable latest victim of sexual assault, Janey, Johnson
breaks with convention and heads off alone. When he finds her, he doesn’t call
out or seek support. He tries, somewhat awkwardly, to comfort her and there is
a vague suggestion of attraction. He also appears surprised and slightly
disappointed at the arrival of his colleagues.
The matter of Baxter’s
guilt or innocence is not resolved. The fact is, however, that Baxter is used
to being bullied and he considers himself something of a manipulator of those
who set out to bully him. He plays Johnson at his own game, eventually leading
Johnson to recognise his own desires and motivations.
Stunned and almost
grateful for this breakthrough in communication and understanding, Johnson
actually asks for Baxter’s help, but in so doing, and reflecting the immense
pain and desperation he feels, Johnson unwittingly causes pain to Baxter and
Baxter breaks the spell of complicity and understanding by breaking free from
Johnson’s grip and turning on him.
Baxter feels he has
broken Johnson and prepares to leave but this act provokes a number of
responses within Johnson – deep hurt at having finally found understanding only
to be rejected by the only person who appears to have any degree of
comprehension of what he is suffering, loss of pride and position, and a sense
of defeat in that this suspect has turned the tables on him and is taking
control as he prepares to leave.
He may also have
recognised that he is essentially no better than this suspect for whom he has nothing
but contempt.
As a result, Johnson
loses control and lashes out at this embodiment of all the perversions and
social ills he has encountered over the years, but he may also be lashing out
at himself as he furiously seeks to destroy that dubious part of himself that
he has just been forced to acknowledge.
Shortly after mortally punching
Baxter, Johnson returns to his senses, sees what he has done and declares, “Oh
God, oh my God…” Whether this is solely in recognition of what he has done or
is also an acknowledgement of what he has become is left to the audience to
decide.
I found “The Offence”
intense, powerful and thought-provoking, but also relentlessly bleak and dense.
If I’m being honest, I’d have to say I found some of the dialogue clunky and unconvincing
but this was offset by excellent performances all round, especially from Sean
Connery and Ian Bannen who complemented and enhanced one another perfectly.
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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