Category Archives: Drama

When All Your Dreams Come True, But Your Heart Is Still Broken: Dearest, the Film

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Child trafficking is a huge problem in China: 20,000 to 200,000 children are sold every year. Sometimes, the biological parents sell their own children because they are unable to pay the fines for having 2 or more children. “Families ill equipped to pay penalties on top of the costs of raising a child—food, school tuition, etc.— sometimes opt to sell their offspring.” More often, however, children are stolen — snatched off the streets — and sold to orphanages or to wealthy childless families for adoption, sometimes for international adoption. The US State Department named China one of the world’s worst in child trafficking in 2017, and while the Chinese government acknowledges the problem, it refuses to release any statistics about its high abduction rates.

When children go missing, government officials often avoid investigating, or, worse, are complicit in aiding kidnappers by giving wealthy families who buy kidnapped children the appropriate legal documentation to explain the presence of multiple children in a country where the government has regulated births since 1980, and though the one-child-per-family law is now defunct, its legacy continues in high child trafficking rates. Worse, parents of kidnapped children are often persecuted as a “nuisance” and a “threat to social stability” for continuing to search for their children and for accusing the government of inaction and complicity in the kidnappings.

You wouldn’t imagine that a film about China’s child trafficking problem would be anything but grim, but director Peter Chan’s Dearest (Qin ai de, 2014), based on a true story of parents who are reunited with their kidnapped child several years later, turns the tables on viewers’ expectations by putting an ostensibly happy ending in the middle of the film. After the parents are reunited with their abducted child, the film becomes more gripping and powerful  as it explores the pain and heartbreak of everyone involved in child trafficking, from the grieving parents and the presumably guilty adoptive parents to the kidnapped children themselves. Though some of its subplot are irrelevant,  Dearest is one of the most scathing and brilliant stories of a painful and horrifying topic.

Huang Bo as Tian, Dearest ©

The first half of the film concentrates its story on the divorced parents. Father Tian (Huang Bo) runs a small internet cafe in Shenzhen and has many arguments with his ex-wife Lu (Hao Lei) over the best way to raise their three-year-old son Pengpeng (played by multiple child actors).

Hao Lei as Lu, Dearest ©

When Tian is distracted by a group of teen boys fighing in this store, he sends his son Pengpeng off to play with some neighboring children. The little boy gets distracted and tries to follow a car he thinks is his mother’s, and he gets snatched off the street (which is apparently a common way for kidnappers to abduct children in China).

Huang Bo as Tian, and Hao Lei as ex-wife Lu, Dearest ©

Somewhat reunited by their guilt and despair, parents Tian and Lu begin an initially fruitless search for their son. Since police and other officials are downright obstructive, the couple joins a support group for parents of missing children. Some of the most frightening scenes in the entire film deal with the way the group handles members’ grief, the violence that erupts in these grieving parents when they confront suspected kidnappers, and the terrifying “group-think” when these hopeless parents follow a truck they believe may carry kidnapped children wrapped in burlap bags in the back.

Zhao Wei as “adoptive” mother Li (kneeling), Dearest ©

About halfway through the film, Tian and Lu are told that their son has been located, and despite the fact that this seems as if it should be a happily-ever-after moment, Tian and Lu literally kidnap the boy, who not only does not recognize them, but who fights to remain with his “mother,” Li (played by renowned Chinese actor Zhao Wei).

Zhao Wei as Li, Dearest ©

From that moment, the film becomes a more morally complex and painful examination of good and evil as it focuses more on the disingenuously naïve adoptive mother Li, who insists to officials that her now-deceased husband only brought home “abandoned children” whom he found, and as the film focuses on the children Li “adopted” and raised as her own.

Zhoa Wei as Li, Dearest ©

Even without my being fluent in Mandarin, it was obvious to me that the most powerful actor in the film was playing the mother who was accused of raising kidnapped children. After Li loses her son (who is, indeed, Tian and Lu’s son Pengpeng) and her daughter, whose parents cannot be identified, Li begins a legal battle to adopt the daughter rather than leave her to be raised in an orphanage with hundreds of other children.

two of the actors playing the kidnapped children in Dearest ©

The few sub-plots, such as that with the lawyer and his dementia-afflicted mother, distract slightly from overall narrative, but the film as a whole is gripping and intense. Knowing that the parents find and “rescue” their kidnapped son does not detract from the power of the film. Instead, the film becomes more gripping the instant it flips its protagonists and antagonists: when biological parents Tian and Lu literally kidnap the boy Pengpeng themselves and run from villagers who are trying to rescue him for his screaming “mother,” Li.

Some of the film’s most heart-wrenching scenes involve not the parents but the two young children: neither remembers any mother but their “adoptive” one and neither can understand why they are no longer allowed to live together even though they are “brother” and “sister.”

Compelling and morally disturbing because it deals with both the victims and the offenders of child trafficking, Dearest won awards for Director Peter Chen and for Best Actress Zhao Wei. In Mandarin with English subtitles, Dearest is available to rent ($1.99-2.99 SD/HD, free for Prime members) from Amazon.

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Searching for the Meaning of Life on the Danish Island of Dr. Moreau: Men & Chicken, the Film

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H.G. Wells’ classic science fiction novel The Island of Dr. Moreau (1896) is a memorable tale of horror and misguided human aspiration to create a perfect race or, at the very least, an improved kind of human-animal. Moreau, a medical doctor forced to leave England because of questionable experimentation, lives on a remote Pacific island where he continues his morally dubious experiments trying to turn animals into humans — The Beast Folk — or turning humans into animals when they interfere with Moreau’s “research.” Whether or not such a thing is actually biologically possible, even with the introduction of human DNA into the animal surgeries as portrayed by the 1996 film version, the novel was published at a time when the discussion around the morality of vivisection (experimenting on living creatures) was becoming more vocal and public.

The Island of Dr. Moreau explores not only vivisection and Darwinian evolutionary theory but imperialism at its most rudimentary level. Though Moreau, an educated, white Englishman, is not colonizing the island or exploiting its natural products to enrich himself or his countrymen, he clearly considers himself superior to most other humans and certainly to any animal. His attempts to make the island population of beasts into “improved” human-like animals backfires, however, because he fails to take each species’ own inherent natures into consideration. For example, Moreau teaches his Beast Folk that it is bad to go on “all fours” and to hunt, kill, or eat anything else that goes on four legs, thoroughly ignoring the Beast Folk’s primary drives to survive. Though Wells himself called the novel “an exercise in youthful blasphemy,” it is a powerful exploration of human attempts to interfere with nature, cruelty to non-human species, and moral responsibility, especially in the matter of genetically “improving” a native culture or species.

Brothers Gregor, Franz, and Josef (back row), with Elias and Gabriel (front), Men & Chicken, Photo courtesy of Danish Film Institute

In the dark Danish comedy, Men & Chicken (Mænd og Høns, 2015), written and directed by Anders Thomas Jensen, viewers are taken to the island of Dr. Moreau’s geneticist counterpart long after he has successfully completed several experimental atrocities. Beginning and ending with narration reminiscent of a fairy tale, the film depicts five brothers’ unsettling discovery that they have the “most twisted family tree since Hamlet” (Variety). Though its premise is sinister and “suggests a cult horror movie,” Men & Chicken is, instead, a “staggering account of family dysfunction, secret-hoarding, and tragedy.”

The film has a “dry eccentricity that is entertaining and absurd,” with terrific ensemble acting. Though at least one critic found the film “creepy, weird, and condescending,” resembling The Island of Dr. Moreauvia Kierkegaard,” the film’s broader comedy eventually settles down into an intense investigation of the meaning of life, the purpose of civilization, and an exploration of what it means to be human. Men & Chicken begins as almost atrocious slapstick but ultimately becomes a poignant exploration of the meaning of life, family, community, and love.

Mads Mikkelsen as Elias and David Dencik as Gabriel, Men & Chicken, © Danish Film Institute

The film begins on simultaneously tragic and comedic notes. Gabriel (David Dencik, above R) sits at his dying father’s side in the hospital, waiting for his brother. By the time brother Elias (Mads Mikkelsen, above L), arrives, talking more about his blind-date with a psychologist he met online than their dying father, the old man has passed on, leaving his two sons a videotape that reveals he is not their biological father.

As if that weren’t distressing enough, Dad tells them that they did not even have the same mother. Elias, a sensitive thought slightly dim-witted compulsive masturbator, is more concerned about being abandoned by his little brother Gabriel than he is about learning that Dad was not their biological father. Gabriel, a professor and author with an uncontrollable gag reflex who has just been abandoned by his latest girlfriend because he cannot have children, wants to go meet their biological father, who is said to be alive and working at a sanatorium on the island of Ork.

On the trip, we learn more about their personalities, including Elias’ short temper and hatred of being interrupted, and Gabriel’s loneliness for a wife, along with his seemingly infinite patience. When the two brothers arrive at the appropriately creepy sanatorium where their father supposedly lives and works, they meet three other men, all of whom have harelips,* as do Gabriel and Elias. In no time, the three other brothers prove that they are siblings in personality traits as well as biological heritage.

Søren Malling as Franz, Men & Chicken © Danish Film Institute

Franz (Søren Malling), who carries around his taxidermy animals, has the same type of temper as Elias. The only brother with pronounced facial scarring beyond the harelip, Franz is also the only other brother with enough education to be a teacher, as is Gabriel.

Mads Mikkelsen as Elias, and Nicolas Bro as Josef, Men & Chicken © Danish Film Institute

Despite having no formal education, Josef (Nicolas Bro, above R) is as intellectual and philosophical as Gabriel, but rather shy, more like Elias.

Nikolaj Lie Kaas as Gregor, and Mads Mikkelsen as Elias, Men & Chicken © Danish Film Institute

And Josef (Nikolaj Lie Kaas, above L) is as affectionate and desperate to have sex with women as Elias, but as brave and independent as Gabriel.

David Dencik as Gabriel, Men & Chicken © Danish Film Institute

Because Gabriel is injured in the initial meeting with the three siblings at the sanatorium, he and Elias are invited to stay, at least until Gabriel recovers. Though the two brothers cannot see their father, ostensibly because he is ill, the two quickly become interested in staying on.

Bedtime stories with (L-R) Nikolaj Lie Kaas as Gregor, Nicolas Bro as Josef, Mads Mikkelsen as Elias, and Søren Malling as Franz, Men & Chicken © Danish Film Institute

Elias becomes emotionally attached to the three siblings, playing badminton in tennis whites, and hunkering down in beds pushed close together so the brothers can listen to bedtime stories.

Nikolaj Lie Kaas as Gregor, and David Dencik as Gabriel, Men & Chicken © Danish Film Institute

Meanwhile, Gabriel becomes obsessed with discovering why all the brothers look so much alike, despite their having different mothers, and why there are so many animals living in the sanatorium with the younger three brothers who were raised by the biological father. Gabriel is determined to meet their father, Dr. Thanatos, and to learn about his genetic research, despite Franz’s warning that Gabriel will end up “in the cage” for misbehavior or other infractions of the rules.

Ole Thestrup as Mayor of Ork, Bodil Jørgensen as daughter Ellen, and David Dencik as Gabriel, Men & Chicken © Danish Film Institute

When the brothers finally do learn about their biological heritage, along with their father’s mysterious and terrifyingly illegal behavior, their fragile emotional connection to each other is strained to the breaking point, causing the island’s fellow residents to get actively involved in the brothers’ personal drama.

Absurd, darkly comedic, and ultimately surprising, Men & Chicken is a poignant exploration of what it means to be human, to be in a family, and to truly love others. Though the ending might be considered happily-ever-after by some viewers, the conclusion of the film has very tragic undertones. After all, what goes on in the basement is the dark lining that makes this film a drama rather than a comedy of grotesque errors.

In Danish with English subtitles, Men & Chicken was one of three films shortlisted for Denmark’s entry to the 88th Academy Awards for Best Foreign Films: its ensemble acting is outstanding, as is its satire and irony.

Available for rent ($1.99-2.99, SD/HD, but $4.99 from iTunes) from Amazon (free for Prime members), iTunes, YouTube, GooglePlay, and Vudu.

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* The harelips caused some viewers to remark that Jensen was mocking people with disabilities or different appearances.

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The Citizen Kane of Noir Film: The Killers

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Orson Welles’ 1941 film Citizen Kane begins with the titular character, Charles Foster Kane, on his deathbed, whispering “Rosebud” just before he dies. A reporter then investigates Kane’s life in an attempt to discover the meaning of “Rosebud.” Though the reporter learns virtually everything about Kane’s life, which is revealed, in flashbacks, from the perspective of virtually everyone who knew Kane but never from Kane himself, the reporter never does learn the meaning of Kane’s last word. The alert viewing audience, however, does know it meaning: Rosebud is the name of Kane’s sled, from childhood, and represents the only time Kane was ever happy, the long-ago childhood time before his mother, who became wealthy after a goldmine was discovered on her property, sent Kane away to live with a stranger and be properly educated. Citizen Kane, shot in black-and-white with dramatic shadowing and lighting, has long been considered one of the best films ever made, winning an Academy Award for Best Original Screenplay for its multi-perspective, flashback narrative. “Citizen Kane is particularly praised for its cinematography, music, editing and narrative structure, which have been considered innovative and precedent-setting.”

Burt Lancaster as Swede, The Killers © Universal

The 1946 Noir film The Killers, “a neglected screen classic from director Robert Siodmak, is an intense, hard-edged, stylish film noir of robbery, unrequited love, brutal betrayal, and double-cross.” It has been called the Citizen Kane of Noir because of the film’s
structure, “a fractured puzzle of multiple narrations,” which closely mimics that of Welles’ famed film. The protagonist of The Killers — The Swede — carefully played by Burt Lancaster in his film debut, is just as baffling and flawed as Charles Foster Kane of Citizen Kane, though the audience itself is left to determine the meaning of The Swede’s enigmatic final words: “I did something wrong… once.” Lancaster’s subtly nuanced performance is only one of the elements that elevates this film to its classic status.

Charles McGraw and William Conrad as the contract killers in The Killers © Universal

The first twenty minutes of The Killers is adapted directly from Ernest Hemingway’s short story of the same name, complete with the author’s distinctive, idiosyncratic dialogue (which then disappears from the film: the remainder of the Oscar-nominated screenplay is original). Two professional killers walk into a diner just before 6p.m. and terrify everyone there by openly announcing that they’ve come to town to kill someone called “The Swede” and may just decide to kill everyone in the diner while they’re at it. Nick Adams, a recurring character in Hemingway’s stories, has a very minor role in the film. A coworker at the gas station where Swede pumps gas and repairs tires, Adams runs to Swede’s boarding house to warn him about the contract killers who are looking for him. Adams is stunned and confused by Swede’s resigned reaction.

Burt Lancaster as Swede, The Killers © Universal

Noir performances are always about the ways people cope with a bleak and violent universe, whether they arm themselves with [icy remoteness]… or with abraded cynicism, desperate defiance, or spellbound fatalism. This last response is distilled by Burt Lancaster in his screen debut, playing the killers’ target, The Swede. It is a surprising introduction for one of cinema’s most physically resplendent and powerful men: we first see his muscular body supine on a bed, his head blacked out by shadows. When Nick Adams comes to warn the Swede about the killers, the doomed man speaks out of the dark, his voice low and lifeless: “There’s nothing I can do.” When his face appears in the light, it is calm, frozen in a mixture of numbness and dazzled resignation—the same expression he wears at many points in the film.

Edmund O’Brien as Reardon, The Killers © Universal

Intrigued by the motive behind the contract hit and disconcerted by the fact that Swede was apathetic and even nihilistic when warned of the killers’ presence and openly stated intention to murder him, an insurance investigator named Reardon (Edmund O’Brien) attempts to piece together Swede’s life story. For some bizarre reason never sufficiently explained in the film, Reardon turns “detective,” determined to unearth every aspect of Swede’s life. (By the time Reardon does seem to have a motive for investigating Swede’s death, he’s already spent a significant amount of time researching Swede’s life story, so the motive of recovering robbery money is insufficient to explain the insurance investigator’s initial interest in Swede.)

Edmund O’Brien as Investigator Reardon, The Killers © Universal

Investigator Reardon, who carries a gun and shoots at people with impunity, discovers that Swede, a former boxer, had plenty of secrets, including quite a few criminal missteps, any one of which could have, theoretically, gotten him killed.

Burt Lancaster as Swede, and Ava Gardner as Kitty, The Killers © Universal

After learning about Swede’s involvement with the gorgeous and seductive girlfriend of a gangster named Big Jim Colfax, Reardon is convinced that the girlfriend, Kitty, had something to do with Swede’s death.

Ava Gardener plays Kitty, the film’s “duplicitous, strikingly-beautiful, vixenish, and unsympathetic femme fatale, [and the role] made Gardner an overnight love goddess and star.” Kitty seems to be the stereotypical femme fatale, a gorgeous woman who is “giving a performance of a performance, enacting a charade of feminine sweetness and frailty that satisfies the expectations and desires of their marks,” in this case, the big, dumb brute, Swede.

Virginia Christine as abandoned Good Girl Lilly, Burt Lancaster as Swede, and Ava Gardner as Kitty, The Killers © Universal

The Swede, as written, is truly a big dumb animal, deep enough to feel pain, no deeper. “She’s beautiful,” he states in open stupefaction at his first glimpse of Kitty. As she sings… he stands so close she likely feels his nostril steam on her neck. Later, he emerges from a bed­room and remarks with what seems goofy pride at basic bodily functions, “I fell asleep.” But Lancaster, built to defeat a white T-shirt as well as any man, imbues the animal with existential dimensions by the thwarted intelligence lighting his eyes.

Though no one ever relays Swede’s final words — “I did something wrong… once” — to Investigator Reardon, it becomes clear to the audience that Swede is not, in fact, as dumb or brutish as Big Jim and fellow criminals think. Further, Swede’s stoic acceptance of his fate when the contract killers arrive has more to do with his relationship with Kitty than with any crimes he ever committed, even if Swede never seems to regret the shabby way he treated archetypal Noir Good Girl Lilly (Virginia Christine).

Edmund O’Brien as Reardon, and Ava Gardner as Kitty, The Killers © Universal

And Kitty is even more calculating and vicious than anyone could imagine, even Investigator Reardon. The deeper Reardon delves into Swede’s past, the more endangered Reardon’s own life becomes. Can Reardon discover who ordered the hit on Swede — and why — before someone silences Reardon himself?

The Killers was considered somewhat radical when first released because it departed from the traditional, chronological narrative format, using flashbacks to tell the bulk of the story, but was nominated for four Academy Awards and was a box-office success. Available for rent ($2-99-3.99 SD/HD) from Amazon, iTunes, YouTube, GooglePlay, and Vudu.

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Slasher-Horror as Art Film: Psycho, the Classic

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Based on the 1959 novel of the same name by Robert Bloch, which was itself loosely based on the story of Wisconsin serial killer and cannibal Ed Gein, the 1960 film Psycho, directed by Alfred Hitchcock, was filmed in black & white, by a television crew, on a small budget, because Paramount had already rejected the project, claiming its subject matter was “too repulsive… and impossible” for film. Hitchcock, who had already optioned the novel, then financed the film himself. According to film critic Roger Ebert, Psycho (1960) “remains the most effective slashing in movie history, suggesting that … artistry [is] more important than graphic details.” Because Hitchcock was answerable to no one but himself, he succeeded in creating one of the greatest psychological horror films ever made. At the same time, he created an art film classic.

Janet Leigh as Marion, and John Gavin as Sam, Psycho © Universal

The story begins as if it were a crime mystery. Marion (Janet Leigh) is having an affair with Sam (John Gavin), and she is distressed that they cannot marry because of his debts. Later that afternoon, when she returns to work, Marion is asked to take a substantial cash deposit of $40K to the bank. Instead, Marion absconds with the money, hoping to use it so she and Sam run away together.

Anthony Perkins as Norman Bates, Psycho © Universal

That night, in a thunderstorm, Marion stays at an isolated and mostly unoccupied motel, managed by a young man named Norman Bates (Anthony Perkins). Though handsome, Norman is gawky, and he has an odd hobby: taxidermy. The room where he serves Marion dinner is filled with dead and stuffed birds of prey.

From the spooky house overlooking the motel, Norman’s mentally ill mother can be heard berating him, and this elicits Marion’s sympathy for him. It also makes her re-evaluate her own crime, which would hurt not only her employer but his client as well. Marion takes a shower, symbolically cleansing herself of her evil intentions since she has apparently decided to return the stolen cash, when…

The famous shower scene, with Janet Leigh, Psycho © Universal

You may or may not know about the most famous shower scene in all of cinematic history, but the rest of the story becomes an intense murder mystery as the audience’s sympathy is shifted from impulsive criminal Marion to horrified son Norman as he desperately attempts to protect his dangerous mother.

Anthony Perkins as Norman, Psycho © Universal

In a move that, even now, is considered outrageously audacious, Hitchcock directs the film’s viewing audience as much as he did its actors: about a third of the way into the film, he takes all the viewers’ attention away from the ostensible protagonist — played by the film’s star power, Janet Leigh — and focuses the story on the newly introduced Norman. “I was directing the viewers,” [Hitchcock] told [fellow director] Truffaut in their book-length interview. “You might say I was playing them, like an organ.”

Martin Balsam as Detective Arbogast, Psycho © Universal

As Norman is feverishly working to protect his violent mother from discovery, Marion’s sister Lila (Vera Miles) is desperately worried about Marion, who has disappeared. While asking Marion’s lover Sam about her whereabouts, the pair is approached by a detective (Martin Balsam), who has been hired to retrieve the stolen money. Sam and Lila encourage the detective to search for Marion, confident that some mistake has been made concerning the missing funds, which they assume Marion will be able to explain.

Vera Miles as Lila, John Gavin as Sam, and Anthony Perkins as Norman, Psycho © Universal

When the detective fails to contact them as arranged, Sam and Lila decide that they must investigate the mysterious happenings surrounding the isolated motel themselves…

Vera Miles, Psycho © Universal

Even if that means they must break into the spooky old house where Norman’s mother is obviously keeping watch over everything that happens down at the motel.

Nominated for four Academy Awards, including Best Supporting Actress for Janet Leigh, and Best Director for Hitchcock, Psycho is considered one of Hitchcock’s best films. Marred only by the final scene with the psychiatrist — which appears before the classic finale with Norman and his mother — Psycho is a classic thriller, with enough realistic spookiness to keep you up at night.

Available for rent ($2.99/3.99 SD/HD) or purchase (about $6.99) from Amazon, YouTube, iTunes, Vudu, and GooglePlay.

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Nolite te Bastardes Carborundorum: A Spoiler-Free Review of The Handmaid’s Tale by Guest Lydia Schoch @TorontoLydia

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Review of  The Handmaid’s Tale season 1
by Guest Lydia Schoch @TorontoLydia

Margaret Atwood’s The Handmaid’s Tale is a speculative novel about a woman who was kidnapped and forced into reproductive slavery after the U.S. government was overthrown by a group of religious extremists called the Sons of Jacob. Last year, I was thrilled when I found out that it was going to be turned into a TV series.

Today I’m going to tell you what season one of The Handmaid’s Tale was like and what I thought of it without giving away any spoilers for it. Let’s begin with the introductions of the main characters and a brief summary of the plot.

O.T. Fagbnele as Luke, Jordana Blake as Hannah, and Elisabeth Moss as Offred (Photo: George Kraychyk © HULU)

June was the protagonist. Before the United States government was overthrown, she was married to a man named Luke. They were one of the dwindling number of families who had been able to successfully have a healthy child. They named their little girl Hannah.

Unfortunately, this family’s happiness was short-lived. Fertility rates dropped so much in the place formerly known as the United States that it became rare for any pregnancy to lead to a healthy, viable baby. The Sons of Jacob, an extremist movement whose political platform was based on harsh, literal interpretations of certain passages from the Bible, believed that this widespread infertility was a curse from God.

When they gained power and formed Gilead, they passed punitive laws aimed to strictly control marriage, fertility, gender roles, and how people were allowed to live in an attempt to win God’s favour again.

Elizabeth Moss as Offred, The Handmaid’s Tale © Hulu

As you might have already imagined, fertile women were highly sought after in this new society. June and her family was no exception to this rule. June was prized because she’d proven herself fertile, and Hannah was prized because there were far more families hoping to adopt than there were children of any age or race who could be placed for adoption.

After being captured by the authorities, June was torn away from her family and assigned to be a Handmaid for the wealthy and powerful. That is, her only duty in life now was to bear children for couples who couldn’t have their own.

Rather than keeping her own name, June was renamed at every posting. Offred — or “of Fred” — became her new identity after she was sent to live with Fred Waterford, a top-ranking Commander of the new government.

Joseph Fiennes as Commander Waterford (Photo: George Kraychyk/Hulu ©

His wife, Serena Joy, was a wildly unpredictable mistress whose sole desire in life was to be a mother. Her jealousy of June’s fertility is only matched by her hatred of this arrangement.

Offred had a limited amount of time to conceive a baby with Fred. If she failed to become pregnant, she would be sent to a work camp to die a slow, agonizing death. While she waited to see if the monthly sexual assaults from Fred will result in a baby, she also quietly worked to find out what happened to her husband and daughter.

Are they still alive? Will she ever be able to see them again? Even saying their names was forbidden, but this didn’t stop Offred from fantasizing about what it would be like to be her family again.

Roughly translated, nolite te bastardes carborundorum is supposed to mean “don’t let the bastards grind you down.” It was a phrase she found scratched into the wood of one of the pieces of furniture in her room at the Waterford’s home. While Offred waited to see what would happen to her next, she had to figure out how to avoid being ground down to dust in the process.

The Handmaid’s Tale, by Margaret Atwood (1st edition)


As someone who has been a huge fan of the book for nearly 20 years, I was quite happy with how this story was translated to the small screen.

Gilead was a violent and dangerous place to live for anyone who stepped out of line, and the screenwriters weren’t at all afraid to show exactly what happened to people who broke the strict rules there. While I can’t go into any details about that part of the plot without giving away spoilers for everything after the first episode, I will say that this portion of the storytelling was exquisite.

There is a massive difference between maintaining the appearance of a virtuous society and actually constructing it in a way that benefits the very people it was originally meant to help.

Some of my favorite scenes were the ones that showed the stark difference between the outward appearance of someone’s life and the quiet reality of it behind closed doors. While most of the villains were at least outwardly pious, what happened when they thought no one was watching them was much more complex than following or breaking specific rules.

One of the other things I loved about this season is how it handled the character development. No one in this world was completely evil or good, including people who really did seem like they could be boxed in by these labels when I first saw them.

There were times when the good characters made decisions that I detested. In other scenes, characters who had been violent or cruel showed moments of mercy.

This is not to say that a single act of kindness can wipe away even the worst crime or that good people should be forever judged by their worst mistakes in life. All of these characters are a mixture of faults and virtues just like real people are, and that has permanently endeared them to me.

The science fiction in this universe has a very light touch. If this is not a genre you typically watch, know that The Handmaid’s Tale isn’t like most other scifi shows. Other than the mysterious origins of the infertility plague, everything that happened in this show could really happen in our world. Indeed, much of it already has happened at various times and in many different places.

By the end of the season finale a question lingered in the air. Would we let something like this happen to us if we began to see the signs of a real-life Gilead beginning to form?

Season two of The Handmaid’s Tale is tentatively scheduled to be released in April of 2018. Until then, I hope you will mull over this question and come up with your own answers to it as you enjoy season one.

The Handmaid’s Tale won several Emmy Awards, including Outstanding Drama Series, Outstanding Lead Actress in a Drama Series (Elisabeth Moss, as Offred), Outstanding Supporting Actress in a Drama Series (Ann Dowd, as Aunt Lydia), Best Guest Actress in a Drama Series (Alexis Bledel, as Emily), Best Directing for a Drama Series (Reed Dowd), and Outstanding Writing for a Drama Series (Bruce Miller).

Elisabeth Moss at 69th Emmy Awards, Photo by Kevin Winter, Getty Images ©

The Handmaid’s Tale is available on Hulu (free one-month trial subscription, $11.99 with no commercials, $5.99 with limited commercials), Amazon ($1.99 SD, $2.99 HD per episode, or $14.99-19.99 for season), and, for similar purchase prices, on YouTube, iTunes, Vudu, and GooglePlay.

Lydia Schoch is a science fiction author and longtime fan of Margaret Atwood’s stories. Lydia blogs at Lydia Schoch, tweets at @TorontoLydia, and lives in Toronto, Ontario.

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The Master of Pleasures and The Taste of Cherries: Vatel, the Film

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In April 1671, on the eve of the Franco-Dutch War, France’s King Louis XIV — the Sun King — desperately needed the military support and expertise of his country’s generals. The formerly rebellious but extremely famous Prince Louis II de Bourbon-Condé was thus informed that King Louis would “honor him” with a three-day visit to Condé’s magnificent Château de Chantilly. Since King Louis always insisted that his nobles and all their sycophants travel with him wherever he went, the honor of such a visit was dubious as well as incredibly expensive. Condé turned all the preparations over to his maître d’hôtel, François Vatel, who had approximately two weeks to prepare menus and festivities to entertain the King, the Queen, the Prince, the Princess, 600 nobles, and several thousand additional visitors. Vatel, formerly the most celebrated chef of his generation, had to orchestrate an extravagant festival which was to culminate in an elaborate banquet so impressive that the King would appoint Condé his general.

Château de Chantilly ©

Based on the true story of Vatel as it was related in several contemporaneous letters by Prince Condé and also by the notorious gossip Madame de Sévigné, as well as on multiple contemporaneous memoirs, the film Vatel was originally written by Jeanne Labrune, adapted into English by Tom Stoppard, and directed by Roland Joffé. It is unclear which of those three expanded Vatel’s “banquet story” into a moral examination of the jaded 17th century French aristocrats. Filmed on location at the Château de Chantilly, Vatel is visually stunning and sumptuous. The castle itself, the furnishings, the gardens, the costumes, the jewels, and the food are all breathtakingly lush. Beneath these gorgeous trappings, however, the Sun King and his nobility are morally corrupt and corrosive. Further, a bitter discontent seethes under the aristocracy’s brittle veneer. In this world, “as opulent as it is cruel,” the moral choices you make can either elevate or, literally, destroy you.

Julian Glover as Prince Condé and Philippine Leroy-Beaulieu as his wife, the Princess, Vatel ©

Vatel begins with a letter in which Louis de Bourbon, Prince de Condé (Julian Glover) is informed by the King’s minister Marquis de Lauzun that King Louis wishes to “visit and enjoy the simple pleasures of the country,” which, Lauzun continues, means that Condé should “spare no expense whatsoever to entertain the king.” Condé is distressed. He is in debt and on the verge of bankruptcy (a departure from historical fact: Condé was extravagantly wealthy). If appointed General in a war with Holland, however, Condé’s debts will be paid by King Louis, so the Prince is desperate to please Louis.

Depardieu as Vatel, and Glover as Condé, Vatel ©

Condé’s maître d’hôtel Vatel (Gérard Depardieu) is confident in his own abilities to entertain the King but more than slightly anxious about all the preparations: it is difficult to obtain supplies when one’s master has no money, even more difficult when one’s master is already significantly in debt to all the local producers and suppliers. As the guests arrive, Vatel, already encountering tactical difficulties concerning the entertainments, finds himself in the midst of multiple moral quagmires as well.

Murray Lachlan Young as Philippe of France, Duke of Orléans, Monsieur, The King’s Brother, Vatel ©

Monsieur, the King’s Brother (Murray Lachlan Young), though accompanied by his lover Marquis of Effiat, nevertheless wishes to have sexual relations with a young country boy. Vatel intervenes, igniting Monsieur’s displeasure and anger.

Julien Sands as King Louis XIV, Vatel ©

King Louis (Julian Sands), who has brought with him not one but two mistresses, as well as his wife the Queen, becomes interested in the Queen’s beautiful lady-in-waiting, Anne de Montausier (Uma Thurman).

Vatel himself becomes enamored of Anne de Montausier: not only is she lovely, but she seems quite different from the rest of the nobles and aristocracy.

Uma Thurman as Anne de Montausier and Tim Roth as Lauzun, Vatel ©

Unfortunately, the Marquis de Lauzun (Tim Roth) wants for Lady-in-waiting de Montausier for himself, so he bristles at both the King’s and Vatel’s interest in her. Lauzun sets spies on de Montausier as well as on Vatel.

Depardieu as Vatel and Thurman as Montausier, Vatel ©

Hounded by local suppliers, plagued by mounting disasters in the festivities, besieged by his master the Prince, threatened by Monsieur the King’s Brother, and manipulated by Marquis de Lauzun, the “Master of Pleasures” Vatel struggles to feed and entertain the royal guests and to resist his increasingly romantic feelings for a woman so far above his humble station.

Though the New York Times critic found Vatel “a costume drama with far more costumes than drama… as shallow as the court popinjays it seeks to expose,” the LA Times critic found it to be “a timeless tale of love and sacrifice.”

With strong writing and tremendous acting by all the principals, Vatel was nominated for awards in Best Art Direction, Set Decoration, Costume Design, and Production Design, winning a César (French Oscar) in Production Design.

Vatel is available for rent (or purchase) from Amazon ($2.99 HD), YouTube ($1.99 SD, $2.99 HD), iTunes ($2.99 SD), Vudu ($2.99 SD, $3.99 HD), and GooglePlay ($1.99 SD).

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