THE LEISURE SEEKER
Italy, 2018, 114 minutes, Colour.
Helen Mirren, Donald Sutherland, Christian Mc Kay, Dana Ivey.
Directed by Paolo Virzi.
While the film focuses on an elderly married couple, the Leisure Seeker of the title is actually their rather old caravan. There is a sense of tension at the opening when William, the son of the couple, and his frantically searching for his parents only to find that their house is empty.
No need to worry – or, perhaps, many reasons to worry. Under the guidance of Ella, Helen Mirren with a South Carolina accent, she and her husband John, Donald Sutherland, driving out of their Massachusetts town, going on vacation. Their son William (Christian Mc Kay) is more than worried. Their daughter, Jane (Janel Moloney) is concerned. Ella phones from time to time, not revealing their location, trying to reassure her children. In fact, during the journey, the film returns to the children and their discussions and worries. Their mother has terminal cancer but refuses treatment. Their father is suffering from increasing senility.
On the one hand, this road story is presented as “realistic� but, there are many episodes that somewhat defy realism, especially John’s capacity for driving and Ella’s capacity for keeping going. On the other hand, if the story is seen as something of hopeful imagination, it works much better for the comedy and the drama.
Starting in New England, the couple drive down the east coast, stopping in Pennsylvania, stopping in Williamsburg Virginia, making their way south so that they can visit Hemingway’s house in the Florida Keys. John has been a literature Professor. A major part of his memory consists of the works of Hemingway which he is able to quote, discuss with those waiting on him at diners or anyone who offers friendly attention, appreciating the insights of American literature. Ella, on the other hand, tries hard to keeping focused, sometimes getting impatient, at other times very tender with him, drawing him back to reality, continually showing slides at their caravan stops, reminding him of their past and of their children.
Ella continues to chat – which, despite Helen Mirren doing the chatting, is sometimes wearying. John continues to wander, an amiable man although, at one stage, he unwittingly reveals a past betrayal.
There are quite a few entertaining incidental characters, at the diners, at the caravan camps, at an old people’s home (with a brief cameo by an irascible Dick Gregory).
The purpose of the journey is, of course, to recapture the past for one last time. And so, to how Ella will handle the end of the journey. In many ways, they are both terminal and she makes decisions about this. Not everyone will agree with what she does but, in terms of a humanist society, she acts in accordance with her feelings and her conscience. For those who disagree with her, it is a challenge to appreciate and understand her perspective.
This is a film for mixed reactions. Some older audiences will identify with the characters, their long lives and their long love for each other, this last journey. And the talent of the two stars and happiness as well is the pathos the of their interactions enhance this. Other audiences may find the film difficult, maybe making comparisons with their own lives and being somewhat exasperated by this journey of Ella and John.
1. The title? Ella and Jon? The van itself? The purpose?
2. An Italian director, his perspective, on the United States? The international actors? The universal issues?
3. The film as a road trip, Massachusetts, Pennsylvania, Virginia, South Carolina, Florida? An overview of the East Coast of the United States, the places, caravan parks, people, occupations? The musical score?
4. Issues of age, senility, managing illness, managing Alzheimer’s? Terminal cancer? Doctors, medication? Stubborn patients?
5. The opening, Will and the truck, his anxiety, going home, meeting with Jane, the parents missing, the discussions and concern, discussions with Libyan? The police? Ella and her phone calls, Will and his anxiety, reactions? Jane and more reflection, calmer?
6. Ella and John, their age, the title of the van, the destination, reliving the past holidays, and Ella wanting to be provocative for John’s memory? John and his driving, skills, the police stopping them? Stopping at the service stations, the diners, those waiting at tables? The caravan parks, going through Williamsburg and the display? The luxury hotel? Home for the aged? On the highways? The scope of the travel?
7. Themes of marriage, love, Ella and her memories? The memory of Dan, John being critical, visiting him in the aged person’s home, the discovery that he was black? The passing of the years? The children, their support, John and his love, professor, love of literature, meeting the students, popular? Hemingway and literature? His memories, reciting chunks of Hemingway? Different times, Ella as young? The drama of the story about his relationship with Lilian and its effect?
8. Will, the suggestion that he was gay? Jane, the husband, the children?
9. Ella showing John the slides of the various caravan parks, the children, the memories, his delight? The people joining in and watching?
10. Lilian, the neighbour, friendship, in the photos, the two women as young? The revelation of her story, the affair? Ella’s angry reaction?
11. Ella trying to be patient, impatient, at times exasperated, the issues of medication, her being sick? John and his reactions, wandering and her searching for him?
12. After the Lilian revelation, her dumping him in the home, the change of heart, returning and collecting him?
13. The build-up to her decision, the moral issues, a humanist solution, her decision and the medication, the gas in the van, the letter to her children? Their response?
14. Themes of ageing, illness, memory loss, suicide?
