and…then…or
by Douglas Messerli
Liv Ullmann (screenplay, based on the drama by
August Strindberg, and director) Miss Julie / 2014
Liv Ullmann’s version of Strindberg’s Miss
Julie begins with a young girl reading an account about her now dead mother
before wandering through the estate house in which the young lives with her
baronial father and escaping back into nature where she enacts a scene right
out of Shakespeare’s Hamlet wherein Ophelia floats with the flowers in
suicide. In fact, one almost suspects that, in this case, the young unhappy
girl might attempt the same act; but we have the entire drama to go through
before she actually accomplishes that act and, finally, rests in death on a
flower embedded bank.
What Ullmann makes clear is that this child is the same willful woman
that we encounter in the rest of the work. Julie never truly grows up,
remaining a tortured child throughout her life. Like a child, the adult Julie
(Jessica Chastain) whimsically orders around her valet, John (Colin Farrell),
as if he were a tin soldier with whom she was playing—a doll she loves and
hates simultaneously. She simply cannot comprehend that a rather complex figure
exists behind the necessarily obedient man, and when she finally comes to that
recognition, after he has sexually abused this virginal child-woman, it is all
too late. She has been destined to carry out her suicide from the very first
scenes of the film.
Almost inexplicably, Ullmann has shifted the location of the play from
her homeland of Sweden to Ireland—perhaps simply to accommodate Farrell’s
homeland brogue. All the characters of this drama create an acting ensemble
that is near perfect. Yet the Irish locale makes little sense given that the
events of the day in which John seduces her—or she seduces him—is Midsummer’s
Day, a Swedish holiday that takes place when the sun never sets and, a bit like
Mardi Gras, the wealthy celebrate with their servants, inviting them into their
homes, embracing them in dances. Perhaps the Baron has purposely left the house
so that he does not have participate. Does Ireland have such a festival day?
Accordingly, much of this film is innately about nature, but like
Strindberg’s original and the other great Miss Julie film by Alf
Sjöberg, Ullmann’s characters hardly get out of the house in order to enjoy the
sun; and this kitchen-based drama is after all a claustrophobic work, and the
brittle interchanges between them are as dark as the internal bowels of where
John and the Baron’s cook, Kathleen (Samantha Morton), live.
Ullmann opens up the role of the cook to a far more nuanced portrayal, showing us her behind-door tears and worries and demonstrating her innate morality by allowing the woman to give less poison to Julie’s dog—whom Julie wants dead simply because she has evidently bred with a stableman’s dog (a brutal expression of the horrors of the class structure in which Julie has grown up). When Kathleen admits to Miss Julie that she hasn’t administered the full poison to the dog, Julie turns the beast into a servant’s dog by handing it over to the cook. In expanding Kathleen’s role, Ullmann slightly ameliorates Strindberg’s misogynistic view of women.
What Ullmann quite successfully accomplishes in this kitchen-bound drama
is to show up the possibilities of both Julie and John’s closeted world by
constantly moving her camera and characters to and through doors. Perhaps there
has been no film director more aware of the power of opening and closing doors
since Ernst Lubitsch. Even as they speak, characters are pushing toward doors
before they retreat and return to the metaphoric boxing ring. And early on in this
film, Julie taunts her foe by attempting to force him out of the kitchen by
inviting him into the home’s environs, where he obviously feels uncomfortable.
Of course, those large halls and rooms are her domain. He begins the
voyage before bolting and returning to the room in which he finds more comfort
in eating the kidneys Kathleen has cooked up especially for him. In short, if
she wants to seduce him, she must enter his territory. The war between them
will not be fought, so he symbolically declares, on foreign territory. When he
takes her virginity it will be in his bedroom, not hers.
From the very beginning, as I previously mentioned, this is a story of
the struggle of the classes as deeply felt as Karl Marx’s tract. Sex is only a
camouflage, another kind of power-struggle embedded in the deeper class
struggle. And Ullmann focuses on that battle more deeply than even Strindberg.
Instead of the romantic love Julie might have imagined after sex, John demands
that she steal her father’s money (it is fascinating that the valet knows where
he hides it, obviously alluding to John’s watch-and-wait attitude all along)
and join him in Switzerland in creating a hotel. The valet even suggests, at
one point, that Kathleen come along to become a sort of head-cook in the
imagined establishment.
As
Ullmann seems to suggest in an interview in The Guardian, the tragedy of
Miss Julie is that neither of them can truly communicate with the other,
can recognize the other as a human being and admit his or her sorrow for their
acts.
Los Angeles, June 5, 2019
Reprinted from World Cinema Review (June
2019).
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