Mothers in our Midst

Judi Dench is quite a Dame. As one of Great Britain’s greatest gifts to theater, films, and television, she has portrayed most of Shakespeare’s heroines from Juliet to Lady Macbeth, Queen Victoria and Queen Elizabeth I, Cleopatra, Sally Bowles in Cabaret, and M in seven James Bond films. The list stretches from 1957 on. Dame Judi as an actor presents a consistent image of luminous intelligence, dignity, and forthrightness. So it is a thought-provoking diversion to see her portraying an unsophisticated woman too meek to protest the cruelties meted out to her by an order of Catholic nuns. The film is Philomena, a true story adapted from the book The Lost Child of Philomena Leeby Martin Sixsmith and directed by Stephen Frears. Steve Coogan, who plays the part of Sixsmith, wrote the screenplay with Jeff Pope and actor Coogan is marvelous as the brusque atheist/journalist who, for the sake of a good “human interest” story, takes on the task of helping a poor Irish Catholic mother search for her long-lost son. The son, conceived in a one-night dalliance, inadvertently condemns his young mother to a home run by nuns who believed these unwed girls were evil and undisciplined and warranted severe punishment. In fact, after their babies were born, the girls were required to work in the laundry as virtual slaves for four years to “repay” the nuns for having “taken them in.” Moreover, the nuns ran an “adoption” business, selling the children to potential parents in America and elsewhere. Among the most poignant scenes in the film is the one in which the young Philomena watches her 3-year-old son, his face pressed against the rear window of a long black limousine, being driven away by a pair of strangers. This same dreadful story of the punishment of “fallen” women was revealed in the film The Magdalene Sisters in 2002. That film dealt with four teenage girls who suffered through their four years in the “Magdalene Laundries”, but the most shocking revelation was the fact that the laundries and their cruel, intimidating practices

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were not fully shut down until 1996. Philomena Lee did not speak of her early life, however, until the day of her son’s 50th birthday. At that time she told her story to her daughter, who appealed to journalist Sixsmith, whom she encountered at a party, to help her mother find her son. Philomena, who had silently agonized over her lost son for 47 years, willingly joined Sixsmith wherever the search took them, including, eventually, to America. It’s a lovely film, laced with good-natured humor and Philomena’s patience, fortitude, and, most of all, unshakeable faith. Still a reverent Catholic, she accepted without recrimination the deceptions of the nuns who, even 50 years later, refused to help her in any way. If there is anything missing in this well-told story, however, it is a sense of Philomena as a full-blown woman. She has a daughter. Was there a husband? What did she do with her life? It wouldn’t be necessary to elaborate; she could fill in a few details in conversation with Sixsmith or with her daughter. It might distract a bit from the constancy of her concerns about the fate of her son, but it would give her character a little larger context. Philomena opened in two local theaters on November 22nd, but it will be playing in theaters throughout Los Angeles within the next week. Photo: Judi Dench and Steve Coogan

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