THE WHALES OF AUGUST
US, 1987, 90 minutes, Colour.
Bette Davis, Lilian Gish, Ann Sothern, Mary Steenburgen, Tisha Sterling, Margaret Ladd, Vincent Price.
Directed by Lindsay Anderson.
The Whales of August is based on a play by David Berry who adapted his work for the screen. It was directed by Lindsay Anderson, working for the first time in the United States. Anderson is more noted for his rather sharp satires: If, O Lucky Man, Britannia Hospital, as well as his adaptations of plays such as In Celebration, Look Back in Anger.
The film is a wonderful star vehicle for Bette Davis in her late 70s and Lilian Gish, 90 when she made the film. The screenplay offers strong roles for each actress and, with their differing styles, they nevertheless mesh. The supporting cast includes Vincent Price, in his late 70s, as well as Ann Sothern, the same age. (Ann Sothern received an Oscar nomination for her role.) Harry Carey Jnr, 67, is the comparative youngster with the rest of the cast.
The film focuses on the Maine coast, takes us back to the early part of the century (with young actresses taking the places of the older, including Mary Steenbergen as Sara, Margaret Ladd as Libby and Tisha Sterling (Ann Sothern's daughter) playing Tisha.
The film focuses on old age, mutual dependence, care, the cantankerousness of age and the prospect of dying. But it is done with a light and sympathetic touch.
The musical score is by former Animals musician, Alan Price, who scored many of Lindsay Anderson's films.
1. The impact of the film as drama? The stars? The images of the stars? Lindsay Anderson's work?
2. The adaptation of the play, the verbal strengths, characters? The continuing moving to the water and the coastal scenery as a motif for the passing of time and atmosphere? The musical score?
3. The title: the reference to the past, changes, the whales never coming again, never to be seen again or the past recaptured?
4. The sepia introduction, the three women, friendships, going to see the whales, on the coast?
5. The shift to the present: the structure of the one day, the introduction to the characters, their interactions, the problem of Sara and Libby living together and the resolution of the problem?
6. Lilian Gish's portrait of Sara: her age, the background to her marriage and love for Philip, his photo and talking to him, the anniversary? Her being alert, ever busy, in the garden, the rose with the water, the greetings for Mr Maranov, the house being hers, preparing Libby's breakfast, Libby's cantankerous attitudes, comments on her dress, their mild arguments, sarcasm? Their memories, Sara brushing Libby's hair, the comments on their age and their-mother's age, their mother's hair? Libby's attitude towards death? Memories of their comparisons of the warmth and coldness of marriage, Libby's daughter neglecting her? Mr Maranov's arrival, wanting to go fishing? Joshua, his work and noise, the question of the picture window, the tea? Tisha's arrival and her gossip, Hilda's death? The going for walks? The silences? The estate agent being brought by Tisha and the question of the sale of the house? The preparation for the dinner, changing dresses, hosting Mr Maranov, Libby's not wanting him to come? Candlelit dinner, the atmosphere, listening to his Russian stories? Libby's outburst and Sara's apology?, The full moon, Mr Maranov telling the truth? Libby's bad dreams? Morning come again, the cycle being repeated? Joshua and his arrival, Libby's decision about the picture window? Sara's temptation to leave, her decision to stay?
7. Bette Davis' portrait of Libby: the memories of her marriage and its coldness, Matthew and the death in November? Her daughter's absence? The contrast with Sara's marriage? Her cantankerous attitude? Her blindness and coping with it? Getting up, finding her way around the house, less alert than Sara? Attacking her for continually being busy? Wanting to go to Philadelphia and the heat to prevent busyness? Not eating her breakfast? Concern about her dress and the blue? Mr Maranov and her not liking him? It being Sara's house? The arguments, the sarcasm, the memories, her hair being combed, memories of her mother, age, attitudes towards-death? Cantankerous towards Joshua and his noise? Enjoying Tisha's visit and the gossip? Sitting outside, making Sara leave her painting to take her for a walk? Silence, resenting Mr Maranov, eventually changing, her behaviour during the meal, listening to Mr Maranov's stories, probably realising the truth? The severity of her nightmares? Morning? Love for Sara? The decision to have the picture window?
8. Tisha and her friendship, gossip, Mr Maranov, flirting, the picking of the berries, having tea, meeting Joshua, her opinions, gossip, her returning with the agent - and her mistake? The mellow touch?
9. Mr Maranov and his presence, fishing, his gallant manner, bowing, spending his life visiting friends, permission to fish, his success, flirting with Tisha, having tea with the sisters, coming back for the meal, dressing, preparing the fish, telling his stories about the Russian court, the emerald ring and his finances, hurt by Libby's outburst, telling the truth about his life, deciding not to come back?
10. Joshua, friendliness, his noise and banging, his work, the picture window?
11. The agent and the possibility of selling the house? His talk, Sara asking him to leave?
12. A portrait of sisters, friendship and love, clashes and care, families and memories, age, illness, burdens, premonitions of death?
