As a seasoned observer of human behavior, I find myself deeply moved by this intricate dance of characters unfolding in the narrative. Each character, flawed yet relatable, is a testament to the complexities of the human psyche.
Mark Twain lived longer than three out of his four children, including his eldest daughter Susy, who passed away at 24 years old. For her grave marker, he drew inspiration from a poem by the Australian author Robert Richardson called “Annette.” He transformed the lengthy ode into a lullaby by adapting its final stanza.
Gentle summer sun, cast your warmth upon us here,
In a touching tribute, Mark Twain composed a lullaby for his grown daughter, which he himself imagined as he waded through the Ligurian Sea waist-deep. Alongside Nancy, he stood, both clinging to each other against the relentless waves; the same waters that had claimed the life of their shared son, Jonathan. It seems that a child forever remains a ‘baby’ in the hearts of parents, and this sentiment may be most profound for those who mourn. A newborn is indeed a baby to a new mother, but what about a 24-year-old daughter to a 60-year-old man like Twain? A baby, again. What about a self-assured teenager to an English teacher in middle age and his wistful spouse? A son who requires a soothing lullaby to drift off to sleep.
In episode three, “Disclaimer” reaches its peak performance. Set aside the uninteresting and melodramatic present-day narrative, what remains are two touching tales that complement each other well. We see young Catherine and Jonathan immersed in their passionate longings, while Nancy and Stephen grapple with overwhelming grief a few days later.
As a movie enthusiast, let me start by addressing Robert and Catherine’s characters first. It’s not that I dislike them per se; in fact, I appreciate complex and unconventional characters. However, their portrayal seems implausible to me.
20 years ago, in the tranquil London suburbs bathed in sepia tones, Nancy Brigstocke provides a more refined recount of her life’s status. On a bright day, she lounges in her garden reading the “Culture” section, longing to witness the Rembrandt exhibition at the National Gallery. She is determined not to miss it, having already missed the Pollock and Monet displays, which were part of her middle-class life’s unseen modern masterpieces. (One might ponder what she was engaged in instead – perhaps spending a sunny day in her garden regretting the other modern masters she never got to see.)
In a conversation, Nancy mentions that a new Almodóvar film is coming out next month, but both she and Stephen know they won’t be going to see it. In fact, it’s been over a year since they last went to the cinema, though Nancy managed to convince Stephen to attend a Bergman retrospective at the BFI recently, which left him feeling puzzled and down. However, this dialogue is not spoken; rather, Nancy’s lines and Lesley Manville’s delivery of them in a quiet, resigned whisper give the impression of lingering dissatisfaction. This portrayal is subtle yet engaging.
Ah, the doorbell chimes and Stephen’s voice interrupts, shattering the tranquility. It’s the police, and they walk right in – not a good start. Instead of switching off the TV, Stephen mutes it instead, a familiar move for him. The senior officer gathers the family while his junior makes tea for the mourning family. In this scenario, Jonathan met with an accident in Forte dei Marmi just yesterday. The officer breaks the news to Nancy and Stephen, leaving them dazed, that they’ll need to travel to Italy to confirm the body. This offers a brief glimmer of hope, but alas, it’s merely a legal formality. It’s indeed Jonathan. They’ll have to retrieve him themselves; the consulate will assist. The tea, Nancy notes in the same quiet tone she once lamented about never seeing Impression, Sunrise, is milky.
After the police depart in a hurry, seemingly practicing an escape, the Brigstockes cling to one another. Nancy’s sobs escalate into loud wails. Stephen embraces her protectively as their barbecued steaks continue to cook. With the television still on, they are surrounded by a baldness infomercial, creating an incongruous setting for their sorrow. This brief moment of unity will not last long; Nancy and Stephen will eventually drift far apart.
The following day at Pisa’s airport, the Brigstockes find themselves huddled together, anxiously awaiting the British diplomat to escort them on a grueling excursion through Tuscany. Their first destination is the morgue. It’s him, undeniably him, but there’s an unexpected shock as they realize this wasn’t a tragic error. Stephen clutches his son’s icy hand tightly. Nancy tenderly caresses his handsome face and rests her cheek on his chest. She can’t remember the last time she embraced Jonathan so closely. Do teenage sons ever pause for their mothers to embrace them? (When was it that we last hugged our own mothers?) The sorrow of the situation gradually intensifies. Stephen envelops Nancy in his arms, and they seem stacked together on a screen like a totem pole. Stephen’s heart is shattering; Nancy’s is unhinged; Jonathan remains motionless. (In some ways, this scene mirrors Cuarón’s “Pietà.”)
Following this, the Brigstockes are guided to Jonathan’s dormitory, where Nancy feels an impulse to conceal the unprocessed rolls of film on the nightstand from her husband. Twenty years later, it is Stephen who will discover a pocket knife in Jonathan’s desk drawer – the very same one he would find in episode one. Initially given as a birthday gift to their son against Nancy’s wishes, this knife was meant to bring them closer. It seems Nancy hides the film from him due to the intimate nature of these items that she alone possesses. Even in death, Nancy yearns for fragments of their son that were solely hers.
In the end, the emissary escorts the Brigstockes to the shore where the drowning incident occurred, near the lifeguard station – a place with an ironic significance. If we trust Stephen’s account, rescuing Nicholas was the only unselfish deed Jonathan ever performed. Trust him if you will. Here is where the Brigstockes learn her name for the first time, the one they will alter in “The Perfect Stranger”: Catherine Ravenscroft. By the time Jonathan’s parents had arrived in Italy, the mother of the boy who was rescued had already returned to London, and Nancy swore to locate her.
Currently, she’s present on this beach, a spot where her son last saw her. Clad in a skirt suit and blouse, Nancy ventures into the ocean. She wades deeper, almost submerged. Deeper still. Stephen accompanies her into the waves, taking hold of her hand and allowing the chilly, gray water to wash over them time and again. They move with it, swayed by its rhythm. The sea seems to sing a soothing melody to them. This striking scene is soon followed by an unexpected one: Jonathan receiving oral sex, captured from the perspective of the person performing the act. It’s a stark contrast, a deliberate juxtaposition that may seem odd or inappropriate to some viewers.
In the heart of this narrative, I’m chronicling events one after another, yet Jonathan’s tale unexpectedly weaves itself amidst my protagonists’ journey through their sorrow. Though physically in the same city, they might as well be on different planets. The scene first introduces us to a somber Jonathan, cradling sleeping Nicholas close. Young Catherine expresses her heartfelt gratitude for his assistance, even going so far as to accompany them back to their lodgings. Yet, despite his efforts, Jonathan’s nerves are palpable, making speech feel like a struggle. He gently hands over Nicholas to the protective embrace of his mother, his limp arms encircling her instead. (I can’t help but wonder when little Nicholas last wrapped his tiny arms around Catherine.)
Here’s my take: In this intriguing film, I find myself at a crossroads, facing a pivotal moment for the character Jonathan – his “sliding doors” instant. The choice before him: bid farewell to this woman and embark on an endless journey or linger for one more drink, potentially altering his destiny forever. After Catherine puts Nicholas to rest in their hotel suite, she returns to the bar, extending a heartfelt thanks to Jonathan for sharing a pizza meal with Nicholas earlier, which she had bought as gratitude for him carrying her belongings off the beach initially.
In a more casual and straightforward way: Young Catherine is strikingly attractive, yet during their conversations over glasses of white wine at her luxury resort, she sometimes comes off as quite rude. She inquires, “Have you always been loyal to your girlfriend? Even in your thoughts? What about Kylie Minogue or Salma Hayek? Who do you find appealing?” Jonathan, visibly uncomfortable, eventually replies, “Kylie Minogue.
From this point, Catherine’s inquisition becomes increasingly detailed. She wants to know what actions he’d take with Kylie – specifically, where he’d kiss and touch her. The answers are on her mouth and breasts, with a confirmation that he’d also touch her nipples. Pressing the nipples is crucial, Catherine queries. Catherine hesitantly inquires if this fantasy, which she has just outlined for him, excites Jonathan. It appears he responds affirmatively, though it’s unclear due to the actor seemingly experiencing a minor seizure. (Is the character supposed to have a stammer? Is this poor acting or direction?) Once Catherine has sufficiently teased him, she invites Jonathan up to her room. Jonathan, however, momentarily forgets his intelligence and asks about Nicholas. Yes, Jonathan, that’s where Nicholas is sleeping. And you… are you her husband? Just take the key already. (Is he her partner or simply a friend?)
From now on, things become quite intimate and sensual, with Catherine lighting an excessive number of candles as Jonathan makes his way from the bar to her suite (Catherine strips down to her bikini bottoms, revealing her anxiety over her post-motherhood, yet flawless body). Mrs. Ravenscroft serves as the mentor in this scenario. Here’s how we could guide Kylie on touching breasts, given the context is a sex scene and a tutorial. Kylie, being a young mother, is rediscovering her sense of control and exploring things she finds difficult to discuss with her husband. However, the instructions she gives to Jonathan are simple: he should tongue her as she prefers, slow down, and explore gentle anal play. If Kylie can’t express these needs to Robert, can she communicate them at all with Jonathan? Engaging in this way seems to excite Catherine, while empowering Jonathan to perform accurately according to Catherine’s preferences, like a “sex guru.” They eventually progress to penetrative sex, but just as on the train to Venice, Jonathan is eager to satisfy his partner. Note that “Disclaimer” revolves around a character who usually reaches climax first.
20 years after this event, an older woman, who was once the subject of manipulation by this woman, will contact this boy’s father, aiming to control another member of the Brigstocke family. When she makes the call, Stephen will be enjoying some ten-year-old preserves that Nancy made before her passing – yuck. In a voicemail, Catherine expresses admiration for The Perfect Stranger, calling it a potent piece of fiction. Fiction again, Catherine; I’d wager you’re almost convincing him. Frankly, her message seems so off the mark that it’s surprising coming from a successful documentarian, someone who must be skilled at understanding people and coaxing them to share their stories.
In his perspective, Stephen expresses that he no longer requires Catherine to recognize him, his wife’s book, or her involvement in his son’s demise. To him, it is behind them. What Stephen truly desires from Catherine is suffering, akin to the ordeal he experienced decades ago when the skies turned gray in all directions as he ventured into the sea. He longs for a storm similar to the one they encountered in Forte dei Marmi. For Stephen, there has been no solace of a “warm summer sun” or “gentle Southern breeze.” Instead, he wishes Catherine to endure the same torment as he has, living under the oppressive cloud of what she did to his son.
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2024-10-18 23:55