Melodramas are typically set in the priva… Whose story is the film based on?’ was another question we asked. In most cases their presence immediately signalled a character’s loyalties and standing, though Muntze was an exception. Rachel/Ellis also suffers conflict by falling in love with the high-ranking Nazi official, Ludwig Muntze (played by Sebastian Koch), she has been sent to spy on after meeting him, by chance, on a train and charming him. He and his wife are immediately killed however, with Muntze chasing after the offender, but only succeeding in being caught himself. This leads to perceived emotional complexity – has he always been corrupt, or been made corrupt through necessity and/or power? Rachel/Ellis leaves a party she is attending to crawl though the coal store and allow her comrades access to the Nazi’s underground prison.
Some in the group wanted Rachel/Ellis and Gerben Kuipers (a resistance man who had lost his son because of Akkermans’ betrayal) to take the moral high ground after they had tracked him down.
Basic character stereotypes (recognizable . Later on, a powerful reaction to again seeing the man who was responsible for Rachel/Ellis’ family’s slaughter is indicated not just physically (Rachel/Ellis runs to the cloakroom to vomit) but psychologically: the film provides a flashback of the earlier scene, from Rachel’s point of view. Rachel/Ellis’ suffering is not confined to these awful events, however. Another Nazi official, Gunther Franken (played by Waldemar Kobus), inflicts further suffering as he leads stages a scene within the hearing of a ‘secret’ microphone Ellis previously hid. Finally Hans Akkermans (Thom Hoffman), a Doctor and key resistance figure, is unmasked as the man responsible. Victorian Melodrama 2. Instead, Rachel/Ellis used the point of her locket containing family pictures to screw down his coffin lid in order to suffocate him – a poetic revenge. His wife and children were bombed by the British. Melodramas typically concentrate on dialogue, which is often bombastic or excessively sentimental, rather than action. At his time Jewish Rachel Stein is separated from her real family and finds shelter with a Christian family. One of them notes that Hans has gone quiet and we might presume he has died. The continuous suffering of the main female character Rachel/Ellis (played by Carice van Houten) was especially noted. The dress she wears was remembered by some as being white, though it was in fact red. Almost immediately after the family reunion Rachel witnesses the slaughter of her mother, father and brother just when they, and other Jewish families, seemed on the road to freedom. This leads Rachel/Ellis’ friends to think she has betrayed them, and is a further level of suffering: others’ belief in her good character is taken from her. But it chimes again with Matt Buckley’s recent talk. We can compare this to later fan magazine coverage of Dirk as we address several of his other films in detail. Another key example occurs in relation to Akkermans. The family is often central to melodrama, and it is also the case here since it prompts Rachel’s later action, and she relives this particularly traumatic scene. He foolishly does this himself after attempting to kill Rachel/Ellis with an injection of insulin, but not waiting for it to take full effect.
It sees Dirk playing a groom who seduces the heroine, kitchen-maid Esther (Kathleen Ryan), abandons her, is reunited with her, and, predictably, causes her further heartache. We can consider if as time goes on the ‘real’ Dirk, at least the one presented by fan magazines, alters and/or whether his screen image adapts to reflect his star image.
Victorian Melodrama. This is tellingly the moment at which she actually lets her emotions out, collapsing to the floor, sobbing uncontrollably and rhetorically asking ‘when does it end?’ Even the film’s conclusion, which returns to a time in the 1950s just after Rachel’s flashback has begun, follows the pattern of a momentary respite before suffering again intrudes. Melodrama is a genre that emerged in France during the revolutionary period. Next Rachel/Ellis’ father’s solicitor Smaal is accused. immidiately): spotless hero, black villain, maiden in . The article is strangely ambivalent about the quality of the film (though please don’t let that put you off!)
While this is less gushing than we might expect from a fan magazine, the very presence of the feature article, and its contents, suggests that Dirk is being built up as a star by the studio he is contracted to, J Arthur Rank. The discussion on Black Book ranged widely and encompassed: the film’s relationship to melodrama; the trope of the suffering woman; the family in melodrama; rhythm in melodrama and the film’s unending revelations of betrayals; the film’s characters Akkermans and Muntze; moral ambiguity; costume; women’s fluid identity/ies); melodrama and real life. Nearer the film’s beginning Rachel/Ellis had told Akkermans that a friend of hers used to eat chocolate when he had over-injected with insulin. Victorian Melodrama had influenced world theater to evolve, and had also influenced a lot of my approach for theater studies and acting. First the ‘friendly’ secret policeman Van Gein is suspected. Neither does, despite Rachel/Ellis’ earlier agreement with Smaal that everyone is entitled to a fair trial. It sees Dirk playing a groom who seduces the heroine, kitchen-maid Esther (Kathleen Ryan), abandons her, is reunited with her, and, predictably, causes her further heartache. You can also see more on my work on the BFI collection of Dirk Bogarde journals on the NoRMMA blog: http://www.normmanetwork.com/.
Featuring stock characters such as the noble hero, the long-suffering heroine, and the The connection is reinforced as Rachel/Ellis can only stand by as a mute witness as both events occur. Became fashionable during 1780s and 1790s. Akkermans is certainly a complex character. All the same, his work in “Esther Waters” shows promise and imagination.
Rachel/Ellis later suffers as Muntze is arrested and sentenced to death, and she is imprisoned after a botched attempt to rescue him.
The Victorian Age was characterised by rapid change and devel…
Further relation to earlier theatrical melodrama, specifically Victorian, was suggested as the ‘Jerries’ were a force outside of the characters’ control, much like fate.
Many thanks to Tamar for choosing this rich film, especially apt due to the School of Arts upcoming trip to Amsterdam.
This includes ‘factual’ comments on Dirk’s family and theatre background, and also an insight into his person. He is reported to have artistic tendencies, to be sensitive and shy, although this is balanced by a focus on the bravery he displayed during his war service. While he is indeed revealed to be working with the Nazis, he is not the traitor.
Characters are often simply drawn and may appear stereotyped. However of more concern to us was the symbolism of the costumes. We found the character of Muntze more interesting, however. We are taking a chronological approach, and start with Dirk’s third film, and first credited and starring role. Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts, The views expressed in this blog are not necessarily those of the University of Kent.
This collection of magazines and other ephemera featuring Dirk was donated to the BFI by the late star’s estate. − Some people became extremely rich, but most ended up very poor. white, motley fool. After peace has been declared she is rounded up with other traitors and detained, beaten and humiliated. The article mentions Esther Waters is a ‘good test’ of his talent since he plays a character ‘entirely unlike himself’. The red dress of course has other connotations – to do with passion, desire and sex.
These defend themselves against Nazi soldiers, gunning them down, and then stripping their bodies of useful uniforms. She suffers more as she witnesses some of her new friends being caught by the secret police. Dirk is convinced he can do it’. Do join us, if you can, for the first in our Dirk season. After a brief happy moment with her husband and children we can see that another war rages around them.
Historical Context The Industrial Revolution − 1800's − Shift from Rural to Urban living. Franken’s destruction of Ellis’ good name has practical consequences too. We especially noted that Rachel/Ellis and her fellow worker Ronnie use clothing as part of the wiles they rely on to survive from day to day. In modern usage, a melodrama is a dramatic work wherein the plot, which is typically sensational and designed to appeal strongly to the emotions, takes precedence over detailed characterization.
The scene ends when Rachel/Ellis manages to grasp some chocolate which rather ironically Akkermans had earlier given her and is able to reverse the effects of the insulin. Introduction. This might at first appear coincidental (another important melodramatic trope which is also present elsewhere in the film) but is in fact explained away by a mutual acquaintance (her father’s solicitor Smaal) being aware of Rachel’s plans and informing her family.
Her relatively quiet existence is soon shattered as her hiding place is bombed when she is out, presumably along with its inhabitants. The floor-length leather coasts and jack boots which singled out the most high-ranking officers are especially iconic and were easy to identify. The film’s many coincidences and revelations may make this seem unlikely. Melodrama became the most popular form of play throughout the 19th century and probably is the most performed genre of drama not only in Britain, but also in Europe, in Australasia and in North America. This would have been available to readers by the date of Esther Waters’ release (22nd September 1948).