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Archive for the ‘women’s lives’ Category

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“Bag’s in the River” (1:3): Walt (Bryan Cranston) returns home to Skylar (Anna Gunn) after being out all night disposing of what’s left of two bodies put in a bag, thrown in a river

Dear friends and readers,

Having gotten for myself two books filled with detailed analyses, commentaries, summaries, lists of bullet points of and from Breaking Bad: David R. Koepsell and Robert Arp’s collection of essays by themselves and others, Breaking Bad and Philosophy: Badder Living Through Chemistry (it takes the mini-series through Seasons 1-4), and Wanna Cook? The Complete, Unofficial Companion to Breaking Bad by Ensley F. Guffey and K. Dale Koontz (Seasons 1-5, complete series), I was prompted to re-watch the episodes of the first season (all 7) alternatively with what I had left of Season 4 (5-13, or 8 episodes). The new perspectives provided by the books and the early phase of the series (with its ironic foreshadowings only seen on a re-watch from the perspective of at least 3 seasons later) has made me change my mind about Skylar as well as come to a better understanding of this famed HBO macho soap opera.

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“Face Off” (5:13): Skylar asks, “Was this you?” and by way of reply, Walt replies: “I won”

I had thought of Skylar as a woman who was basically indifferent to her husband as an individual apart from her, non-loving or without real respect for him, an unethical bully (she withholds sex from him to pressure him into buying super-expensive chemotherapy treatments) who deserts to save herself when cornered (in Season 1 she rejects her sister, Marie [Betsy Brandt], is jeeringly spiteful (her boasted-of affair with Ted Benecke [Christopher Cousins]), but even if it is possible to extend this list of qualities I find alienating, I was wrong to sum her up as hateful, enacting, as the actress who plays Jesse Pinkman’s mother seems to, so much relational wrong to those around her. Rather she is a figure of pathos, pathetic in the older meaning of the world.

In the long view of four years, we can see that nothing she ever did made the slightest change in the ultimate fate of herself and the characters she holds dear. From about half-way through Season 4 the naivete we see in Season 1 (as when she threatens to expose Pinkman [Aaron Paul] for smoking pot to her “brother-in-law, a DEA man!” [Dean Norris]), her belief in some controlling morality in people, some rules somewhere which she can trust to as long as she seems to be moral herself and obey the law, and most of all her essential powerlessness leads to a set of behaviors and stances parallel to those we see in the first and second season. She thinks she can give Benecke money to pay his taxes and he will pay them (thus protecting her as his bookkeeper from scrutiny by the IRS); she believes buying and operating a car wash will control the money situation she finds herself in (she and Walt have far more than they can account for). Saul Goodman (Bob Odenkirk), the shyster lawyer is not simply laughing at her; he realizes her instincts as formed by her society make for decisions against her interests (such as, back to Season 1, her childlike worship of the oncologist). 

Most of all, she has not all along begun to understand what other human beings (Giancarlo Esposito as Gus is not alone in his monstrousness) are capable of, including Walt — who in the fourth season wins over Gus by poisoning Jesse’s beloved semi-adopted son, Brock and persuading Jesse it was Gus who did this, thus winning Jesse back to work with him (not hard as Jesse does know how much frightening evil Gus and his henchmen can do) and tell him where is Gus’s weak point as Jesse has come close to Gus several times, and then lived in close proximity to Gus and Mike (Jonathan Banks, Gus’s hired thug-killer): Jesse finally thinks of Hector Salamanca, the nearly paralyzed dying Hispanic man who early in Gus’s career humiliated Gus and murdered a close associate and who all these years later Gus enjoys tormenting by telling of how he kills now this male relative and now that.

Skylar erects what Anna Gunn kept calling “all her boundaries” to shut this world and Hank’s and Marie’s out. In Season 1 when amid the teachers she hears the janitor blamed for stolen equipment to make meths, she nods in agreement and allows herself to be diverted by Walt. Walt might worry whether she’ll realize it’s his lab. He need not have. She does not put that kind of two-and-two together. (Nor does Hank. They trust their friends to be what they seem.)  In Season 3, she learned she might need to protect her family against its protector: Walt, who has told her, he is the danger. In Season 4, Benecke turns out to be a petty cheat; baby in carrier, she goes to a central point in a four state area to see where she can flee and finds there is no where she belongs, can exist but where she has found herself at 40. All she has are Walt, Walt Jr, Holly, Marie and Hank.  She returns home. Skylar does not seeth, but she writhes to no avail. I pity and feel for her.

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An early still of Jesse as he walks into his parents’ dining room to set the table

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Jesse’s parents want to know from the valued son whether he is getting out of his teacher what success requires

A second watch showed me how angry Jesse is — else how does he get involved? A rage and a fury. Why else does he continually spit out his words in slightly broken half fury? Rejected by parents, who prefer the hypocritical cold son, ambitious, a liar. He is offered this shit-ass job disguised as a bird selling junk on the street.  We see immediately how clever he is, how quickly perceptive his judgments, but he is utterly uneducated: all school is for is to get a job wearing a suit. As he hardens, he keeps his heart partly because he has been so hurt. He has artistic ability Jane appreciates, and she reads his yearning to be a hero through the cartoons he draws.  But hero in the US is defined by Mike (Jonathan Banks) and Gus — and Hank (Dean Norris). Jane (Krysten Ritter) did begin to offer him another vision (the trip to Georgia O’Keefe paintings is part of this), but she was sickened by her culture too, desperate to escape its pressures and demands that she be guarded, cool. A kind of Hansel and Gretel with heroin as the witch. You see this kind of thing only by re-watching. Many people learn to lie low: I suspect that will be the final lesson of Jesse’s career with Walt.

Hank emerges more interestingly too — once you know how he emerges later as the half-lamed man, a sleuth. To this Sam Spade has come down. He begins as a coarse, crude, loud-mouth condescending macho type, so sure of himself, mocking his brother-in-law as not manly, but his pity for his shoplifting wife and feeling for the disabled nephew, Walt Jr (RJ Mitte) shows he has camaradarie impulses. Fatherly, kindly to those he does not “other.”  Maybe only he or his type of person could love and support the dense yet intuitively alert Marie.  Murdering people point-blank even when they are trying to kill him (in the Second Season) leaves him emotionally shattered (as it will Jesse in the third Season).

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In the pillow interrogation where Skylar wants all of them to help her force Walt to go for treatment, after Marie breaks ranks to say chemotherapy is miserable and maybe Walt should spend his last months differently, Hank says Walt should do what he wants …

At the baby shower, though, once he spots the expensive diamond and ivory baby tiara Marie has supposedly bought for the coming baby, he needs a stronger drink to endure staying there and pretending all is fine in his house. And in the first season there are many ironies surrounding his talk, showing how little he gets about the meth trade when he thinks he understands so much.

I missed the mood or kind of gothic this story is: horror is one word for it, as all sorts of body taboos are sliced off: from the opening blood, the color red, from raspberry to bright scarlet, to blue and venal streams across the TV screen’s firmament. Ghastly comedy in season 1, ghastly terror in season 4: in one of the features for Episodes 4:11-13, Vince Gilligan explains how the crew spent months talking about how they could make Gus’s death adequate to the evil of his life and then planning and executing the bomb scene and destruction of half Gus’s face (face off) and part of his body. The moment is all the more electric as at first we startled to see him escape apparently unscathed, and fix his tie: a key to his character is he is a black man determined to enact an upper class, super-polite ceremonial lifestyle, the benevolent philanthropist the powerful in his society turn to. But the nurses running over shudder, cover their faces, and we get a barely watchable (I kept averting my eyes) series of close-ups, which I reproduce only one of:

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The series does not rely on these horrible shocking moments; they are part of sequences of agonized high anxiety (to allude to Mel Brooks, appropriately parodic) which punctuate story arcs and character development. Intriguing suggestive life-histories are given most of the tertiary characters whose names we learn; we can fill out their pasts. The strength of the series is character exploration in scenes of virtuoso acting, but I hadn’t noticed how much change the characters seem to undergo at the same time as in their beginning (Season 1) is their end (Season 4 foreshadows what is to be). So while the mood of Season 1 replicates at moments that of the Three Stooges (which Jesse watches on TV), or clowns; the two chief males form the love-hate, teacher-pupil, chemist-assistant team they keep up throughout several permutations, with Jesse sometimes taking the lead, doing what Walt can’t, seeing what Walt doesn’t, by its end Walt does show an insidious delight in enacting all that is forbidden, anticipating his later manipulative ruthlessness while Jesse remains on just this side of decency. Walt contemplates suicide in Season 4, diverted by suddenly seeing seeds on he side of the pool he can use to poison Brock

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but Jesse feels emotional hurt from betrayed ties (in Season 1, his family, later Jane, and now Andrea [Emily Rios] and Brock) that he will not cast aside. In season 4 Walt refuses to work unless Jesse is with him, Jesse refuses to cooperate in the business of meth at all if Gus has Walt killed.

The last two thirds of season 4 (for episodes 1-4 see A Killing Way of Life) are highly theatrical stagings of suspense. I couldn’t stop watching them — got caught up in the intensity of it all and began to long to see Gus as a figure of ultimate evil done away with. By the end I was shaking from the whole experience, with its final twists and turns moving from engineering the near death of a child to persuading an old man to blow himself up suicidally in order to take Gus out too. There is a weird parodic feel here — because in a soap opera you have just these twists and turns. I haven’t got so caught up in anything since watching Lagaan a few years ago where I so rooted for the Indians against the Brits — only here more so. I had wanted to watch some earlier episodes but could not get myself to stop until I saw Gus die. And it was horrific — the make up of him as this ghastly skeleton. When Walt returns to the Meth lab and manages to kill the murderous bullying bodyguard who has handcuffed Jesse to a pipe (Jesse is often in the role of the vulnerable Pauline heroine), and they set fire to, destoying the lab, it is like destroying the vampire’s lair. It was where they were enslaved and watched by a surveillance camera. Here action adventure high violence was meaningful.

Here and there images evoked the real world of America inside its border and out. At one point in a desert Mike throws Walt on the ground to kneel before Gus with a black bag over his head; he has been badly beaten up: it is the image of torture we see done to Arab prisoners by US interrogators. 

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Gus is saying if Walt interferes with Gus’s killing Hank, “I will kill your wife, I will kill your son, I will kill your infant daughter” — this is precisely what Frankenstein’s monster does to Frankenstein’s family after Frankenstein destroys the bride the monster had asked for

There are memorable slow quiet moments. After Walt miscalculates and allows his hot-blooded temper to get the better of him because he finds Jesse is lying to him, and has seen Gus up close but not tried to administer a powerful poison (ricin) and rushes to Jesse’s house to accuse him, and they have this brutal fierce fight where Jesse gets the better of the older man, Walt collapses in his flat. It has been Walter Jr’s birthday and Walt missed it. Skylar had insisted on returning the super-expensive glamorous speed car Walt had bought for his son, what Walt Jr really wanted, and gotten him the sensible relatively inexpensive compact hybrid, and little as Walt Jr is thrilled, he drives it to his father’s flat to be congratulated. Walt is in a shattered confused state, and breaks down in front of Walt Jr, weeping: “I made a mistake.”

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The son physically helps the father to bed, much moved by his father’s reality with him. He hears his father address him as “Jesse” and say “I’m sorry.” He sleeps on the couch not far from his father. That morning, Walt awakes and tries to erase the image he had left; he attempts dignity, tells his son that his grandfather died of Huntington’s disease; we see him coughing — a foreshadowing of death to come.  

Mike and Jesse also manage their unarticulated moments of mutual shared danger, mutual help and respect — and Jesse is distraught when he must leave the internally bleeding and shot-up Mike behind in Mexico: he will die unless someone gives him blood, staunches the bleeding, tends to his wound; the minimal sophisticatedly-equipped hospital staff paid by Gus are just ignoring Mike to save Gus. They tell Jesse it’s Gus who pays them.

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There is peculiar comedy mixed with anguish: Jesse hugging Andrea and bothering the hospital staff with his attempts to wait with Andrea and her mother inside the operation when as not-family the insurance company decrees he should not be there (so they say). Each time Jesse has to say that Brock was poisoned to someone, he breaks down: here he’s telling Walt in the hospital waiting room.

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Hank pressures Walt to take him to Hermanos to see the fried chicken operation Gus runs as Hank’s study of evidence from the murdered Gale Boetticher’s (Dale Costabile) flat leads Hank to suspect Gus is the linchpin leader of a meth gang. Walt is terrified at the coming consequences. As they drive up and Hank instructs Walt to set up a bug on Gus’s car, Walt sees Mike drive up and sit alongside them. Mike winks.

What I enjoyed most was to see parallels in Season 1, similar scenes. I had not noticed the Prologues were already used in atemporally symbolic ways. We see a very young Walt explaining a chemical formula to his then girlfriend, a very young Gretchen, later Schwartz (Jessica Hecht) who married the man who made a fortune from Walt’s discovery. The punning titles for the episodes, many ironic, begin immediately. Also to see Marie and Skylar in characteristic alike sister formations: sometimes talking in the kitchen, sometimes hugging, and then again Marie refusing to admit she shoplifts:

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A No Rough-Stuff Type Deal (Season 1:7): Skylar tries to stare the truth out of Marie

I wonder what they will think up for a fifth season. They have killed off a number of major characters. Will they have more of the same yet worse: yet more diabolical people in the Meth trade; I read that Jesse will become enslaved to Todd, a new Meth associate. I hope the next season brings genuine new content and insight as Downton Abbey manages to each year. I suspect this must be done by working further on the fates and personalities of the closely-knit central characters. I know that Hank will die — something foreshadowed in the second season when Marie declared him indestructible.

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End Times: (Season 4:12): Hank suggesting his need to have Walt drive him to the laundry (where the Meth lab is a dungeon below)

 I hope Jesse will end up with Andrea but somehow doubt it.

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Saul Goodman delivering weekly money to Andrea until Goodman persuades Jesse to go in himself

*********************

The two books:

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Marie towards bitter end: facing death

Breaking Bad and Philosophy reminds me of an undergraduate text I had for a Philosophy course. Heidegger is applied; superman theory (the will to power); authenticity explained.  One essay on the decision to have the expensive chemotherapy is knowing about  the very bad chances aggressive treatment will work. Fun ones too: finding happiness in a black hat, the last man left standing, hurtling towards death. There’s a long essay in the Unofficial Companion about the uses of houses, what kinds and space in the series which in its limits really explains what symbolism is intended. Even if an official connection is denied, the Companion could not have been done without the cooperation and input from the film-makers. Just the right quotations are cited as central to each episodes; tidbits of information and connections set up; photographs of the actors, some of shooting during rehearsal; background information on content in the show or about the production design.

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Walt’s hat when first put on — it looks dark blue, not quite black as yet

But they are not critical in any larger reflective sense. Neither ever mentions how the series reflects American values and norms and conflicts; not a whiff about racism:  Gus and he doctor who fleeces the Whites over his stupendous chemotherapy are black and this is never mentioned; that most of the lesser crooks we meet are hispanic is never mentioned. These things probably work to deny racism in the US. The only political essay I’ve found thus far is an attack on those on the Net who are said to talk of Skylar with intense hatred — which enables the writers to say see how women hate women to have or seek power. They use Foucault’s logic of scandal and badness the way the film-makers do in the feature: simply parrot without further context how evil it is to sell meths, how destructive the drug. Their stories and characters are authorized by assumed feelings of moralized indignation; scandal fosters what it is supposed to suppress (and this series could foster violence and apparently reinforces misogyny among some viewers), and its existence is never explained.

The Companion talks about Walt in a condeming moralistic way from the first chapter on — the writers never once take into account, what was the man to do: just die or go into terrific debt?  Was he to let Emilio and Crazy 8 kill him and Jesse? They say in passing how we root for Walt, describe the acts or episodes ably, but not a word of larger justifying explanation. In that sense the Philosophical book, jejeune as it sometimes is, is better; one cannot have socialism, but existential is the acceptable justifier — or Foucault. Still however unexplained or wrongly framed, BB does reflect US life more than any TV program I’ve seen. 

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The wedding of Trudy Kockenlocker (Betty Hutton) and Norval Jones (Eddie Bracken)

Dear friends and readers,

While I was reading and writing about two books which significantly extend the two kinds of rape usually discussed under the umbrella terms of “simple” and “aggravated” (Georgiana’s The Sylph and Marta Hillers’ A Woman in Berlin), I found myself reading Preston Sturges’s shooting script for Miracle of Morgan’s Creek and then watched the 1944 movie directed & produced by the same man, which movie to my astonishment turned out to be a rape story of a particularly mean type: our heroine, Trudy, has been raped after she became unconscious from too much liquor (which the film laughingly refers to as odd or sour lemonade). We never find out which man did it; in the film the word rape is never used; there is acknowledgement the heroine has become pregnant, but for all the talk we hear about it, it might as well have been a virgin birth, with this “miracle” corresponding to the 1934 Miracle on 34th Street, and that to the asserted Christian belief their mother of God, Mary, had been a virgin.

This is the central event (also not dramatized) of Kleist’s once notorious The Marquise of O , adapted for a film by Eric Rohmer — during an assault on her country by invaders (as a virtuous woman she would of course never be drunk), the Marquise, a widow (so our sensibilities over her virginity are not aroused), is raped by a soldier unknown to her. When her pregnancy emerges, and her parents find out, they treat her cruelly and eject her from their home. She has one to return to so the question may turn on discovering who the man was.

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From Eric Rohmer’s film

We see how the solider comes forward, falls in love and is forgiven. The text 7 film, then, to some extent deal with the subject of rape, of assault on women during war. Like Clarissa, who is drugged (the rape is dramatized), the heroine is absolved automatically – this absolution by unconsciousness is typical of rapes in novels of the 18th century (more of them, alas, are of the commoner false accusation type).

But Trudy was not assaulted in war. She got drunk. Or did she? I was alerted to the existence of this 1940s hit (you can probably see it on Turner Classics) by Nora Gilbert’s Better Left Unsaid: Victorian Novels, the Hays Code, and the Benefits of Censorship whose subject is the effect of the Hays Code on movies from the 1930s to the 1950s and (to her) analogous severe censorship of Victorian Novels by Mudie’s Circulating Library and other engines of repression in the 19th century. I did not realize it was about rape until I watched it as, except for quoting a parenthetical punning remark by a contemporary critic, James Agee that “the Hays office has either been hypnotized into a liberality for which it should be thanked, or has been raped in its sleep,” Gilbert does not tell the reader the film’s core event that generates all the action is a rape.

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Trudy puzzled on her way back to Norval after her one night out

In my research on rapes in fiction and non-fiction I discovered how rarely rape is treated seriously, and how common stories of false accusations for rape (despite the reality that rape is common, and accusation for it uncommon as the woman is usually shamed, disbelieved and ends up punished for telling). Thus how hard it is to find writing about rape until the mid-20th century when it began to emerge in feminist sociological and psychological studies. I had not considered another obstacle: the story about rape where the word is never mentioned, the thing never discussed when all the while the events of the story show us a particularly contemptible form of rape must have occurred. How would one find Miracle of Morgan’s Creek when it’s listed merely as a screwball comedy, frothy, light exquisitely funny romance. It’s a rare work on rape in mainstream art before the mid-20th century.

As the film opens, our heroine, Trudy Kockenlocker, is readying herself by putting on the most glamorous and sexiest (not admitted to of course) of outfits , in order to attend a dance put on for the soldiers about to go off to war to fight. Her father, Officer Kockenlocker (now notice the name which includes “cock”, a “cock” who locks something in), played by Wm Demarest as a comic dense bully, refuses her permission without quite saying why. It’s somehow risky, dangerous. Trudy objects that it’s her duty to dance the night away with soldiers going off to war. Stills show her winning scuffles with her father:

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The physical reflection of how she manages repeatedly to manipulate most situations to do what she wants in reaction to events and norms.

She gets her obedient (emasculated) boyfriend, Norval Jones to pretend he spent a long night watching movies with her while she goes off to said dance. We see her dancing with many different escorts and drinking oodles of lemonade. The joke is made more than once that this is some sour lemonade and strange, and she looks drunker and drunker and at one point she passes out. The Hays Code said one must never get drunk in a movie. We do at one point she someone dancing with her who has dark hair, and looks sort of determined, and she falls — partly a stupor, but perhaps partly hit.

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We have the impression her brain case has taken a blow

Who he was we never learn, nor his name, nor how this initiating event developed. She was supposed to be back at the theater at 1:30 am, but she turns up at 8 am — it’s dawn in the film. Norval has waited all night first looking out for her anxiously, and then asleep on a bench.

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But as Trudy and Norval drive home, she begins to remember where she’s been and half-recalls a marriage: on her finger is a curtain ring. 3 months later we see a doctor tell her she is pregnant without using that word.

The rest of the movie presents the coniption fits Trudy and Norval go through to provide her with a husband (him, using the ludicrous name Trudy thinks up — it has many syllables and x’s), and to hide her shame. Gilbert argues that the Hays censorship made for great art: certainly no one would tell the story of such a rape in the way it’s told if there had been no Hays code administered in the way it was. You could get a movie to pass by handing in the script for approval. It passes because in the words of the script she has not been raped; she was married and therefore cannot have been raped. Tease this out and we could imagine a scene of marital rape (yet this level of seriousness is not allowed by everything we can point to in the film).

Norval tries to shield Trudy by marrying her — after his first retreat from her is over. At no point doe she accuse her of anything, at no point object he does not want to be the legal father of another man’s baby (though he looks uncomfortable). Their marriage is found bigamous (in a ceremony in which two women moon over how many children the couple will eventually have) and crimes of all sorts are hurled on him and before you know it he’s in jail. The film indirectly satirizes patriotism, the venerable saintly-warrior hero, shows the punitive spirit of American life even then, but the rapist is never called to account, we never see the baby, nor is it discussed how Norval is going to take over as father.

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The Justice of the Peace is impounding the groom after the wedding ceremony for disobeying the law because he used Trudy’s previous husband’s name — or, a moment’s thought would tell the viewer it’s the bride who has committed bigamy

Under the Hays Code one was not allowed to show pregnant women, especially unmarried ones so during the time Trudy is huge we see her from the back sitting in a chair.

Gilbert can “get away” with citing the brilliance of Miracle because she doesn’t deal with the rape herself. Nothing is brought out into the discussably open either for those shocked silently and never bring it up and those who are aware of some serous themes here but cannot discuss them because the treatment in the films avoids the central thing it’s about — all that is brought out is Trudy’s desperate shame and how she must marry to avoid that. On one level it feels absurd to bring this screwfall comedy (rightly designated) with all its vacuities in characterization, slapstick, implicitly and explicitly misogynistic remarks (in passing as a matter of course about women) up as a story of the rape — comparing it to massacre rape, marital rape and selling, aggravated assault. But it does fall into the first traumatic category of simple rape between two people not strangers. Trudy’s desperate shame is made a joke of while it is laid before us. Frantic efforts to appear to conform do not question conformism. From what I’ve read critics have been generally divided into a group which admires the sleight-of-hand:

The Miracle of Morgan’s Creek carved out its own unique niche in the annals of screen comedy by so cleverly couching its shocking material in broad slapstick and fast-paced character comedy. The film rarely allows itself the delirious abandon of so-many classic comedies, but Sturges is purposeful in this respect. We’re meant to be as anxiously involved as the characters are in their dilemmas.

Or, like me, they have been grated upon by the indifference to the core content and use of laughter: Siegfried Kracauer’s “Preston Sturges, or Laughter Betrayed,” Films in Review, 1:1 (1950):43-47

I admit to laughing and laughing at some of the sequences of wild highjinks all the characters go through, the satire on lawyers (very funny lines – reminding me Saul Goodman of Breaking Bad is a traditional caricature of a lawyer in comic movies), the press, solemn pious parents. Asked about the film, Sturges voiced as his one regret (and the ostensible moral) that he was not allowed to have a clergyman deliver a sermon on how giving soldiers all they want as a gift was overdoing it. Hypocrisy prevented him from including his moralistic message against too much alcohol and sex on the night the young men were going off to war, risking their lives — today we might say to kill and/or be killed. The one target of the movie we can take seriously is the Hays Code itself. The verbal jokes which skim round what would be stark sexual content, the drinking of lemonade, how the characters say “phooey!”. Along the way various sacred cows are burlesqued. The wedding of Trudy and Norval with the two witnesses swooning and photographed so that they are seen as central as the couple. Trudy has a younger sister, Emmy (Diana Lynn) given wry realistic remarks (reminding me a bit of Margaret Dashwood in Austen’s Sense and Sensibility). For the record the Code was a heavily Catholic-influenced set of rules the movie industry agreed to abide by in order to fend off worse censorship; it began in 1930, was at its strictest between 1933 or so and the 1950s; its power was over when TV emerged as such tough competition the cinema felt it had to offer something TV did not, and the great movie pointed to as the first to ignore the Code, and become a respected hit was Sidney Lumet’s The Pawnbroker (featuring Rod Steiger), where in lieu of an emasculated bumbling male we are given a painfully honest portrait of a seething disappointed man.

I much prefer Miracle of Morgan’s Creek to the coy prurient upper-class overrated The Lady Eve (also a Sturges product) which I’ve discovered is overrated ridiculously — both are odd masculinist movies with the male gaze on the femme fatale, one comic (Trudy), the other insinuating, orgiastic (Barbara Stanwyck is the heroine of The Lady Eve): a cartoon opening likens Eve to a smirking serpent who could easily fit in a Bugs Bunny carton.

I wonder how many other films from this era drill down to sexual aggression, topics like sexual distrust, promiscuity, sexual suspicion, male and female aggression, violence (?) are exposed in these 1940s films in such a way as to preclude discussions of the matters brought forward. All directed and produced by men, with some rare one having women screenwriters. Think of It Happened one Night, Bringing Up Baby, Rebecca (they need not be screwball comedy), His Girl Friday, the later comedies of remarriage (Adam’s Rib). Jeanine Basinger in her A woman’s View, How Hollywood Spoke to Women, 1930-60 deals with some of this but her accent is on the social world, and she rightly never mentions Miracle of Morgan Creek nor Preston Sturges. He is paradoxically not really interested in women or what happens to them — as was Kleist and Rohmer, and the first text to deal with rape seriously, Richardson’s Clarissa, with its 1991 film adaptation by David Nokes. In Clarissa it’s the raped woman who goes to jail, not the man:

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Trudy (Betty Hutton) is a doll-like figure, breathing softly huskily at the at times poignant Norval (Eddie Bracken — could the name come from an 18th century tragedy?), Norval timidly swooning over her. Sturges apparently thinks women are all powerful, has characters say they cover up for and prefer men who hurt them (this is a sly reference to why we cannot find out anything about the man who impregnated Trudy). The blustering father takes endless pratfalls.

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Towards the end Officer Kockenlocker trussed up with ropes, asking his daughters to wham him over the head harder so it will look like Norval escaped from jail, not that he let Norval go

Trudy is never kicked out by her father; he and the younger sister go into hiding with Trudy during the time of her pregnancy and we see a tenderly loving scene between the father and Trudy on a Christmas eve. Can we discern a private world in Miracle of Morgan Creek? I think not. Kockenlocker’s words are so generalized. Norval makes an attempt to find the rapist (this word never used) but is clueless. Had they found him, would they have reacted like Mr Bates in Downton Abbey (an accidental death engineered for the guilty man)? A delayed shock for me was at how laughter can be betrayed by destroying its possible constructive power. Yet the intriguing nature of the film — the double meanings of words, gestures, how one thing is asserted and another true — has prophetic power. A happy ending is brought about because Trudy gives birth to sextets — 6 children at once. All are so astonished at this, and of course joyous (as after all aren’t children in the marriage the point), newspapers reporters, politicians and the like come for photo opportunities, and Norval is pardoned. The script begins with this scene and the movie is conceived as one long flashback though its present tense feel soon makes us forget that:

Godsofthisuniverse

Would anyone today dare to make fun of multiple children women inflict on themselves through “the miracles” of modern medicine? Why do women do these things to themselves? Why do men collude?

Ellen

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It was a misfortune to any man to have been born in the latter end of the last century … The flame of liberty, the light of intellect, was to be extinguished with the sword — or with slander, whose edge is sharper than the sword — Hazlitt, The Spirit of the Age (1825), quoted by Johnston

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Dear friends and readers,

Today I finished writing a review I’ve been reading and working towards for several weeks. I didn’t mean to take such time with it, but Kenneth Johnson’s Unusual Suspects: Pitt’s Reign of Alarm & the Lost Generation of the 1970s is so good and important that I wanted to be able to place it in its scholarly as well as contemporary context — and so read other texts and reread some primary materials. This blog is not that review; rather like other blog-reviews I’ve done it’s rather a summary and commentary on details of the book intended to let readers know something of its content and to tempt them into reading it themselves. I tell the arguments and describe the lives and works covered. There’s a lot of worthwhile material here; as with other books I’ve shared on my blogs I’ll divide the blog into two parts to keep the reading from becoming too long.

Johnston tells stories of the ruined lives – ruined careers, thwarted writers, artists, politicians innumerable of the 1790s in the UK. His argument is that There was a widespread and viable reform movement shared by countless people across Great Britain, which was ruthlessly repressed, decimated — by Pitt the Younger’s establishment through violence, by manufacturing adverse opinion, by punishing people legally and socially, by trials for treason & sedition (or being a public nuisance or whatever would do) in the 1790s. He discussed people not tried for treason but penalized in common ways we are used to do (from the McCarthy era on), people in artistic and academic walks of life. Why did Charles James Fox never become Prime Minister? Was was Paine’s style not influential? Pitt’s Reign of Alarm did the job. An oligarchic and militarist foreign political world was shaped by Waterloo and treaties signed by Allies, put in place, in the UK a domestic better world put off for more than 70 years.

What Johnston’s makes book especially worthwhile are nuanced words in which he conveys the humanity, decency, genuine need for reform, the gross ruthlessness of those doing the destroying – in small things not susceptible of documentation – a new historicism indeed.

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James Gillray; Caricature of John Thelwall supposed speaking at a Correspondence Society Meeting

Part I: The Red Decade

Chapter 1 is called “Before and After Lives”. Johnston opens with Hazlitt’s Spirit of the Age as about how England missed its inspiration, was prevented by official reactionary ruthless determination to stamp out reform of any kind, individual prejudice, and cowardice (hard term). Johnston suggests coupling the terms romantic period and age of revolution (1776-1832) as twin terms is odd. He singles out as a double defeat two sets of acts: Pitt’s Gagging Acts (1795) and Sidmouth and Castlereagh’s Six Acts (1819). In the 1790s people were asking for extension of franchise, equitable districts, frequent elections, rights of men; in 1732 Tories vote with Whigs to increase electorate by 200,000 property owning males. Foot’s joke was rarely has reform given so little to so few. Even with the suppression it remained more important what happened in Norwich, Bristol, Sheffield, Belfast, Dublin, Edinburgh (periodical publications, correspondence societies, meetings, even conventions) than in Paris; nonetheless, it was not inevitable that ideas, acts of poets & others would fail while France was having its revolution; why should lurching of France’s monarchy towards a republic be a bad time?

He divides the decade of 1790s divided into four parts.

Nov 4, 1789-May 1792, Price praising French Rev to Pitt proclamation against seditious writings: Burke’s answer to Price, Paine’s to Burke, destruction of Priestley’s home

Dec 1792-Oct/Dec 1794 – active legal repression: trial conviction of Paine in abstentia; of London 12; conviction and transportation to Botany Bay of Scottish martyrs

1795: gov’t lost treason trials of 12 so re-groups, secret services modernized; protests against Pitt’s war (ruinous domestic economic effects). Gagging acts after attack on king’s coach – no public meetings of more than 50 persons (despite mass protest), no publishing criticism. Two acts, 1795 – no one can speak in public without gov’t approval if there are more than 50 present (Grenville); no publications that bring King’s gov’t into disrepute or censure.

1796-1800: mopping up operation, of radicals left standing: Wm Stone, John Thelwall … includes 1798 trial and imprisonment of Gilbert Wakefield (died of it) for libeling Richard Watson, Bishop of Llandaff …; 1800 a bill of indemnity protecting Pitt and his cabinet from claims

Thus was a reform movement grindingly shut down: Johnston reviews the arguments among a group of older scholars (Veitch, Thompson, Dickinson): was it large, organized or serious enough to be considered the beginning of British socialism, a failed form of proto-revolutionary activity; new voices (Barrell, Philip, McKee, McCalman, Radical Underworld) argue they they were socialist precursors.

What happened to these people? Johnston lists names of people: Death by execution or from imprisonment, itself and transportation; abscond, flight, immigration, exile; arrest and long periods of detention; financial damage and career ruination; gov’t harassment; psychological damage, physical harm; effective silencing, stopping publishing; orchestrated ridicule and libel; anonymous publication; disappearance from publication; change in topic and style; revision and erasure as juvenilia; move to conservative positions; public recantation, informing on others; direct monetary reward for informing, changing views. All his subjects have entries in the old DNB & ODNB – repressive hegemony of state ideological apparatus plays upon thoughts, ideas, actions

He wants us to appreciating the non-development of English literature – what didn’t happen – and the small mean private ways by which hegemonic control work; the endless ripple effects. If they went on to do other things, biographers, historians ignore or apologize for “youthful errors.” The materials are ambiguous and Gillray’s cartoons a good example of the difficulty of “reading” them.

He takes Amelia Alderson Opie as opening example: she moved from radical reform politics, to careful revision, to pious Quakerism – we can see the effects of repression registering on her — a full reprint of her memory of treason trials shows how fearful she was, how she identified with those accused, the unfair accusations… dangerous punishments, and her lone and lonely life at 80.

Chapter 2 is about John Thelwall (1764-1834) and Wm Goodwin (1756-1836). Thelwall is a usual suspect – against Thelwall the state acted directly by arrest, interrogation, imprisonment, trial, conviction, punishment and later also unusual suspect; he found how difficult it was to get out of political catchment, how the distinction between personal and political is non-existent. Godwin had to turn to anonymity, become a non-person to survive in his later years. Thelwall arrested as one of the 12 and Godwin’s Cursory Strictures laid out argument defense counsel used. While Godwin supported Thelwall in treason trial, later he wrote arguments gaved ammunition to gov’t bills of gagging and no assembly.

Johnston reviews lightly the central points of some of Thelwall’s speeches – they are intended as speech in action. His occasional best. The absurdity of presenting superstitious practices, to send peasantry to be annihilated in a crusade to restore the fallen despotism of France. Treason now means telling the truth to the shame and confusion of ministers. Thelwall presented himself as a target – let him be prosecuted; but after the acquittal, the way he was kept from any success was through means like a petty illegal smashing of a hall, frightening others who welcomed him, beating him up – all he could get was laughter at his plight.

Godwin Memoirs of Mary Wollstonecraft for which modern scholars have castigated him was a form of “grief-work” based on the principle that you could understand her best by knowing how she came to have her views in Rights of Woman; what happened was the rest of the world wouldn’t listen; abuse then never let up – I wondered if the mockery of Radcliffe was part of this way of coping with anything unconventional and in her case at moments Girondist radical. As with Lilian Hellman, friends (Mackintosh) rehabilitated themselves by attacking Godwin; he experienced the pusillanimity and opportunism of his friends: Mackintosh refused to name Godwin and only when Parr did did Godwin have opportunity to refute – and he comes off well – why are you attacking me and why now? – he sees how they are attacking him because of pressure of events around them but he refuses to meet them on the low road of personal abuse and his sarcasms too subtle to reach readership – he still had the remarkable nerve to talk about the value of Napoleon’s life.

Mathus’s famous thesis meant as a refutation of Godwin type argument that would provide for more people – the only result could be more would end up starving. Mathus a man of the left, went to dissenting academies, his father friend of Rousseau, enthusiast for Condorcet and Godwin. Godwin realizes the advocates could not find a doctrine more pleasing to them. In preface to Caleb Williams Godwin writes about “the modes of domestic and unrecorded despotism by which man becomes the destroyer of man” – hegemonic disciplining Johnston calls it. Are we condemned to despair things will never improve? – 4 pieces of controversial prose.

Thelwall had found it impossible to speak anywhere so now Godwin to publish. Now for Godwin publishing was his means of making a living. He marries Sarah Jane Clairmont, a widow with children of her own. Godwin publishes as William Scolfield Bible Stories, these sell well, but watchdog Sarah Trimmer seeing its liberal lessons of humane behavior says it has “very pernicious tendencies.” Fleetwood and Chaucer under his name don’t sell so he brings out juvenile library under pseudonyms – some sniff out – they are “creditable,” do not “pander to prejudice,” but educational and liberal presentations of stories and subject.He was destroyed as a writer; irony that he was denied a passport to join Holcroft in Germany; forced to remain in a country that couldn’t abide him.

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A painting of the riots aimed at Priestley

Part II: Forces of Public Opinion

Chapter 3 is titled Dr Phlogiston and is the story of Joseph Priestley (1733-1844). Everyone shocked, tut-tuts at destruction of home and lab of Priestley in Birmingham 1791 July; 5 day riot of king and country mob, more than 30 houses destroyed. Planned event from the start -– in effect an assassination attempt. He was at the time a famous scientist, discovered oxygen, nitrous oxide & 5 other elemental gases; a friend of Franklin, competitor to Lavoisier; also public intellectual – wrote 30 volumes. He was a dissenter; not popular because he’d speak his mind (so too Thomas Beddoes and Gilbert Wakefield). Spoke & wrote on behalf of American revolution. Identified Phlogiston, gaseous element produced by fire.

Johnston tells the history of the slowly evolving riot and its aftermath, showing it was gov’t encouraged, led, endorsed until it changed to proto-revolutionary and then only a few scapegoats punished. Attacked were 1) people at dinner 2) dissenters; 3) intellectuals and rich men. Riot against supposed revolutionaries, then Papist dissenters (!) and then on town’s economic and punitive elite. Priestly did preach a sermon of forgiveness, condescending and ironic, and much disliked by literature classes.

Riots enabled officials to bring Birmingham by customs and actions back into conservative fold. Birmingham independents and unitarians no longer found in positions of authority or publicly acting – how an alarmed reaction can be carefully orchestrated to end in Tory and Anglican party becoming strong. 1794 Priestley sees it is over for him in the UK and emigrates to the US where he refuses public position and carries on as private citizen; his sons join him; Cobbett ridiculed Priestley’s loss, later on he too found refuge in the US. Priestley rightly did not feel safe until Jefferson was elected.

Chapter 4, The Radical Moravian: James Montgomery (1771-1854). Born of Irish parents, in Scotland, his parents went to West Indies as missionaries when he was 8; precocious, wrote poetry, hired as counting house clerk by Joseph Gales in Sheffield; on staff of reform newspaper Register.

Sheffield was a radical place, base for societies and periodicals. There were riots in 1792, Montgomery writes essays on behalf of reform, religious poetry against war. When his employer was hounded out of England to Philadelphia where he founded a press; as the new editor in chief, Montgomery twice arrested: once for reprinting poem re-interpreted as offending. Sheffield Register now called Iris; he is arrested for reporting a troop behavior during a “riot”; 6 months, fined; had a bad time in prison, wrote poetry which shows his outlook and ill health; when he was released, his health was impaired. He goes on to write a series of periodical essays; 1795 The Whisperer or Hints and Speculations: these manifest the twisted kind of prose one writes when trying to say something and hide it at the same time; The Art of Shortening Life, and a 4 volume novel he destroyed. In his later years he devoted himself to good works, religious poetry, against slavery, on behalf of chimney sweeps. He writes a poem against Napoleon’s invasion of Switzerland; Byron preferred Montgomery’s Wanderer of Switzerland to Wordsworth and Coleridge’s Lyrical Ballads; the public agreed and bought it; he is respected and liked by Southey. Montgomery’s radicalism was not accidental but cut off.

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Part III: Keeping the University and Church Safe from Reform

Chapter 5: Friend of Jesus, friend of the devil: William Frend (1757-1841). Frend was drafted into army in American revolution; in 1775 he went to Cambridge, and began to agitate against Test Acts and exam system (these were sacrosant, they were the way egalitarianism was prevented, they kept these positions in the hands of an interlocking few coteries. Topics he debated debated included the rights of subjects to resist tyranny. Surprisingly perhaps Frend was successful in this milieu at first; he moves to teach poor children of the parish and mathematics for real. When he intensified his Hebrew studies, he no longer believed in the Trinity, and as an idealist began towork for a unitarian church to emerge.

Johnston claims thus Frend was surprised when the response to his arguments was to take away his teaching; he himself gave up two of his parishes as matter of conscience. He also wrote 3 works, each time widening his audience: Thoughts on .. Religious tests, to Rev. HHCoulthurst; then to Inhabitants of Cambridge and finally to Members of church of England. He was expelled; he could not understand why a constitutional critique and his goal of improving Christian knowledge no good.

At this point, Frend went to Germany and spends time with like-minded men, including Priestley’s son, Wm; in Belgium he is closer to events in France. Meanwhile at Cambridge Isaac Milner, Tory politican type takes over; they go after 5 faculty including Frend & 2 friends. The work prosecuted was his Peace and Union – a pamphlet arguing for compromise between republicans and anti-republicans and reform is pretending these things are acceptable. It’s the short appendices that matter: one where he imagines himself the women whose ¼ of salary suspended to pay for war that does them no good; the other remarkable argument that execution of Louis XVI none of UK’s business: they had cut a king’s head off for treason legally too. Startling. Some of the accusations were vague; he protested, his protests werer overridden; the existence of unproven alarm was grounds for prosecution; he is declared guilty and thrown out of university.

Frend then went to live in London and became member of LCS, wrote pamphlet on scarcity of bread and how to provide instead of gathering money for French aristocratic emigres. This is time of Thelwall’s speeches, exposure of exorbitant prices from war, monopoly. Frend would not disobey 1795 acts, though, and spent the rest of life teaching. His new career for money was a job working for actuarial assurance. He was befriended by Lord Byron’s wife, and continued to support good causes, against flogging, in support of reform bill 1832 and published Plan of Universal Education – tax income of Church of England to pay for it (forget that).

Chapter 6: No Laughing Matter: Thomas Beddoes, Sr (1760-1808). Beddoes was mentor to Humphry Davy, professor of chemistry, a forward-looking doctor of medicine who understood how it occurs and is shaped by its social context; he came from a politically liberal commercial family in Shropshire, was admitted to Pembroke, Oxford; studied on his own German, French, Italian; 1790s he wrote translations and reviews in the Monthly Review. 1792 A Letter to a Lady the way to reach the poor is to give them text to read that concerns them for real– private circulation. Prolonged geological researches in Wales; handbill against funding clergy escaping from French revolution – a kind spy system afoot ferrets it out – why he is not offered a salaried post. He was forced out of chemistry lectureship at Oxford; in Bristol later in decade his Pneumatic Institute suffered from conservative attacks. ODBN is misleading and sarcastic.By 1794 Beddoes needed help for this Pneumatic Institute for experiments with nitrous oxide, a therapy for TB; and did receive money from Wedgewood, help from Watt & Georgiana Spencer, Duchess. He was sufficiently well known to consider emigration of the sort envisaged by Coleridge and Southey (active with Coleridge in public meetings). Beddoes is an easy target by 1797-98; changes name of his institute, Preventative Medicine for Sick and Drooping Poor; then Hygiea addressing middle class in their style. He became a standard butt; died at 48 and his work lost to society for another 40 years

His 5 pamphlets exposed interwined issues of war, peace, political policies, economic scarcities and health of poor: A word in defense of the bills of rights; What would be the harm of a speedy peace?. He could not understand how people do nothing and wrote On means of relieving presence scarcity: this would be a system of soup kitchens. His Essay on Public merits of Mr Pitt was published by Joseph Johnson – how badly handled was the war; how much “human misery passes under medical inspection;” lastly, Alternatives Compared; or what shall the rich do to be safe?. These contained a remarkable series of questions that are utterly relevant to day: how far am I secure against false alarms, frauds, violence; do circumstances which I can control threaten deprivation of accommodation and necessities of life; unjust laws encroach on freedom. He makes it plain that real politics are quite mad if you were considering most people’s welfare; Pitt’s design to attack French revolution has made the crisis.

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Broadview edition

Part 4: Other Voices, Other Places: The suspect gender.

A prologue where he suggests women who worked for reform or revolution as writers had it much worse: Wollstonecraft chief target and then whip as a name; and he goes over the destruction of careers of Anna Barbauld (her 1811 poem), Mary Robinson (he emphasizes her later writing and crippled state), Charlotte Smith (her originality marginalized) and Mary Hays (mocked by men and friends).

Chapter 7: Our Paris Correspondent: Helen Maria Williams (1761-1827). Williams led a remarkable life: he praises her in career terms: see her contacts, see how her “consort” Stone was a successful businessman. How many people survive being imprisoned by Robespierre and Napoleon? She is the best example yet of an interrupted misunderstood career partly because she carried on (with Stone by her side which Johnston does not sufficiently acknowledge). Johnston shows how Williams was an “up and coming star” of the 1780s, how her Letters Written in France record the changes, first hope and principles of the French revolution, then dismay at turns it took, then horror at reaction and reactions to reactions, nevering loses sight of the root causes of the terror. This is intertwined with history of her life and her strengths as a writer.

Most effective is learning about those who first distanced and then attacked her (from Piozzi to Seward to Boswell). We see the meanness of Laetitia Hawkins; how others used Williams to forward themselves, “Twill then be infamy to seem your friend” is the motto here (Pope, Rape of Lock, 132) What is valuable here is how he quotes Williams to great effect making the reader want to read her. Her texts include an unflinching horrifying scene of massacres by mass drowning. He goes over her poetry too.

Chapter 8 takes us to Suspect Nations: Let Irish men remain sulky, grave, prudent and watchful, William Drennan (1754-1820).

Again a prologue: how the Continental congress terrified authorities: it showed people organizing and finding a voice without having official state-sanctioned offices! Without any law allowing or controlling them – this was enough to call it treason – they looked and acted like legislative body, would gain respect,so the five leaders were arrested, convicted and transported to Australia 1792-94 (these were called the Scottish Martyrs). Mass demonstrations were quelled. The gov’s went after effective writers too: Joseph Gerrard, son of Irish planter in West Indies, educated under Samuel Parr, worked in Philadelphia with Tom Paine; Welsh people intimidated (David William; Edward Williams aka Iolo Morganwg); William Orr hung in 1797 – administered oaths to members of United Irishmen, wrote in Northern Star – charges totally trumped up and shown to be by satire showing emptiness by rev James Porter also hung, June 1798

William Drennan follow the trajectory of politician-into-poet. The Drennan Letters (culled from 1400 and published Belfast 1931, ed. D.A Chart) survived and contain detailed information about daily events in Ireland, 1776-1807. As a talented literary person he took brunt of attack, wrote to sister, brother-in-law, mother. After he was tried for sedition, June 26, 1794, he withdrew from active politics, where his metier public or open letter, ended an obstetrician. He had written a series of letters on behalf of reform: Of Orellana, an Irish Helot, likening helots to native Irish population, as a fellow Helot haranguing, rolling climaxes with Paine like language. Drennan argued for volunteer rather than constitutional convention (object is constitutional), quietly sought to establish a secret society (favored at the time – think of the Masons) – goal was independence for Ireland, republicanism, united Irishmen his idea. His writing was too; the United Irishmen was declared illegal as an organization and he arrested for sedition. Johnston quotes Drennan in published papers and letters. Informer was Wm Carey but he testified on his behalf and judge told jury to return a guilty verdict for the good of the tranquillity of Ireland, they said Not Guilty. When Wolfe Tone indicted for treason, that ended much overt political activity and writing.

He lost friends when he did not come forward,plus his inheritance, his family & friends suffered humiliations. He married a rich wife, met William Roscoe of Liverpool, and founded a non-denominational academy in effort to free education, edited Belfast Monthly. His poems project a lyricism of loss. His later poetry shows him an “aristocratical Democrat:” he is for republic, not a particular religious group; looked on in 1798 horrified at Irish masses cut down by English and Protestant allies.

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Hubert Robert, Madame Geoffrin drawing (or perhaps writing) when she should be eating her lunch

To sum up this first half of the book, his opening section embodies the idea of book through Opie in old age, and two eloquent victims showing how one does not realize one can be destroyed by others means: Thelwall’s eloquence gives us central argumetns; Godwin exposes motivations for what was done to him by others. Thelwall destroyed in ways he could not foresee, Godwin betrayed and silenced; Johnston presents their thoughts to show their value and their works. Part 2 explains what is hegemonic control with Priestley and Montgomery as examples of what this means. We see this today through what is allowable on TV and how reporters do not tell the full story of an event, distort evidence to please the government and powerful who hire them. Part 3 is about keeping patronage in close-knit network; both Beddoes and Frend are destroyed university types: it’s a kind of ambiguous indirect destruction – and Beddoes still misrepresented, Frend not done justice to.

Part 4 allows us to see through the career Helen Maria Williams carried on with an achievement can be ignored as well as a picture of English views of revolution over its phases. Suspect nations include Scots, Welsh, Ireland – Johnston exposes real questions, real reasons these people were destroyed, imprisoned, silenced, intimidated (Porter’s anonymous articles on Orr who was executed) – in Johnston’s article he is showing how these people were not nationalists – that is somewhat lost sight of here – finding all sorts of individuals shows how wide spread these ideas – underlying is belief it’s continual repression that keeps better world from coming forth – that with power and arms and money you need only destroy leaders, frighten people, and then hegemonic control for mass – belief that change comes from individuals is central to this book.

I suddenly remembered Ann Radcliffe’s silence: was it more than her nervous nature? the liberal reform ideas underlying her book, especially open in her travel book. At any rate she becomes one of the women others.

Ellen

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Hannah Arendt (Barbara Sukowa) during trial of Eichmann

Every Day: War is no longer declared,/only continued — Ingeborg Bachmann

Where a great proportion of the people are suffered to languish in helpless misery, that country must be ill policed, and wretchedly governed: a decent provision for the poor, is the true test of civilization — Samuel Johnson

Dear friends and readers,

In the feature Von Trotta says she had wanted to make film about Arendt for a long time, but was stopped because this was the story of a thinking woman, a woman who spent her life thinking passionately and then writing about it. She did succeed in making an absorbing thoughtful movie on just this theme, though the way it’s done is to thread into much of the story (I tell below) with scenes of Arendt lying on her bed smoking and (presumably) thinking, walking in woods smoking (and presumably …) or at her typewriter. We get little about her earlier background, and only so much of her autobiography as sheds light on her experience of Nazism: she was fortunate enough to escape.

Although I know I’m not qualified to write about Margarthe von Trotta’s thought-drenched portrait of Hannah Arendt in a film named after her because I’ve read only excerpts from her essays or brief essays about her (often semi-hostile or not quite comfortable) and have just begun Elizabeth Young-Bruehl’s Hannah Arendt: for love of the world (biography), still since I may never get to a level of reading in her or hear or see her talk, I think I can make do on what I do know, as what this blog will be about it is von Trotta’s film.

Allow me to cut to what is important about the film. While von Trotta is known for representing forgotten or marginalized women, or “foremothers” in history:

VISION. A film by Margarethe von Trotta.

her film about Arendt is about a centrally important & remembered philosopher whose works include Eichmann on Trial and The Origins of Totalitarianism. And though some love stories provide “beats” in the movies’ plot-design, the central of the movie is Arendt’s thought. In a DVD feature, von Trotta talked about the difficulty of portraying a woman most of whose hours were spent reading, writing and thinking. She also wanted to convey the content of the thinking.

The solution was to move quickly in the film from a depiction of Hannah’s home life and friends, a long time correspondent, Mary McCarthy (Janet von Teer),

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Hannah’s long-time happy marriage with a kindred German spirit, Heinrich Blucher (Axel Milberg)

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and secretary, Lotte (Julia Jentsch),

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a general ambience of her life living in a co-op in Manhattan, teaching at NYC, to the New Yorker invitation to her to write several essays as a reporter. It was the ferocious angry rejection of what Arendt wrote and her response that gave von Trotta her opportunity. In life Arendt carried on writing (as she does in this film) and stood up for her beliefs and her work. In this film she gets into debates with the central figures in her life, e.g., Hans Jones (Ulrich Noenthen) and Kurt Blumenfield (Michael Degan. She explains and defends her choices.

One seemed to me relevant to us here today, whether you live in the US (evolving in the most inhumane and unjust ways as a fascistic oligarchy backed by militarism) or Europe (see, e.g. Perry Anderson’s Italian Disaster, LRB): what is causing the evils we see growing everywhere (from privatizing of all things, hospitals, prisons, schools, the post office): she argues one center of evil comes from the refusal of people to behave as individual human beings with any kind of conscience and obligation to others as human beings. Not recognizing any sense of social reciprocity beyond their obedience to an organization to maintain and rise in their place in it. It’s not fiendish monsters. This idea of Arendt’s that Eichmann was not extraordinary monster provoked outrage. The key to where evil comes from is the idea individuals have no obligation to others. Here’s an economic example:

A story example: Bruno Bettelheim has a story about how real evil occurs between two men sitting in a restaurant where one offers the other a contract for a supposedly strong bridge built cheaply and gets a kick-back knowing the bridge will collapse in a few years (or need heavy repairs).

An economic example: from The Arrogance of Architects in the NYRB, June 5, 2014:

In Dubai, the much-ballyhooed botanical symbol of a sheltering oasis gives way to a more mundane reality. As Moore writes:

The Palm, so impressive when seen on Google Earth, is more ordinary at ground level, where what you see are high walls and close-packed developments that block views of the water. Owners of homes on the fronds found that they faced not so much the sea, as a suburban cul-de-sac penetrated by a tongue of brine.
Moore describes even more unappetizing realities of this dysfunctional fantasyland:

What couldn’t be seen from the helicopter was the crisis in the drains. Dubai’s buildings emptied their sewage into septic tanks, whence they were taken to the Al-Aweer sewage works, on the road out towards the desert and Oman. The sewage works had not kept pace with the city’s growth, and a long line of tankers, some painted with flowers by their Indian drivers, stood for hours in the heavy heat as they waited their turn to offload….
Some drivers, tired of waiting, had taken to pouring their cargo at night into the rainwater drainage system, which discharged straight into the sea. The owner of a yacht club, finding that his business was affected by the sight and smell of brown stuff on the bright white boats, took photographs of the nocturnal dumpings and gave them to the press. The authorities responded, tackling the symptoms but not the cause, by introducing severe penalties for miscreant drivers.

Yet such treatment of migrant workers would scarcely surprise the vast foreign labor force recruited worldwide to construct and maintain the new architecture and infrastructure of Dubai and the other United Arab Emirates, under sometimes appalling and widely documented conditions tantamount to indentured servitude, if not de facto slavery. The preponderance of celebrated architects hired to work in the Gulf States for the “value-added” commercial cachet of their well-publicized names and Pritzker Prizes—including Norman Foster, Frank Gehry, Zaha Hadid, and Jean Nouvel—has led to calls that these respected figures boycott commissions there until laborers’ working conditions, pay, and freedom of movement are markedly improved.

However, despite the numerous horror stories about this coercive exploitation, some big-name practitioners don’t seem moved by the plight of the Emirates’ imported serfs. Andrew Ross, a professor of social and cultural analysis at New York University and a member of Gulf Labor, an advocacy group that is seeking to redress this region-wide injustice, earlier this year wrote a chilling New York Times Op-Ed piece.1 In it he quotes the Iraqi-born, London-based architect Zaha Hadid, who designed the Al Wakrah stadium in Qatar, now being built for the 2022 World Cup. She has unashamedly disavowed any responsibility, let alone concern, for the estimated one thousand laborers who have perished while constructing her project thus far. “I have nothing to do with the workers,” Hadid has claimed. “It’s not my duty as an architect to look at it.”

She also devoted a number of pages to the leading well-connected and better-off Jewish leaders who colluded with the Nazis, making it easy for the Nazis to round up poor Jews and send them off to their deaths. Like Eichmann, they claimed innocence, but on other grounds: they denied knowing a massacre and enslavement were what awaited deported Jewish people. Others less well-placed did not flee because they could not or kept hoping that they would not have to (and leave a life-time’s work behind). She was accused of blaming all Jews, of blaming the victims — she was explaining the social psychology of what happened.

These are but two of the debates the film manages to convey without becoming at all a didactic costume drama where characters talk in unreal abstract preach-y ways. Also dramatized briefly is Hannah’s affair with Heidegger (Klaus Pol), a Nazi, anti-semite some said, her mentor in college, and his idea that what we flatter ourselves is thought logical thought is not; it’s ideas going through our heads as we remain alive. We see her talk with her husband, Heinrich about people politics; with William Shawn (Nicholas Woodson) about editing the New Yorker articles and Shawn talk with his staff about what the average New Yorker reader understands and wants to read.

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Three men at the New School who hired her become implacable enemies (fearful for their school reputation).

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Margarethe von Trotta

All this is embedded in a woman’s life. The director a woman, the scriptwriter, Pam Katz, the producer, Bettina Brokemper. I enjoyed the story-line which represents another alternative script-type from Syd Field — this one personal and cylical as we watch Hannah’s relationships with her women friends and then each male, sometimes in a flashback, sometimes re-met today as older people who go back together. Her husband has an aneuryism and she’s terrified of losing him. He does seem to recover. It’s said Sukowa is one of von Trotta’s favorite actresses for her films: in this one became Arendt — chain-smoking away, going through phases of existence and writing. A friend Diane R had alerted me to the existence of the movie on Women Writers Across the Ages (at Yahoo) when she wrote:

It wasn’t a great movie, too episodic, too polemic in spots, too wooden in other spots, hampered by its clunky attempts to be faithful to history, but I very much appreciated its depiction of Arendt as a middle aged woman who is relentlessly presented as no longer beautiful but who is nevertheless a full human being with a full life. While not sexualized in a Hollywood way, she is yet clearly sexual to her husband (or partner), and while she is attacked over her Eichmann in Jerusalem book, she is never humiliated. No woman in the movie is humiliated. Although Arendt has a young, pretty assistant, and at the beginning of the movie Arendt’s friend implies that Arendt’s husband/partner must be having an affair with a student, the set up of older woman betrayed by younger woman never comes to pass.

So many movies make older women into figures of ridicule (Grand Budapest Hotel the most recent.)

A great deal of money was spent. It was a long-time germinating and took a long time to do. It was filmed in New York City, in Jerusalem, in parts of Germany. The costumes and hair-does of the sixties, the furniture, the student ambience. The way TVs worked. There was real care to imitate the look and arrangement of the rooms (their uses) and furniture in the last Riverside Drive apartments (all taken precisely from Young-Buehl’s book). Each room had several functions, all had books and places to write and places to sit and talk with friends. And it’s all there.

Perhaps the strongest stroke of inspired genius was to work in the real footage of Eichman himself in Jerusalem. He was creepy: his face twisted with humiliation and anger as he faced people he had treated as “vermin.”

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I felt his arrogance and disdain. It was chilling, like someone out of Dr Strangelove. As Hannah and Heinlein say in the movie, the trouble with hanging him is it doesn’t get near to what might be an adequate punishment without becoming barbarians ourselves.

Other characters in the film have stories like that of Hannah: Fran on our WWTTA list also wrote the “Zionest Kurt von Blumenfeld the fatherly figure also turns from her on his deathbed, and was a writer, a survivor of the Holocaust himself, who wrote the memoir, Not all of them were murderers. A childhood in Berlin describing the way he and his mother escaped deportation and the gas chambers by assuming false identities and living with non-Jewish friends for the duration. His father wasn’t so fortunate: he died as a result of the torture he experienced in Sachsenhausen concentration camp. Degen’s memoir has also been turned into a film.”

I mean to read (if I had spirit enough and time) Eichmann in Jerusalem, the book that was published from the six New Yorker articles. Origins of Totalitariansm: (from Publishers’ Weekly): “she discusses the evolution of classes into masses, the role of propaganda in dealing with the nontotalitarian world, the use of terror, and the nature of isolation and loneliness as preconditions for total domination. (e.g., Republicans in Tennessee outlawed any further money for public transportation; US cities are rebuilt to put middle and lower middle class people out of the center and with little public transportation.) The film has provided a basis for seminars in studies of Arendt.

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The real Hannah Arendt

Ellen

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She (Amanda Bonner, Katherine Hepburn) drives him (Adam Bonner, Spencer Tracy) to work (Adam’s Rib, directed by George Cukor, scripted Ruth Gordon)

Dear friends and readers,

This time I am half-a-century belated (Adam’s Rib was in moviehouses in 1949); or, if you date the time to have watched when an acknowledged understanding that there was something feminist about it to Jeanine Basinger’s A woman’s View: How Hollywood Spoke to Women, 1930-1960 (published 1995), which on Women Writers through the Ages we read together (in 2008), I am a mere 10 or 5 years. It’s a flawed significant movie today because domestic violence, specially men beating women, is a prevailing problem in marriages. When a woman accuses a man of rape, she’s sullied, disbelieved, the man often being let off with impunity What’s more when a woman fights back, she is punished. We know today a woman in Florida is threatened with 60 years in prison for shooting at a wall to frighten a violently abusive man. She is black and the DA is getting back at her for refusing to plea bargain (go to jail for a mere 10 years): he is warning other people caught up in our increasingly utterly unjust criminal justice system: plea bargain or you’ll regret it.

If you read about Adam’s Rib in most places, you’ll read about the central or top couple, Hepburn and Spencer Tracy who are lawyers who make a great deal of money, Amanda and Adam Bonner. They are privileged upper class people in supposed conflict, and Jeanine Basinger dismisses the movie as after all just about a “feisty” upper class woman. The conflicts are transient and part of the couple’s subtext: they last as long as the case the two take on lasts: he takes the side of a husband and she a wife. So (child-like this) he is on the side of “men” and she of “women.” For a time what occurs in court and their on-screen always good-natured quarrels outside, result in separation and divorce proceedings, but these are halted as they are really too much in love, too alike, to much in harmony, to part. They do talk and listen to one another.

Adam's Rib (1949)

She wins the case and we are never told why; he is given a judgeship and again we are never told why. He closes the curtain stating he knows men and women are not the same (the supposed argument of the movie is whether men and women are the same, are “equal”): we can see they are about to have sex and the feel is on his terms whatever these are – though clearly loving and fully allowed.

We have an upper class couple whose relationship affirms the goodness of the institution of marriage which holds the two together by joint ownership, habits, apartments and memories, continually greased by money and upper class manners and wit. The value is a nuanced presentation rich with innuendo which could be watched numerous times without quite plumbing all that’s there.

It is also distanced. Filmically what is interesting about the film are all the intertitle cards and framing. As each phase of the movie passes we get an artificial framing again and a card moves away as if we are seeing a fairy story. so this happy story is filmically seen to be a fairy tale. At the close when the pair move to make love, he pulls the card over the screen. This distancing through also put us at a far away angle from the other couple.

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The opening of the movie — and this proscenium returns repeatedly

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A typical introduction to one of the Bonner sequences

What has been forgotten, what is equally, probably more important, is the lower-class couple, the “downstairs” pair who do not live downstairs, are not servants; rather the husband has a hard 9-to-5 job and she 3 children she is struggling to bring up. It’s the back- or sub-story (ignored in much of the writing about it) that is not trivial. They are not presented with intertitles or picturesque framings at the edge of the screen.

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Judy, overdressed, following the supercilious self-satisfied Tom reading the newspaper as the important person he is through a glass

When the movie opens, we do not begin with the Bonners but with Doris Attinger (July Holliday) nervously, anxiously, and oddly unaggressively, stalking her husband, Warren (Tom Ewell); she is clearly in distress, and follows him to and then breaks into an apartment where he is with an overdressed (absurdly glamorized) “mistress,” Jean Hagan as Beryl Caign (Beryl was a name given mistresses). Judy has a gun and tries to kill Tom (this is a movie where we never forget the actors inside the respected presences) and then Beryl. As the story unfolds we learn the man was physically abusive and continually sexually unfaithful, often allowing the wife no money to live on, continually insulting and jeering at her. She (fool) it seems meant to kill the mistress (she says) so she could have this lout back. Admittedly Holliday is dressed in the usual doll outfit I’ve seen her wear before (e.g., Born Yesterday) and her high voice used to make her absurd.

Doris-Judy has no job, no income, no resource beyond her dense lout of an unfeeling husband. The point is — to put it in the terms it would have been understood then, these are the real Ralph Kramdens (remember Jackie Gleason and Alice Meadows a few years later on TV). I do not mention the Kramdens coincidentally. Cukor and Gordon have quietly put before us a case of marital abuse but they have also caricatured them. Warren really is an egregious lout, shamelessly making fun of Doris as fat, useless, lazy, stupid; and she cries and weeps, seems not to understand simple statements, is more than slightly ridiculous if pathetic. He calls her fat, stupid, and silly — she is seen to be silly and stupid. She wants him back and we can’t understand why. She does get him back: when last seen they are being photographed as a lovey-dovey couple for the newspapers.

This matching or parallel — better contrasting couple’s relationship is meant to show that marriage as presently experienced by ordinary (not upper class people) often does not work because the norms offered the man and woman make for misery.

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Holliday telling Hepburn about her marriage

There are more flaws than those I’ve pointed to. The argument that is said to describe what the case is about generalizes its content out of reach and erases the abuse. Ruth Gordon’s script makes the case into one where Hepburn seeks to win by proving women are equal to men. Hepburn takes the situation to show that the wife counts, and literally to argue that Doris has as much right to have an affair as Warren, and partly because she didn’t, the right to get back when he hurts her — even shoot to kill. Adam is quite right when he says this is an argument that won’t do.

Hepburn’s “case” depends on her bringing into court three career women who are presented as successful but sexless and desperate: the third does somersaults in a circus and performs them in court. How this relates to a husband’s violence to his wife, her need to defend herself, her home, her income and retaliate is unclear. Nowhere in the case, in the courtroom, in the Bonners’ discussions about the case is the abuse highlighted. To say this case is about the principle of equality and how men and women are the same is to avoid the particulars of the case and what it’s about.

Then there’s considerable slapstick. At one point Amanda seems about to take as her lover a man who is a singer, performer and their best friend; Adam chases her with a gun, but when it comes to shooting her, it turns out to be licorice and he eats it as candy. It’s a parody of the central Attinger gunning scene: what he was gunning Amanda down for was a suspected affair. This is still not allowed today – women in movies today do not have affairs with other men than their husband and remain admired heroines.

They also massage one another. These scenes were used for promotional shots and the trailer:

Adam's Rib (1949)

Trailer

She slaps him and he her. Now that I’ve had a massage (once, in a Korean spa) I realize it’s a sybarite process of luxury, and it made me very uncomfortable on behalf of the woman paid to come so close to my body and “work it over.” Probably the movie-makers wanted me to envy them. While watching I did not notice the Tracy and Hepburn calling one another these “coy” names of Pinky and Pinkie. Good thing: it would have grated on me as upper class “fey” relaxation.

A friend suggested to me the movie is ultimately about how far a woman can go to challenge her husband, only so far. I know that’s what Basinger says most of the movies where Hollywood spoke to women end up doing or being about. I admit I don’t see that in this one. Mainly because Hepburn didn’t. The couple’s temporary estrangement is engendered by the two of them. She didn’t have an affair. She did not defy any rules — she worked within the system, took the silly idea of men and women being the same as the principle she’d argue for and remained in an adoring respectful posture to Tracy throughout — that’s why the word “feisty:” a feisty woman is one who merely makes a lot of noise but does not mean any serious rebellion.

On-line there are also absurd statements about the film being about civil rights (what?). Or, who wears the pants in the family? he does, and he gets to close the curtain at the end. So what? What matters in the film is class. What the movie is is a telling muddle. The Attingers are miserable as much and more from their daily lower middle lives as from gender provocation and sexual exploitation. We are deflected from seeing this by fantasy elaboration of the results in candylike wrapping. The licorice gun is apt.

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The movie makes the lower class man despicable, a clown and also at moments the wife. It shows but does not bring out into the discussably open that the upper classness of the privileged couple makes them happy: her high education, womanly (yet not oversexed) clothes, wit, job flatters his self-respect and his equal education, intelligence, manly bearing (and job) flatters her sense of her place in the world as his wife. Its best moments are fleeting glimpses of film noir (through Holliday’s presence).

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By contrast Hepburn is just so wholesome. I admit the movie could be worth re-watching for the intriguing vignettes, dialogues, moments between Hepburn and Tracy.

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A breakfast-morning image

They did make a number of movies together and it might be rewarding to watch these in a row (see comments). Ruth Gordon is someone whose name recurs as a script writer in the 1940s and it could be interesting to see some of her other scripts — her co-writer in this one was her husband, Garson Kanin. George Cukor is known for trying to bring women as interesting characters before the public in movies, for his originality — and nowadays gayness and it could be interesting to compare this one to his other movies.

Ellen

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AtaBar
Paulina Garcia as Gloria: typical moment in the film

Dear friends and readers,

This extraordinary film, which won no Oscars, screened only in three movie-houses in my area, and is now in only one, playing but twice a day. I saw it at one in the afternoon in an auditorium which had about 10 other middle-aged women, perhaps one man with a woman — and yet it is not just about the life of Gloria, a 58 year old woman working woman, divorced; but

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that of Pedro, her 30 year old son, living with a baby son (ill during the film) whose wife has left them; of Ana, her nearly 30 year old daughter, pregnant by a Swedish man who about 3/4s the way through the film she leaves her life in Chile to join, as what she’s got to do as his job and life are there so if she wants him … Of Gabriel, Gloria’s ex-husband and Flavia, his wife, whom we see but briefly but enough to know the husband had some kind of breakdown more than 10 years ago when Gloria and he broke up, but for which she now forgives him:

GloriaHusband

but for which he seems unable to forgive himself, a breakdown which prevented him from being there for either of his children when they needed him; and most frequently of Rodolfo (Sergio Hernandez), the older man she picks up (or who picks her up) at one of these nightclubs she seems to go to nightly: they become friends

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and then lovers:

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but the relationship flounders on his ties to a dependent wife and daughters (whom he supports financially and whose emotional demands he seems unable to resist) and his inability to enter into her family group and watch her relationships which exclude him. He disappears on her twice, the second time leaving her alone in a grand hotel, with hardly the wherewithal to get home, much less pay for the room and stay there. That night she becomes so drunk, she has sex with a stranger and wakes on a beach, without handbag or shoes. And yet she comes back to the hotel and asks questions about Rodolfo, phones her housekeeper-cleaning woman who comes with money to get her. Rodolfo lacks what Gloria displays greatly during the film: resilience.

Of course a woman is at the center of this film; it is from her angle we see all these people and I suppose that is what is thought unacceptable. I mentioned in praising Cate Blanchett’s role in Blue Jasmine how rare it is to see older women roles in films where the woman is still sexualized, still wants sex and a good time, a boyfriend; here how others react to her is presented unflinchingly. I enjoyed the hard truth of her earned moments — she is given gravitas. As opposed to the half-frenetic and half-delusioned women Sally Hawkins plays, and the weeping, lying one Cate Blanchett inhabits in Blue Jasmine, Paulina Garcia respects herself, lives on and within herself.

I’ve read the word “joyful” applied to Gloria, and some of the trailers and promotional shots want to suggest this is the keynote of this film. It’s to get the nuance all wrong. Contemplate this shot near the end of the film: after driving to Rodolfo’s house, throwing his bag at him, and shooting his house with a paint gun (an over-the-top rare improbable moment in the film), Gloria returns to the hair-dresser, then home to put on new make-up, again another cocktail-style dress and back to one of the many noisy nightclubs we see her in throughout the film, get into the center of the dance floor and do it again:

PaulinaGarciaondancefloor

I see a sort of Christ-like thrusting out of arms in this final image. She is sacrificing herself to the altar of life. Gloria tries to have a good time and sometimes does, is seen laughing, eating, talking, but more often she sits wherever she is enduring life, and sometimes bleakly, drinking and smoking on. She wears glasses throughout the film, a sign of her acceptance of herself as she is:

gloria

The ending of the film tells us life is going to go on and she not give up on it but no more. It reminded me of the films of Pedro Almodóvar (e.g., Volver), only his are perhaps better than this one by Sebastian Lelio.

I’d like to call it the portrait of an older woman’s life, for, as I say, it has enough in it to show that: she and her son, and her grandchild, her ex-husband and his wife, with her daughter – quietly moving scenes, many of them. She is there ar night with her son’s baby. Her daughter will not let her mother grieve openly at the airport when they are to part for perhaps years, so Gloria parks her car separately, comes back hiddenly and alone watches her daughter’s plane leave. We see her sleeping, at work, dealing with a landlord. Only it’s not quite since so much of the film time shows her in a noisy nightclub, drinking and smoking — and going after or being sought for sex. I take this to be the result of two men making the film (the writer Gonzalo Mazzo) is male too. Gloria is not a woman who seeks time alone ever (no solitude for her), who ever reads anything, has any political opinions. Men never wanted to give women the right to vote and they don’t like bluestockings. This is (sorry to say) a man’s take on a woman’s life, however full and sympathetic.

Some reviews have castigated, Rodolpho, but we are to feel for him too; he’s an older man with ties he cannot get himself to escape: as Gloria comes from an upper class Chilean culture clearly so he comes from his narrower lower middle military one. She has no great triumph in getting rid of him as she’s back to square one – the nightclub scene. What impressed me was no matter how many men she meets and dances with and has sex with (one long night) no one stays. No one wants her for real. She’s too old — she’s trying, we see her try to make herself over at the end, but to see that as somehow leading somewhere is to miss the point.

One way to understand what a film means is to look for what repeats itself. This film includes is a tiny starved cat who keeps invading Gloria’s apartment. Every time she comes home, there it is and it’s crying, wailing. She keeps throwing it out. It cries outside her door. On the last time Rodolpho deserts, she allows the poor thing to stay in, and begins to feed it and cuddle and have it in her bed. I felt the cat stood for her and everyone else we see. Unfortunately, the poor cat is owned by a young man who lives upstairs. He is a man who is abusing his girlfriend or partner who lives upstairs from him; Gloria often hears him cursing and hitting a woman. She does not call the police but his mother because she can’t sleep. He tries to get into her apartment one night and leaves behind by mistake a packet of marijuana. She has hitherto refused pot but now we see her smoking alone — I take these to be nadir moments in the film.

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Alas, he’s the owner of the poor kitty and takes it back. I assume in the following week Gloria will find it starving in her apartment again. Back to square one.

Life is more to be endured than enjoyed said Sam Johnson. The film is not glum, though Gloria is hurt

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sometimes afraid (she worries about the man upstairs and complains to the landlord too — to no avail), she smiles again, somewhat steadily if narrowly, warily, is not unhinged, but open to yet more experience:

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She sings in her car. How I envied her the liberty of that car. In its occasional inconsequence the film called to mind Nicole Holofcener’s Enough Said (also about an older woman getting involved with men). She passes by political demonstrations, but appears to look askance at the demonstrators and reporters:

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Garcia should have won more than the Silver Bear for Best Actress.

Ellen

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Mr Carson (Jim Carter) and Mrs Hughes (Phyllis Logan) in final shots of the season

Shot of older man’s bare feet in water
Mrs Hughes: ‘Come on, I dare ya.’
Mr Carson: ‘If I get my trousers wet … ‘
She: ‘If you get them wet, we’ll dry them …’
He: ‘Suppose I get them wet …’
She: “Suppose a bomb goes off, suppose you get hit by a falling star — you can hold my hand then we’ll go in together …’
He: ‘I think I will hold your hand, it’ll make me feel a bit steady … ‘
She: ‘You can always hold my hand if you need to feel steady …’
He: ‘I don’t know how but you manage to make that sound a little risqué …’
Hands held out, and grasping. She laughs good-naturedly …
She: ‘And if it did, we’re getting on Mr Carson, you and I, we can afford to live a little …
Medium-length shots of them going wading in together from the back …

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Lady Edith (Laura Carmichael) let know by Tim Drew [Andrew Scarborough] he knews who’s this little girl is and will take full responsibility for the needed lies:

Drew: ‘I tell you what I think? It should be our secret, milady, our secret ours and no one else’s. I’ll … uh… send a letter to myself and tell Margie [his wife] it’s from an old friend of mine that’s died who asked for me to take the child. She won’t question it; then nobody but you and I will know … ‘
Edith: Mr Drew, would you do that for me …’
He: ‘For you and the little girl milady yes …
She: ‘How comforting it is that there are a few good people left in the world’ –

Dear friends and readers,

Of the four codas thus far this was the weakest yet had the most beautiful moments and witty dialogues. I too thought of the marvelous song, “By the sea, by the sea, by the beautiful sea, you and I, you and I oh how happy we’ll be …” and felt the Granthams really ought to get themselves more than one tenant as they have done so well in choosing this nobly hard-working one.

The weaknesses are serious. The central idea of the episode was to make us rejoice in Lady Rose MacClare (Lily James’s) debut in society, her presentation to the king, queen, prince, whose Edmund Burke-like meaning enunciated by none other than our most faithful liberal, Isobel Crawley (Penelope Wilton):

‘It came to me that these balls and presentations and comings out are not aristocratic folderol, but the traditions by which members of this family mark their progress through life … ‘

Thus that Rose carries on being unbelievable in her child-like behavior, depicted shallowly when she is told something real about life — as when her friend, Madeleine Allsop (Poppy Drayton) hints to Rose that Madeleine’s father, Lord Aysgarth (James Fox) is a debauched roué on the scent for money — and she giggles, astonished someone could be this way, just doesn’t cut it for the needed gravitas.

Except when for a short time Cora, Lady Grantham (Elizabeth McGovern) showed depth of feeling as a mother, grieved bitterly over her daughter’s death (and rightly) implicated her husband as at major fault, this second key character reveals a Fellowes’s lack of engagement with her. She really shows an astonishing lack of curiosity or insight into Edith’s long disappearance. It’s not believable — Fellowes can’t be bothered because making her understood would involved a deeply conflicted story. Cora has also shown no anger when her self-proclaimed “monarchist” husband lost all her money; this way Fellowes could have her do nothing herself about it: had it not been for that money, the Abbey would have been lost decades ago; mis-invested since by this same husband in railways, it was Matthew’s unexpected inheritance from Lavinia’s father (which we are reminded of in this finale) which has kept the building as shelter for a luxurious leisured way of life for the Crawleys. None of which Cora appears to register.

Fellowes wants us to believe her effective; her realm is making parties (luncheons, charity picnics, balls) so structurally necessary for the mini-series; no wonder everyone over-congratulates her upon these — But without the really able Mrs Hughes and Mrs Patmore (Lesley Nicol) Cora would not succeed at all — and in this episode we are shown that the real strength Cora depends upon is the unacknowledged Daisy (Sophie McShea), the power and great cook enabling Mrs Patmore, who, as she tells her fleeting suitor, Mr Levinson’s valet, Ethan Slade (Michael Benz) is “never excited.”

Robert, Lord Grantham (Hugh Bonneville) is not much better. He really believes Bates (Brendon Coyle) when Bates says he has (implied) another man ready to forge what’s needed. He somewhat hysterically blames the Crawley family for a near scandal involving the Prince of Wales, and stage-manages an ill-thought out attempt to steal back a love letter from Sampson by gaining access to Sampson’s room and ransacking it. As Bates tells ‘milord,’ if he were to have a precious document, he would not leave it about, but keep it close to him on his person, say his overcoat. We know Bates did just that with his train ticket to London, though why he kept it in the overcoat one minute longer than he needed to is a mystery of the same type as why Lady Grantham does not see immediately that Edith is going to Switzerland where ‘there are good hospitals’ to have a baby. Grantham also never suspects Edith, no matter how guiltily she talks in front of him (“Just remember I would never do anything to hurt you”).

As benignity is the tune that Lady Grantham’s effectiveness plays, so it is Lord Grantham’s tune, but that need not preclude giving them some cunning. Fellowes is again not engaging deeply enough with his character. The initial mistake was not to show that a lord of such a minor would be necessarily be a local politician to some extent, his house kept up as a linchpin of county networking — as are all Trollope’s comparable figures no matter how asocial they might be by nature (a number are) and Fellowes knows his Trollope novels very well. The ironic telling reason for their hollowness is Fellowes wants to justify such people: the “toffs” are not, as Lady Mary (Michelle Dockery) tells Blake (Julian Overden), the villains of the world.

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At the gallery

Fellowes’s way of convincing us of this is to make them seem powerless.

And pace Edith’s words to Drew, this coda of a fourth season has a preponderance of good people left in the world: I counted three bad: Mr Green (Nigel Harman), rapist willing to strike again (not to worry, done away with); Thomas Barrow (Rob James-Collier) whose spite, bitter resentment, bad-mouth snitching hardly has an objective correlative in his supposed insecurity; Terence Sampson (Patrick Alexander) who in this episode adds theft and intended blackmail to his card-cheating abilities.

Also number of weak or ill-advised, most notably in this episode, Lord Aysgarth (James Fox) trying to marry Mrs Levinson (Shirley MacLaine) as an exchange of money and title; Jimmy Kent (Ed Speleers) a kind of minor devil version of Barrow (“Thank you, Wat Tyler” says Mr Carson to him at one point); the Prince of Wales (Edward VIII) played by Oliver Dimsdale as far feebler than he was

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Grinning when he thinks of Rose’s father, “Shrimpy” (stuck in the heat of India, another helpless aristocrat)

Then there’s that bad-advice giver, Lady Rosamund Painswick (Samantha Bond) who pressures Edith to give up her baby but clearly loves her (has spent months with her on the continent, watching her give birth, breast-feed her baby, wean it) and thinks she has done what’s best for all:

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Rosamund appealing emotionally to her niece:

‘This is for the best if you’ll only keep silent; there’ll be other loves other children. Don’t cheat yourself of that I beg you … [you think] I don’t know then, trust me because I do …’

What saves the coda — and the series too — is the actual writing, the concision and suggestiveness of all the dialogues (which I quote from liberally here to demonstrate) and that all the rest of the characters are seen in depth, are well-meaning, reach out to one another, are not self-reliantly effective (win out) while in pain themselves.

To be “kind,” Miss Baxter (Raquel Cassidy) informs Barrow Mr Molseley (Kevin Doyle) is to have “the advantage.” The series of scenes where the sensitive and intelligent Molseley protects Miss Baxter from Thomas includes this from Molslely:

I don’t know what Mr Barrow’s got over you and I don’t want to know; but you must’t let him do things that aren’t right, and you can’t let him bully you. That’s easy to say I know but if he draws you into his scehemes, that’s not going to be easy for you either. Sometimes it’s better to take a risk than go down the wrong path, that’s all

He’s already told her to trust to the views others are gaining of her: though viewer knows that Mrs Hughes is onto Miss Baxter’s over alert presence, Miss Baxter has betrayed no one. In their final moments as Molseley replaces Barrow by her side:

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her words are:

Miss B: ‘I have to thank you, Mr Molseley.
Mr M: ‘Oh why’s that?”
She: ‘There are things in my past that made me afraid, but I’m not afraid any more. I’m not sure what will happen, but whatever it is, it’s better than being afraid. You’ve made m strong. Mr Molsley. Your strength has made me strong
He: ‘My what?’
She smiles

The parallel is to Edith who now has things in her past but by the end of the season is learning not to be afraid. Allen Leech as Tom Bransom almost retrieves his character. He is one of several characters who declare they are not ball-going, dancing types and declare at first they will not go to Lady Grantham’s ball after Rose’s presentation.

Tom is still exhibiting awkwardness and lack of confidence and self-esteem he has shown throughout this season, not least when he shows it’s the affection these people have shown to him that he has lapped up (of the museum-like library he says: ‘No it’s nice when everyone’s here and the fire’s going …’), especially with the schoolteacher, Miss Bunting (Daisy Lewis) whom he likes, partly because she is as wry and disillusioned as he once professed himself (He to Lord Grantham: ‘We all live in a harsh world, but at least I know I do’): high on the balcony looking at the engraved designs for the family, she asks where Cora’s is and if it’s a dollar sign.

But like Molseley, he gives in and comes to London, even goes to the ball, and at the right moment he turns to a woman near him who he knows is herself in need of support and encourages Edith (the episode began with them walking and talking together). Edith has watched him dance with Lady Violet, the Dowager (Maggie Smith) after the Dowager had finally told him ‘These are your people; this is your family now,’ and he had said, ‘This may be my family, but not quite my people, and asked her to dance.

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Edith to Tom: ‘So did you enjoy it after all …
Tom: I enjoyed it fine, but we need to stand up to them, you and I. We may love them, but if we don’t fight our corner, they’ll roll us out flat
Edith: ‘You’re right, thank you for that …’

Edith then marches off to tell her obtuse mother she needs to take a trip to the continent, and her Aunt Rosamund that Rosamund cannot go for her. She brings her baby home. (One wonders if Tom knows …)

So in this coda the patriarchy is alive and sufficiently well that even less than respected strong males give important support and delight to strong but dependentconventional females. The scenes between Isobel Crawley and Lord Merton (Douglas Reith) who is continually after Isobel to come to the ball, and when last seen is dancing with her are touching. He is bringing her out of her widowhood as surely as Rhett Butler once did Scarlett O’Hara:

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Daisy refuses the indirect marriage proposal of Mr Levinson’s valet (he disguises it through persuading his boss to hire the English cook whose food has shattered Mr Levinson’s assumptions that all English cooking is inedible, but as she tells Mrs Patmore, ‘I’m that chuffed it’ll take me through to next summer,’ and for once is not jealous of Ivy but glad to see Ivy have her chance by asking if she might replace Daisy and go to America.

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A mother-daughter pair will return for another season …

The most interesting of these alert complex males are Mr Bates and Mr Levinson — Paul Giamatti is magnificent as the uneasy uncomfortable Mr Levinson attracted to Aysgarth’s daughter. Their several gradually less awkward dialogues where she takes as an insult his open frank (meant to be American) cynicism about her and his motives are worth some study showing Fellowes’s subtlety when engaged with his characters and issues their clash of personalities bring out. This is a pair I hope is brought back next season as she has told him she will demand a commitment the kind of girl he has hitherto taken aboard his yacht did not:

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In an interview after the airing of this London season, Fellowes offered some insight into why Bates rivets us to the end:

So many women have had to conceal things that have happened to them, because if they reveal them, they went down, too. It was very important that it should be completely clear that it is not the victim’s fault at all. This was a chance to make the argument for the innocent rape victim who has done nothing to deserve it. And Anna, as either the most sympathetic character or certainly one of them, the audience could immediately grasp, she had done nothing to deserve to this. There is no sharing of guilt, no blurring of the edges of responsibility. Also, it created this mammoth thing that she and Bates had to get through, and Bates’s response is that he doesn’t love her less. He says himself, if anything he loves her more. What it has of course awakened is the kraken of rage in his belly.

Yes that’s it – and we’ve seen that deep rage against the order of the world, its injustices peep out here and there all along with evidence of sudden outbreaks over the “years” the show covers, from the time he invited Lord Crowborough (Charlie Fox) to search his drawers and room (Season 1, Episode 1), threatened Thomas at the throat (Episode 2) onto the clever doing away of Vera (Maria Doyle Kennedy), manipulating her reputation for spite into an apparent act of suicide, and his survival in prison. It’s he whose skill in forgery and pickpocketing saves the Prince of Wales (who of course thanks the wrong set of people as they run the ball). Bates knows part of his survival and thriving depends on his not being thanked — on his taking no credit. When his rage is stilled, he lives with what the world has allowed him:

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And in Downton Abbey terms, it’s not a little. Anna has been our real heroine for four years now, from the time she took a hot meal up to Mr Bates when he was about to be fired because too many of the other servants and the Crawleys could not flex for a disabled man, to when she married and bedded him in one quiet day and night to now when she is determined to protect him more than herself from all that Mr Green could do or cause to happen.

Lady Mary (Michelle Dockery) is a cold performer in comparison. ‘Let the battle commence’ is the way once she learns that he is an aristocrat like she, she invites one of her men, Charles Blake (Julian Ovenden)] to woo her and win her over another, Lord Gillingham (Tom Cullen), a childhood sweetheart. Her ‘destiny’ is to save Downton Abbey for little George. Oh spare me.

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The princess leaves the set

I admit to being unable to see any act of hers as magnanimous (as I gather we are supposed to see her burning Bates’s London ticket that Mrs Hughes gives up to her); Blake’s first view of her is the more accurate: too privileged to understand her vulnerable humanity. Matthew never taught her that lesson either.

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The real question of that scene for me is why did Mrs Hughes give Lady Mary a chance to turn Bates in, as she, Mrs Hughes, has said all along he did the right thing. Fellowes leaves ambiguous whether Bates did murder Green; after all, as Mrs Hughes says to Lady Mary, we have no idea where Bates went when he was in London. I suggest Mrs Hughes’s ambivalent behavior was Fellowes’s way of making his program look law-abiding, respectful of civilized methods. In both Anna and Mr Bates’s story we have one of Downton Abbey’s serious forays — as is Sybil’s death in childbirth — into sexual experiences in life for real.

I have not done justice to the sets or photography of places — which as in the codas of the other seasons had some interest.

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The picnic by the Victoria and Albert Monument cost them a pretty penny

Nor some of the wry dialogues between Mrs Levinson (Shirley Maclaine) and the Dowager (who can put the other down more), the Dowager’s self-reflexive comments on the hour (she has “spent the evening in a who-dun-it”) or between Mrs Levinson and Lords Aysgarth as she dismisses his hunt for money through her — he seems never to realize that when she dies, it will go to her son. One of the best was that between Violet and Isobel setting off for London:

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Duchess: ‘I know I’m late, but it couldn’t be helped. Cora insisted I come without a maid. I can’t believe she understood the implications
Mrs Crawley: ‘Well and they are? …’
Duchess: ‘How do we get a guard to take my luggage and when we get to London? What happens then?’
Mrs C: ‘Fear not. I’ve never traveled with a maid you can share my knowledge of the jungle.’
Duchess: ‘Can’t you even offer help without sounding like a trumpeter on the peak of the moral high ground?
Mrs C: ‘And must you always sound like the sister of Marie Antoinette?’
Duchess: ‘The queen of Naples was a stalwart figure. I take it as a compliment.’
Mrs C: ‘You take everything as a compliment.’
Duchess: ‘I advise you to do the same it saves many an awkward moment’

What I enjoyed most were the home-scape scenes (so to speak), the characters who were given depth and in numbers of their scenes, the beauty of integrity, which brings me back to the close and Mrs Hughes who for another season played the role of the insightful woman quietly working to achieve a sensible compromise.

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Mrs Hughes pinning up a postcard picture of the beach alongside Mr Carson’s other materials on the servants’ bulletin board

I have not really explained why I forgive this mini-series so much — next time, when I write of Rebecca Mead’s My Life in Middlemarch.

Ellen

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Meryl Streep (Violet Western), Julia Roberts (Barbara Fordham), Bernard Cumberbatch (Little Charles Aiken)

Dear friends and readers,

Since I’ve now come across several reviews of the film adaptation of Tracy Letts’s powerful play, August: Osage County, including misogynistic diatribe by David Denby (he resents the way Streep looks, the way Roberts behaves so stonily) in the New Yorker, I thought I’d briefly defend the film and urge people to go see it.

First it is another in a long line of depictions of US family pathologies as peculiarly hellish: the first I know of are by Eugene O’Neill (Long Day’s Journey into Night); the tradition carries on in Tennessee Williams’ work (Cat on a Hot Tin Roof), Miller (Death of a Salesman), Albee (Who’s afraid of Virginia Woolf); it’s found by women (Hellman’s Little Foxes). We see it in the TV serial drama, Breaking Bad: in US life violence lies near to the surface, and family life instead of being a halcyon retreat (as is claimed) mirrors the terrific demands for competition, success, pressure on people to make big sums of money, the desperation over worldly failure, and if in real life most people don’t jump on one another to physically punish one another, they do the next best thing: corrosive excoriating needling, sexual too.

The terrain is that of Nebraska: the flat failed rural world; the escapes the same, pills, alcohol; the miseries the spreading cancer epidemic: Violet (Streep), the wife has mouth cancer; Ivy Western, her middle daughter had ovarian cancer caught early and a hysterectomy. It’s fine in US life to practice serial monogamy so we have three daughters with no permanent husband: Barbara (Roberts) is now aging and her husband (Ewan McGregor) has turned to a younger woman who does not pressure him to succeed so much; Karen Western (Juliet Lewis), the youngest sister settles for a conscienceless rake (Dermot Mulrooney); another, Ivy Western (Julianne Nicholson) more sympathetic) falls in love with Little Charles (Bernard Cumberbatch), her cousin who is raked over by his mother for not growing rich: they are to discover they are half-siblings. His legal father (Chris Cooper) is the only person besides Ivy to show him love and respect. Betrayal, deceit, secrecy, ignorance of all political and larger realities. There is some love or at least loyalty to this fragile ideal of family as the grown children all show up after Beverly Western (Sam Shepard) their father kills himself by drowning: a failed poet-professor who had no world to belong to.

As in other of these types of plays, there is the problem of what the characters scream at each other about: in all of them it’s sexual humiliation, lack of monetary success, scorn for men who are “weak” (not ferociously competitive, not macho males); who takes pills, who is an alcoholic, who betrayed whom. It’s a dark mirror of us, a concave house of tricks. The special emphasis here is on the loneliness and despair of the women.

It did not falter on the screen. The opening up to landscape gave it greater pictorial resonance with a play’s typical reliance on subtleties of debate within the language. It was not so claustrophic as it probably was on stage: I thought the film of Who’s afraid with Burton and Taylor similarly improved by having the characters go to a tavern and wander around a parking lot half-drunk. Comedy was brought in as here. Tellingly cars (people still imprisoned together — who likes a traffic jam?) figure in this opening up in both and in Nebraska:

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Also arrivals by bus (little Charles); long shots of the house as people drive up to it. Some scenes shot within a screened porch at a distance. Julia Roberts last seen heading out on the highway in a truck.

A theme not brought up much is that of the aging single woman. Violet was very moving to me as the widow now left alone with no meaning for her life; Barbara as the tough exterior woman now going to live lovelessly (her daughter is deserting her); all of the women but Ivy lack any kind or trusting relationship. This is the product of a kind of rootless life where sympathy is not the central value, and sexual looks far too valued. I didn’t cry at the end because I felt the losses that were shown were irreparable and that there had never been anything to cherish; these traumas and cruelties went too deep for tears. I stretched my arms out wide and pulled them together to try to release the tension communicated.

Another is that of mothers and daughters. It’s said — and truly — that as who your father socially was, and who his father, determines your destiny (whether you are male or female); so for a woman the relationship you have with your mother can destroy or make you, or how she treats you is central. And from that point of view, Violet is kinder than allowed: she did not much help, but she did not destroy her daughters. One of them, Barbara, resents deeply how her mother failed to help her, how her mother is weak, and would like to get back, but is restrained by pity as well as remembered love. We see them clash again and again. I suspect the dislike the film received came from the popular audience irritated by this central mother-daughter paradigm. Who cares? would say most men. Many women might turn away from what they see, not want to see themselves in any of the three mother-daughter paradigms the movie provides at all.

The play or movie is another important play mirroring another phase of US culture’s destructive soul-destroying history: curiously the relatives all sit down to dinner together, keep a surface veneer: the result of our cruel economic policies, exclusive social lives, segregated spacial layouts. Everyone holding on, nightmare upon nightmare and finally they physically attack. Only the Spanish maid seems to have any patience for compassion.

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Poster

The performances are terrific, not overdone at all, especially those of Streep and Roberts as mother and daughter. Miller gives us sons and fathers; Williams shows us spouses and siblings; Albee fathers and daughters. Now we have mother and daughters.

Ellen

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Lillian Hellman, 1943

“Speech,” she said, “is but broken light upon the depth/Of the unspoken . .. —George Eliot, The Spanish Gypsy

“There is nothing really lasting, nothing that will endure, except the sincere expression of the actual conditions of life” — Penelope Fitzgerald

Dear friends and readers,

I’ve been meaning to write about a set of profound underrated slender books by Lillian Hellman: her autobiography in 4 parts: An Unfinished Woman, Pentemento, Scoundrel Time, and Maybe. The characteristic of life-writing, that it is often partly imagined, dramatized even when there are long stretches of literal truth has been used to trash her as a “liar,” because the political vision of the four, unqualifiedly socialist was anathema to much of the US intelligensia of the 50s through 90s (and today still); what’s worse she continually criticizes those who, far more than merely complicit with the persecution of anyone left of center in the 1950s, volunteered lies, fingered others to improve their position, and until today in effect support the US gov’t effort to silence and destroy any opposition from the left (of whatever stripe). The continual trashing of her writing (most famously by Mary McCarthy) has badly damaged the dissemination of these texts: the continuing purpose is to make everyone dismiss her important account of the McCarthy era, simply not bother read it.

I loved all four and gathered a sense of deep strength from a communicated sense that there was no hype in the style (if she does make herself heroine, it’s what most life-writers do). The central presence of all four — gradual the emergence — is that of Dashiell Hammet. I admit I fell in love with him because he reminded me so of my beloved Jim. Thus I write about these four memoirs tonight.

Some central perspectives: evasiveness; Hellman’s identifies with outcasts, people who are different from most others, who don’t fit in; people more deeply and actively humane than others (who need not be politicians or powerful people; they can be an African-American servant): the main characters in each book are partly versions of herself. Hammett is the still center of her world providing what happiness and stability of outlook she can hold to. The books are l’ecriture-femme: they show all the characteristics of women’s life-writing (different from men’s): circular, inward, not seeking to find a single triumph, not linear; deeply concerned with others close to her; like much life-writing, the books are compensatory, seeking to assuage life’s disappointments, to find out she came to be what she was. And as the 20th century was one which saw the take-over of many peoples by ruthless fascists and dictators, by scoundrels (as she would have it), a central thread in them all is the attempt of the various characters (versions of Hellman mind) to come to terms actively with what public useful roles in the world they are allowed.

Her greatness and importance as a writer goes beyond her plays: she wrote many important screen-plays and now these memoirs. There is an important accurate absorbing biography: Alice Kessler-Harris: A Difficult Woman: The Challenging Times and Life of Lillian Hellman: it’s a sensible and eloquent defense and explanation of Hellman’s work in the context of its era. K-H places the memoirs in the years the events take place — bigotry in the south of the 1930s and 40s, the savage attack on not just socialisms, but liberalism of any kind in the 50s, extending into the 60s (and 70s too). It is a book as much about 20th century politics everywhere in life as it is about Hellman (and Hammett). K-H includes her personal outward life: one originally of privilege, Hellman’s aggressive nature moving into success by moving to NYC and getting into publishing and then finding herself with like-minded people. She had one marriage which broke up but she carried on being close to the man (Kohler) and the famed long-time relationship with Dashiell Hammett who was always sexually unfaithful. Hellman as a writer emerges as one of the great and powerful women writers dealing with issues of our times. I don’t deal with the more private of these (sexual) as those are in her plays which I don’t include as she herself in her memoirs does not discuss the content of these plays nor her screen-plays except insofar as they came up against political opposition.

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An older Dashiell Hammett (after the McCarthy persecution)

An Unfinished Woman

Hellman has in mind what she is today, and she is telling her early life in terms of what she has become. And she does not idealize herself. So she accounts for her anger; how she came to want to follow her own will; her experiences of stark poverty — and just as important the pompous bourgeois lifestyle of her New York (mother’s family) relatives. It’s written in a simple style.

Hammett again and again emerges as this all wise sharp deep friend. He is stubborn and will not act for his self-interest as she sees it at one point. He tells her she must leave him be or walk in another direction and they will part. He walked on ahead, after a couple of minutes she runs after.  She appears to have been his support: their happiest years on the farm. Hints of his infidelities. What an outsider reader might remember is that Hammett’s books while fine as mysteries are not masterpieces — I put it down to his deep scepticism; when you are made that way it does get in the way of making masterpieces (you can’t believe they’ll be appreciated or understood for a start).

Between the childhood which is presented to explain how her temperament and culture were intermixed and some roots for her real sympathy for the dispossessed, outsiders, and those who are bohemian in the older 1940 use of the word, she begins to have intense arguments with her father. She will not yield and one day runs away.

 A stalwart time of her actually managing to live on the streets for a time, using the tiny sum she had to rent a room in a lodging house. Such cheap places no longer exist. The whole incident anticipates how she will deal with what she perceives as injustice later. Finally when she grows so ill, her landlady finds out who her father is. At least that’s what she supposed when she waked to find her father at the top of her bed. In this section we see how central whether a person is black or white is in the culture of the era.


Hellman’s description of what publishing was like in the early to mid-20th century is just mouth-watering. There is nothing like this today: nurturing of talent, editing to help the writer bring him or herself out, the kind of connections that worked, the camaraderie is the central thing. How real political views came in frankly.

What also emerges is how being a woman makes a central difference. She defines two kinds of literary parties given by these publishing firms as differing from one another on the basis of whether the woman there are on offer to sleep with the men or “bluestocking” writing types. When she gets pregnant, she wants to have an abortion and not tell anyone who the father is. The men in her office find out about this and note this: they demand she tell who the father is. They find it unacceptable that she should do what she wants about it. This threatens her job and position and were she less forceful would make real trouble for her — could cost her her position. For writing and literary people as well as women (I think) for just this part of her book a must-read — as a truthful depiction of the milieues literary people came from too.

As the memoir moves on, Hellman skips about and does not tell you how she met so-and-so, but strides forward to places she’s at that matters, things she did that mattered. It gives the book a feel of strength.  Hammet seems to enter at a back door, and from the start is quoted in a way that makes all his utterances intelligent, significant.

She does let you know she knew everyone who counted in the literary world. She says she was incapable of holding an ordinary job down; we see she’s capable of inventing positions for herself as she gets this or that place. I found her account of her time in Hollywood illuminating — again what’s important according to a group of humane values — of creativity. She much admires Fitzgerald, especially Great Gatsby; she’s not sure about Hemingway.

I can alas find no account of women writers — they do not seem important to her as such. Women are there as wives and people working in offices.

She begins to make big money when she goes into the stage – she says she was no theater person, and could not cooperate, could not collaborate, the centre of what’s wanted, but she loved to write the scripts. Another kind of writing by which she made a lot of money were film screenplays.



She travels to Europe and freely says that when she went to the Soviet Union she never saw the slave labor camps or heard of the wreckage of lives not obedient to Stalin’s party in power.  So she does not hide this, nor does she talk up communism. She was much involved in the Spanish war — as were many concerned earnest people are the time. This is the middle section of her book. She goes to Spain first – then comes Moscow I see. It’s not set up chronologically but thematically.

The comments she makes about those she meets, their different levels of sophistication and naivete (for example they want her there on the hilarious expectation she can speak to Roosevelt to get him to help the Republicans) are convincing. I  get a kick of out her witty utterances and she (like Orwell’s Road to Catalonia) suddenly says resonant truths:
“The filthy indignity of destruction is the real immorality.”  

I agree. Orwell remarks as soon as a place is declared a war zone suddenly people will throw anything anywhere and use things for wholly different purposes. My view is many of the people who fix fine homes do it for prestige, for social networking, for show, the last thing they care about really is order or peace.

She presents herself as the brave heroine: it’s intended to function to bring out the heroism of others, the scrambling nature of the life — and especially how many of the idealistic people who came to fight for the Republic of Spain died — many horribly later on killed by fascist regimes. She shows people hungry, desperate, and brings out that Roosevelt and his gov’t really did nothing, sent no money.  Bombing started there and she brings out the terror of living under bombs — houses, streets become holes, people haven’t a chance. (Think about the drones.) Finally she makes the point that had the western powers wanted to stop HItler early, they could have but he was a “bulwark” against socialism; had they fought for real in Spain, they could have limited the damage of WW2, but at each step there were plenty of people high in gov’t who would not step in.

She was made an offer to do a movie in Moscow as propaganda for the war: by Harry Roosevelt’s right man, William Wyler the director, and Goldwyn to make it. They got permission and funds from the Russians, but wrenches were thrown – it was to be really empathetic with the Russians (then dying by hundreds of thousands) so Goldwyn hated it (as he hated anyone not for oodles of profit), Wyler dropped out and she made a crummy film of it in Hollywood.

Her time in Spain during and after the Spanish civil war is followed by her time in Russia. I know I’m writing this as a defense, a corrective, but since the book is framed so hostilely, it seems right to correct. She does notice the pogroms and terrors of the 1930s; she sees them as nightmares but she does put them in perspective — against a world of nazism, in terms of the White army counter-revolution. There is no idealization of the Soviet Union – nor is there demonization.

 Since she was writing in the later 1960s and this came out in 1970 she had to have known how brave it is simply to ignore the relentless anti-socialist propaganda. She persists in pointing out how those who knuckle under and name names enable the likes of McCarthy and his modern variants.

Her time in Moscow is during the war, but it’s told from a present tense point of view. She is badly frightened more than once when she comes near a battle or fighting. She again shows the terror of bombing. She is invited to go places she doesn’t want to go and ends up going lest she insult people. She never does see Stalin — someone not far from him in power. I find it interesting that when she quotes an apt phrase of Stalin’s, she will follow it by a oh we’re not supposed to quote him now.

It’s fascinating how Hammett is used. She invites an unworthy person (we are let to see this) to dinner and after a first bout of the person, Hammett goes upstairs and will not come down until the person has left the farm … There is a continual interweaving of different time periods and places but one can see where one is more or less.

She moves back and forth too and there are deep memories of Hammett and the farm – as part of talking about the perspective people put on these years as a result of fierce anti-socialism of the US. It seems to me clear that Hammett is not the partner she would have liked – she would have liked to be with a permanent partner but she accepted him. I’m not a reader of mysteries and have never read a novel by Hammett – though I have in my house The Maltese Falcon one of a series of 10 “great” mystery novels. Maybe I’ll try it.

She does admit flatly that the McCarthy hearings might be said to have destroyed her life and much of her happiness ever after. So the intense desire of the US gov’t to get after leftists did work in her case too. Hammett went to jail; she was forced to give up the farm. Kessler-Harris says ever after she was regarded with suspicion and as soon as her enemies which now included those she blamed for colluding could they attacked her.

As for Hammett, the time in jail and behavior towards himself destroyed his spirit and then his body. He died of lung cancer – the smoking the instrumental cause. From wikipedia:

During the 1950s he was investigated by Congress. He testified on March 26, 1953 before the House Committee on Un-American Activities about his own activities, but refused to cooperate with the committee and was blacklisted.

A lifetime of heavy drinking and smoking worsened Hammett’s tuberculosis contracted in World War I, and then according to Hellman “jail had made a thin man thinner, a sick man sicker . . . I knew he would now always be sick.” He may have meant to start a new literary life with the novel Tulip, but left it unfinished perhaps because he was “just too ill to care, too worn out to listen to plans or read contracts. The fact of breathing, just breathing, took up all the days and nights.”

As the years of the 1950s wore on, Hellman says Hammett became “a hermit”, his decline evident in the clutter of his rented “ugly little country cottage” where “[t]he signs of sickness were all around: now the phonograph was unplayed, the typewriter untouched, the beloved foolish gadgets unopened in their packages.” Hammett no longer could live alone and they both knew it, so the last four years of his life he spent with Hellman. “Not all of that time was easy, and some of it very bad”, she wrote but, “guessing death was not too far away, I would try for something to have afterwards.” January 10, 1961, Hammett died in New York City’s Lenox Hill Hospital, of lung cancer, diagnosed just two months before. As a veteran of two World Wars, he was buried at Arlington National Cemetery.

The last phase of the book is subtitled: Dorothy Parker. The book continues moves thematically: I don’t see the circular structure of man women’s memoirs but it’s not structured as most men’s: following a trajectory to the great success – or failure and then denouement (the rest of his life).

In this last phase she say show remarkable that she and Dottie got along. She is against the modern mode she says of relationships based on pleasantness; you must be who you are to some extent first. Parker presented herself as gushing over Hammett and Lilian learned eventually such a gushing scene was usually followed by Dottie saying to whoever was her confidante some caustic mockery. Hellman said Hammett therefore couldn’t stand her: saw this as sheer sycophancy while it showed someone frightened of others (this tells us more about Hellman).

A substory happens in this book: her love for, their happy years and then the loss of Hammett. She mentions at one moment she preferred him to be let out of prison and then retreat and die in peace than any vindication – would not realistically happen nor would it much matter to him as its social manipulative behavior of people in public. The Parker story includes a vignette where he again threatens to leave or hit (hard) Hellman if Hellman ever invites Dottie over again. She presents this kind of thing without comment. She assures the reader Parker admired Maltese Falcon and Red Harvest. She also seems to excuse him by saying how she couldn’t stand Alan Campbell, Parker’s husband (twice – the Parrtisan crowd had a habit it seems of divorcing and the re-marrying the same person).

In the close of this section we see how close Hellman got to Parker. Hellman was Parker’s executive. This is a moving account of a checquered and difficult friendship since Parker had no interest in the political arrangements which controlled her life – not unusual in the US. They told each other women’s stories – stories of how women survived as a way of communicating their views of how the world worked and their place in it. Tough stories. We see that Hammett got in the way Big Time. She had to keep Dottie in another house at one point. She does not hold this against him – by this time he was a broken ill man. The McCarthy debacle destroyed him – Hellman telling held up (pun intended). But we can see a common conflict for women: the husband/partner who can’t stand the close girlfriend.

The book comes to a strong end: two more sections, one on Helen, a black woman who came to live with Lilian Hellman later in life and had ties back to Sophronia, the black woman who took care of Hellman as a girl. We are returning full circle so the memoir does have the circular repetitive structure of women’s memoirs. Women grow up to do for their daughters what their mothers did for them; life has repetitive patterns if you are considering the family and your life cycle, while male memoirs are about success in the objective marketplace and military worlds

Since Helene was black, this gives Hellman a chance to present her participation in the civil rights movement of the 60s, what she felt at that famous March on Washington when King gave his I have a Dream speech. As with her depiction of Dorothy Parker and her way of skirting and bringing in feminism by telling real stories of real people’s behavior, mostly dismaying desperate attempts by women to secure safety, a good partner (with money), revealing how the underbelly works, so in this memoir we get depictions of what the US does to black people, the kinds of characters that emerged in the 1940s through 60s by telling us of specific individuals related to Helen. She might be accused of being racist in some of this but this is to misunderstand.

And of course the last chapter is Hammett. If you didn’t expect that by this time you have not gotten the depths of this book, its understory. How they met, she 24 he 36 in a Hollywood restaurant, she says he didn’t want a biography from her (for it would be about her he said) and she doesn’t want to be a “bookkeeper of her life” (so we see why she resolutely avoids a chronological approach), so she quickly celebrates their 6 happy unhappy years when he helped her write Children’s Hour she says (what this help consisted of I don’t know) and his joining the army for WW2, his attack ending in hosptial to be told if he keeps his drinking up he’ll be dead in a few months, how he ceased drinking, the tragedy of his later years – again triggered by the McCarthy hearings and his jail sentence. What he said is not that often repeated since it was not memorable but: he simply refused to reveal the names of people who contributed to a fund called communist; he had never been part of it. He preferred Jail to supporting the farcical democracy the US showed itself to have. But it did not prefer him.

It ends with a moving account of Hammett’s death, his last days and her anger (again the candor is impeccable) she is angry at him still for his not trying to survive — that’s what’s she’s saying at the end. He would not like her writing about him this way; how do they rate as a couple, did they love more or less than others when it comes to their relationship, and we see how she still misses him.

Why does Hellman call this memoir “an unfinished woman”? because she feels she has wasted so much time. So do I I often feel. Lots of people who want to live seriously, use their talents to the full will feel that (Samuel Johnson comes to mind). Because you can’t live that way but in the high moments — and often when alone …

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Jane Fonda as Julia

Pentimento: Bethe

She opens the second book with material that comes from her childhood so like other women’s memoirs, the structure is circular, not that of seizing an opportunity, advancing and triumphing — or not — as is so common among men’s memoirs. She will progress forward, sort of. Only this time it’s going to be a set of portraits which she’s delve the palimpsest’s beneath to show us more about the world and herself.

The opening one is a stunner Bethe who seems a terribly dull ordinary woman married off to Styrie Bowman because he had money as a family arrangements, but slowly it flowers out to show her living an extraordinarily difficult life, with lovers and apparently a victim of a Mafia group, who lived with Lilian’s aunts, Jenny and Hannah, they too slowly revealed, the supposed intelligent one who did well in school, Hannah, becoming the dependent, while Jenny took over, whose death left Hannah lost. Hannah like so many people in Hellman’s books (rightly) avoid hospitals at all costs, but there one can be saved from dread diseases,. The whole account moves in and out of what’s seen, what not seen: it is an expose of women trying to survive. At one point Hellman as a child tells Bethe she lies because a man tells her to. To do justice to these would take long thought and rereading — it’s also concise and to the point while suggestive, these half-weird details of people’s speech and obsessions which ring so true of humanity.

The story of Bethe ends in a way that begins (to me) to shed light on a number of Hellman’s deeper attitudes. She is in effect betrayed by Hannah and Jenny: when her apparently brutal Mafia lover is found murdered, his hand cut off and Bethe disappears, the aunts will not look for her. They ask why Lillian is concerning herself: her answer is “Love, I think, but I’m not sure.” 11 years later she marries the husband her family approves of and is good to her, but declines to wear the pretty dress set out for her when she hears talk of Arneggio (the mafia man who was murdered and Bethe). Later again after she had left this man and was sleeping with Hammett, a valise of Hellman’s father’s letters turns up and she asks if an explanatory letter from Bethe is still in there. They want all that happened to be dismissed as not important and meaningless. She accuses them of not approving of Bethe – or herself now. Jenny the supposed strong one asks Lillian how she can know the difference between fear and approval.

Do they fear for her? Fear for Bethe? Or were afraid. A huge fight ensues between Jenny and Hannah that night and it seems that Hannah the supposed weak one wins. The two aunts take Lilian to a bad neighborhood and in a very mean cottage living there with a plumber she finds Bethe. Bethe really wants nothing to do with Lillian as she is making dinner for her partner (or husband). Hellman must go, Two years later she is told Bethe died of pneumonia; the aunts found out from a note by T.R. Carter who we are left to surmise was that plumber. Lillian vows to tell the news to relatives the next time she is in Germany but she never returned. But that night she had a quarrel with Hammett because he did not understand what she kept repeating that Bethe’s story has a lot to do with her relationship with Hammett (why she went into it, why she stayed).

She identifies utterly with this outcast — though Hammett was not that she sees a parallel. The story is also about how women who don’t make it into conventional respected roles are treated and react in our society from the old maid aunts to this pariah.

Willy

She’s an astonishing writer: this is a little “Heart of Darkness.” Willy the central but elusive male is running an organization as violent, amoral, ruthless and money making as anyone in Conrad’s tale. It’s told from the point of view of a child watching the man’s wife with her fancy absurd jewels as she tries to compensate by these silly accoutrements of wealth for what she doesn’t have: a decent inner life. What’s particularly striking is how this underlying scenario is left to us to get; it’s not emphasized; we are told as a child Lilian admired her aunt intensely; then she had the turn round when she found everything about her repugnant, but that was as wrong as the first impulse. But what was the accurate understanding to have is not made explicit — as it certainly is in Conrad. Moreoever by having the ordinary oppressed people about with all their troubles, the blacks too, we see that this parable is not something occurring just thousands of miles off but it an open version of what we experience in the US and supports the US way of life.

I wondered if she chose “Willy” because the man in Colette’s books is a Willy and he’s a total shit — predatory in a different way, on women directly, on such a woman as this aunt if she had any talent he could exploit (which she does not).

Julia

This is powerful from the get-go. She’s going to use fake names because, then she lists all the people involved still living, obviously omitting Julia. The method of moving back and forth in time swiftly creates suspense and intriguing glamor: Julia lives like she is very poor but came from super-rich home and we switch to their intense friendship as girls and how Lilian reacted to the upper class mannered luxurious home. This interwoven with the frightening attempt of Julia from Berlin to through mediaries get mysterious boxes to Lilian. Filled with thousands of dollars, bribes to get people out of prison and camps. Dottie”s (Dorothy Parker) husband plays heavy getting in the way and almost spoiling everything by asinine questions: she did dislike him.

And assertions that her memory often faulty in this case utterly true. Because it does read like a romance.


So from outcast, Bethe, to thug-criminal type providing the money for everyone, Willy, to super idealist, Julia, also though on the outside of conventional life, at risk from its defenders.

The memoir becomes particularly intense and powerful as Julia virtually disappears from the stage. Hellman is living with Hammet and both having successed, but as the war progresses he tells her to go to Europe. Early on Julia writes Lilian telling her how criminal the countries are who are letting Hitler and Franco grow into power (she calls Mussolini a peacock) and Hellman adds that by the early 1940s it was understood horrifying pogroms were going on and nothing done. We then hear of Julia beat the hell out of at a hospital. In the form of notes, letters, people coming to tell Hellman: Julia says her phone is tapped and Lilian is for the first time aware of a network of gov’t and military spies. She says she had not thought of this.We worry for her because the tone of the people at the hospital (which Hellman visits) are hostile and she is removed from there. She is a fugitive from the Nazis in effect.

It seems to me all these characters are dream versions of Hellman’s self – except her self is such an independent and integrated one, fighting her way continually. This is a hidden self which cannot – and shows her intense empathy for those unlike herself. Maybe this is why I find I am intensely drawn into her book. If these people are not versions of me, I have either been luckier or not as brave.

Perhaps the power of this tale (it’s a tale) resides in its evasiveness. As our heroine, Lilian travels with this hat and candy box she gradually realizes around her are helpers of Julia and not far from them great danger. Achieving her mission, she goes into a café and there is Julia and we are told it was the last time they saw one another. Julia is much the worse for wear, and then fast forward to her in learning Julia now dead and where her body is. WE get the usual throw away line about Hammett (“Dash who never wanted me to go anywhere because he never wanted to go anywhere …” who agrees ot her going to London to see the body.
Nothing is left of her. The funeral home was bombed to pieces; lawyer jargon of fancy law firm (fancy Nam) doubting there was a child (“in this strange case,” “a child only I believed existed?), only we know from this text and others by Hellman what happened to Julia was multiplied a thousand thousand fold in WW2 at the hands of the fascists. Relatives deny and we end on a “third cousin” (again the turns of remoteness) who never heard of one.

Scan 1

Pentimento: Theatre

A bitten off piece far more about the circumstances surrounding her play-writing, the social ones especially (like censorship) ratherthan the content of the plays themselves, much less the writing or process of production. How she soared with Children’s Hour (her parents shocked) and then kicked herself and made her second play, a failure, a far worse experience than it needed to be. Pen portraits of Goldwyn: how he made himself powerful through ways of talking. Again at crucial points there is the apt utterance by Hammett …

As she goes on, this becomes as powerful as the others – and as the others we are led to see the events from a point of view to the side of the events, rather than the events themselves – meaning say the content of the play, its relevance to the era: the surrounding circumstances become more powerful as her career proceeds and becomes more complicated, again she is often an outsider. We get these succinct persuasive portraits of then well-known people.

A long interesting section on Candide whose subtexts I probably missed because she does not tell about say Bernstein’s politics and her own and those of the people involved. How it was a flop is not therefore made clear or why.

Of particular interest are her comparisons of the ways theater works and film: few dramas can “stand up to an assertive talent, even if original creator distinguished;” “movies solve this problem” by the director and the writer collaborating with the actors; in film the producer takes a central role. She reminds me of Doris Lessing when she says in effect how what she writes is misunderstood continually: what she means to be seen as ironic is seen as straight; there is a continual misreading of her plays as sentimental and melodramatic – partly they are played that way.

Axioms thrown out: “fear infects and corrupts what it touches.” Yes. “It is best in theater to act with confidence no matter how little right you have to it.”

I was chuffed to discover how highly she and Hammett both regarded Autumn Garden. Mailer much admired Autumn Garden but said Lilian had “lost her nerve,” to which Hammett said “Almost everybody loses their nerve. You almost didn’t and that’s what counts, and what he should have said.

Jim thought it the best play we saw all summer in a summer where we saw a large number; it was written during the “best” period of her life, when she had “found the right place to live for the rest of my life,” where she and Hammett had been together for 20 years and made a “lot of money” and didn’t care how they spent it; they had stopped drinking so heavily and “early excited years together had settled into a passionate affection so unexpected to both of us we were as shy and careful with each other as if we were courting children. Without words we knew hat we had survived for the best of all reasons, the pleasure of each other” (p. 163-64). I am charmed how they never had plans for the future. Hammett never believed in any kind of permanence (p. 171). Jim said he didn’t said he didn’t plan but now I realized he did, and expected a future for which he was holding out the money we had – so he was not the deep sceptic that Hammett was until he became terminally ill and then this hopelessness did him a disservice however I understand it.

She has strong praise for the meaning of the character of Joan of Arc as she sees it, and has trouble translating and adapting Anouilh’s play and here makes an important admission:
“I can write about men, but I can’t write a play that centers on a man. I’ve got to tear it up, make it about the women around him, his sisters, his bride, her mother said ..
Again briefly how she and Hammett were destroyed by the McCarthy era, his emphysema became too strong and the poignancy of his not being able to climb up to a favorite place. She did have a hot, Toys in the Attic and its money provided for his last months during which she didn’t sleep.

A. W. Cowan

Cowan was another — besides Hammett — of Hellman’s long-time lovers. She met him at a poetry reading (by among others Lowell) and he did not act in the smooth socially acceptable way most others did. Abrasive, disjointed in his responses, a disjunctive life, she was attracted to hiim. When she showed him the farm she and Hammett had had together, and expressed the idea she had had to sell it due to the McCarthy years, he denied and it made her cry. His bitterness matched hers. She suggests that those who kowtowed to McCarthy were worse than open McCarthy and his acolytes, and for her this was that her belief in tribal safety was forever destroyed. The one satisfactory explanation for what happened was given by Richard Crossman, whose diaries Jim read. He was highly placed in successive labor gov’ts.

A jagged portrait. The point she made about the McCarthy period that made it so searing is that she cared about those who allowed the persecution, those who joined in, those who sprinted to demean themselves and invented lies is this is the core of evil’s start: the only reason these people objected to McCarthy was he was not “a gentleman.”
She likes Cowan because he helps those he theoretically despises and sees through most people as posturing and phony: but this is asking too little of someone. Surely Hammett would have told her that.
Ellen

Trying to explain to Cowan why she is broke, or feels broke and was forced to sell her farm, she mentions that the Internal Revenue Dept of the USA so calculated Hammett’s taxes that he was not able to keep any of his royalties. In other words, McCarthy was the showman, the people who were eager to cave in the bellwethers, but what was most important was the gov’t apparatus going after her and Hammett at full throttle force. I’ve spent lots of time reading about my eligibility for a widow’s benefit, the insurance and other policies Jim paid into for years to make sure I was would all right if he should pre-decease me: everyone of them has a clause which say the US gov’t has the right to withhold all these funds from the person if they are deemed — I don’t remember the cagey word, it was not subversive as that is too open or concrete but it’s what was meant. Small details like this are scattered everywhere in this portrait of Cowan, an arch conservative politically who apparently became Hellman’s lover and helped her financially.

By the end of the tale Cowan becomes a curiously pathetic creature in a moving portrait, 3/4s lies, 1/4 great decency, perhaps a reactionary spy for the US gov’t set to watch Hellman, perhaps not. He keeps tying to win people over by telling them he’s leaving all his money to them, but when he dies, there’s no will and no money. He’s a much a wild outsider as Julia and dies obscurely with nothing known about him for sure. Here’s a site that tries to capture some of this period and has various replies. Telling to me is how Hammett will simply not stay in the same room with him: Hammett does not trust Cowan to breath honestly.

This relatively short penultimate piece reveals more than any other thus far how much this book has been about Lilian Hellman, that central to it no matter how marginal he appears is Hammett, and its great disaster only approached indirectly the McCarthy era persecution.

Turtle

She begins by telling how she nearly drowns when she went out alone to fish one day. It is astonishing to me how alone she lives in her way: yes she is often with others socializing and yet she is fundamentally living within herself and doesn’t mind living alone, traveling alone for long stretches. Here she remembers yet another fragment of conversation between her and Hammett where she asked him about a turtle and if the turtle and Hammett were survivors, and now is she? He said “I don’t know .. maybe you are, maybe not. What good is my opinion” (p. 220). She realizes holding onto piling she is conversing with a man dead 5 years and a turtle dead for 26.That brings home to me that I do converse with Jim, and have ever conversed with him on my blog. By remembering what he would say or a scene.



The rest is a savage account of a primitive kind of snapping turtle that cripples Hammett’s favorite dog by biting his leg, and how Hammett in response studies many books, and decides how to murder a snapping turtle in reaction and does it. It’s not easy. It does seem fictional, mythic and half-crazy for after all the turtle that hurt the dog is not the turtle first tries to kill with an axe, then burn to death. It somehow survives by using it shell as protection, but finally they destroy it.

This phase of this portrait is embedded in an account of her buying the farmland it was on: how she made enough money from Little Foxes to buy this vast undeveloped land and how she farmed it, in Westchester County. No one but her interested in it. She really didn’t have the money, it was an estate and she did without food for a week (she says).

So again we are telling of her idyllic time with Hammett in a raw way. The happy time ended 1952 she says again and it’s just after this statement she tells of the snapping turtle.

And the piece ends on Hammet’s words to her, She had insisted on burying this savage turtle out of respect for its ferocious fight back, and Hammett then dubbed it a version of herself and felt the moral emotion she’d had showed a religious sensibility and there was (at the time of writing? When she nearly drowned) a wooden sign over this turtle’s grave: “My first turtle is buried here. Miss Religious L.H.” Hammett’s words.

I thought this last unnamed piece would be about Hammett’s death since a reference to it opens the piece. But no it’s a return to Helen, and a young black man she seems to be nurturing (in her hard bitten way) who shows enormous promise, wins scholarships, goes to highfaultin places, and yet in the end somehow drops out of it all, or doesn’t get anywhere people think he will, and marries and lives an obscure life in Oregon. Helen dies and he returns for her funeral. Intermittently we hear about the student riots and how the universities handle them badly. He rejected the world which probably didn’t want him after all.

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For Scoundrel Time and Maybe see comments.

Ellen

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Dear friends,

In the computer disaster I had two days ago it appears that the course proposals I had made for a summer teaching course at an Oscher Institute of Learning may have been permanently lost; as I want these documents and today (as yet) have no writing program I can put them on — the new computer with Windows 8 is hellishly cutsey, tricksey. I cannot figure out how to write on Word on this Macbook Pro without the whole screen being transformed, so that I appear unable to reach my gmail with hitting F3 which minimalizes everything and let’s me see, and get back to gmail and the row of programs I have at the bottom of Macbook Pro. So I am saving two sets of documents or writing here — I used to use this blog to work out my thoughts on books, films, teaching; well read these as 5 sketches towards a summer course for retired people.

The Gothic

This course will explore the gothic mode in fiction and film. The gothic as a mode is a vast terrain with many differnt subgenres, yet images, plot-, and character types repeat like a formula. Take one huge labyrinthine ancient or partly ruined dwelling, place inside a murderous incestuous father or mother (preferably chained), heroes and heroines (various kinds), get a tempest going at night, be sure to have plenty of blood on hand, owls, and stir in a great deal of supernatural phenomena, have the action occur in the deep past or be connected to a deep past … We’ll use short stories on-line, beginning with ghosts and terror, moving onto vampire, werewolf, and wanderer paradigms and horror, and last socially critical mystery and possession. The course culminates in two recent novellas, Shirley Jackson’s The Haunting of Hill House and Valerie Martin’s Mary Reilly, and the justly famed film, Robert Wise’s The Haunting (1963, featuring Julie Harris).

Texts on-line will be chosen from among these: Wharton’s “Afterward” and/or “Kerfol,” M. R. James’s “The Stalls of Barchester Cathedral;” Sheridan LeFanu’s “Green Tea” and/or “Carmilla,” Marion Crawford’s “For the Blood is the Life,” R. L. Stevenson’s Dr Jekyll and Mr Hyde, Suzy Charnas’s “Unicorn Tapestry; Arthur Conan Doyle, “The Adventure of Abbey Grange.” This spares students buying an expensive anthology.

Memory, Desire, and Self-fashioning: Life Writing

This course will enable students to better to understand and recognize the nature of life-writing: diaries, books of letters, journals, memoirs, travel narratives, autobiogaphies, biographies. Our three texts will be Richard Holmes’s Footsteps: Adventures of a Romantic Biographer, Iris Origo’s War in Val d’Orca: An Italian War Diary, 1943-1944 (or George Orwell’s Homage to Catalonia) and Margaret Drabble’s The Figure in the Carpet: A Personal History, with Jigsaws. We will ask what is the nature of the truth autobiography produces and look at the relationship of a biographer to his subject. We’ll look at writing done to the moment when the writer does not know what the future holds (diaries, letters); how far is a biography the product of a biographer’s memories interacting with text by his (or her) subject. We’ll talk about the importance of childhood and play in this form, how aging, imagination and disappointment work are part of the mental materials that make up life-writing. If time permits and the DVD is available, the class will conclude with the 2013 film, The Invisible Woman, based on Claire Tomalin’s biography of a long love-relationship between Charles Dickens and Ellen Ternan (an actress), where most of the evidence for the events was destroyed, and thus be able to discuss events that happen, and are important in people’s lives and yet have left no discernible clear record.

The Political Novel

The course aims to enable the students to recognize what is political novel and how such novels can function in our society. We’ll read Elizabeth Bowen’s The Last September, Walter Von Tilburg Clark’s The Ox-Bow Incident, and Valerie Martin’s Property and see William Wellman’s film, The Ox-Bow Incident (1963, featuring Henry Fonda and Anthony Quinn). We’ll look at the nature of political allegory: how ideas about society penetrate the consciousness of the characters and can be observed in their behavior. Why some events enter what’s called history and why political novels often lend themselves to historical treatment; why other events are not discussed as serious history, which can limit what we perceive as political behavior. Finally, how films contribute to understanding a novel or its political meanings.

The Historical and Post-Colonial Turn in modern novels

This course will examine historical and post-colonial (or global) turn that English fiction has taken in the last quarter century. We’ll read and discuss three novels: Paul Scott’s Staying On, Graham Swift’s Waterland, and Andrea Levy’s Small Island. The first poignant novel is also about two aging people now retired, who have seen the word they were part of disappear and must cope with new arrangements hostile to them. The second will enable us to discuss how some events enter political history and others don’t, and thus our past is past is something we invent through imposing choice and order based on hierarchies in our present culture. Historical romance can therefore be liberating acts of resistance, a way of redressing injustice, and creating a more humane usable past. The third novel shows the centrality of nationalistic identities in enforcing exclusions or forming imagined communities. The course will conclude by watching an excerpt from a mini-series adaptation of Small Island (2009, BBC, featuring David Oyelowo and Ruth Wilson). I hope the class will see the connection of these novels to young adult fiction, counter-factual fictions, and romantic history as well as TV costume drama.

Jane Austen: the early phase

This course focus on Austen’s first published novels: Sense and Sensibility and Pride and Prejudice. Love and Freindship (a short hilarious burlesque which we will read first), Austen’s Steventon years, and letter fiction provide prologue and context for reading S&S and P&P. An alternative perspective provides the last phase of the course: Austen’s Bath years, a brief mid-career epistolary novel written there, Lady Susan (with an utterly amoral heroine), and discussion of how Austen revised the novels when she settled at Chawton. Last, we’ll see Ang Lee and Emma Thompson’s S&S (a 1995 Miramax product), and discuss what this film makes visible about the way film-makers think readers read these novels and how these interpretations differ from this course’s historical, autobiographical and aesthetic readings.

Ellen

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