TROUBLED WATERS
Norway, 2008, 113 minutes, Colour.
Directed by Erik Poppe.
A moving film.
Troubled Waters takes its title from Paul Simon's song which is played twice during a crucial scene and its repetition. The troubled waters are evident. However, the full title of the song is Bridge over Troubled Waters and exploring that theme opens up the drama and the spiritual dimensions of the drama.
Here is a film which is commercially interesting but which incorporates into its plot aspects of Lutheran spirituality and practise without embarrassment. Norway, even though like other European countries it is marked by an increasing secularism, has a Lutheran tradition which is part of its heritage and, as the film indicates, can contribute to religion, morality and to its culture.
The film is in two parts. We see an abduction of a child as the film opens. There are painful consequences. One of the young men responsible (though he won't admit it) is released from jail and finds a job as an organist at a local church. The first part of the film is the young man's story, of his being rehabilitated, becoming friendly with the local priest. She has a young son (presented as a mirror image of the abducted boy). The second part of the film takes up the abduction once again and we follow the life of the family, especially the mother, whose son was taken. Each story has two sides and the second part fills in detail of what we have seen in the young man's story. The climax brings the man and the mother together to face what took place.
The mother is distraught and the effects of the tragedy are very deep in her. She needs to hear what actually happened to her son before she is able to consider any kind of forgiveness.
The screenplay draws attention to themes of forgiveness but also of atonement. Confessing, and the inability to confess, are significant. Communion is seen as a step in healing brokenness. And, despite what the young man has done, the manager of the church business has to tell the mother that, in terms of second chances, where else can this be done best but in the church.
The film has been made with elegant craft, has several sequences of organ music, but tells a story of everyday headlines and the lives behind the headlines, with both insight and a challenge to the possibilities for compassion.
1.The impact of the film, dramatic, religious?
2.The title, Paul Simon’s music, the music played twice during the film? The implications of the troubled waters in the plot? The search for bridges?
3.The city of Oslo, parks and the river, homes, churches, prison? The sense of realism?
4.The range of music, Paul Simon, the classics, the organ music? The underlying score for the film?
5.The structure of the film and its dramatic effect? The portrayal of the crime, part one with Jan, part two with Agnes? The complementarity of the two parts? Two sides of the same story? The story continuing towards a climax, bringing the two characters together, some kind of resolution?
6.The abduction of the baby, the age of the perpetrators, snatching the pram, running away, the visuals of the baby, the baby running and falling, the accident, Jan taking the baby into the river, letting it go? The replaying of these scenes? The information off-screen about the trial, the two blaming each other, not having responsibility, Jan not even wanting to apologise? Letting himself off?
7.The prison sequences, the religious ceremony, the Lutheran priest, the prayer and the lighting of candles? The minister writing a letter recommending Jan for a job? The job offer, the apartment? In the kitchen, embracing his friend, the friend suddenly turning on him, the vicious attack, injuring his hand, his head in the water? Leaving prison?
8.Jan’s diffidence, going for the interview, the church official saying the job was filled? His staying, looking at the organ, playing it? The priest and her arrival, the other members of the staff? Offering Jan the job? His skills, capacity for playing, transforming himself? The range of pieces he played, the classics, Bridge Over Troubled Water for the schoolchildren? Themes for the wedding? The job forms, his not filling them in properly, the revelation of his identity? His interaction with the staff at the church? The various jobs?
9.Anna, as the priest, her work? Her life story, the pregnancy at university, the family urging an abortion, her keeping Jens? Her ministry, the bishop allowing her to become a priest? In the church, the ceremonies, weddings? The help with the addict and injecting him, Jan helping? The visit of the children, the explanation of the church, questions about baptism and its meaning? Anna and Jens, Jens and his initial hostility to Jan, friendship, the bond, at school, Jan picking him up, playing? The supermarket? His being abducted?
10.Jan with Anna, the situation in the supermarket and the intimation of the strange woman? Falling in love, the discussions, the future, his not telling Anna about the crime? Yet Anna talking about it in the third person?
11.The grounding of the screenplay in Lutheran spirituality, the goodness of God, the consequences of evil actions, the nature of faith, communion as a reconciliation, the need for confessing, the importance of atonement? Conversion experience?
12.The transition to the second part of the film, showing the crime again, the perspective of the mother? Her memories, the effect? The adoption of the two little girls? Life at home? Her relationship with her husband?
13.The scenes of the family life, the decision to move, John’s announcement, the reactions, the older girl, the mother soothing them? The reasons, the father knowing that Jan had been released from prison and not telling his wife? The dinner sequences? The barbeque? Friends and family and the farewell, going to Denmark?
14.Agnes and her work at the school, taking the children for the visit to the church, hearing the music, seeing Jan, the disturbing effect? Swimming, weeping outside the church? Her return, scattering Jan’s pages? The encounter with the official, his talking about second chances, her pushing him down, her apology? Talking and not talking to John? His not telling her about Jan’s visit? Her fears, thinking that Jan would reoffend? The little girl going for ice cream and her dragging her back into the house?
15.The sequence between Jan and John, the confrontation, the audience thinking Agnes was outside – and the revelation that she had not seen or heard Jan?
16.Agnes stalking Jan, the scene in the supermarket, with Jens, warning Anna? The fears of a repeat crime?
17.The build-up to the scene at the school, Jens forgetting his present for his mother, Jan going back in? Agnes taking the boy, taking him home, John’s reaction? Agnes taking Jens to the river? Jan, getting the bike, going to the home? In the car?
18.Jens, in the back seat of the car, listening to the adults? Going into the water, Jan going in to save him, caught in the branches? Anna diving in and saving them?
19.Jan, finally admitting the truth to Agnes, the description of what he had done, taking responsibility? The effect on Agnes to have heard the truth?
20.Jan, the final discussion with Anna, her dismay at his not telling the truth, his appeal to her statements about the goodness of God, Providence, good coming from evil actions? Her going down the stairs? Did they have a future or not?
21.The final scene of the mother and father and the children, happiness together?
22.Themes of confessing, atonement, conscience, responsibility? Communion for the broken and helping them towards conversion? The church as a place for a second chance?
