SAINT JUDY
US, 2018, 106 minutes, Colour.
Michelle Monaghan, Leeba Lumy, Common, Alfred Molina, Alfre Woodard, Ben Schnetzer, Gabriel Bateman, Mykelti T Williamson.
Directed by Sean Harnish.
The saint in question? Judith L.Wood, Immigration Attorney. The title? In fact, her ex-husband tells her that, while people call her a saint, she isn’t – but she lives and works like one.
In a way, this earnest portrait of Judy Wood is something like a promotion for the cause of canonisation. Of course, we see her as an ordinary human being, married but divorced, with the son whom she cherishes but also overlooks because of her commitment to her work and to her clients. But, she is committed to causes – but, more importantly, she is committed to clients.
Actually, this is a true story and the actual Judy Wood appears momentarily at the end of the film before the credits. (And, as usual, in a biopic, the star (in this case Michelle Monaghan) who plays the role looks far more attractive and glamorous than the subject in real life!)
In many ways, this is a film with a cause, humane treatment of men and women applying for asylum in the United States and held in detention centres. While they do have the right to legal aid, the lawyers tend to be overworked, not well paid, eager to put the final stamp on the documents rather than show a concern and communicate with their clients, learn their stories, share their plight.
Which, of course, is what Judy Wood does. Moving from New Mexico to California in 2005 with her son, she is employed by a local immigration lawyer, Ray Hernandez (played by Alfred Molina who also acts one of the producers for the film, obviously committed to its causes). However, he has become jaded, has lost his initial enthusiasm, is irritated by Judy and fires her. Judy does have the capacity (and maybe this is what saints are like, but not always easy to live and work with) and visits her clients. Many of them become quite devoted to her, in the over 200 cases that she takes up, but, and this is a difficulty with the film not providing background to her other work, the screenplay focuses on one case in particular. And, an important case it is.
She finds the file of Asefa Ashwari, Leeba Lumy) almost in a catatonic state, drugged, uncommunicative. Very quickly, Judy gets official documents for an African who is selling takeaway hotdogs but is really a doctor. He helps her in her work. Asefa’s physical and mental condition improve and Judy then pursues her case. Asefa’s story is told in vivid flashbacks, a young girl in Afghanistan, intelligent, taught to read by her mother, then setting up a school for young girls, disapproved of by her father and his strict Islamic discipline, arrested by the officials, treated brutally – something which Asefa prefers to forget but is finally persuaded to speak frankly and truthfully to the judge in her hearing.
For audiences around the world who are aware of parallel situations in the many migrants and asylum seekers kept in detention, the sequences where the judge (Alfre Woodard), while listening sympathetically, has to interpret legislation one might say, over-objectively, as does the lawyer representing the government (Common). This is especially the case where she explains that American law considers persecuted groups and minorities but there is no room for women in these categories. Asefa is to be deported.
One of the legal aspects that emerges, and offers grounds for an appeal, is that Asefa was brutally treated as a woman, including multiple rape, not just because she was a woman but because she was considered an enemy of the state. Judy finally present an appeal before three justices – and the audience may be again surprised by the legal and legalistic questions and problems that they raise.
Audiences who don’t like to be moralised at have found the film too earnest. Mainstream audiences who like a story, who can empathise with good characters, who are disturbed by social problems, especially by the victimisation of women and migrants, will be certainly on side with Saint Judy.
1. The title? Judith Wood? Attorney? Immigration attorney? Her career and mission? Not a saint – but living like a saint?
2. A true story? Judith Wood appearing at the end? An ordinary woman, divorced, moving to California, immigration work and dissatisfaction, branching out on her own, visiting the detention centres, hard work, pressure on authorities, her learning processes? Personal story, her work and neglect of her son, clashes with her ex-husband?
3. Introducing Judy, in New Mexico, packing up, the travel, California, accommodation, the helpers with the luggage, the encounter with Ray Hernandez, hiring her, his approach to his work, the files? Her settling in?
4. Judy, her personality, strength of mind, determination? The initial visit to the Centre? The interview with Asefa Ashwari? Drugged and no response? Challenge to the authorities? Ray upset with the complaints about her? Her continued visits? The contact with the formerr, doctor selling takeaway, her getting the documentation, his accompanying her to the Centre? Reconsideration of Asefa’s case?
5. Ray, his firing her, her walking out, seeking accommodation, the refugees all helping to clean up, her son working with her? The setting up? the advertisement on the bus bench – and the graffiti and, finally, the moustache?
6. The difficulties with her son, the stapler at school, her confronting the principal? Wanting her son always to tell the truth? Later discovering the sneakers and the iPad? Calling in his father, the father agreeing to take him in? Her ex-husband’s criticism of her devotion to her work and neglect of family?
7. The screenplay focusing on the one case – and audiences, perhaps, needing more information on the other cases, the mother with the daughters hoping her husband would return? Audiences supplying the background for the other cases and Judy’s work?
8. The rehabilitation of Asefa, the physical examination, the documentation, her being released?
9. Asefa, the interviews, opening up, the flashbacks illustrating her story rather than her verbal description? As a young girl, in Afghanistan, her mother teaching her to read, giving her the book? An educated young woman? Setting up her own? The girls coming? The attack, the background of her father’s hostility? Her being taken, the demonstration, the assault? Her arrest, her reticence about what happened in the jail? Saying she could not remember? Judy talking with her, needing the truth, her eventual explanation of the treatment, the rape?
10. The case before the judge, the sympathetic judge, the government lawyer, the judge intervening to quash his objections? Judy’s interrogation? Asefa and her telling the story, the judge upholding the law, unable to move? The second hearing? Judy determination that Asefa would tell the truth? The hearing, the emotional telling of the truth, the judge being moved? Unable to grant her asylum? The impact of the decision?
11. The social, her encounter with the lawyer, his sympathy?
12. The legal issue, protection of minorities in groups, but not of women?
13. Judy, the discussions with Omar, his concern about Asefa? The issue of Asefa and political persecution?
14. Asefa returning to the centre, life in the centre? Judy coming, the appeal for her freedom, the discussions with the lawyer, his explanation of his situation in upholding the law?
As signing the document?
15. The appeal, everyone in court, the range of migrants, her ex-husband and son, Ray and her confrontation with him (and his staying behind and going back to his initial idealism, ringing clients)?
16. Judy, her speech, political issues, the role of women, persecution? The three justices and their questions?
17. Parker, wealthy, father, interview and impression? With clients, speaking Spanish, accompanying Judy. His contribution to the work?
18. The postscript, Judy winning the case, the other clients, her continued work, the law not changing, but greater consideration for women?
19. Her ex-husband’s comment that people were calling her a saiint? That she wasn’t – but in her work, she was living like one?
