The Phantom Carriage (1921)

New Year’s Eve is deemed as the one poignant day upon which humankind bestows great introspection and reflection on the past year in perspective of their life thus far. “What have I accomplished?” “How have I changed?” “Am I truly ‘one year older and wiser’?” “What does my future hold?” These are a small sample of the questions we may ponder on this day. Many celebrate the fresh hope and opportunity that arise from self-analysis, while others may unfortunately be left feeling despondent. “The Phantom Carriage” is a 1921 Swedish silent film directed by Victor Sjostrom displaying the extreme ends of this pendulum of thought taking place near the midnight hour of this very fateful day of contemplation.

Sister Edit (Astrid Holm) is a highly benevolent yet naive worker of the Salvation Army who is sadly near death due to tuberculosis. During the greatest depths of her illness on New Year’s Eve, she asks her mother (Concordia Selander) and dear friend Sister Maria (Lisa Lundholm) for a man named David Holm (Victor Sjostrom) to visit her. Before meeting this character, a sentiment of disdain and anger has already cultivated towards him. Upon meeting him, the contempt harboured towards him seems quite justified. He is also completely ignorant to the cautionary tale his friend Georges (Tore Svennberg) had told him about “The Phantom Carriage”. The very last person who dies on New Year’s Eve must drive the carriage, and they must also be at all costs obedient to Death itself. Little did Mr. Holm know that he would meet that fate and be greeted by a dear friend who, as in similar fashion to Jacob Marley, prompts ample pause for the “maturity of the soul” through past events, behaviours, and untimely consequences.

I would be amiss if I did not discuss the technical brilliance of this film. I cannot imagine that double exposure techniques were frequently developed in film at the time. This is absolutely central in increasing the effectiveness of telling this particular story. Furthermore, I found the tones of the images were interesting with brown being representative of indoor settings and blue of outdoors. Neither colour is particularly warm, potentially symbolizing the false sense of shelter in which Holm has enveloped himself. Furthermore, several images in this film have been highly influential in shaping the structure of “The Seventh Seal” and “The Shining”, two of the most iconic films in cinematic history in my opinion.

“The Phantom Carriage” itself is a burden to the lost spirits who have to carry its weight for a full year. However, it is also a symbol for the spiritual and emotional strain that many drag with them on a daily basis. Many of our actions and thoughts are resultant of fear, contempt, and anger. In other words, they are reactionary to the lack of core vitality and humanity necessary to achieving wholeness and true presence. Decency, kindness, and compassion embody the true human condition. Overall, this film does an exemplary job in reminding viewers of the importance of responsibility, love, and respect as integral aspects of our functioning. Grief for former possibilities can be devastating upon the realization of their potential.

I do not own any of the above images.

This post is part of the Happy New Year Blogathon hosted by Movie Movie Blog Blog! Please click on the link to check out other posts discussing films which take place on New Year’s Eve!

 

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The Whales of August (1987)

It is a well-known certainty that family members, while in the same bloodline, may have highly differing personalities. This can create and augment conflicts varying from furniture arrangement to political opinions. Tension may even heighten to a point of estrangement. This step may be necessary, as each familial dispute is highly contextual. In many circumstances and despite disagreements, family members can reconvene and support one another through celebrations as well as trying trials and tribulations. As individuals age, it is essential that the support of family members shine so that their elderly loved ones receive well-deserved attention and care. “The Whales of August” is a 1987 film directed by Lindsay Anderson whereby the necessities of support are central to the survival and quality of life of the main characters.

Libby Strong (Bette Davis) and Sarah Webber (Lillian Gish) are two elderly sisters living together in their childhood beach home on the beautiful coast of Maine. With loss of her vision, the death of her husband, and distancing of her daughter, Sarah cares for Libby on a daily basis. Their personas contrast greatly. Sarah is mild-mannered, welcoming, and still hopeful for life’s unique challenges and promises. Libby appears to be more brash, aloof, and pessimistic. This mix could lead to a seemingly cantankerous relationship. Other vibrant characters contributing to their daily routine include upbeat meddler Tish Doughty (Ann Sothern who was nominated for an Academy Award for her role), debonair Russian nobleman Nicholas Maranov (Vincent Price), and noisy handyman Joshua Brackett (Harry Carey, Jr.). Their interactions throughout the film reveal cumulative loss in many facets of life, the reality of impending death, the treasury of friendship, and the beauty of our natural surroundings.

The magnitude of star power in this film is absolutely spellbinding. Vincent Price is a vital figure in horror and suspense cinema, Ann Sothern is a strong presence in the history of TV and film, Harry Carey Jr. is a renowned character actor, and Lillian Gish is one of the most recognizable faces and pioneers in silent film. To me, Bette Davis is one of the most brilliant and fearless actresses in the history of cinema. She was quite frail at this point in her life. She had suffered several strokes in 1983 post-mastectomy relating to breast cancer as well as major familial conflict. However, her courage, determination, and ferocity shine through in this wonderful role as always.

Whales are frequently mentioned throughout the film. Their presence in the nearby ocean marks the impending change of seasons, but I feel that they symbolically represent nostalgia, home, and a portal to a more youthful past amongst the characters. As individuals grow older at any point in their life, they often lament and pine for more carefree days. Fears relating to health, time, and regret may cloud the present. However, this film demonstrates that a rich life, change of perspective, and subsequent flexibility of ideas can persist well into old age.

I do not own the above image.

This post is part of the Second Annual Bette Davis Blogathon hosted by Crystal of In the Good Old Days of Classic Hollywood. Please click on the link and head to her blog to read excellent tributes and movie reviews about this legendary, trailblazing actress!