DEAD MAN WALKING
US, 1995, 130 minutes, Colour.
Susan Sarandon, Sean Penn, Scott Wilson, Raymond J. Barry, Lee R. Ermey, Robert Prosky.
Directed by Tim Robbins.
Dead Man Walking is based on a best-selling memoir of her work with prisoners, especially on death row, by a Louisiana nun, Sister Helen Prejean, who acted as technical adviser on this film. Susan Sarandon met Helen Prejean in New Orleans during the filming of The Client, read her book. Tim Robbins wrote the screenplay and directed the film.
Sarandon plays Helen Prejean midway between Marmee (Little Women nice integrity) and Regina (The Client forcefulness and shrewdness in fighting for a victim and a cause), with the commitment of the mother in Lorenzo's Oil but in a more self-effacing style.
In fact, it is probably the best portrayal of a contemporary nun on screen in recent decades. (Comparisons can be made with Gosia Dobrowolska and Paul Cox's fine interpretation of a 50s nun in The Nun and the Bandit or Judith Ivey's practical and sensible 80s nun in Robert M. Young's We Are the Children.) Judging from the accuracy of the dialogue, Helen Prejean advised Tim Robbins closely. The sequences with the two nuns at home and with the prison chaplain are just right.
For dramatic purposes, especially since some of the characters portrayed are the victims of crime as well as their grieving and angry parents, two actual convicts on death row in the early 80s have been conflated by Robbins to create Sean Penn's character. He writes to Sister Helen who is living in a small apartment with another nun working with local black families, asking him to visit her. She has never been in a prison and struggles, especially after meeting him and finding him violent, racist and insolent, as to what he wants and how she can minister to him. (Penn is thoroughly persuasive in the role.) She also has to think through her attitudes towards capital punishment.
One of the strengths of the screenplay and Robbins' creation of the Penn character is that, while he remains quite unsympathetic to the end, the intellectual and emotional reasons for and against execution are dramatised fairly. Audiences are drawn to identify with Sister Helen in her compassionate outreach, but they are jolted several times to find that the compassion agenda has blind spots, especially concerning the victims' parents. Raymond J. Barry and R. Lee Ermey give effectively contrasting performances as the two fathers and give the film more depth.
Audiences pro capital punishment will not be persuaded to change their minds but will have to look again at their motives and the consequences of state violence. Audiences anti capital punishment will have their stances reinforced but will have to extend their compassion to those who have been hurt and are driven by a sense of revenge and justice. (It would be a pity if, after the harrowing sequences of the execution, audiences did not note and reflect on the final images of the film with Susan Sarandon and Raymond J. Barry.)
Not that the film does not have its lighter moments - and they are needed. The screenplay tries to help audiences understand the call and life of a nun. The celibacy issue is handled briefly, tellingly but unobtrusively. Helen Prejean's life is given credibility even if it is only for a small number of women.
While the subject matter and treatment fit the image of Susan Sarandon, they are a surprise with regard to Tim Robbins. Audiences are used to his wry, bemused smile which gets him through drama like Shawshank Redemption, romantic fluff like IQ and sardonic comedy like The Player. His own Bob Roberts was a tour-de-force (political tour-de-farce) combination of genres, visual styles and editing flair.
1. The film's acclaim, awards?
2. The depth of the film in terms of characters, issues? The foundation of the film with Sister Helen Prejean? Her book and its popularity? Tim Robbins' conflation of characters in order to save reputations but to give an insight into Sister Helen's experience? The contribution of the performances?
3. The atmosphere of Louisiana: the black neighbourhood, the roads and highways, the prisons, the courts, the church? The prison and the re-creation of the execution? The editing and pace? The musical score and its atmosphere? The range of songs, Bruce Springsteen's theme? The choral music? The hymns?
4. The religious dimensions of the film? The 1990s and the Catholic church? The role of nuns, their contemporary style, the range of ministry, a sense of mission, witness to the gospel, the question of the religious habit, different style of community, small community living, prayer? Issues of celibacy? The comparison with the clergy, the chaplain and the church with its regulations? Sacramental ministry? The bishop, his sense of justice, appeal to the governor, the ritual and his conducting the funeral? The credibility of the Catholic church and its fidelity to the gospel, its work in the world in the 1990s?
5. The translation of a biography to film? The rearranging of incidents, updating to the '90s from the '80s, conflating characters? The spirit of the book?
6. The dramatic structure of the film: beginning with the journey of Sister Helen? The memories of her vocation, her family, the ceremony of her reception of the habit? (The home movies indicating a period before the Vatican Council, contrasting with the present?) Sister Helen in the church? Her friend and his giving her the letter from Matthew Poncelet? The puzzle about the letter? Her work, teaching, in the black neighbourhood? Her decision to go to the prison? Her memories inserted throughout the action of the film? Her final dream - with Matthew sitting at the family table? The introduction to Matthew Poncelet: the information given, the glimpses of the crime, the flashbacks to the court proceedings? The gradual information about him? The expansion of the flashbacks about the crime, the execution - and the vivid and realistic memories coming to him? The glimpse of Walter and Hope appearing at the time of his death? The subplot of the parents of the victims: vengeance, Sister Helen's visits, the possibilities of justice and reconciliation?
7. The portrait of Sister Helen Prejean? Susan Sarandon's screen presence and performance? The background of her reception of the habit, her background as a nun, her commitment to her vocation? Her explanation of the vow of celibacy, the nature of intimacy without sexual experience in intimacy? Her loneliness - and her questioning of her life, yet her fidelity? The possibility of being spiritual adviser to Matthew? Her age, experience - and her life in community, with Sister Colleen, going to the Mass with the enthusiastic black music? Seeing her at work? With the children, her poetry - and the smudging of the poem in the magazine? Her driving to the prison, her uncertainties and her not pretending to be certain? The interrogation by the chaplain, his putting her down, her accuracy about the Pope's wanting distinctive garb rather than a habit? Father Farley trying to warn her off? Her meeting of Matthew, the initial reaction, his story from Father Farley, human friendship, her not liking him, yet her wanting to do the right thing? Contacting the lawyer? Watching him on television, the death sentence and the date - and his phone call for help? The television information portrayal of Poncelet? Her presence at the interrogations with the lawyer, her puzzle about his attitudes? Her ability to talk with him, find topics of conversation? The confrontations with him? Her own family's response, the family dinner and discussion? Her decision to visit Matthew's mother, the suspicion, getting her in, her story? Her decision to go to the appeal board?
3. The appeal board and the further information about Poncelet? Sister Helen and her looking at the parents of the victims? Mr Delacroix and his being a Catholic, confronting Helen, her willingness to help, offering the phone number - and his saying that she was arrogant? The Percys and their disdain? The support from the lawyer? Her own support of Mrs Poncelet? Her visit to the Percys, the detail of their story, their love for their daughter, the re-creation of that fatal night, the finding of the bodies? Thinking that she had changed sides? Their reaction to her decision to be Poncelet's spiritual adviser? Ordering her from the house? Matthew and his request for her to be the adviser? Her presence at the vigil on the night of the execution - and her community with her? Her observation of the police and the protesters at the vigil - the pro capital punishment lobby and the victims' parents? The discussion about the details of Matthew's burial, the humorous discussion about the suit and Sister Colleen getting it, the request of the congregation for the grave, their acceptance of this - and the humour about Sister Celestine, the severe celibate, and her lying for eternity beside Matthew? The local people turning hostile against Sister Helen because of Poncelet's racist statements? The few days before the execution, her trying to help? Hearing him on television and his racist attitudes which he spoke of in the prison, his talking of being a terrorist, his pro-Nazi attitudes? The sense of urgency and his change of heart, his foolishness in speaking to the media? His discussion about being a victim and despising victims? The lie detector and its ineffectiveness because of stress? Her continued presence, the talking, discussions about the Bible, the joke about W.C. Fields and the loophole, the quotes from John 8, "And the truth will set you free"? Helen fainting and the support of the hospital staff? Her discussion with the nurse about the lethal injections? Her discussion with the official who tied down the left leg? The discussions about repentance not being just a mere ticket to Heaven? Her trying to depth Matthew's experience and lead him to responsibility? The significance of her going to the group therapy with Mr Delacroix and his talk about his divorce, her previous visit to the home and his explaining his family situation, his wife's different way of coping, the memories of his only son and the end of his family line? The appeal to the governor, the governor and the road hoardings and the television declarations about capital punishment? The appeal to the bishop and his going with the lawyer to the governor's appeal?
9. Helen going to her parents' home, the memories of what she was like when a girl, her mother's comments about her care for all the strays? The dream and Matthew at the table? Her presence with Matthew on his last day? His change of heart, talking more honestly, the truth setting him free, taking responsibility for what he did, his admission of guilt and his confession (and the prison bars serving as a confessional grille?)? Helen and her hearing the confession - but not able to give sacramental absolution? Father Farley and his interview with Helen and his desire that Matthew receive the sacraments? Helen's presence at the visit of the whole family? The asking about the hymn and the non-singing of a hymn (not to excite and give stress to the prisoner before execution)? Her singing of the hymn, her quoting of Isaiah 43 as Matthew walked to his execution? Touching his shoulder and kissing his shoulder? Saying that she would be the face of love as he died and for him to look at her? Her reaching out, her praying?
10. The pathos of the funeral, the family present, the bishop and his conducting of the ceremony? Mr Delacroix and his watching, not knowing why he was there? Helen's discussion, her return to the neighbourhood, the children and the people all welcoming her back? The final sequence of her going into the church, the camera looking in the window, her kneeling in prayer with Mr Delacroix? Each trying to help the other to find some solution?
11. The end of Sister Helen's journey? The learning experience, her uncertainties and mistakes? Her attitude towards capital punishment? The demonising of the criminals? The personalising of the criminals? The understanding of the pain of the relatives of the victims?
12. Matthew and the story of the crime? The ugliness of the crimes? His family background, his mother and her trying to manage with all the sons? Matthew's story about his father giving him his first drink at the hotel with the men, aged 12? His father's death when he was 14? Share-cropper? Racist attitudes? The contact with the criminals, the drinking and the drugs? Aping the older criminal? His gradual revelation of the story, his denial of his responsibility, his lying? The grimness of his taunting the Percys at the trial? His final telling of the truth, the truth setting him free, the visualising and the graphic detail of the murders and rape? The final death vision of his two victims?
13. Sean Penn's performance as Matthew Poncelet? Hearing him read the letter, his motivation in writing the letter, Helen's visit, his reaction to her being a nun, his interrogation - and later trying to flirt with her? His dismissal of Father Farley as too obviously religious? Being able to talk, behind the bars, handcuffed, lighting the cigarettes? His concern about his family and his mother? The growing friendship with Helen, his ability and inability to trust? His explanations to the lawyer? The point made about his being poor, only the poor on death row, unlucky in getting an inexperienced lawyer, whereas the other criminal had a more experienced lawyer? The build-up to the appeal, the reasons given for the turning down of the appeal? Testimony given to the board? The governor and his political agenda about cracking down on crime? The discovery that Matthew was racist, despising people as victims? Admiration for Hitler, talk about terrorism? His response to the Bible, gradually discovering and being able to discuss the death of Jesus? Being over-literal, thinking repentance was a ticket to Heaven? The measurement for the coffin, his request for the lie detector? The days closing in, his getting weaker? The trust in Helen and his confession, the emotional impact on the audience of the confession and his accepting responsibility? The family visit, talking to his mother and brothers? The transition to the silences? Wanting to wear his boots? The final meal, the final phone call? Getting ready, shaved, not being able to wear the boots? Seeing Helen as the face of love? Her touch, her kiss, the truth? His being laid out, standing before the witnesses as if he were a crucifix? His speech of apology to the parents, his speech against murder of any kind including his own and that of the state killing criminals?
14. The portrait of the lawyer, his friendship with Helen, his generosity, working with his team, the hard work of the team and the volunteers (and the father taking his son to the dentist)? Discussions with Matthew? Support of Helen? Going to the governor?
15. The nuns, Colleen and her work with Helen, sharing the apartment, supporting her? Their religious order and the giving of the grave? Present at the vigil outside the prison?
16. The glimpse of the officers, Helen asking them about their jobs, about the emotional impact of executing prisoners? Their own feelings - yet their sense of duty?
17. Mrs Poncelet and her hard life, her experience with her kids, the children being persecuted at school? The discussion with Helen and her gratitude to her? Her tears at the appeal board? The final visit, not being allowed to touch her son? The glimpse of the brothers?
18. Mr Delacroix and his grief, present at the hearing with his wife, accusing Helen of arrogance? His wife leaving him, Helen's visit to his home, his explanation of his life, the love for his son, the house and the experience in the house? Going to the group for therapy and telling them that his wife was divorcing him? At the execution, witnessing the funeral, not knowing why he had come, agreeing that he and Helen could help each other - and the final glimpse of a possible reconciliation as they prayed in the church?
19. The Percys and their anger, at the appeal board, despising of Helen, their sympathy during the visit, the emotional explanation of what had happened? Their turning on Helen? The anger of Mr Percy even at the execution?
20. The glimpse of the teenagers as persons, their experience, hopes, achievements, in the lovers lane, set upon by the criminals, the ugliness and torture of their ordeal?
21. Father Farley, his role as chaplain, the letter of the law, his talking down to Sister Helen? Allowing her, however, to do her work? His explanation about the criminals, their being conmen? Wanting a sacramental reconciliation - no more, no less?
22. The sympathetic bishop? The face of the church? His going with the group to the governor? Agreeing to conduct the funeral?
23. The issues of capital punishment, the film's stances, presenting the pros and cons? The focus on persons and not demonising the criminals? The sympathy for the victims? Sense of justice? The difference between justice and revenge?
24. Themes of redemption, the gospel message, the role of Jesus, by taking responsibility for actions - and that being the truth that sets people free?
