The battle of the Oscars an astonishing 21 years ago might tell us just how much the awards race has changed. I mean, heading into the race it looked like three of the favorites to land Best Picture nominations were also displaying extremely strong Best Actress contenders. Two would make it come nominations morning. A dark comedy, social drama, slickly written, with Frances McDormand. And the other, an honest, moving, audience-alluring mother-daughter drama. The Best Actress race would also, for once, be a Meryl Streep ‘will she — won’t she?’ affair, rather than a formality. A very popular actress would miss out on an acting nomination for a film called Mother. In fact, only two Americans made the Actress list in the end. Sounds familiar actually.
Once Miramax, and he-who-shall-not-be-named, arrived, as well as Sydney Pollack coming on board, The English Patient plowed through its limited budget to completion. And as awards season kicked into gear, the film adaptation of Michael Ondaatje’s “unfilmable” book was becoming a force to be reckoned with. Even with its slight early showing with the critics awards. Saul Zaentz, producer of Best Picture winners One Flew Over the Cuckoo’s Nest and Amadeus, was also going to receive the Irvin G. Thalberg award. Surely the inevitable was on the cards.
If you weren’t convinced then, and have not been since, then I implore you onto a long journey to 100 vital frames from The English Patient. With the help of Oscar-winning cinematographer John Seale, I have blissfully scoured the enduring movie for some of the greatest moments of the film. This project took me days and days to complete. Be patient, and prepare to be illuminated.
The opening titles are actually from the B-roll of The English Patient, as they did not have a title sequence completed by he end of production. It was extremely fitting given the significance of the paintings of the swimmers on the wall of the cave… …but also that it beautifully fades to the landscape of the desert with the shadows of the hills, and then the moving plane. From the get-go, the film’s scope mirrors, and pays huge respect to, Out of Africa and Lawrence of Arabia. One of many glimpses into Hana’s tragic luck with friendship and love… …as her dear friend is killed when her truck rides over a landmine. Alarmingly emotive tracking shot as Hana rushes to her inevitable worst fears.
Having agreed to stay on with the incapacitated Almásy, Hana’s “English” patient, she looks up at the monastery where she will be located shortly, still grieving the loss of her friend. Hana looks on up at her residence for the near future, we are introduced to the monastery buried in the trees of Florence. Hana arriving. Actually, various locations of interiors were used in the shooting of the monastery sequences., cutting to the natural exteriors. In a rare moment of calm, Hana chops her hair and glances the view. Bed-ridden Almásy being fed by Hana – “a very plum, plum.” His backstory begin, from his book, which he is jotting in s we join the desert. Introducing the explorer in Almásy, as well as remind us of the stunning vistas. The arrival of Katherine. And the immediate denial of attraction – you’ll notice he is more afraid of meeting her gaze than she is of his. The framing in the monastery often clearly defines multiple points of view – that certain characters are not necessarily aware who is close-by. But also signifying what can be overheard from all parties, only this time Hana is over-hearing rather than (appropriately) spying as Caravaggio was. The integral dance scene when Katherine mocks Almásy for following her when they met at the market – “Escort me by all means, but following me is predatory, isn’t it?” – and the realization is written all over her face. And his, as he stares her down. The moment, the connection, and it is she who temporarily, unsuccessfully avoids his gaze. And when Katherine’s husband Geoffrey leaves, the cinematography has Almásy turn to look at her in the distance… And then the perfect reverse shot emphasizing the mutual taboo of opportunity. Hanna discovers an escape from the grim with an old piano. One of many examples of the layered backgrounds and production design in the frame. As the group go exploring, Almásy asked Katherine to give him her hand. In assistance as she climb rocks, but we know it means much more than that. Our view is Almásy’s view on the birth of one of his drawings of the rock lines similar to the shape of a woman’s body (he describes) – also the turn and glance, a common occurrence in The English Patient. The cave discovery, from outside in a shot of the sloping entrance which holds significance later. Almásy going into the cave… …and the discovery of the wall paintings – the cave of swimmers – first seen in the opening titles. Close-up images of the “swimmers” being painted, this time in red. And it is Katherine painting them. They will later be offered as a gift to Almásy to put in his book. The car accident which proved to be one of the toughest days of the shoot. Isolating herself with the lack of use she can be as a woman, Katherine says she will stay behind, disguising, and at the same time flaunting, the control she has among the men. In one of many acts of protection, Almásy informs Katherine of the oncoming sandstorm. -The two of them take refuge from the storm in the truck – the scene was actually filmed in a garage. Exterior shot of the storm settling, sand grains sliding down a mount. Marooned from the world for the meantime, Katherine and Almásy get somewhat cosy. And with a stroke of the hair, the first direct tactile contact is made. Following the clearing of the sandstorm, John Seale’s photography reintroduces the scene as the frame peers over a mount of sand in the desert to the half covered truck. The realization of being potentially unseen and stranded in the desert – the theme of isolation and being trapped is almost a sub-plot of its own. From a buried truck, Katherine and Almásy help the others out. So not to have to actually bury actors in a truck under sand, the production team used a stage to recreate this part of the scene outside of the wide shots.
Reading Almásy words from his book, his constant mentioning of a woman “K” – and Katherine has to assume that is her. Kristin Scott Thomas is exception in these quiet, subtle moments. Ralph Fiennes compared her present on screen to that of Marlene Dietrich. I’d also offer vague comparisons to a certain Greta Garbo here. “Am I the K in your book? I feel I must be.” – Kristin Scott Thomas actually told Anthony Minghella before he officially cast her that she is the K in his film, Though Almásy hides from the inevitable romance, Katherine returns to him. Katherine slaps him (a fury of attraction), and they passionately embrace. Again, the stunning, layered production design only invites the heat. Almost feels like they are partly outdoors. After officially consummating their affair, Katherine joins Almásy in the bath. That checkered background again. Almásy foolishly tells Katherine that when she goes she must forget him, thus breaking the current joy of romance. Later, Almásy and Katherine pull a cracker – it’s Christmas. To get away from a gathering, he asks her to swoon, and that he will catch her. Notice again the division between the squares. With little hesitation, surrounded by feasting military, swoon she does. Katherine, in white, heads inside, where the waiting Almásy can be seen through the grid window frame. Almásy’s fascination with grooves on a woman’s body continues to the erotic, subtle nature of the film. The framing of Katherine’s naked back imitates the lines of the desert hills from Almásy’s comparison. A subtle hand hold as the couple re-emerge into the world – and the light. Hana briefly watching Kip as her attraction for him grows. The only shot in the film that directly depicts the action of war battle. Caravaggio’s flashback, moments before he is discovered. As he attempts to sneak away he is spotted and held at gunpoint. Everyone but Caravaggio drop to the ground. Aerial shot of the now imprisoned Caravaggio through bars – similar shot of Hana’s view as she looks down at Almásy in bed at the monastery. From inside the room, Caavaggio lit from the sun seeping through the ceiling window. The Muslim nurse in white symbolically comes down the stairs… …and she is ordered to do the horrific deed – cutting off Caravaggio’s thumbs. As we return to the monastery, Caravaggio revealing his wounds to Almásy, to whom he holds responsible. An outdoor cinema as Katherine waits for Almásy. The look on her face is a sorrow deeper than the movie’s impact. When Almásy arrives, Katherine calls off the affair, it is too dangerous. As she leaves she bangs her head on the pole, it just makes the goodbye even more painful. For us and them. Almásy joins the party later, clearly drunk. The scene establishing shots in The English Patient are consistently impressive. Mirrored from earlier, Almásy watches Katherine through the grid window. Almásy again corners her, but it is the reluctance that prevails over the passion – their encounter this time is not so open as she turns her back on him. Hana discovers small flames outside the monastery. They lead her away and across the grounds… …and into a room… …where Kip is waiting for her. They both ride Kip’s motorcycle to the church.
Kip lights a flare for Hana and ties her to a make-shift harness. Before hoisting her with his body weight upwards to view the beautiful artwork on the walls. One of the most wonderfully shot sequences in the whole film, Kip reminds Hana of some beauty in the word outside of war and heartbreak. The blatant use of lighting catches Hana’s wonder from all angles. When Kip is called away to disarm a bomb, Hana bikes to him. She is halted by the passing tanks and many soldiers celebrating what appears to be the end of the war. Kip is relieved to be still alive following a near-death experience attempting to disarm a huge explosive amidst shaky hands and rumbles from the celebrations above. Once out of harms way, the shaken Kip is reunited with a grateful Hana – their hug is the pinnacle of their bond, and a poignant highlight of the entire film. In jolly spirits, Hana returns to Almásy to inform him, quite obviously, that it is raining. Shot caught at the precise moment of lightning, Kip and Hardy carry the stretchered Almásy, joining Hana and Caravaggio in the delight of the downpour. Celebrations come to a halt when a bomb goes off in the village, Kip knowing it’s the same spot his friend Hardy is celebrating the end of the war. With the fresh loss of his friend, it is Kip’s moment to mourn the loss. In the conclusion of the back story with return to the desert when Geoffrey, with Katherine as his passenger, attempts to crash his plane on Almásy. The teary Almásy carries the wounded Katherine up the familiar path to the cave of swimmers – “You’re wearing the thimble.” he says. “Of course.” Katherine mutters, “You idiot. I always wear it. I’ve always worn it. I’ve always loved you.” – and Almásy crumbles. The use again of the flip point of view shots, so effective in The English Patient overall, between Almásy and Katherine… …and she asks him to promise he will come back, that he will never leave her. And so begins Almásy’s incredible journey on foot across golden sands – here barely visible in a shot reminiscent of a certain character introduction from Lawrence of Arabia. Another showy framing of Almásy walking in front of the lowered sun. As fresh as the opening moments, John Seale once again captures the depths of the bumpy desert. Stunning shot of Hana peering out to see Kip, about to leave on his motorbike – the reflection of the second window is like a painting of the trees we first saw when we were introduced to the monastery. With his story almost over, Almásy musters the strength to suggest to Hana that he give her a fatal dose of the morphine. The finite, heart-breaking look from Hana, a woman who knows she must respect his last wishes. An inevitable glare from Almásy, these are his final moments. As Hana prepares the lethal dose, she breaks down, about to lose someone close once again. Hana reads the last of his book to Almásy, the words Katherine has written for him while she awaited his return to the cave of swimmers. Almásy returns to the cave, Katherine now having passed, he takes her in the plane as we join the opening before he is shot down. These air shots nod back to Out of Africa, directed by Sydney Pollack, who was a huge part of the film’s production. One of Anthony Minghella’s favorites shots in the movie. The now empty room Hana takes one last glance before leaving. But not before taking Almásy’s book with her. Caravaggio having hustled transport away, Hana sits in the back of the truck looking back at the monastery as they finally leave it behind. With all the heartache in The English Patient, Minghella still wanted some kind of optimism in the film’s final moments. With the help of the magnificent Juliette Binoche, and the shimmering cinematography of John Seale, he somehow pulled it off.
Well done if you have made it to the end. All your comments and thoughts are most welcome below.
