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3.1.16.13 The ship.
** What is the significance of the ship?
Although it is not stated explicitly in the film, Juliet's real-life trip to South
Africa with her father was to have been a sea voyage. The filmmakers obviously used this
fact as their inspiration for the 'ship' scenes. Also, in real life, but after the events
portrayed in the film, Dr Hulme sailed for England via Capetown and Marseilles with
Jonathon on the vessel "Himalaya" [nice tie-in with Sir Edmund Hillary...].
Except, of course, the two sailed alone. And since real life can be more bitter and ironic
than fiction, it turns out that Henry Hulme left New Zealand, and his daughter, long
before his daughter's trial for murder (see 7.3). Also, in real life, Juliet's mother and
Walter Perry left New Zealand after the trial in a much-publicized ship voyage (see 7.3).
Also, in real life, Honora Parker came to New Zealand by ship, and her voyage was said to
have made a big impression on her. It figures prominently in a key scene in
"Daughters of Heaven" (see 6.1). So ships and sea voyages figured prominently in
the real- life events and it was almost inevitable that the filmmakers should use this
image at some point in the film. In the film, the ship was meant to represent leaving New
Zealand and its dreary, painful life for a happy new life abroad. The ship is shown in the
excited, bittersweet moments of departure from the quay, when it is traditional to make
noise and laugh and cry and throw streamers.
** When do the 'ship' scenes appear in the film?
There are three 'ship' scenes in the film. The first appears near the beginning of
the film and the third near the end of the film. These two are paired and interwoven with
scenes of the murder of Honora Rieper and its immediate aftermath, though a full
appreciation of their relationship to these scenes can only be obtained after the end of
the film. The second ship scene is interwoven with Juliet's Aria sung from the balcony of
Ilam, a more subtle reference to the murder--the aria signals the moment when Juliet
agrees to help Pauline murder her mother. Perhaps for emphasis, the three 'ship' scenes
occur in a logical progression, so that the second logically follows the first, and the
third logically follows the second, but they are out of 'wraparound' chronological order.
All other events in the film can be reconstructed in their proper chronological order by
wrapping the preface of the film around to the film's conclusion.
** Were the 'ship' scenes imagined by anyone in
particular?
Yes, these scenes were 'imagined' by Pauline, or at least they are images shown
from the perspective of Pauline's life. But this is not obvious until the end of the film,
and can only be deduced with confidence in hindsight. However, since the film tends to
linger in the minds and emotions of the viewer (!) this point is not an obscure one.
** Who appeared in all the 'ship' scenes?
Dr Henry Hulme, Hilda Hulme, Juliet Hulme and Pauline Rieper appeared in all the
'ship' scenes as themselves. There were also other, nameless passengers shown, and there
were also nameless people shown seeing the ship off from the quayside. Henry and Hilda
Hulme are unknown in the first scene, identified in the second scene, and active in the
third.
** Who was significantly absent from the 'ship'
scenes?
The significance of a character's presence or absence from the ship can only be
appreciated after the film is over. However, significantly absent from the ship scenes
were: Herbert Rieper, Honora Rieper, Wendy Rieper, Nana Parker, Jonathon Hulme and Bill
Perry.
** What made the 'ship' scenes technically
different?
The 'ship' visions in "Heavenly Creatures" are haunting, eerie and deeply
unsettling, despite being devoid of violence or shocking surprises. Technically, they
stand apart from all other shots and scenes in the film. They are shot in monochrome and
sepia tones, like old photographs, whereas all other shots in the film are in vibrant,
saturated full color. The action occurs in various slow-motion speeds. Continuity is not
strictly followed, so there is some overlap of shots and missing segments and the frame of
reference moves discontinuously. And sound is used brilliantly.
** How are sound and dialog used in the three
'ship' scenes
There is an ominous wind sound in the first ship scene which builds as the scene
progresses until it washes out the end of the scene. Is used to echo the emotion of the
hysterical scene with which it's paired. The only other sound is from the two girls,
laughing as they run. Both call out "Mummy!," Juliet first. The second ship
scene is accompanied by Juliet's a capella aria. Both girls again call out
"Mummy!" We hear the 'smack' of their happy kiss. The final ship scene has only
voices and selected foreground sounds. The tone is muffled and there is a noticeable
reverb. The scene is paired with the murder and its extraordinary soundtrack.
** Why were the 'ship' scenes made to be
different?
"Heavenly Creatures" is chock full of fantasy and imagined scenes and
characters, yet the 'ship' scenes are set apart stylistically even from the other fantasy
scenes. There are probably three reasons for this. First, for artistic effect, because the
first and third form symmetric 'bookends' near the start and finish of "Heavenly
Creatures." Second, for emphasis. The director may be drawing attention to them to
say, in effect, be sure to notice these scenes because they are particularly important to
the film. And third, because they are qualitatively different from the wild fantasies in
the film. The 'ship' scenes don't involve fantastic paradises or mythical beasts or
imaginary characters, but the real people shown in the film.
** Were the 'ship' scenes dreams?
There was no explanation offered as to what was being shown- -was it a memory, a
flashback, a flash-forward, a premonition, a dream, a treasured fantasy, an artistic
interpretation of a feeling? There was no information given as to how the scene compared
to the 'reality' within the film, and the viewer was given no guidance about how to
interpret the scene or how to react to it. The style is dream-like, but they are not
likely to be simple daydreams. Sepia toning is often used to associate a scene with
photography and age or, in other words, with a memory. This doesn't strictly follow in
this case, either. The subject of the 'ship' scenes is very much that of a familiar,
long-nurtured wish or dream of Pauline's. The final perversion of the wish is like the
kind of bitter regrets Pauline would have had in the days, weeks, months and years after
the murder. Perhaps we are witnessing the shattering of her precious dream at the moment
it is broken, told as a forward memory. So, it appears as if the 'ship' scenes defy simple
categorization, although their meaning is quite readily grasped by the viewer. They are
clever, key artistic devices used by Jackson to convey very important information and to
effect powerful emotional responses in the viewer. But they are hard to label--just like
the girls' relationship.
** What happens in the 'ship' scenes? What is
learned?
The first 'ship' scene poses a mystery to the viewer. In the first 'ship' scene,
Pauline and Juliet both run and laugh happily, but toward the anonymous turned backs of a
man and a woman who can't be identified. The relationship between the characters is a
confusing one. Both girls cry out "Mummy!" yet the woman at the stern of the
ship never turns around. And, since the scene is interwoven with the aftermath of the
killing, in which Pauline says "It's Mummy! She terribly hurt." the viewer might
even get the impression that the woman at the stern is injured or killed, and the girls
are laughing at the thought of this violence. This confusing juxtaposition of contrasting
scenes, with their parallel actions and words, is deeply unsettling and mysterious. The
second ship scene takes place during Juliet's aria and provides a happy, surprise
completion to the first ship scene, ironic and unsettling in the context of the balcony
scene with which it is paired. The mystery couple at the stern turn around, just as the
girls arrive, and it is excessively-effusive Henry and Hilda Hulme. Of course the girls
calling "Mummy" now has a completely different meaning from what we had feared
during the first ship scene. All four embrace, and smile and kiss, and the happy scene is
sealed by Juliet and Pauline hugging and then, sealed with a 'smack' on the soundtrack,
the two kiss in front of the approving Henry and Hilda. The second ship scene confirms
that the events shown are Pauline's fantasies and thoughts. In this scene Pauline has
linked the acquisition of her goal--the perfect family, complete acceptance of her being
with Juliet in whatever manner (don't forget that kiss)--with the decision to murder
Honora, conveyed by Juliet's aria. There is just enough repetition and overlap in this
scene to give the impression it was replayed over and over by Pauline, a cherished
'dream.' There is no room in Pauline's dream for any of the unpleasantness in her
life--her family, for example, is completely absent; they are not even shown waving
goodbye--and she also callously discards Juliet's brother from the scene. Juliet's parents
are shown to be a loving, devoted couple, so there is no place for Bill Perry, either. Or
history, or reality. And Pauline and Juliet are not shown to be adult lovers setting off
alone, together into the world, free of the interfering adults in their lives, but they
are shown to be much more like close and loving sisters and part of a family. Of course,
there is that kiss, to make things ambiguous... These are Jackson's most explicit
statements in "Heavenly Creatures" about Pauline, about what may have motivated
her to plan the murder of her mother and about her relationship with Juliet. He is stating
that Pauline had been looking for an escape from her dreary life and she was very much
attracted to the idealized lifestyle represented by the Hulmes--both their material
wealth, and also the intellectually stimulating and encouraging environment their house
provided. She was single- minded in her devotion to this ideal and was quite prepared to
be ruthless to achieve her dream--she was certainly willing to jettison all of her family
and anyone else who interfered, happily, and without a second thought. And, Jackson is
saying quite clearly, with just a slight amount of residual ambiguity, that the girls were
not independent lovers in Pauline's eyes, but sisters pure and simple, if unusually close.
The dream died for Pauline in the third 'ship' scene. First Juliet, distraut on the deck
of the ship, cried out "Gina, hurry!" a terrible line when connected with the
brutal murder occurring in counterpoint to it. For several more cuts to the ship, the
girls were speechless, making whimpering, crying noises and reaching out for each other.
Finally, Pauline screamed out in pain and Juliet cried out, softly, "I'm sorry."
Behind her, on the ship, there was still the image of the nuclear family, but it was shown
to be plastic and oblivious, and fragmenting, leaving Pauline to her fate, in the
emotionally devastating final moments of the film. Pauline cried out "Julie,"
her 'sisterly' name for Juliet, not "Deborah," her Borovnian fantasy name,
"I'm coming. Don't go!" Others, laughing and waving silently on the quayside,
moved to follow the departing ship, leaving Pauline behind. Juliet cried out again,
softly, "I'm so sorry!" over and over, straining to reach out to her, and
Pauline was reduced to screaming and crying "No!" during that agonizing
fade-to-black. The act Pauline thought would provide her with the realization of her
fantasy--the murder of Honora--is causing its exact opposite. Pauline was left alone in
the world: Juliet's greatest fear, come true for Pauline. There were no Riepers brought
back to comfort the despairing Pauline on the quayside, for she had rejected them
completely. This wrenching, sad image is consistent with Jackson's statements from the
first two 'ship' scenes. And they may have something else to say about guilt and blame
(see 3.1.18).
[lfr] An early draft script (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.) has Pauline screaming "No!" and calling out to Juliet, hand outstretched--and a pull back revealing the pier empty except for the body of Honora at her feet. I'm delighted they didn't use that--I don't believe it would have worked as effectively as the filmed ending.
