British Social Problem Films - Sapphire - Essay Example

British Social Problem Films: The Context and Legacy of ‘Sapphire’, Directed and Produced by Basil Dearden and Michael Relph, Written by Janet Green. Ealing Studios, England, 1959. Introduction: The social problem film was a significant aspect of British film of the 1950s and aimed not only at entertaining cinema audiences, but also to raise issues of importance to that society, in that period of history. As such, these films can be considered as more than ‘a good story’, but as innovative, controversial and thought provoking. This essay will attempt to define the genre, then examine Basil Dearden’s award winning film, ‘Sapphire’ in relation to its social and historical contexts and the issue of racism in British society. It may appear to be an example of “films which were accepted as realistic by one generation often appear ‘false or dated ‘ to the next”, but is still an important aspect of an era. The film is undoubtedly old fashioned and out of date with regard to modern cinematic styles and technological advances, but its themes and messages on racism and prejudice remain as relevant today as they did then. Definition of Social Problem Films: Durgnat, (1997) contended that “The social problem film is hardly a genre” (p.59) but went on to say, in relation to ‘Sapphire’ and ‘Victim’, that they may be described as “by narrative structure…detective mysteries.” However, such films sought to explore the real issues faced by that society. Ealing Studios in the 1950s encouraged the production of films that were not only melodrama or thriller, but that delivered a universal moral message. Issues such as juvenile delinquency, violence, sexuality and racism were incorporated into dramatic narratives that would engage audiences but ask them to look at their society and their own values, perceptions and prejudices. Jonathan Wright (2002) described processes involved in this, when examining British Social Realism, (quoting Lay, 2002) “First the film-maker must have intended to capture the experience of the actual event depicted. Second, the film-maker has a specific argument or message to deliver about the social world and employs realistic conventions to express this message or argument.” With ‘Sapphire, Dearden and Relph did that, linking the detective/thriller narrative, with character, form, tone, pace and dialogue, in fact all the film elements that succeeded in reflecting the state of a nation in transition and the effects of racism and prejudice. Historical Context: The race riots of 1958 in Notting Hill, London had raised the consciousness of post-war Britain, bringing doubts about their conservative, conventional values, and alerting them to changes. Immigrants from former colonies were flooding in, with different cultures, ethnicities and color; and these differences caused fear and suspicion of the unknown these new citizens represented. This represented a social problem, hence the film ‘Sapphire’ to reflect all the circumstances. During and after WW2, films showed communities working together against a common enemy. Many black and Asian soldiers from the Commonwealth and Empire fought for Britain and were welcomed during the conflict. However, after the war, as more and more came to the ‘Mother Country’, attitudes changed and black people were seen by many as a threat to the national identity and the economic security of citizens. Given those perceptions, Dearden’s ‘Sapphire was an attempt to highlight the changes, look at the values of community, liberalism and enlightenment, and adhere to values of tolerance and justice. These were the messages and themes. Sapphire – 1959: The film sought to reflect the changes in society and the dangers of prejudice and racism, not with moral lecturing, but with a subtle, multi-layered approach. Bergfelder (1998) said of Dearden’s work as a whole: “..is far more complex and exciting than the traditional definition of him as a ‘decent but dull’ proponent of the ‘social problem’ film allows…it does not propose a consistent and newly discovered ‘Deardian’ world view, but instead allows the films’ generic and social contexts and ideological contradictions to emerge.” While Sapphire reflected the times and circumstances in which it was created, the motives and methods served their purpose well. The simple narrative of a murder mystery and who killed the young woman found on Hampstead Heath, takes the audience, via linear and cumulative progression, into the events, scene by scene. Ogidi, (2003) described this as follows: “Dearden deftly manipulates tension with the drip-drip revelations about the murdered girl’s life”. By moving through the stages of a murder investigation, racial tensions, bigotry and fear are brought into the open, as themes develop and messages are delivered. The audience is taken from working class landlady, to middle class black and white prejudices, from jazz club to college, to suburban respectability, from ‘villains’ to trustworthy police officers. These do contain elements of stereotypical characterization, possibly reinforcing prejudicial beliefs. In a review from 1959 in the Monthly Film Bulletin, this was mentioned: “The Negro actors are far more sympathetic and lively, but again, one has the impression that their characters are all types – some good, some bad- whose sole purpose is to give every side of the Negro question.” That comments highlights the difference in approaches to race between now and 1959, as explained in 1997 by Durgnat: “The social problems behind Sapphire and Victim have likewise “reversed” In 1959, people discussed “the colour problem” (a phrase expecting cultural frictions); in 1997, this has “reversed” into the “problem of racism” (whereby racism causes those frictions).” The point here is, that the cinematic representations of the issues raised in Sapphire have as much relevance today, even when it seems dated. The use of dress, mannerisms, surroundings, characterization, all made it authentic within the contexts of history and social change. Dearden used dialogue and interactions, varied locations that underscored the points of Sapphire’s double life (the Jazz Club, the International Club, the Harris family home, college etc.) without over sensationalizing, but always leaving each scene with the question of possibilities and contradictions posed. In this way, he drew the audience into the action, by offering the questions, building up the tension with a series of surprising twists that affected any preconceived expectations, with no blatant moral lecturing. Stereotypes do emerge, which contribute to the idea of ‘old-fashioned’. For example, Hazard and Learoyd represent polite, honest police officers, though Hazard, was not prejudiced and Learoyd held racist views. The twist in that, is how Learoyd’s attitudes did not prevent him from saving a black murder suspect, the message being that ‘our police are wonderful and fair’. The proof that his beliefs and attitudes have changed is in the handshake with Dr. Robbins, Sapphire’s black brother. Robbins himself was used to demonstrate what it meant to be black, having suffered years of racist abuse, shown clearly with Mrs. Thompson’s behavior. The other landlady who threw Sapphire out when her black friend Johnny began to visit, stereotypes a working class attitude toward black people, with her comment to Hazard: “Would you be pleased, Inspector, if someone gave you a brass sovereign?” In other words, the veneer of whiteness was acceptable until the underlying blackness was exposed. The significance of the red petticoats under the plain brown skirt is a metaphor for Sapphire’s racial origins, her double life and the possibility that she might have deserved what she got. But Dearden poses it as a question, not a given. It also hinted at the motive for murder, as a pregnant Sapphire posed a threat to the lower middle class respectability and social aspirations of the Harris family, and destruction of career prospects for David Harris. Is the audience to assume that lower middle class people are steeped in prejudice, or is Millie motivated by sisterly love or just jealousy? Other interesting aspects of racism emerged in the characters of Paul Slade, ex-boyfriend and wealthy, educated black man, who would not have married Sapphire because she was ‘part white’. And Little Miss Sly, who wanted to belong in that society, and helped the police, expressed racism in her comment “I hated that high yellow doll.” Mr. Tulip too, commented on the sadness of half-castes, though he did not like people from any background. Although the film was made mostly at studio locations, it successfully captured the atmosphere of each separate location, and to some extent, stereotyped ethnic and racial preconceptions, for example, seedy club, (black strangers who might be criminal) and respectable household (white family who only want to improve their lives). In creating the atmosphere and surroundings within the narrative of an investigation, the film engaged audiences and left them in no doubt about the many facets of the life of a girl who could ‘pass for white’ and move at will through many different worlds. It also successfully portrayed the vast differences in society, within the confines of a sprawling, often alien landscape of the metropolis of London. Finally, there is some gender prejudice, linked to racial misconceptions of black female sexual behavior, suggesting Sapphire might have been immoral, a view that is unrealistic and unacceptable today. As the film ended with Sapphire’s photograph, a beautiful girl, who, no matter what her color or way of life, deserved to have a life, an enduring image and reminder of the messages was presented. If, as suggested by Wedding, Boyd and Niemic, (2005), film and the director’s skills have the power to affect thus: “Each viewer subjectively selects, attends to and translates the visual and acoustic images projected in a theater into his or her own version of the story.” then Sapphire’s story must have raised many issues, as it extended beyond its own reality and moved from the individual to the universal. Dearden obviously intended that the audiences’ version would be one that recognized the message of the need for understanding and acceptance, so that a real community could emerge, and how the dangers of racism that would prevent this taking place. Conclusion: Sapphire’s messages and themes remain relevant today, despite how their 1959 portrayal may appear out of date or unrealistic, in the contexts of modern cinematic advances and forms. However, racism still persists, fear of other cultures and ethnic groups still provoke similar responses in society. This is the brave legacy of Dearden’s Sapphire. The film helped to clarify the multi-layered, social, economic and historical elements, wherein racism, be it 1959 or 2007 still exist. Hopefully, with this work, and those of young British black and Asian film-makers, we are more able to understand and accept that Sapphire was realistic, and somehow prophetic. Reference List Bergfelder, T. ‘Liberal Direction: Basil Dearden and Postwar Film Culture – Review’ Historical Journal of Film, Radio and Television, Vol. 18 No. 4. October, 1998 Brooke, S. ‘Screening the Postwar World: British Film in the Fifties: Review Essay.’ In Journal of British Studies, Vol. 44 (2005) 562-569. University of Chicago Press Durgnat, R. ‘Two “Social Problem” Films: Sapphire and Victim.’ In Burton, A., O’Sullivan, T., Wells, P. (Ed.) Liberal Directions: Basil Dearden and Postwar Film Culture. Trowbridge: Flicks Books, 1997. 59-88 Ogidi, A. ‘Sapphire (1959). screenonline. 2003. British Film Institute. 30 April 2007 http://www.screenonline.org.uk/film/id/440288/index.html The British Film Institute ‘Sapphire’ screenonline 2003-6. The Monthly Film Bulletin Vol. 26, No. 305. June 1959 68-69. 30 April 2007 http://www.screenonline.org.uk/media/mfb/1005281/index.html Wedding, D., Boyd, M. A., and Niemic, R. M. Chapter 1 ‘Films and Psychopathology. In Movies and Mental Illness: Using Films to Understand Psychopathology 2nd Ed. Ashland, OH. Hogrefe and Huber Publishers. 2005. 1-5. Wright, J. ‘Rereading the British Social Realist Film: Samantha Lay’s ‘British Social Realism: From Documentary to Brit-Grit (2002). Film-Philosophy Journal Vol. 8, No. 4. January 2003. online 2004. 30 April 2007 http://www.film-philosophy.com/vol8-2004/n4wright. Read More