THE FIXER
US, 1968, 130 minutes, Colour.
Alan Bates, Dirk Bogarde, Georgia Brown, Hugh Griffith, Elizabeth Hartman, Ian Holm, David Warner, Carol White, David Opatashu, Peter Jeffrey, Michael Goodliffe, Murray Melvin.
Directed by John Frankenheimer.
The Fixer is an impressive film version of Bernard Malamud's novel about the everyman figure, the suffering Jew, the sufferer of the twentieth century. It is a relentless film in its picturing of Jacov Bok's life, his success, persecution, torture and martyrdom. It finally gives relief in picturing his victory.
John Frankenheimer has given great attention to detail in this film which makes it something of a solemn film. It comes amongst his films of ageing and physical exertion (The Gypsy Moths, Grand Prix) although the film closest to it in time is the small anti-war comedy-fantasy, The Extraordinary Seaman.
Alan Bates was nominated for an Oscar for this portrait of the fixer. Bates is an actor who has been in only worthwhile films. His range extends from the lightness of Josh in Georgy Girl to the sturdiness of Gabriel Oak in
Far From the Madding Crowd. Apart from Dirk Bogarde as the tragic Bibikov, most of the numerous stars in this film give cameo performances which are generally excellent.
The Fixer is a sombre film but one certainly worth seeing and discussing.
1. How great a film was this? In theme, presentation, performance? What was the ultimate effect on the audience of this experience? Why?
2. How important was the theme of basic humanity - "I am a man"? What insight into the basic humanity of mankind did the film give? The ordinary man, the working man, the happy man, the suffering man, the vindicated man?
3. How important for the film and its theme was the Jewish theme? The persecution of the Jews and the traditional overtones of this? The modern conscious ness of Jews and their persecution? What audience sympathy for persecution of the Jews did the film elicit? The presentation of the Jews in persecution in their ghettos, suffering injustice?
4. How important a film was this for the twentieth century? In style it looked to be of the past - in fact it was of the twentieth century. The picture of Russia and the transition from nineteenth to twentieth century? The barbarity of the Russian past, its cruelty, inhumanity?
5. How did the film capitalise on its use of colour? Its dark colour and the final flashing of blue for resurrection? The film of darkness into light? What did the musical themes contribute to the film?
6. How would you describe Jacov Bok? As a man, how admirable was he? His fault his virtues? The opening with the indications of his work as a fixer? The fact that he had to move to the city? His hopes? His ordinariness? His sudden involvement in a massacre? His generosity in saving people? His friendship with old Latke? The advice that he received from him? His work among the Christians? (His Good Samaritan kindness?). His relationship with Lebedev, and his daughter, Zinaida? His skill at work? Should he have concealed the fact that he was a Jew? The jealousy of the others? His refusal to carry on with the daughter? A victim of jealousy?
7. What were your reactions to his imprisonment? His lack- of trial? The prejudices of people against him? The lies? His experience of torture? Inhumanity? What was your response to the torture, humiliation, his self-assertion in the face of humiliation? The attitudes of the guards?
8. How important a character was Bibikov? How unbiased was he? Why did he wish to help Jacov? How did he help him? What human support did he give him? Why? Compare Bibikov with Grubeshov. What motivated this man? His hardness, injustice, following of orders, hostility towards Bibikov? What was your response to Bibikov being hanged? The way that Jacov was made to experience this, finding him? The importance of Bibikov's reappearance in Jacov's dreams?
9. How important was Count Odoevsky for the film? As a representative of the Tsarist politics? As a man in himself - political, courtly, weak and rich? His personal confrontation with Jacov? His reactions to world opinion, putting pressure on the local authorities?
10. How much of a relief was the sympathetic guard towards Jacov? How had the intensity of his suffering grown towards the end of the film? As the years went by? His sticking to his opinion? The grosser humiliations of stripping, shaving his head, searching, etc? The importance of his refusal to take part in the amnesty? His assertion that he was innocent?
11. How important in retrospect were the other characters? His friends and enemies? The people who made him suffer? The priests and their fanaticism? The importance of his discussion on Christianity and reading the Bible?
12. In the film there was discussion of Christ as a man, as a Jew, as God; of the reality of Christ suffering and being hated. In what way could the Fixer be seen as a "Christ-figure"?
13. How important were the sequences of the visit of his wife to Jacov? The importance of the flashbacks to happier times? These as relief amidst all the suffering?
14. How important were the sequences of the final vindication? The way that they were filmed? The torture in anticipation, the shooting of the guard etc? His being rescued by the higher authorities? The support that he got from his lawyer? The opening out into the glory of the blue daylight? The cheering crowds? The significance of his rising to life?
15. What values were principally put forward in this film? Which impressed you most? Why?
