THE ROMANTIC ENGLISHWOMAN
UK, 1975, 116 minutes, Colour.
Glenda Jackson, Michael Calne, Helmut Berger, Marcus Richardson, Kate Nelliganf Rene Kolderhoff, Michel Lonsdale.
Directed by Joseph Losey.
Joseph Losey makes striking films. This one parodies soap-operas in its style (and explicitly in the imagination of the heroine) and aspires to some comment on women, their status as housewives and the nature of modern marriage. However, it seems to border perilously on what it is criticising. Glenda Jackson (seen, at last, doing housework instead of demented or dominating) does her best to show the frustrations of modern living, especially with such a suspicious and obtuse husband as Michael Caine portrays. Helmut Berger is an international smuggler and gigolo who moves into London suburbia. A strange character in a film that combines romance, thriller aspects and an exploration of character in a social context.
1. The significance of the title, the explanation? Elizabeth, at first, at Baden, holiday, running away? At home? Where was she most particularly romantic? The nature of romance? The emphasis on the Englishwoman as romantic? The wish to have freedom and have everything when it is not possible? Did this theme pervade the film?
2. The importance of colour, English and continental locations, London suburban houses, the contrast with the European countryside, the finale and the luxurious settings? The musical commentary? The visual style, for example, mirrors, images, photos? The use of imagination, especially the visualising of Lewis's screenplay? The contrast between reality and, unreality?
3. The focus of the title and the film on Elizabeth? How ordinary an Englishwoman, how ordinary a woman? The pressures on her running away, the effect of her train journey and her arrival in Baden? The effect of Baden and its holiday atmosphere, the casino, the spa? Her telephoning her husband? Her imaginative flirting with Thomas, her real flirting with him? The atmosphere of danger surrounding Thomas and her fascination? Lewis and his suspicion of her? The contrast with her arrival home, the change of plans, her first meeting with Lewis. the scene in the garden? Her ordinary housework and seeing her as an ordinary Englishwoman?
4. Elizabeth in the context of suburbia, washing, cleaning up the house, looking after her child? The contrast with going out with Lewis, the film producer, the meal, the idiotic atmosphere of parties, literary functions, clubs? Elizabeth as at home in this world?
5. The film's criticism of women? The role of housewife, boring life, the contrast with the exotic and the romantic? Should women yearn for this? The ambiguity of the screenplay? Lewis's imagination of how women should be, suspicions of his wife. the artificial dialogue and the posed tableaux of the film and of Lewis's screenplay?
6. How interesting a character was Lewis? Credible as Elizabeth's husband? what kind of nun was he, his literary talent, his being at home in the film world. Lewis at home, Miranda? His suspicions and telephoning? The games that he played and his manoeuvres? His language? The quality of his relationship with Elizabeth? In terms of love and sexuality, as father of David?
7. The contrast of Thomas with this English world? The scene on the train, the fascination in Baden, behaviour and manner as a gigolo, his drug pushing and the dramatics of the scene of his hiding the drugs on the roof, and their being spoilt by the rain? Was he idealised in the film? Presented as superior to Elizabeth and Lewis or not? The wanderer. the European, the poet? Attitudes towards sexuality, his following Elizabeth and using her? His allowing himself to be used by her?
8. How plausible was his use of the Fieldings? His mistake about authorship? The introductions, settling in, using the family and all they had to offer? His gratitude, working for Lewis, his indolence? How likeable was he? How was this illustrated in his relationship to David, Catherine, his effect on each of them?
9. The episode in the greenhouse and the effect on each of them? The build-up, fear. turning on of the lights?
10. The atmosphere of the home, in its detail, Catherine and her role, David? The chatter and gossip? Elizabeth’s hostility towards Catherine and the long scene of her reprimand? its significance, especially for Elizabeth? The comparison with Lewis' attack on Isabel? Isabel’s advice to Elizabeth and her meriting the attack?
11. Thomas and his theories of freedom, his ironic belief that he was free? The invitation to Elizabeth and her sudden decision for freedom? Was her leaving home credible, what did she gain? The relationship with Thomas, his gradual ignoring of her and going about his business?
12. The details of the pursuit, the gangster and his pursuit of Thomas, the involvement of Lewis? The character of Swan?
13. The irony of Lewis wanting to turn his screenplay into a thriller? The film turning into a thriller? Was it appropriate, a success?
14. How convincing was Swan's pursuing Thomas and taking him away? The effect on Elizabeth, her going home? How convincing her return? The effect of this experience on her and as a basis for the future?
15. How much insight into modern life, modern marriage, boredom and expectations?
16. Critics called this film pretentious. They accused it of trying to be arty, entertaining and realistic. The irony of the film was the film. The humour and the ironic touches about the characters and their situations? Did this balance out the pretensions? A good film?
