ORLANDO

UK, 1992, 93 minutes, Colour.
Tilda Swinton, Billy Zane, Lothaire Bluteau, John Wood, Heathcote Williams, Quentin Crisp, Thom Hoffmann, Dudley Sutton.
Directed by Sally Potter.

Orlando is a striking screen adaptation of the novel by Virginia Woolf (allegedly written as a love letter to Vita Sackville-West). It focuses on Orlando, a courtier at the court of Queen Elizabeth I. However, he lives through various eras of British history from the first Elizabethan age to the present Elizabethan age, going to sleep and waking up in different situations and guises. Halfway through this journey, Orlando becomes a woman.

Tilda Swinton (who appeared so effectively in many of Derek Jarman's films) is the androgynous Orlando. However, from the very beginning, the audience knows that it is a woman playing the role and, to that extent, is not surprised at the gender transformation. Swinton is excellent, adapting to the various styles of British history, articulating her lines with forcefulness and wit, looking at the audience to make the audience share in the complicity.

The film is sumptuous to look at, the design of each period (especially the Elizabethan and the classical 18th century style) impressive and a delight to the eye. Contemporary music is also introduced as part of the atmosphere.

The film has an interesting cast, quite offbeat: Quentin Crisp as Queen Elizabeth I (very effective), Dudley Sutton as King James I. John Wood is Archduke Harry, Lothaire Bluteau (Jesus of Montreal, Black Robe) is the romantic Khan. Billy Zane (Dead Calm, Sniper) is not particularly effective as an actor, but looks the part as a variation on Heathcliff from Wuthering Heights.

The film was written and directed by Sally Potter, whose films include The Gold Diggers and London Calling, who also worked in the '80s on British television.

The film is a fascinating look at Britain, British history, the politics of gender, as well as being a cinematic delight.

1. Impact of the film? Its awards? A historical fantasia?

2. The novel of Virginia Woolf, her place in literature, her British perspective, the dedication to Vita Sackville-West?

3. The adaptation to the 1990s, the two Elizabethan ages? The epochs in between and the change and transformations?

4. The sexual ambiguity, gender issues and questions? The role of the Elizabethan male, the transformation to female? The roles of men and women, gender, sex, relationships, status, legal power? The challenges to expectations on gender?

5. The visual impact of the film, design, decor, colour, ages and moods, the characters immersed in the decor and costumes? The tableaux, action sequences? The range of the musical score, contemporary music? Songs?

6. The structure of the film: the various chapters and their corresponding to the eras that are represented: death, love, politics, society, birth...?

7. Tilda Swinton's performance as Orlando, male, female? The ultimate transformation and the sequence with the mirror? Her character, her turning to the screen and inviting the audience to share Orlando's experience? Orlando and As You Like It and the Shakespearian overtones of the opening? The transition to the modern woman, independent, the writer and her memoirs?

8. The Elizabethan age, the status of Queen Elizabeth I, her style and manner, costume? As interpreted by Quentin Crisp? The pageantry, the court, the poetry recital? The reaction of the court? Orlando, as the favourite, out in the countryside, asleep, hurrying to the court, getting changed, the performance? The Queen retiring, giving Orlando the deed to the house? The Elizabethan age, elegance and style? The background of Elizabethan art - visual and verbal? Drama?

9. 1610 and the reign of James I, Orlando and the experience of deaths, grief? The arranged engagement with Favilla? Orlando's manner towards her, neglect, her reaction? The celebration, the ambassador from Muscovy, the speeches? Orlando and the infatuation with Sascha? The winter setting of the episode, snow and ice, skating, danger with the ice? The arranged meeting? Sascha and her love for Orlando? His love for her? Sascha's failure?

10. The transition to the middle of the 17th century? The background of the Puritans, the Restoration? Poetry - and Milton and the Restoration poets? Nick Green and his poetry, his being entertained by Orlando? His greed, wanting money and patronage? Orlando's poetry - poor verse? Being mocked by Nick Green?

11. The beginning of the 18th century, politics, the role of Britain, extending its sphere of influence, ambassadors to the East? Orlando and travel, Asia, the work? The interactions with the Khan and his court? The personality of the Khan, attention to Orlando, with his subjects, the political tensions, war? Archduke Harry and his arrival, his very British presumptions? The fussy English nobleman? The party and celebration? The war? No action? Orlando and the transformation to being a woman?

12. 1750 and the classical literary salons of Britain of the period? The characters of Jonathan Swift, Joseph Addison, Alexander Pope? Their dialogue, their wit, their pomposity, their chauvinism towards women? Orlando, the transformed woman, aristocracy? Wanting to be involved in art and the salons? The condescension of the men? The issue of her home, the deed to her home? The legal situation - against women? Archduke Harry and his proposal, his rejection?

13. The Victorian era - but with the overtones of Heathcliff and Wuthering Heights? The character of Shelmerdine? Romantic, the flying black hair, the American background? The relationship with Orlando, infatuation? The proposal, the sexual liaison? The separation? Orlando and the home, the officers of the law, losing her home - and the need to have an heir?

14. The short glimpse of World War I, the familiar staging of trench warfare? Orlando as pregnant, her contribution as a nurse?

15. The contemporary sequences, the birth of her daughter? Orlando and the publisher, riding the bike, her relationship with her child? The discussion about the publication?

16. Orlando as everyman/everywoman? The British tone of the film? Choices? Circumstances? People as victims, as controlling their destiny? Orlando's achievement - and the achievement of the film?