THE CHILDHOOD OF A LEADER
UK/France/Hungary, 2015, 115 minutes, Colour.
Berenice Bejo, Liam Cunningham,, Tom Sweet, Stacy Martin, Robert Pattinson, Rebecca Dayan, Caroline Boulton, Yolande Moreau.
Directed by Brady Corbett.
This is quite a disturbing film.
It is set in France in 1918 in the aftermath of World War I, the diplomacy at the Versailles Conference, discussions about the Treaty, the future of the defeated countries of Europe.
The particular setting is a mansion in a forest, an isolated area, something of a refuge for the diplomats involved in the discussions, particularly Liam Cunningham as the father of the family. Berenice Bejo is his wife. But the focus is on their child, Prescott, played with an eerie presence by Tom Sweet.
The title indicates that our attention should be on Prescott. He is not a likeable child, but there is some sympathy for him growing up in this household, the severity of his father, the sometimes neglect of his mother, the attentions of a teacher who tries her best to educate the boy.
There is also a religious background, Catholic France at the time, with scenes of a priest and Christmas celebrations – and Prescott’s unpredictable reactions to them.
What emerges is a boy who is partly spoiled, partly neglected, a boy who wants his own way, who dominates other children, and even dominates the adults.
The audience is to bring to mind the meaning of the title, the period between the two world wars and the rise of fascism – the film being something of an allegory of what have might been the upbringing and the influences on the two major fascists of this inter-war period, Hitler and Mussolini. But, it is also suggested, that there were many fascist regimes which emerged during this period, thinking of Franco’s Spain and the various kingdoms which were going to collapse in Eastern Europe.
Eventually, the film goes forward 20 years, to the time of the outbreak of World War II and the boy emerging as a Leader, fascist in appearance and manner, played by Robert Pattinson (suggesting Prescott is the son of the family friend, Charles?)..
To emphasise the eeriness of this drama, there is a powerful score which many might think that it is too insistent, but bold cords, bold pounding of the instruments, sometimes strident and certainly creating an atmosphere.
The film was the work of Brady Corbett, a child actor in such films as Mysterious Skin, making a variety of films in Europe, moving into the world of production, writing and direction.
As has been said, and needs saying again, quite a disturbing experience.
1. A different cinema experience? Going back in history? World War I, Europe? The US? Politics? The background of fascism?
2. The director, his acting career, his first film?
3. The role of newsreel footage, the extent, trench warfare and the images of World War I, the transition to Woodrow Wilson, American involvement, the politics, leading up to the Treaty of Versailles? The later introduction of footage from the 1930s?
4. The musical score, the pounding effect, catching the audience up?
5. The locations in France, the countryside, the house, the church, the town? The contrast with the fascist state, the meetings, the buildings, the troops?
6. The framework of the three tantrums and the aftermath? Signs of what was to come? Prescott as a bastard?
7. The use of English, French? Comprehension, translation, authentic feel?
8. The home situation, the father and his diplomatic role, with Woodrow Wilson, the meetings, going to the city? The meeting at home, discussions at home? His wife, meeting, her marriage, his age, relationship with his son? his not learning much French? A man married to his job, his relationship with his wife, telling her that he wanted another child?
9. The opening sequences, the dark, the church, the children preparing for the Christmas pageant, the dress, the wings? Prescott and his getting the stones? Throwing them at people? Running into the forest, hitting the tree, carried back, the effect?
10. His mother, criticising him? Finding him trying, his not speaking to her? His relationship with the servants, his relationships? Ada and the French language classes? Getting on well with her? Mona, spoiling him, the affection? The mother and her attitude to her husband, the background of the marriage and her explanations, her coldness towards him, indulgence towards her son? Reaction to his wanting another child?
11. The church, the religious services, the sermon, the visit to the priest, his listening to the situation, reasonable, suggesting an apology from the boy, after Mass and Prescott apologising to everyone who went by?
12. Charles, his visit, the discussions with the father, a surprise visit, his interactions with the boy, intervening? His friendship? The wife writing a letter, asking his help? his arrival for the dinner, guest, amiable? his intervening with Prescott? The later images of Prescott as an adult, Robert Pattinson in the role? The boy’s father?
13. Prescott, his behaviour, age, American in France, managing with the language, refusing to eat the meal, going to his room, the layout of his room, the desk, the books? Wanting his own way? The French lessons and his improvement? Touching Ada’s breast, her wanting apology, his reaction? Secluding himself in his room, Ada to come back in three days, his writing the story, reading it to his mother and Ada? Mona, her fostering Prescott and spoiling him?
14. The mother, upset, writing the letter to Charles, interactions with her husband, with her son, listening to the story?
15. Her reaction to Mona, sacking her? Calling Ada to account, writing of the cheque?
16. The boy, his clothes, mistaken for a girl? The dinner, the guests, invited to say grace, his refusing to say grace, his tantrum, upset, pursuit, the door, his father breaking it down, beating him?
17. The end of the war, the Pathe news? The meetings, celebrations?
18. The transition to 20 years, the end of the 1930s, the period of fascism? The meeting, the discussions of the politicians, advisers, going downstairs, the arrival of the leader
in the car, the troops?
19. The portrait of the childhood of the leader, the reasons for his behaviour, love and absence of love, wilful, enjoying power, whims, and needs? The irony of his father?
20. The final images, confusion, everything going topsy-turvy – the overthrowing of fascism?
