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-------------- BEGIN heavenly-c.v001.n088 --------------
001 - mailcall <mailcall@kiva.n - Re: Guardian article 29/6/96
002 - "Jefferson F. Morris" <jf - Re: 57 varieties of HC?
003 - Bao Ly <lybao@earthlink.n - [Fwd: Re: Guardian article 29/6/96]
004 - Sandra Bowdler <sbowdler@ - Guardian article
--------------- MESSAGE heavenly-c.v001.n088.1 ---------------
From: mailcall <mailcall@kiva.net>
Subject: Re: Guardian article 29/6/96
Date: Fri, 9 Aug 1996 12:27:13 -0500 (EST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
here is another YES vote for posting that guardian interview with
anne. go for it!
**--==--** melanthe alexian **--==--**
--------------- MESSAGE heavenly-c.v001.n088.2 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: 57 varieties of HC?
Date: Fri, 9 Aug 1996 16:05:34 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Thu, 8 Aug 1996, Phil West wrote:
> So what's up? Are there several different pan/scans?
Hmm...I'd say it probably depends on how HC was originally shot.
If it was shot in some kind of full frame (1.33:1) format (like Super 35),
then "matted" for its theatrical presentation (That is, had part of the
top and bottom of the image covered up in order to give it a 2.35:1 aspect
ratio when projected), then that gives a lot more flexibility in
transfering it to video. If you want, you can just "unmask" the film,
restoring it to its original 1.33 ratio, then transfer it to video
without much panning and scanning at all. You'll actually be seeing more
image information than was shown in the theater (mostly added at the
bottom of the frame), and more than you would get if the picture was
letterboxed. James Cameron is fond of shooting this way, which then
allows him to transfer his films to video without losing critical
information. Scorsese has also taken to this method, after his
switch to widescreen photography.
If, however, a film is shot in some kind of anamorphic widescreen format,
then its wysiwig. It's a 2.35 frame, and that's that. No more visual
info anywhere. If you transfer it to video, you must either pan and scan
it rather severely, or letterbox it.
If you're seeing a P&S version of HC which doesn't appear to be cropped
at the sides (i.e., can you see both girls at once when they sit across
from each other in the tub during Paul's poem), then the film must have
been shot in a matted format, and then unmasked for the video transfer.
However, since some people are also complaining about cropping in the US
version, I can only assume that some fool transferred it as if it was an
anamorphic film, failing to take advantage of the extra image info that
was originally shot.
Allow me to arch my eyebrows ala Juliet and say that I've never watched
a videotape version of this film. Neither should you. Buy a laser
player now. Then we'll be able to get more people involved in a campaign
to have the Criterion Collection release a super special edition of this
movie. Imagine running audio commentary by Jackson, Walsh, Lynskey,
Winslet, et al. Behind-the-scenes photos. Trailers, featurettes.
Excised scenes. It would be glorious.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n088.3 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: [Fwd: Re: Guardian article 29/6/96]
Date: Fri, 09 Aug 1996 17:23:55 -0700
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From: Bao Ly <lybao@earthlink.net>
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Subject: Re: Guardian article 29/6/96
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Eric or Ann Kingman wrote:
> I'm delurking to ask if the article mentioned in the quote below from Paul
> that appeared in the last digest is available anywhere online, or if someone
> would be so kind as to mail or fax me a copy.
>
> Many thanks..
Yes, The Guardian article, June 29, 1996 is an article that was supposed to
appeared in the New Yorker (to be published) mentioned by John Porter--this
tip was from Sandra Bowdler who was suppose to fax me a copy (sorry Sandra,
my computer is down)--I think she is either sending it me by snail mail or
planning to post it soon.
She had also tipped me of a new article about "Heavenly Creatures" by John
McCarthy in Mystery Scene mag #53. I am in the process of ordering this
magazine direct. I'll post them when I get them.
Please continue to send in articles or infos of such. Thanks.
--
Anne Perry is writing a fantasy novel; Peter Jackson wants to do another
true-crime movie; Kate Winslet will be totally nude; Mush is making me gush.
-lybao@earthlink.net (he who dies with the most taglines dies)
--------------- MESSAGE heavenly-c.v001.n088.4 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Guardian article
Date: Sat, 10 Aug 1996 10:09:01 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
I promised a couple of people I would fax/snail mail this to them - anyone
else interested, let me have your relevant number/address, and I'll get on
to it.
cheers
Sandra
sbowdler@cyllene.uwa.edu.au
--------------- END heavenly-c.v001.n088 ---------------
From heavenly-c-errors@lists.best.com Sun Aug 11 15:01:50 1996
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Subject: Digest heavenly-c.v001.n089
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-------------- BEGIN heavenly-c.v001.n089 --------------
001 - Phil West <pgw16@hermes.c - Re: those 57 varieties of HC
002 - Phil West <pgw16@hermes.c - Anne Perry article
003 - Clscflm@aol.com - Guardian
004 - MrS1fDstrc@aol.com - Why you should NOT buy a laser disc player
005 - MrS1fDstrc@aol.com - More HC variations & Intense games
006 - mpellas@sgi.net (Michael - Miss Perry
007 - Thaiphong Vo <thaivo@ea.o - Re: Miss Perry
008 - Phil West <pgw16@hermes.c - Pauline's poetry (warning: lecture-length!)
--------------- MESSAGE heavenly-c.v001.n089.1 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: Re: those 57 varieties of HC
Date: Sat, 10 Aug 1996 22:44:16 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Dear Jefferson/ All Creatures Great and even Greater...
Aha! So it looks like the British home video is the full frame one.
Cool. Now you come to mention it, I do recall that when I saw HC in a
theatre a few weeks ago, there was less at the bottom of the screen than I
am used to. At the time I put it down to dodgy projection (not that it
spoilt the film at all), but I think now that I was seeing the 'correct'
framing for the first time. The general effect of a narrower picture was
to emphasize the darker moments; it felt *even* more like seeing the world
through Pauline's eyes. Quite frightening, actually.
A Criterion Collection Super Special edition??!! A laserdisc
player??!! Do you mind!!! This film has already cost me an arm and a
leg! Two months ago I owned an ancient portable TV which sat miserably in
one corner of my room. Since falling in love with this wretched film,
I've bought a second-hand VCR, a new TV, and a snazzy cabinet to put 'em
on! It's not so much that I couldn't live without HC in its full glory
('We're not going to be separated!'), but it certainly spurred me on to
revitalise my electronics. What a terrible temptation it would be if a
superdisc emerged. Perhaps we should send requests for favourite
behind-the-scenes moments... Footage of Melanie practising wrinkling
up her nose in front of a mirror?? Now where was that laserdisc dealer...
Yet another question. Having established that it's the full frame
version, explain to me why I have the Ilam garden party scene and Bloody
Bill moving in ('Hullo!) - but not Henry Hulme breaking down - or any of
the other magic 5 scenes Jean Guerin mentioned way back (22 April). I
suspect yet another cut.
Or alternatively, don't! That's quite enough technicalities. Let's get
back to sheer adulation. I'm off to dream up some adjectives (and
adverbs).
Fentustically yours
Phil
--------------- MESSAGE heavenly-c.v001.n089.2 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: Anne Perry article
Date: Sat, 10 Aug 1996 23:01:42 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
To everyone who asked about the Anne Perry article in the Guardian
- Kate, Ann, Thai, Nancy, Mela - thanks for your interest. I nearly
fainted in the newspaper shop when I first saw it (there's a huge piccy
of A.P. on the cover of the arts supplement bit), as this was only a few
days after I had read the FAQ and found out who Anne Perry was. I had a
terrible job not to go 'Aaah!!!'
I see Sandra is being the good angel via normal mail (we have postal
strikes in England, by the way). But I will still post it to the mailing
list once I make sure the copyright folk aren't going to throw me into
Mount Eden for 5 years for doing so.
Phil
---
P.S. Today I was chatting to an old friend who has gone Harry and moved
to Vienna (not the sewers, though). As England are currently playing
Pakistan at cricket, we got round to talking about our cricketing days of
a few years ago and he mentioned someone I had completely forgotten about,
a nice New Zealand doctor who used to play for us occasionally, by the
name of... *R. Medlicott*... from a family of New Zealand doctors...
His name was Richard, not Reginald, but I wonder... Spooky. I have
visions of Richard turning up one day with a huge wadge of great-uncle
Reg's psychiatry notes, saying, 'Found these in the loft at home, odd
stuff, something about a murder and Mario Lanza...'.
Nice dream. Richard: are you out there?
--------------- MESSAGE heavenly-c.v001.n089.3 ---------------
From: Clscflm@aol.com
Subject: Guardian
Date: Sat, 10 Aug 1996 18:55:38 -0400
Is the 29 June 96 Manchester Guardian article on Anne Perry available on any
of the Web sites - or anywhere on the Net? Some of us aren't as near to
University libraries as we once were.
Thanks in advance,
ClscFlm
--------------- MESSAGE heavenly-c.v001.n089.4 ---------------
From: MrS1fDstrc@aol.com
Subject: Why you should NOT buy a laser disc player
Date: Sun, 11 Aug 1996 00:49:00 -0400
I apoligize in advance that this post gets a little off the topic, but I
think it contains information you would all be interested in. If you watch a
lot of movies, and movies are very important to you (and it seems this would
be most of you), and have been considering buying a laser disc player, I
think you'd like to know a little about the new DVD system first.
"Jefferson F. Morris" <jfmorris@CapAccess.org> wrote
>Allow me to arch my eyebrows ala Juliet and say that I've >never watched
>a videotape version of this film. Neither should you. Buy a >laser
>player now. Then we'll be able to get more people involved in >a campaign
>to have the Criterion Collection release a super special >edition of this
>movie. Imagine running audio commentary by Jackson, Walsh, >Lynskey,
>Winslet, et al. Behind-the-scenes photos. Trailers, >featurettes.
>Excised scenes. It would be glorious.
I have thought about buying a laser disc player for a long time now, but
I have never bought one, and I'm glad. At this point buying a laser disc
player would be kind of a waste. As I mentioned in my post about the
differences between the Starz and video versions of HC, the DVD players are
coming out soon.
Digital Video Discs or DVD's are far superior to laser disc's in almost
every way. They are superior in both picture and sound quality. They will
be the first widely used digital video format (Sony and several other
companies started offering high-end digital video camcorders earlier this
year, but they are used mostly by professionals). Laser discs do not have
digital picture, but they do have digital sound. I didn't believe it when I
first heard that laser discs did not have digital video, but then I read an
article in Stereo Review magazine which explained it. I don't remember the
specifics, but laser discs use analog video converted to an FM signal and
somehow recorded on the laser disc. When the disc is played, the signal is
converted back to analog video. Something like that anyway, as I said I
don't remember the specifics.
Not only do DVD's have better picture and sound, they are also much more
convenient and offer more features. Laser discs are huge, and most movies
require at least two sides of a disc, and often require additional discs.
With laser discs, you can't just pop in a movie and watch, you have to flip
sides and change discs. DVD's are the same size as a CD (about 5 inches in
diameter) and they can store an entire movie on one side of a disc.
Finally, DVD's will have some reaaly incredible added features. They
are compatible with the DVD computer drives that will hit stores at about the
same time as the movie players. Since they can be used in your computer, it
would be possible to store extra files on the disc which are accessible by
computer. Some possible uses for this would be bios of cast and crew, the
script, production notes, photos, reviews, etc., and in the case of a
fact-based like HC, news clipping and info about the real events. DVD's will
allow both the letterboxed and pan-and-scan versions of a movie to be stored
on the same disc, and you can switch between the two at the touch of a
button. DVD's allow up to 7 different audio tracks (I think it's 7, it seems
like I just heard it was up to 20) so a movie could have several different
language versions on the same disc, or there could be a running commentary by
the director, stars, writers, etc.
The first DVD players are scheduled to be released this fall for $500
(about what you'd pay for an avarage laser disc player) on up. Sony,
Panasonic, JVC, Hitachi, Phillips and several other large electronics
companies plan to develop DVD systems. I think Panasonic will be the first
to release one in September. I don't know how much the individual movies
will cost, but I would think it would be about $15- $25 based on current CD
and video prices. That's a lot better than the minimum of $35 you'll pay for
a laser disc, or the $100-$200 you'll pay for a deluxe laser disc.
I think that we should all wait for the DVD players to come out, and see
if Criterion will release a special deluxe Heavenly Creatures disc. It would
be cheaper, more convenient, and have more features than a deluxe laser disc.
That's just my opinion though. I'd be glad to know what everyone else
thinks. Again, I'm sorry about writing such a long message that doesn't
really heve much to do with HC.
--------------- MESSAGE heavenly-c.v001.n089.5 ---------------
From: MrS1fDstrc@aol.com
Subject: More HC variations & Intense games
Date: Sun, 11 Aug 1996 01:53:09 -0400
You may not care, but in case you do I'm listing some more differences I
have found between the Starz and video versions of Heavenly Creatures. Most
of the differences are in the way the film was scanned. I keep seeing things
that make it look like they were trying to get some close-ups for the video
that were wide shots on the Starz version
- The sign at Ilam that is shown during Paul's first visit is cut off on the
video, but is very clearly shown in the Starz version.
- In the Starz version there is nudity, but on the video there isn't. In the
Starz version, we see Pauline's breasts as she rises from the bed after
losing her viriginity for sure to John/Nicholas. On the video that shot is
from the neck up. Also, in the numerous bathtub scenes, the girls' breasts
are often visible through the water in the Starz version, but on the video,
basically all those shots are close-ups of the girls' faces.
- In the video, the date is shown in various scenes at the bottom of the
screen, but I don't believe it shows the dates on the Starz version (I would
have to watch it again to be sure).
Jeff Morris explained about how the two versions may have been scanned
from a masked version of a Suoer 35 print for one (which would require
cutting the edges off or letterboxing) and the other version was scanned from
an unmasked version of the same print which would require only a very small
amount of the edge to be cut off. I wasn't aware that that was done, I
thought everything was just filmed in one of the standard wide screen
formats.
These different scanning methods would explain most of the differences
between the two versions I've seen, but not all. This would not explain why
the title screens were different, or why the scene with the man in the
hospital coughing up blood was not on the video version. Also this would not
explain why the dates aren't shown on Starz (but like I said, I'm not sure
about that).
From what I've seen, the video could have probably recieved a PG-13
rating because it ommits the nudity and the scene of the man coughing up
blood. In the video version, the bloody murder of Honora seems to be the
only reason why it was rated R. But that may not have been how it was shown
in theaters. I never saw it in the theater, so I don't know.
Now for the second part of this message. There has been some
discussion about intense, complex games people have played which are similar
to the ones the girls played in HC. While I have never played one of these
games, today I was able to get a littl better understanding of how involved
these things are. I was at work today, and I was talking to a couple of
friends on break. They aren't people that I know too well, so I don't know a
whole lot about them. They started talking about how they play Dungeons and
Dragons a lot, and one of them started talking about some new vampire role
playing game he was playing.
He talked about the game for quite a while, and as he talked about it he
told us what he had done in it. He didn't say anything really wierd or
anything, it was just how detailed all of the events were. He was describing
things as if they had actually happened. The game apparently takes place in
the real world, but the players can be immortals, vampires, or humans and
they can go anywhere and do anything. He talked about the places he went and
the things he did in the game, but since they were all real places, places
that are around where I live, it got cunfusing sometimes whether he was
talking about reality or the game. He seemed to really love playing it and
being able to do what he wanted however he wanted to do it. Since they use
actual places that are all local, the places and people are things they know,
it makes it even more realistic to them.
I'm not sure about the details of the game, so I'm not sure I got
everything right, but that's not the point. I saw how involved these games
can get. As I said, there wasn't anything specific that he said, it was just
the way he talked about the game, as if all the events had actually happened.
Not having ever played any of these games, I don't have much understanding
of them though.
--------------- MESSAGE heavenly-c.v001.n089.6 ---------------
From: mpellas@sgi.net (Michael Pellas)
Subject: Miss Perry
Date: Sun, 11 Aug 1996 04:40:45 -0400 (EDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Question to anyone who can answer:
Are the similarities between Juliet's pen name and the man her mother had
the affair with intentional? Did her mother get re-married? I haven't been
hanging around the list that long...so I might be missing some information...
michael
--------------- MESSAGE heavenly-c.v001.n089.7 ---------------
From: Thaiphong Vo <thaivo@ea.oac.uci.edu>
Subject: Re: Miss Perry
Date: Sun, 11 Aug 1996 06:51:14 -0700 (PDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>Are the similarities between Juliet's pen name and the man her mother had
>the affair with intentional? Did her mother get re-married? I haven't been
>hanging around the list that long...so I might be missing some information...
Yes, after she was released I believe she was given a new identity. By
that time her mother was married to Walter Perry, and she just took up his
last name. This close connection to her old identity was one of the main
reasons that she was so easily found later on. Not that it wasn't silently
known around the publishing world.
-Thai
----------------------------
"New Year's Resolution...Is a far more selfish one this year..
It is to make my motto, eat, drink and be merry... for tomorrow
you may be dead." - Pauline Parker 1954~
Melanie Lynskey: The One I Worship (http://www.best.com/~thaivo)
---------------------------
--------------- MESSAGE heavenly-c.v001.n089.8 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: Pauline's poetry (warning: lecture-length!)
Date: Sun, 11 Aug 1996 22:40:35 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
I decided that the HC mailing list needs a literary criticism class, so
'SIT-TT.' Here are a few weekend thoughts on 'The Ones that I Worship',
as delivered exquisitely by Melanie Lynskey (ah, if only it were on the
soundtrack. If they can put Emma Thompson reading Shakespeare on the
'Much Ado About Nothing' s/t, then I don't see why we can't have Melanie.)
I know the FAQ says Pauline's poetry was psychoanalysed to death, but I
can't help that - I just think it's a good poem and a lot more interesting
than Medlicott's grumpy comment ('extraordinarily exalted') makes out.
Typical of Pauline, I think, to call it 'The Ones that I Worship', when in
fact it isn't about 'Ones' at all, but very definitely about a *Two*, and
the wonderful togetherness of a special pair - 'two beautiful daughters',
'these lovely two', &c. Why 'Ones', then? As I see it, part of the
poem's representation of the girls is that it wants to lavish as many
grand-sounding words as possible on them in rapturous celebration of their
'sweet soothingness'. Hence verbal 'redundancies' (tautologies,
repetitions, &c) run high. 'The Ones that I Worship' could quite easily
be reduced to 'Those I Worship', but it loses that extra noun with its
(naively) impressive monumentality. (Consider how the tautology in 'We
have had it in our possession for about six months' acts to create a real,
existing, wonderful thing called 'our possession'). In the same way,
Paul's diary is full of repetitions of 'we' this and 'our' that, as the
simple enscription of the plural pronoun gradually became an emotionally
significant act for her - in other words, as she fell (in ways which I
needn't go into, I'm sure) in love. Like doodling the name of a loved one,
or the pastoral cliche of carving a name in the bark of a tree. Only a
little more intense...
RHYTHM. The rhythms are wonderfully irregular, and though some lines come
close to standard poetic metre, there is no regularity about which ones!
Try scanning a line yourself, and see if you think there are 4 or 5
stresses in a line (or both); and then there are those 'fourteener'
lines (16-17, the most regular in the poem, cut in the film) with 7.
Pauline uses both trochaic and iambic feet - groups of three and two
syllables, basically - and runs wild with extra syllables whenever the
fancy takes her. This lack of regularity isn't a problem (though I expect
the psychiatrists of the 50s thought it a sign of deep disturbance or
anarchic tendencies, or something), in fact it's part of the charm of the
thing. And yet certain other formal features show an awareness of
regularities, especially the implied stanza form of 4-4-3, 4-4-3 lines,
with care taken to rhyme lines 11 and 22. What I'm saying is that I think
the irregular rhythm is quite deliberate and quite astonishing for a 15
year old. (If you don't think the rhythm is important, try this *dridful*
metrical rewrite of lines 5-8 (with apologies to PYP):
'You cannot know, nor try to guess
The soothingness of their caress;
Th'outstanding genius of this pair
Is known by few, it is so rare.'
Hers is *much* better, and not just because of the different words.)
DEIXIS. The deictics in the poem (pointing words like 'this' and 'these')
are crucial, delightedly gesturing at its beautiful subjects. 'There are
living', 'this pair', 'these wonderful people' - that's a lot of pointing
for one short poem to do, and strikes me as an extension of Pauline's
desire to lavish loving words on the special relationship (not to mention
the special significance of words like 'This' and 'That' for the girls).
Each deictic is caught up in expressing the greatness of the two - their
genius, their highness over man(kind), that they are Goddesses, that they
are lovely. They name them intently, and particularly their proximity -
they're definitely close by, here, not there; 'these', not 'those'.
That's why the last line can make such a gentle and tender turn, because
for the first time a proximate deictic ('these wonderful people') morphs
into the poem's speaking voice, 'I' ('are you and I'), something the poem
has been leading us to expect. Since the first line, the 'lovely two'
have been referred to in the third person, but all these proximate
deictics have established that they are very close to the narrator; now,
at last, our suspicions are happily confirmed, and the second person
singular appears for the first time. So - it was written for Juliet all
the time, for the 'you' who has been the invisible addressee until this
last, revealing, remarkable line. Shivers, please.
Hmm, well, that's the first couple of things I could think of (there's a
lot I could say about this poem, and I haven't even got going on the
diary prose yet, which is even more remarkable - now there's a threat...).
If anyone can suggest any influences on Pauline's poetry, please do,
'cause I'm stumped. Although I've done some work on 1920s and 30s poets,
my speciality is English Civil War poetry, which is precisely 300 years
out.
Juliet/Anne's favourite poets were/are the 'Georgians', like Rupert Brooke
and G.K. Chesterton, who certainly went in for the sorts of alliterative
effects Pauline uses; but they've little else in common, especially in
formal matters (though there are a few quite surprisingly gentle love
poems worth a quick look. I've even found things in some Georgian poets -
James Elroy Flecker, I think - like 'burning bright brown eyes', but I
suspect this could be done with almost any poetry). So who were Pauline's
models or preferred poets? Other influences - hymn words? (her vocabulary
betrays her Christian background), opera libretto? Or was she just
(albeit briefly) a bit of an original? Whaddya think?
Lesson over. I'm off to the staff room to cadge a cup of tea from that
nice art teacher. Never mind, it's Phys. Ed. next. 'Left, right..'
Phil
--------------- END heavenly-c.v001.n089 ---------------
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-------------- BEGIN heavenly-c.v001.n090 --------------
001 - dg acosta <opensesame@ear - CANCEL Digest heavenly-c.v001.n089
002 - kate ann jacobson <kjac@u - Re: Pauline's poetry
003 - 9506148v@Magpie.Magill.Un - Re: Miss Perry
004 - Sandra Bowdler <sbowdler@ - Re: Miss Perry
005 - "Jefferson F. Morris" <jf - Re: Miss Perry
006 - "Jefferson F. Morris" <jf - OFF: Heavenly Discs
007 - Michaela Rhea Drapes <ole - RE: Miss Perry
008 - "Jefferson F. Morris" <jf - OFF: Whoops
009 - Bao Ly <lybao@earthlink.n - Re: Miss Perry
010 - Bao Ly <lybao@earthlink.n - Anne Perry: National Review 01-01-96
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From: dg acosta <opensesame@earthlink.net>
Subject: CANCEL Digest heavenly-c.v001.n089
Date: Sun, 11 Aug 1996 17:30:25 -0700
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From: kate ann jacobson <kjac@unm.edu>
Subject: Re: Pauline's poetry
Date: Sun, 11 Aug 1996 20:33:25 -0600 (MDT)
MIME-Version: 1.0
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Phil, that was quite incredible! I've had that poem taped to my
refrigerator for ages, and never noticed many of the things you said.
> So who were Pauline's models or preferred poets? Other influences -
> hymn words? (her vocabulary betrays her Christian background), opera
> libretto? Or was she just (albeit briefly) a bit of an original?
> Whadda ya think?
Well, I'm not much of an expert on poetry, either, except for Yeats, and
I haven't heard anywhere which ones Pauline read privately. However, I'm
guessing Paul's motives in writing this poem were not to imitate her favorite
authors (though of course that may have come out) but to find a perfect
expression for her feelings about Juliet. And I think the place she found
the perfect vocabulary, was. in fact, in church. Hence the phrases "worship"
"above us these goddesses reign on high", "heavenly creatures" "hatred for
enemies" "the most glorious beings in creation", "adoring love known to so
few". These phrases make the poem sound like a very hymn itself to me,
and the ending revelation, "these wonderful people are you and I", sort of
seems like she and Juliet are human and immortal in one, just like Christ
was God and man in one. Could two people be any closer than that?
In short, I think Pauline was influenced by the world around her in all
of her writing, and perhaps even through politics a little. I think one
of her diary entries resembled one of Winston Churchill's speeches, and there
is also the line from the poem. "they'd be the pride and joy of any nation".
Of course, it is really hard to know, what, if any, poets she was influenced
by since she hardly mentions any. I think she was an original, too, and maybe
in the world she lived in with Juliet, there was no need for any rules
but their own.
- kate
--------------- MESSAGE heavenly-c.v001.n090.3 ---------------
From: 9506148v@Magpie.Magill.UniSA.edu.au
Subject: Re: Miss Perry
Date: Mon, 12 Aug 1996 15:16:51 +0930
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To whoever was just talking about the use of Walter Perry's surname by
Juliet when she went back to England - has anyone mentioned that in HC,
during French class, when she gets to choose her own name, she calls
herself 'Antoinette'? There is probably no connection, and PJ probably
just made the name up, but I wonder if he knew of Miss Perry's new
name when he or Fran wrote this part. Is there any relation between the
use of 'Antoinette' in the the film and 'Anne' in real life? My guess is
just that PJ or FW already knew of Miss Perry's identity and wanted to
throw in a few clues to an audience which probably contained one or two
obsessive HC fans who would spend hours scanning through their copies of
the HC FAQ to find out if there were any explanations for the use of such
a name.
So now I am compelled to ask : At just what point *did* the writers of HC
discover Miss Perry? Did they find her in sufficient time to deliberately
include references to her in the film?
Shannon <9506148v@magpie.magill.unisa.edu.au>
'It's everyone else who's bonkers!'
--------------- MESSAGE heavenly-c.v001.n090.4 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: Miss Perry
Date: Mon, 12 Aug 1996 15:36:55 +0800 (WST)
MIME-Version: 1.0
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Hello all,
Peter Jackson, in his interviews, has been at great pains to insist that
he did NOT want anyone to track down Juliet or Pauline in their new
personae. My impression is that this was, and is, a sincere view.
There is some evidence somewhere (perhaps in one of mad Medlicott's
papers) that the real life Juliet did indeed use the name Antoinette at
some time.
cheers
sb
--------------- MESSAGE heavenly-c.v001.n090.5 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: Miss Perry
Date: Mon, 12 Aug 1996 12:47:59 -0400 (EDT)
MIME-Version: 1.0
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On Mon, 12 Aug 1996 9506148v@Magpie.Magill.UniSA.edu.au wrote:
> To whoever was just talking about the use of Walter Perry's surname by
> Juliet when she went back to England - has anyone mentioned that in HC,
> during French class, when she gets to choose her own name, she calls
> herself 'Antoinette'...[snip]...My guess is
> just that PJ or FW already knew of Miss Perry's identity and wanted to
> throw in a few clues to an audience which probably contained one or two
> obsessive HC fans who would spend hours scanning through their copies of
> the HC FAQ to find out if there were any explanations for the use of such
> a name.
An interesting idea, but I seriously doubt that this was put in by J&W as
some kind of 'clue' as to Juliet's current identity. They seemed quite
concerned that her identity be kept secret. I don't know the details of
exactly how it leaked out.
> So now I am compelled to ask : At just what point *did* the writers of HC
> discover Miss Perry? Did they find her in sufficient time to deliberately
> include references to her in the film?
I believe they discovered her during the process of researching the
script, so technically it would have been possible to include references
to her if they'd wanted to.
It would be interesting to find out if Juliet's use of the name 'Antoinette'
is historically documented, or if it's something J&W invented. I always
connected it with Marie Antoinette, and thought of the name as just another
way for the somewhat haughty Juliet to emphasize her "royalty" and
superiority over her kiwi classmates (and teachers, for that matter).
--Jefferson
--------------- MESSAGE heavenly-c.v001.n090.6 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: OFF: Heavenly Discs
Date: Mon, 12 Aug 1996 13:05:33 -0400 (EDT)
MIME-Version: 1.0
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On Sun, 11 Aug 1996 MrS1fDstrc@aol.com wrote:
> Digital Video Discs or DVD's are far superior to laser disc's in almost
> every way. They are superior in both picture and sound quality.
If this is true, then they sure must have spruced up DVD's since I last
saw one a few months ago. It was a little disc of 'Apocalypse Now' and
it looked godawful. Lower resolution than VHS, as far as I could see.
This was simply because they hadn't found a way to compress the format
sufficiently. What I saw was not in any way competitive with the quality
of laser.
I was wondering if you'd witnessed one of these DVD's firsthand, or if
not, where you're getting your information from.
> Laser discs do not have
> digital picture, but they do have digital sound.
This is true. If discs had digital pictures, they'd only run about 6
minutes on a side. And if memory serves, a laserdisc has 40 gigabytes of
storage per side. So in order to have digital picture and sound at a
quality equal to or greater than laserdiscs, DVD's would have to have at
least 40 gigs of space on a single side. I wasn't under the impression that
DVD manufacturers had gotten this far with the technology yet.
A CD only has a capacity of 600 megs, so these DVD's will most assuredly
not be compatible with any CD-ROM drive you may have in your computer now.
> The first DVD players are scheduled to be released this fall for $500
> (about what you'd pay for an avarage laser disc player) on up.
Actually, you can get laser players for as low as $300 now.
I bought my player back in 1992 for $400, and back then people were
telling me that HDTV was right around the corner, so why should I bother?
Digital video will be here in a manner of months, right? Well, they were
wrong. And when those nifty HDTV sets which are capable to taking advantage of
all this digital data are actually released, they'll probably retail for
an absolute minimum of $5000. Although you don't have to have an HDTV
set to watch a DVD.
We should also keep in mind that it will take some time for manufacturers
to build a decent library of software for DVD. If you're waiting for a
special DVD of 'Heavenly Creatures,' you may have to wait a long, long time.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n090.7 ---------------
From: Michaela Rhea Drapes <oleanna@mail.utexas.edu>
Subject: RE: Miss Perry
Date: Mon, 12 Aug 1996 11:26:19 -0600
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On Monday, August 12, 1996 6:47 AM, Jefferson F. Morris[SMTP:jfmorris@CapAccess.org] wrote:
>It would be interesting to find out if Juliet's use of the name 'Antoinette'
>is historically documented, or if it's something J&W invented. I always
>connected it with Marie Antoinette, and thought of the name as just another
>way for the somewhat haughty Juliet to emphasize her "royalty" and
>superiority over her kiwi classmates (and teachers, for that matter).
I think its mentioned in the FAQ somewhere that Juliet had a well-known love of the French Revolution,
and I read somewhere that Anne Perry was thinking of writing in that time period before deciding on
Victorian England for her mystery novels, and she has said that she would like to write about the Revolution
era.
regards,
michaela
----
Michaela R. Drapes
oleanna@mail.utexas.edu michaela@cibola.net
http://www2.cibola.net/~michaela
"I do not think you can catch me, for I am super-freaky."
-Artie, the strongest man in the World, "The Adventures of Pete and Pete"
---
--------------- MESSAGE heavenly-c.v001.n090.8 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: OFF: Whoops
Date: Mon, 12 Aug 1996 14:55:19 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Mon, 12 Aug 1996, I foolishly wrote:
> If this is true, then they sure must have spruced up DVD's since I last
> saw one a few months ago. It was a little disc of 'Apocalypse Now' and
> it looked godawful.
I just now remembered that it was probably a Philips CDV I was looking
at, and not a DVD. So never mind that part.
If DVD's can do all they say, then they sound pretty good. But I
wouldn't be surprised if they don't show up quite on schedule.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n090.9 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Miss Perry
Date: Mon, 12 Aug 1996 12:55:07 -0700
MIME-Version: 1.0
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Jefferson F. Morris wrote:
> An interesting idea, but I seriously doubt that this was put in by J&W as
> some kind of 'clue' as to Juliet's current identity. They seemed quite
> concerned that her identity be kept secret. I don't know the details of
> exactly how it leaked out.
I've read that Juliet's new identity, Anne Perry, was known by those
authorities on the case and a few others connected to it--for example, I
believe some of the journalists who have been investigating the trial knew
and the prison guard knew also. The rumor was leaked out from a play, as
you all know well now, "Daughters of Heaven". In Scenario magazine it
mentioned this. And I quote: "A friend of Juliet's , who was still writing
to her, confided in one of the actors that Juliet Hulme was now writing
murder mysteries as Anne Perry. That rumor flew around the acting community
her in New Zealand, and it reached our [J&W] ears on the set..."
Peter and Frances went on to talked about the Miramax ads that ran in
America regarding Juliet's new identity...one in particular, titled
"Murder She Wrote". I am still looking for this one--it is in the New York
Times. I still haven't found out the date which it appeared yet. But I'll
find it sooner or later.
Sorry if this sounds a little outta whack. My computer is totally tweaked,
so I can't provide you all some of the sources and info I that have. I'm
surprise it hasn't crash yet!
--
"To those who understand, no explanation is necessary. To those
who will not understand, no explanation is possible." lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n090.10 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Anne Perry: National Review 01-01-96
Date: Mon, 12 Aug 1996 13:10:40 -0700
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A little knowledge.
A LITTLE KNOWLEDGE
Cain His Brother by Anne Perry (Fawcette Columbine, 390 pp., $22.95)
Traitors Gate by Anne Perry (Fawcette Columbine, 411 pp., $21.50)
``AN incredible three million copies of her books have been sold in
America,'' boast Anne Perry's British publishers. Incredible, no; if they
say so, I believe them. A bit puzzling, yes; the reason for such
popularity is not altogether clear. But the operative word in that boast
is ``America.'' Although Miss Perry is a British writer, living in Britain,
her books are much less well known on the eastern side of the Atlantic.
And that's not puzzling at all. Her novels, set in Victorian London, are
-- like those of Martha Grimes, an American mystery writer who has set
nearly all her books in Britain -- full of slight solecisms and anomalies
liable to set sensitive English teeth on edge. They have been praised by
the upmarket American press for their historical authenticity and
atmospheric plausibility but authentic and plausible, to anyone with the
slightest knowledge of the period, they are certainly not.
Miss Perry's books fall into two, scarcely distinguishable, series, both
featuring police detectives who pursue their investigations through foggy
streets to the clip-clop of hansom cabs, from the drawing rooms of Mayfair
to the stews of Limehouse. In the latest, Cain His Brother, ex-Inspector
Monk (now an ``Agent of Inquiry,'' long before Sherlock Holmes claimed to
be the only ``consulting detective'' in the world) searches for a missing
man in the fever-ridden slums of the East End. His quarry, a saintly
character, had an evil twin brother, who may have murdered him: but there
is no body, and the villain is quite confident that none will be found.
A trial ensues nevertheless, with a melodramatic denouement. The mood is
gloomy throughout, and, squalor being squalor, well-founded in
sociologically inclined history books. So far, so plausible -- until the
narrative moves into the more socially complex regions of the Bar and the
professional classes, where it suddenly becomes apparent that the author
does not know what she's talking about. London barristers don't have
``offices'' in a street near Lincoln's Inn Fields: they had, and have,
chambers in one of the Inns of Court. They don't ``approach the witness
stand'' like Perry Mason. Nor are English clergymen called ``Reverend
Wyndham'' -- or, at least, they weren't before Hollywood' s influence.
In all Miss Perry's books, modern prejudices, particularly about class and
the position of women, are constantly insinuated and heavily emphasized.
Victorians, however radical, simply didn't think in those terms. Gentlemen,
she tells us, ``only dabbled, they did not actually work' '; which would
have astonished some very energetic Victorian gentlemen. As for women,
they were ``the weaker vessel, expected to weep, to lean on others'';
which would have amazed many tough-minded Victorian ladies. On the other
hand, no respectable Victorian man would ever have said ``what the hell''
in the presence of a lady. Still less would a respectable woman have used
such language herself (``bloody incompetent generals'').
The most recent book in Miss Perry's other series, Traitors Gate (why no
apostrophe?), set in higher social circles, was even more liable to such
solecisms. In it Superintendent Pitt, aided by his wife, Charlotte,
investigates a murder in a gentlemen's club. The crime involves Important
People: it touches on the colonial struggle for Africa and a sinister
anti-democratic conspiracy, the Inner Circle.
Miss Perry has conscientiously studied the background details. She knows
London's street plan, what songs were sung in the music halls, what
fashions the ladies wore: and she makes sure we know she knows. The effect
is spoiled by things in some ways less obscure but perhaps not quite so
readily swotted up. The club she writes about, crucial to the story, has
a ``manager'' and ``stewards,'' like an American club, not a ``secretary''
and ``waiters''; it has a ``foyer'' and a quite impossible inner room for
senior members only. The club's domestic arrangements are important because
they affect the solution, described as ``very clever and very efficient''
but in fact absurd.
Even that sort of thing might not matter if the Victorian feel were right.
There are some other curious Americanisms -- ``As close to Westminster as
we live'' (no Englishman, now or then, would insert the first ``as''),
``French doors'' instead of ``French windows,'' and (admittedly not often)
some hilariously dreadful dialogue -- ``Must be damned urgent to seek a
fellow out at his club, what?'' When a high flyer at the Colonial Office
is described as academically outstanding because he graduated from
Cambridge at age 23, one can only ask what took him so long. Again we
have the word ``bloody'' used in the presence of, indeed addressed to, a
lady.
Has Miss Perry never seen Pygmalion? Has she never read Victorian novels
-- Trollope, Wilkie Collins, The Dolly Dialogues, The Four Feathers, or
even the Sherlock Holmes stories? Or another, equally famous, Victorian
tale which had better not be named for fear of giving away the twist at
the end of Cain His Brother? The surprising answer is ``Possibly not.''
A glance at her biography, as given by the publishers, reveals that,
although seemingly a conventional middle-class, middle-aged Englishwoman,
she grew up in New Zealand, worked for a while in California, and now lives
in a remote Scottish village. But that's not all.
While Traitors Gate was in preparation a movie called Heavenly Creatures
was released, about a forty-year-old case, famous in New Zealand still,
in which two young girls, for psychologically obscure reasons, battered to
death the mother of one of them. A New Zealand reporter somehow got on the
trail of Miss Perry. When asked, she immediately admitted that she had
been one of those girls, though not the one whose mother was murdered. She
had served five and a half years in a women's prison, was released at age
21, returned to England, where she had been born, and changed her name.
She claims to remember little of the murder and to have long ago lost
touch with the other girl. She has never denied her identity but,
naturally enough, doesn't like talking about it. She has become a devoted
Christian. But she did miss out on a good deal of education. The publicity
that followed the revelation has been handled not so much discreetly as
carefully, with well-controlled articles and interviews. Everybody on both
sides of the Atlantic who is at all interested in her books now knows the
facts. Despite her initial unsophisticated fear that her publishers might
drop her if they knew, the story has predictably helped, not harmed, her
sales.
All credit to her for making a new life and a successful career. However,
I cannot help feeling, as she probably does, that it would be better, from
a literary as well as a personal point of view, if we didn't know. People
reading her books are now bound to ask: ``Can you tell?' '
The most spectacular parallel instance is that of James Morris, who
underwent a highly publicized sex change while writing his (or her)
trilogy about the British Empire. Nobody can read those excellent books
now without trying to see the join, the point where the sex change
happened. But there is no perceptible join. Nothing alters.
This provokes a much broader and deeper question about authors in general.
Which is the real person -- the one whose apparently intimate acquaintance
we make on the page, or the frequently disappointing figure whose hand we
may shake or whom we may see blathering on a television talk show? How do
we feel about a woman protagonist, perhaps narrating in the first person,
created by a male author -- or the other way around? Would we feel
differently were we unaware of the author's sex?
Are the currently fashionable courtroom thrillers distinctly better for
being written by lawyers? Or romans policiers for being written by
policemen? Erle Stanley Gardner was a lawyer and Dashiell Hammett had been
a private eye, but they both learned more from working on Black Mask
than from experience in the field. Carroll John Daly, the first begetter
of the hard-boiled thriller genre, was rather a nervous man who once
thought he should carry a pistol to see what it felt like -- and was
promptly arrested. Mystery fiction need not be realistic; realism is not
the point.
The same applies to espionage fiction. Some writers of good spy stories
did have experience in intelligence work, but you would never guess it
from their unrealistic tales. Yet John le Carre's not very happy time in
the British Secret Intelligence Service provided the pungency of his
novels. And the Rumpole stories would be much less fun if John Mortimer
were not so familiar with lawyers and judges.
So which is the rule and which are the exceptions? Truthfully, there is no
rule. Trying to deduce one leads only into what le Carre calls ``a
wilderness of mirrors.'' Homer and Shakespeare are enhanced, not
diminished, because we know so little about them. Anne Perry's work would
lose nothing if we knew less about her.
~~~~~~~~
By ANTHONY LEJEUNE Mr. Lejeune is NR's longtime London correspondent.
Copyright 1996 by National Review Inc. Text may not be copied without the
express written permission of National Review Inc.
Lejeune, Anthony, A little knowledge.., Vol. 48, National Review,
01-01-1996, pp 54.
--------------- END heavenly-c.v001.n090 ---------------
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-------------- BEGIN heavenly-c.v001.n091 --------------
001 - Bao Ly <lybao@earthlink.n - Anne Perry: Newsday 02-20-95
002 - Bao Ly <lybao@earthlink.n - Anne Perry: L.A. Times 11-27-94
003 - Bao Ly <lybao@earthlink.n - Anne Perry: USA Today 09-23-94
004 - Bao Ly <lybao@earthlink.n - Anne Perry: The Age 12-02-95
005 - Phil West <pgw16@hermes.c - National Review reviewed, or The Sniper Sniped!
006 - Michaela Rhea Drapes <ole - more true crime films?
007 - Phil West <pgw16@hermes.c - Re: Pauline's poetry
008 - kate ann jacobson <kjac@u - Re: Miss Perry
009 - Bao Ly <lybao@earthlink.n - Lyrics: Funiculì, funiculà!
010 - Bao Ly <lybao@earthlink.n - Lyrics: You'll Never Walk Alone
--------------- MESSAGE heavenly-c.v001.n091.1 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Anne Perry: Newsday 02-20-95
Date: Mon, 12 Aug 1996 12:55:29 -0700
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New Controversy Over '50s Murder Crossfire in the press
over `Heavenly Creatures'
New Controversy Over '50s Murder
Crossfire in the press over `Heavenly Creatures'
By Bronwen Hruska. Bronwen Hruska is a free-lance writer.
IT'S A STORY of murder, hidden identity and, of course, public
relations.
In recent media appearances, including a "20/ 20" interview and New
York Times story, Anne Perry, a best-selling murder-mystery writer (with
a new book called "Traitor's Gate" to promote), lashed out against the
New Zealand filmmakers who wrote "Heavenly Creatures," about her and a
friend whose mother they killed.
Perry was identified last July as Juliet Hulme, who in 1954 was at
the center of New Zealand's infamous Parker-Hulme murder with her teen
friend Pauline. The Times article says Perry insists the film is a
"grotesque and distorted portrait of herself" and quotes her as calling
Fran Walsh and Peter Jackson (who have won an Oscar nomination for the
screenplay) "idiotic moviemakers."
She now denies making those accusations, but Walsh and Jackson, as
one might imagine, have a problem with the high-profile attacks from a
woman who has never seen the film.
Walsh bristles at the name-calling in the press. "We don't appreciate
being referred to as `idiotic moviemakers.' In all the interviews we've
done for the movie, we've treated her with absolute respect. And while
it's clear she has no respect for us."
When asked how she could trash the filmmakers without seeing the
movie, Perry replies, "That was an unfortunate quote, and I don't
remember saying it - it must have been the heat of the moment." And
Perry now denies ever calling the movie grotesque and distorted.
"It's too bad this has deteriorated to crossfire in the
press," said Walsh, speaking from her home in New Zealand. "But we do
feel compelled to defend our work. We tried so hard to get the research
right . . . We wanted to tell their story from a humanitarian
perspective to New Zealanders who've seen the girls as monsters all this
time. Unfortunately, Perry is feeling this pressure to deny things."
The movie explores an intense friendship that was threatened when
Parker's mother wouldn't let her move with Hulme to South Africa.
Killing Parker's mother seemed the only way for the girls to stay
together, and amazingly, the adolescent fantasy turned real when they
bludgeoned Honora Parker to death with a half-brick slung in a stocking.
The girls each served 5 1/2 years in prison and were released with new
names under the agreement they never see each other again.
Their identities had remained secret until a New Zealand journalist,
Lin Ferguson of The Sunday News, put together the pieces and found Perry
(who had taken her stepfather's last name) as the movie was playing at
festivals last July. Since then Perry has been profiled in numerous
publications and has used the media attention to own up to her past,
criticize the movie and, of course, pitch her books.
Among Perry's complaints with the movie: Her friendship with Parker
was not sexual or as intense as "Heavenly Creatures" makes it out to be.
'`It was a schoolgirl friendship," she says now, explaining she felt
indebted to the only friend who wrote her while she was hospitalized for
three months. Perry also blames a TB drug she was taking at the time for
clouding her judgment.
"I can understand why Perry has taken a sort of revisionist
approach," said Walsh. "Forty years on, she has a career to protect -
she's rebuilt her life, and the last thing she wants to do is justify
her actions as a fifteen-year-old."
Perry says she has no plans to see the movie. "It is all extremely
painful," she says of the film. "What others see as fair and objective
is not the way you see yourself."
Thanks to the publicity surrounding the movie, "Heavenly Creatures"
has grossed $2.3 million after four months in theaters, considered a
good sum for a small foreign film. And Perry, who has 3 million books in
print already, should expect sales of her newest book to rocket, given
that libraries in New Zealand haven't been able to keep them on the
shelves since Ferguson's story broke.
As Barbara Walters summed up the Anne Perry segment of "20 / 20" on
Feb. 10: "Boy, I never read her before. I sure want to now."
Copyright 1996, Newsday Inc.
Hruska, Bronwen, New Controversy Over '50s Murder Crossfire in the press over `Heavenly
Creatures'., Newsday, 02-20-1995, pp B03.
--------------- MESSAGE heavenly-c.v001.n091.2 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Anne Perry: L.A. Times 11-27-94
Date: Mon, 12 Aug 1996 13:12:46 -0700
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FILM CLIPS; SYMPATHY FOR THE DEVILISH;
What's a Little Motherly Murder Between Friends?;
Home Edition
FILM CLIPS
SYMPATHY FOR THE DEVILISH
What's a Little Motherly Murder Between Friends?
By Emanuel Levy
Los Angeles Times Sunday November 27, 1994
Home Edition
Calendar, Page 28
Type of Material: Column
Peter Jackson, the 33-year-old New Zealand director, has been
mostly known to the film festival circuits for his offbeat sci-fi and
horror movies ("Bad Taste," "Dead Alive"), which went on to achieve
international cult status.
That reputation may change, however, with the release of his new film,
"Heavenly Creatures," a powerful dramatization of the 1954 Parker-Hulme
case, in which two New Zealand teen-age girls murdered the mother of one
of them. The film, which opened Wednesday, has already won the
prestigious Venice Film Festival Silver Lion and Toronto Film Festival
Metro Media Award.
The high-profile case, still called "New Zealand's most famous crime,"
has continued to fascinate the media--and public--for 40 years.
"But in all this time," Jackson says in a recent visit to Los Angeles,
"the story has never been told sympathetically." During the trial of
Pauline Parker, 15, and Juliet Hulme, 16 (played in the film by
first-time teen-age actresses Melanie Lynskey and Kate Winslet,
respectively) for the murder of Parker's mother, tabloids wrote mostly
titillating accounts of the crime itself and of the peculiar, possibly
lesbian, friendship between the girls.
Jackson's longtime collaborator Frances Walsh was the first to suggest
he tackle the subject on film. "I immediately fell in love with this
unusual tale," Jackson says. "I became obsessed with it."
From the start, Jackson decided to focus on the extraordinary
friendship between the girls rather than the end result, a gory murder
that sent them to prison. "Our intention was to make a film about an
intense relationship," Jackson says, "that went terribly wrong."
Jackson and Walsh began reading newspaper accounts of the trial, but
they quickly realized the lurid articles contained little useful
information. "In the 1950s, Pauline and Juliet were branded as the 'most
evil people,' " Jackson says. "What they had done seemed without rational
explanation--people assumed there was something wrong with their minds.
"The press labeled them the 'lesbian schoolgirl killers.' Criminal
psychology was at its most primitive. The public believed it was a case
of insanity, of homosexuality, mental illnesses you could recover from,
with the right treatment."
To achieve a more compassionate perspective, they undertook a massive
search for people who knew the girls. Their main sources were the court
records and Parker's diaries, in which she recorded thoughts about her
intense friendship with Hulme. Based on these diaries, the girls emerged
as two extremely intelligent and imaginative adolescents with a wicked,
irreverent humor. The entire voice-over in the film is based on Parker's
writings.
Jackson sees the film as non-judgmental: "These two girls were
innocent outcasts before they met, who became even more outcast once they
forged a friendship. They evolved their own secret code, their own
fantasy utopian milieu, an Arthurian kingdom."
As for the lesbian overtones, Jackson feels it was "natural for girls
of that age to take baths and sleep together," citing Parker's diaries,
in which she wrote, "we tried to enact the way saints would make love."
Up to the murder, Jackson's film embraces the girls' point of view
"because we wanted the audience not just to observe but to participate."
In the last segment, however, the camera backs off and the film becomes
more detached and stylized. "I can understand everything but their
motivation for the murder, everything until the leap they made from the
fantasy of killing to its reality."
Both women were convicted and spent five years in separate prisons.
"They were pardoned," says Jackson, "as it was clear to the authorities
they wouldn't offend again." Their release, however, was contingent on
their never seeing each other again. They never did.
About three years ago, when a sensationalistic play, "Daughters of
Heaven," was produced in New Zealand, a reporter familiar with the case
wrote a story for the Wellington Sunday News, describing Hulme's
whereabouts. Hulme--who had been living quietly in the Scottish Highlands
as successful British mystery writer Anne Perry--finally broke her
anonymity and gave an interview in the London Daily Telegraph, in which
she talked about the murder for the first time.
Pauline Parker was kept on parole until 1965, when she left New
Zealand after earning a degree in English. Her location and current
identity remain unknown. Jackson never tried to contact the women: "We
respect their privacy; we didn't want to invade it."
Film offers have been pouring in, but Jackson says that he has no
desire to go Hollywood. Yet his next picture, "The Frighteners," a comic
ghost thriller starring Michael J. Fox, will be for Universal and
produced by Robert Zemeckis. Jackson is holding out on at least one
issue, however: It is being shot in New Zealand.
Copyright, The Times Mirror Company; Los Angeles Times, 1994.
Levy, Emanuel, FILM CLIPS; SYMPATHY FOR THE DEVILISH; What's a Little Motherly
Murder Between Friends?; Home Edition., Los Angeles Times, 11-27-1994, pp 28.
--------------- MESSAGE heavenly-c.v001.n091.3 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Anne Perry: USA Today 09-23-94
Date: Mon, 12 Aug 1996 13:15:09 -0700
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Anne Perry forced to relive her own murder story
When mystery writer Anne Perry was 15 years old, she committed
murder. She and her friend, Pauline, killed Pauline's mother with
half a brick in a Christchurch, New Zealand, park.
Perry served 5 1/2 years in an adult women's prison. After her
release, she left New Zealand and has never returned. Pauline also
served her term and was released.
Now living in Scotland, Perry has fashioned a new life and a
successful career. Her two Victorian-era detective series - one
stars Inspector Pitt and his wife, Charlotte, the other William Monk
- have sold more than 3 million copies in the USA. The paperback
edition of A Sudden, Fearful Death is No. 39 on USA TODAY's
Best-Selling Books list. Her new hardcover, The Sins of the Wolf, is
in stores.
Although family and close friends knew about Perry's past, it
was never known to the general public, including her agent and her
U.S. publisher.
All that changed recently. An upcoming New Zealand film, Heavenly
Creatures, to be released in late November in the USA, deals with
the 1954 case. A New Zealand reporter uncovered Perry's previous
identity as Juliet Hulme.
"It was an absolute, unqualified nightmare," says Perry, 55, from
her home in Scotland. She was most fearful that this publicity would
kill her 82-year-old mother, who lives in the same small, isolated
village. "I had to call all the people I care about. That was
absolutely bloody."
Ironically, the biggest surprise for Perry has been the kindness
of her neighbors in the tiny town of Portmahomack. "There's been not
one unpleasant experience," she says. And the many supportive
letters she has received are from readers and booksellers,
particularly in the USA, where her popularity is greatest.
"This has been a great testament to the general kindness of
people," she says.
Perry insists she does not remember specifics of the actual
crime. The motivation behind the murder involved both Perry's
lengthy illnesses and her friend Pauline's threat to kill herself.
Plagued from childhood with chest problems - pneumonia and
bronchitis in particular - Perry was born in London but for health
reasons was sent to live in New Zealand with another family; her own
eventually joined her. She became very close to Pauline, who wrote
to Perry religiously after Perry was put in a sanitarium.
With her parents in the throes of divorce, Perry was about to
leave New Zealand for England with her father and her little
brother. Her father offered to take Pauline as well, but Pauline's
mother said no.
It was then that the two girls decided to kill the mother.
"I was afraid (Pauline) would die if she didn't come with us,"
Perry says. "I had a dramatic turn of the mind. It was pretty stupid
and very wrong but I did not want to let down the one friend who had
stood by me."
While Perry makes no excuses for herself, she does point out she
was on a medicine that was eventually taken off the market because
of its "judgment-altering qualities."
Perry has had no contact with Pauline for four decades, and says
she won't write a book about the murder because it would invade
Pauline's privacy. "I wish her well."
The case prompted a media feeding frenzy in New Zealand, Perry
says. She remains bitter about the publicity which she describes as
"very salacious." During the trial, the prosecution suggested that
the girls were more than just friends.
In conversation, it becomes apparent that Perry is a woean of
deep faith. At 26, while living in California, she became a Mormon
convert. She told the church about her past.
Perry insists she does not feel sorry for herself. While she was
held for 5 1/2 years in what she describes as "the toughest facility
they have," she notes that it was in prison that she recovered her
health. "Maybe I just outgrew all that illness."
And it was in prison that she says she got down on her knees and
truly regretted what she had done. But she doesn't want to dwell on
the past.
"I don't think being sorry is beating your breast all the time.
It's (deciding) from then on to live the very best life you know
how. And making jolly sure you forgive others. Never hold a grudge
and never leap to judgment yourself."
Now that her past is public knowledge, Perry says she would
consider speaking to teen-age criminals.
"What I would like to say is, please, never give up - the rest of
your life can be wonderful. . . . You can't alter yesterday but
tomorrow is yours."
The move to mysteries
Anne Perry did not begin writing murder mysteries because of her
past - she started because they were the only books she could get
published.
For 12 years, Perry wrote historical novels about a variety of
times and places that no one would publish. Her first book to be
accepted was The Cater Street Hangman, which launched the fictional
careers of Police Inspector Thomas Pitt and his high society wife,
Charlotte. Her other series involves William Monk, who solves crimes
but cannot solve the mystery of his own amnesia - and past.
In her new hardcover, The Sins of the Wolf (Fawcett, $21.50),
Perry writes about a young nurse named Hester Latterly being held in
a prison for a murder she did not commit.
In Newgate (prison), Hester swung from moods of hard-fought-for
hope, down to engulfing despair, and up the long incline back to
hope again. The boredom and the sense of helplessness were the worst
afflictions.
"I drew on my own memory of what (prison) was like . . . the
feelings of helplessness and fear," Perry says.
Copyright 1994, USA TODAY, a division of Gannett Co., Inc.
Donahue, Deirdre, Anne Perry forced to relive her own murder story., USA TODAY,
09-23-1994,
pp 07.
--------------- MESSAGE heavenly-c.v001.n091.4 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Anne Perry: The Age 12-02-95
Date: Mon, 12 Aug 1996 13:27:19 -0700
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Murder they wrote
By Louise Chunn
Agenda 12.02.95
It was a crime that shocked the staid, God-fearing New Zealand community
of the 1950s. Forty years later a new film is stirring up old memories
many hoped had long been forgotten. Louise Chunn reports from Christchurch.
"It was the body of a middle-aged woman, lying on her back on the path,
with her head downhill. One of her shoes was off. Various articles were
lying around her. Her head was very severely injured, and a stream of
blood had flowed downhill and congealed. Her lower denture was lying near
her jaw. Her stockings were mud-stained, with perhaps some blood stains.
Both arms were mud-stained and blood- stained. A half brick was lying near
her head." 'Christchurch Star-Sun', 21 August 1954.
HONORA Mary Parker, 45, had died from shock associated with multiple
injuries to the head and fractures of the skull. As the crowded court in
Christchurch, New Zealand heard, it was the half brick tied up in a lisle
stocking and then left lying on the path in the park where she was killed
that had done it. Or rather, the half brick as wielded by the dead woman's
daughter, Pauline Yvonne Parker, 16, and her best friend, Juliet Marion
Hulme, 15.
The Parker-Hulme case stayed alive in the collective consciousness of New
Zealand, in spite of all manner of grisly and sensational murders since.
I was born in New Zealand two years after the trial, but I can't remember
not knowing about the (whisper it) lesbian teenage mother-killers of
Christchurch.< p>
Even now, as Peter Jackson's film of the events, 'Heavenly Creatures',
stirs up the controversy again, you can see just how much more shocking
it would have been in the God's own country of the mid- 1950s.
What the prosecuting counsel called a "coldly, callously planned murder
committed by two highly intelligent and sane, but precocious and
dirty-minded little girls", it shook that polite and repressed colonial
society to its newly-poured foundations.
The blow-by-blow press coverage of the trial clashed resoundingly with
everything around it. To make it worse, they were reporting it in the
English papers too. What would the folks back home think of them? Theirs
was a wholesome, unworldly place that produced good keen men of the sort
who could scale the highest mountain in the world, as Edmund Hillary had
done the year before not teenage girls who probably had sex with each
other.
But the case was not just about two girls whose adolescent friendship had
exceeded the normal bounds; it was about their families too. Although
Anglophiliac Christchurch would have heartily approved of upper- middle
class Brits like the Hulmes her father was rector at Canterbury
University it would not have liked hearing of their imminent divorce, nor
that the rather glamorous Hilda Hulme was having an affair with "friend of
the family" Bill Perry. It was probably less surprising, though no less
morally dubious, to discover that Pauline's working-class parents had,
after 23 years together, never married.
PAULINE PARKER and Juliet Hulme were seen as singularly evil. This not
only "explained" their crime, it also excused the country of culpability;
they were not real "kiwis" at all. The level of analysis during the six-day
trial was pitifully low: because of childhood illnesses (osteomyelitis and
chest infections), neither girl took part in sports at school. This,
insinuated the prosecution, was clear evidence of their deviance, as was
their refusal to join the flag-waving crowds in the streets when the
Queen visited Christchurch in 1953.
Instead, the girls created their own pageants, writing stories and operas,
making Plasticine models of knights and ladies, and play-acting in an
imaginary Fourth World. Lest this sound rather quaint and child-like,
their characters regularly slaughtered and raped their way across the
girls' imagination in increasingly blood-soaked adventures. They also
harbored major pashes for such cinema stars as Mario Lanza, James Mason
and Orson Welles. During the trial much was made of their fantasies,
especially any involving sex. It was widely assumed they were lesbians,
though their experimentation was probably no more than many teenage girls
get up to.
They sometimes slept in the same bed, they hugged each other when excited,
one night they practised "making love" the way their idols would.
Several doctors who gave evidence declared the couple paranoid and
delusional and claimed they should be found not guilty on the grounds of
their insanity. But several more said they knew exactly what they were
doing and what its effect would be. Pauline's diaries, though, left the
jury in little doubt about their forward planning for "moidering" mother:
"We have worked it out carefully and are both thrilled by the idea.
Naturally we feel a trifle nervous but the pleasure of anticipation is
great."
They were found guilty and only their youth saved them from the death
sentence. They were detained in separate adult prisons "at Her Majesty's
pleasure". After five and a half years they were released, on the condition
that they never see each other again. The Department of Justice gave them
both new identities. Juliet Hulme then left for Britain; Pauline Parker
stayed in New Zealand.
And that should have been the end of it. But the story is far too "sexy"
to just fade away. Its potent mixture of sex, family, youth and violence
was a gift for the media and the public has never tired of it. Fran Walsh
was about 12 when she first read one of the many newspaper features that
marked any anniversary of Honora Parker's murder. When she grew up to
become a scriptwriter, working with her real-life partner, director Peter
Jackson, it seemed only natural that Walsh turned to the Parker-Hulme case
as perfect film material.
Jackson and Walsh were not the only ones; there's been a play produced in
Wellington, a book, and two or three film scripts, including one
commissioned by Dustin Hoffman's production company. Given that someone
was going to make a film of it, they felt they could do the best job. But
they also worried that they would be accused of exploiting the girls or
glamorising the crime. "I feel a bit guilty making a film about the death
of someone's mother. It's not the sort of thing I would want made about
me," Jackson has said.
IN fact, the film is a remarkably sensitive creation. Using Pauline
Parker's diaries for the 18 months leading up to her mother's murder, the
script is true to the girls' beliefs and fantasies, but doesn't shrink
from showing in bloody detail what they did to Honora Parker.
It becomes obvious why they had killed her. With the Hulmes' divorce,
Juliet was being taken to live with an aunt in South Africa; Pauline
believed that if her mother was out of the way, she could go too. But they
never got around to thinking about how they would explain her mother's
death. Pauline had not even bothered to hide the diary which described in
a jolly schoolgirl tone mixed with Hollywood crime lingo what they had
planned.
In an interview Jackson gave shortly after the film was made, he stressed
how careful they had been to shield the current identities of Parker and
Hulme. Although he had no contact with them, he said: "The last thing I
want to happen is for them to be found and exposed".
But New Zealand is a small country and this story was an investigative
journalist's dream. It only took one indiscreet comment overheard at the
opening night of the play that was based on the case, for a tabloid
journalist to track down Juliet Hulme in the middle of last year. Now 55,
she lives alone in a small Scottish village where she is a devout Mormon
and well-respected member of the community; her mother lives five doors
away.
But that is not all of her story. Now called Anne Perry she took her
stepfather's name she is the author of 19 Victorian detective novels, with
a million-dollar publishing contract in the US. The headline must surely
have written itself: "Murder She Wrote! Best-selling British author's
grisly Kiwi past revealed," screamed 'The Sunday News'.
In the few damage limitation interviews she has given, Perry comes across
fairly sympathetically. While she doesn't deny her part in Honora Parker's
murder, she claims that the drugs she was taking for tuberculosis could
have altered her judgment. She says she has no memory of the murder or
trial, but once she was in prison started coming to terms with what she had
done. "The best way to fulfil being sorry is to make sure that you do the
best you can in every respect."
While she always hoped her story would not be discovered, she now feels
relatively sanguine about it: "In some ways it's the last step as far as
healing is concerned".
There was no sexual relationship between the two girls, she says: "Pauline
was a really good friend. We had all sorts of romantic dreams . . . but for
romance, give me men."
Jackson is determined Pauline Parker should not suffer the same fate. In
Auckland it is rumored that she converted to Catholicism and works in a
city bookshop, but Jackson says only: "She apparently has lived a life of
great regret and not a very happy life, either."
There is a sense in the film that she the working-class grammar-school girl
who was good at English is the less resilient of the two. While, at the end
of it all, her more glamorous friend still had her family and the
opportunity of a new life in Britain, Pauline Parker had lost everything.
Even her father had denounced her as "pure evil". -- The Guardian.
Back to The Sunday Age page
Back to The Age page
--------------- MESSAGE heavenly-c.v001.n091.5 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: National Review reviewed, or The Sniper Sniped!
Date: Mon, 12 Aug 1996 22:15:46 +0100 (BST)
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Thanks for posting that article, if only so that I can get nasty (!) over
the extraordinary comment made by the reviewer as he castigates Anne Perry
for the innocuous phrase "As close to Westminster as we live":
"(No Englishman, now or then, would insert the first 'as')"
Good grief! What a load of rubbish! Here's one English person (who does
doctoral research on English literature and teaches English at a Cambridge
college) who wouldn't think twice about how many "as"'s to put in that
sentence. The point being that no English person (especially now) would
*care*, as long as the sense was clear. The idea that there is a
particularly English way to use that construction is a glaring
example of the sort of cliched misunderstanding of Englishness of
which Ms Perry here stands accused. The review doesn't help its case much
by obliterating the context, but that is hardly an excuse.
Then again, he's right about not reading A.P. for period detail, however
much US audiences might do so (&, I fear, UK ones, too). For me, Anne
Perry's crime books are just competently written, reasonably surprising
and unusually sordid tales of the emotion surrounding crime. I confess
I'd heard of but dismissed her books in those dark, distant, slightly damp
pre-HC days. However (shivers time)...
Has anyone read 'Defend and Betray', the one dedicated to Henry Hulme? I
got a terrible shock when the murder trial began halfway through the plot
(this isn't really a spoiler, *honestly*, as the murder occurs on
the first page, more or less). Can you guess on which day - announced
several times in letters which will leap out and smack any Heavenly
Creature - the murder trial begins?
Let's just say that it is the Day of another very (un)Happy Event...
Now, anyone care to wonder if she still thinks about it all?
Phil
--------------- MESSAGE heavenly-c.v001.n091.6 ---------------
From: Michaela Rhea Drapes <oleanna@mail.utexas.edu>
Subject: more true crime films?
Date: Mon, 12 Aug 1996 15:15:51 -0600
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A recent .sig on one of Bao Ly's letters mentioned that perhaps Jackson
wants to do another true crime film. In my happy little dream world, he would
tackle a rather recent true crime tale to come out of Texas that minorly
affected my little world. My freshman year of college, the girl who lived above
me in my all-girl dorm was arrested one night by a pack of lawmen (a huge ruckus,
as you'd suppose) for mudering her father when she was in high school. When
the event happened, we really didn't know much about it, and I was very glad to see that
the story was very well covered in the July issue of Texas Monthly. Its a much
too compicated tale to relate here, and I would encourage people interested in
teenage patricides (uh, a lot of people on this list, I would suppose) to read the
article. There are quite a few parallels to HC, mostly in the fact that Marie was
very much (in my memory) like Juliet (pretty, intellegent, etc.), and the prosecution
in her trial called her a 'teenage narcissist'; which to me sounds like something
that would have come out of the mouth of a Christchurch magistrate in 1954.
However, an interesting facet of the case is that Marie claims she didn't want to kill her father, just make
him sick so that she could go live with her mother (they were like best friends) after her stepfather
would not let her move back in with them. She poisoned him with barium acetate that she stole
from her high school chemistry lab in what ended up being a lethal dosage. I find it interesting that
seperation anxiety was again the impetus for a murder.
Of course, I'm sure that Jackson and Walsh don't want to fall into doing true-crime
films about pretty, intelligent, murderesses who hack off their parents, but I think they
could do a really fantastic job with it.
-michaela
ps-for those out of the country, I'm working on typing it up to send people who can't get a copy
of the magazine--let me know if you're interested.
----
Michaela R. Drapes
oleanna@mail.utexas.edu michaela@cibola.net
http://www2.cibola.net/~michaela
"I do not think you can catch me, for I am super-freaky."
-Artie, the strongest man in the World, "The Adventures of Pete and Pete"
---
--------------- MESSAGE heavenly-c.v001.n091.7 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: Re: Pauline's poetry
Date: Mon, 12 Aug 1996 22:56:15 +0100 (BST)
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Following volumes 1-31 of my literary rumblings, Kate wrote
>I'm guessing Paul's motives in writing this poem were not to imitate
>her favourite authors (though of course that may have come out) but to
>find a perfect expression for her feelings for Juliet.
Absolutely. And thanks for saying so, because in my flurry of
technicalities, I forgot to, and it's the most important thing, of course.
I suppose I should admit that my work is a study of genres and influences
in seventeenth-century religious poetry, so I spend a lot of time trying
to figure out which authors poets have been reading and using
(consciously or not) in their own work. However, my real love is
twentieth-century poetry, and this is why Pauline's poem fascinates me.
It's so different: naive and yet compelling; disturbingly intense, yet
evincing a sense of peace and joy which you'd think was beyond the years
of its author. Mel Lynskey reads it *perfectly*, too. One of her finest
moments.
>And I think the place she found the perfect vocabulary was, in fact, in
church.
Again, you're right, and I think more needs to be known about the girls'
religious musings. I remember a review somewhere saying that
Pauline's 'We have had it in our possession for about 6
months, but we only realized it on the day of the death of
Christ' was her way of despising Christianity, but I don't think that's
right at all, though they did indeed 'reject' Christianity in the end.
Before that, though, there's a lot of religious flavour to the story; and
both women became devout believers, though of different churches.
>politics
Yes, 'they'd be the pride and joy of any nation' is an odd line (s'queer),
and Winston Churchill (so many cigars and so much brandy) does lurk, in a
wickedly satirized way, in the mind of PYP. Strikes me, too, that it is
an expression often used to describe parental happiness over their kids -
'Little Johnny's our pride and joy', &c. Odd to use it of a nation.
Makes me sad, actually, because Pauline must have been her parents' pride
and joy at one stage - as J&W suggest in Honora's anxiety to know how
well Pauline had done at school and her evident pride and joy (Sarah
Peirse is wonderful) at hearing 'Got an A, mum!'. When I got my degree, my
mother announced it over the tannoy system at her office building, so I
know what I'm talking about. Mothers...
More turns of the literary screw another time.
Phil
----
'We that were friends' (stanza 1)
We that were friends to-night have found
A fear, a secret, and a shame:
I am on fire with that soft sound
You make, in uttering my name.'
(James Elroy Flecker, Collected Poems (3rd edition, London, 1916); one of
the poets Juliet Hulme is reported as reciting in her cell at Mt. Eden).
--------------- MESSAGE heavenly-c.v001.n091.8 ---------------
From: kate ann jacobson <kjac@unm.edu>
Subject: Re: Miss Perry
Date: Mon, 12 Aug 1996 18:29:53 -0600 (MDT)
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Sandra wrote:
>There is some evidence somewhere(perhaps in one of mad Medlicott's
>papers) that the real life Juliet did indeed use the name Antoinette
>at some time.
Yes, she did. Though there is no evidence she ever used it in French class,
the Parker and Hulme book says that she and Pauline tried out several names
before deciding on Gina and Deborah, and one of Juliet's early ones was
Antoinette, suggested, of course, by the ever-helpful Hilda.
- kate
--------------- MESSAGE heavenly-c.v001.n091.9 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Lyrics: Funiculì, funiculà!
Date: Tue, 13 Aug 1996 02:26:22 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Can anybody translate this into English for me?
--
Funicul=EC, funicul=E0!
Virtual Museum of the neapolitan song
versi: Peppino Turco
musica: Luigi Denza
anno 1880
I
Aieressera, oi' ne', me ne sagliette,
tu saie addo'?
Addo' 'stu core 'ngrato cchiu' dispietto
farme nun po'!
Addo' lo fuoco coce, ma si fuie
te lassa sta!
E nun te corre appriesso, nun te struie,
'ncielo a guarda'!...
Jammo 'ncoppa, jammo ja',
funiculi', funicula'!
II
Ne'... jammo da la terra a la montagna!
no passo nc'e'!
Se vede Francia, Proceta e la Spagna...
Io veco a tte!
Tirato co la fune, ditto 'nfatto,
'ncielo se va..
Se va comm' 'a lu viento a l'intrasatto,
gue', saglie sa'!
Jammo 'ncoppa, jammo ja',
funiculi', funicula'!
III
Se n' 'e' sagliuta, oi' ne', se n' 'e' sagliuta
la capa gi=E0!
E' gghiuta, po' e' turnata, po' e' venuta...
sta sempe cca'!
La capa vota, vota, attuorno, attuorno,
attuorno a tte!
Sto core canta sempe nu taluorno
Sposammo, oi' ne'!
Jammo 'ncoppa, jammo ja',
funiculi', funicula'!
Back to document index
Vox Neapolis
Music in Naples
--------------- MESSAGE heavenly-c.v001.n091.10 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Lyrics: You'll Never Walk Alone
Date: Tue, 13 Aug 1996 02:28:24 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
You'll Never Walk Alone
You'll Never Walk Alone
Lyrics by Oscar Hammerstein II
Music by Richard Rogers
When you walk through a storm hold your head up high
And don't be afraid of the dark.
At the end of a storm is a golden sky
And the sweet silver song of a lark.
Walk on through the wind,
Walk on through the rain,
Tho' your dreams be tossed and blown.
Walk on, walk on with hope in your heart
And you'll Never Walk Alone,
You'll Never Walk Alone.
--
p.s. everyone knows what song we need the lyrics to now, right? -"The
Donkey Serenade" (the rest are in the FAQ!). Since we now know that
The Donkey Serenade is from the operetta, "Firefly"--does anyone have
the lyrics to it?
--------------- END heavenly-c.v001.n091 ---------------
From heavenly-c-errors@lists.best.com Wed Aug 14 03:01:40 1996
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-------------- BEGIN heavenly-c.v001.n092 --------------
001 - Sandra Bowdler <sbowdler@ - Re: Lyrics: Funiculì, funiculà!
002 - adamabr@mail.helix.net (a - Re: DVD
003 - Clscflm@aol.com - Miramax ads
004 - Sandra Bowdler <sbowdler@ - Re: Donkey Serenade (The Firefly) (fwd)
005 - mpellas@sgi.net (Michael - my curiosity
006 - Sandra Bowdler <sbowdler@ - Re: my curiosity
007 - mpellas@sgi.net (Michael - Re: my curiosity
--------------- MESSAGE heavenly-c.v001.n092.1 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: Lyrics: Funiculì, funiculà!
Date: Tue, 13 Aug 1996 17:44:33 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
No way I can translate this (and it looks very idiomatic), but I can tell
you it's about a funicular (cable) railway going up a mountain. The song
was composed for the opening of the funicular railway nwar Naples in 1880,
so I imagine its in the Neapolitan idiom. Richard Strauss used it in the
belief it was a folk song.
I don't think you would find anything of great relevance in the lyrics.
cheers
Sandra
--------------- MESSAGE heavenly-c.v001.n092.2 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Re: DVD
Date: Tue, 13 Aug 1996 03:05:46 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
MrS1fDstrc@aol.com wrote:
> Digital Video Discs or DVD's are far superior to laser disc's in almost
>every way. They are superior in both picture and sound quality.
> Not only do DVD's have better picture and sound, they are also much more
>convenient and offer more features.
> Finally, DVD's will have some really incredible added features.
> I think that we should all wait for the DVD players to come out
I'm suspicious of the technology treadmill. We're constantly being told to
toss out perfectly good stuff in favor of the new and improved. Ah,
capitalism! It makes the world go round.
I for one will never part with my turntable... or my Beta deck... or my
prized 8-track player! Why, I laugh in the face of marketing hype. Ha!
Those dvd's do sound pretty cool, though. 8^)
Adam
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n092.3 ---------------
From: Clscflm@aol.com
Subject: Miramax ads
Date: Tue, 13 Aug 1996 07:46:53 -0400
<< the Miramax ads that ran in
America regarding Juliet's new identity...one in particular, titled
"Murder She Wrote". I am still looking for this one--it is in the New York
Times. I still haven't found out the date which it appeared yet. But I'll
find it sooner or later. >>
The LA Times use of these ultra tacky ads are March 3 and 10th, 1995.
ClsFlm
--------------- MESSAGE heavenly-c.v001.n092.4 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: Donkey Serenade (The Firefly) (fwd)
Date: Tue, 13 Aug 1996 22:36:33 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
OK folks, here it is, courtesy opera-l, the list that knows EVERYTHING.
cheers
sb
There's a song in the air
But the fair senorita
Doesn't seem to care
For the song in the air.
So I'll sing to my mule
Though I know she will say
That I am just a fool
Serenading a mule.
Oh, has she not got a dainty bray
She listens carefully to each little word I say
But try as she may
In her voice there's a flaw
And all that the lady can bray
Is hee-haw!
Senorita donkey-cita
Not so fleet as a mosquito
But more sweet than my chiquita
You're the one for me.
--------------- MESSAGE heavenly-c.v001.n092.5 ---------------
From: mpellas@sgi.net (Michael Pellas)
Subject: my curiosity
Date: Wed, 14 Aug 1996 00:31:17 -0400 (EDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Everybody,
has anyone bought or looked at, even with the HIGHLY cheesy name, the
"Mammoth Book of Killer Women"? It offers an interesting perspective on our
two Creatures. The current rationalization by AP/JH is brought into
interesting light...
It also offers a detailed account of both girls' lives...
yours,
mpellas@sgi.net
"It is possible that, under another name, the world in time will recognise a
writer of talent," TG and HHG... talking of none other than...well you know :-)
--------------- MESSAGE heavenly-c.v001.n092.6 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: my curiosity
Date: Wed, 14 Aug 1996 13:35:48 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Wed, 14 Aug 1996, Michael Pellas wrote:
> Everybody,
>
> has anyone bought or looked at, even with the HIGHLY cheesy name, the
> "Mammoth Book of Killer Women"? It offers an interesting perspective on our
> two Creatures. The current rationalization by AP/JH is brought into
> interesting light...
>
> It also offers a detailed account of both girls' lives...
Well, I have one which I supect is the same called The Giant Book of
Killer Women (obtained somewhere or other for a very small amount of
dollars), which contains a recycled version of this reference in the FAQ:
Gurr, T. and Cox, H.
"Famous Australasian Crimes." Muller, London, 1957. [jb]
This has a rather sensational and error-riddled chapter on
the case, but it also has valuable photos of crime scene and
PYP diary pages. [jp]
jp of course is John Douglas Porter.
There aren't in fact that many glaring factual errors; the most obvious
is "When the mother suggested that Pauline should leave the high school,
and go to another school where her progress might be better, Pauline
surprisingly agreed". Whereas, as accurately shown in the movie, she
actually went to Digby's Secretarial College to learn to type.
It is however sensational, with extremely gratuitous descriptions of PYP
and JMH: PYP was "a dark and dumpy girl ... with cold brown eyes gleaming
watchfully from her olive-skinned face"; JMH on the other hand had
"slanting grey eyes, the clear eyes of youth; high forehead; a slim and
graceful body, and a confident air. Now she was intelligent and
attractive. Soon she would be intelligent and beautiful." All code of
course for gender stereotyping. But you gotta watch those slanting eyes
...in the dock "Pauline, with a brown felt hat shielding her cunning brown
eyes, Juliet ... staring coolly from her slanted eyes at one person in
court after another". This version doesn't contain the valuable
photographs, which include a wonderfully tasteful one of the streams of
blood on the path at Victoria Park.
I don't think the article contains anything that isn't in the FAQ.
cheers
sb
--------------- MESSAGE heavenly-c.v001.n092.7 ---------------
From: mpellas@sgi.net (Michael Pellas)
Subject: Re: my curiosity
Date: Wed, 14 Aug 1996 02:09:03 -0400 (EDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
I was wondering what everybody else thought of it...being a new Creature and
all..
I was at a photo shoot today here in Pittsburgh at some particularly gothic
locals...a graveyard, churches, etc... couldn't help but envision the girls
there...
more curiosity: Is anyone else into Tori Amos?
---got my letterboxed copy today---
mpellas@sgi.net
--------------- END heavenly-c.v001.n092 ---------------
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Subject: Digest heavenly-c.v001.n093
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-------------- BEGIN heavenly-c.v001.n093 --------------
001 - adamabr@mail.helix.net (a - Re: Donkey Serenade (The Firefly)
002 - "Jefferson F. Morris" <jf - Re: Donkey Serenade (The Firefly)
003 - Phil West <pgw16@hermes.c - 'Heavenly Creatures...whatever...'
004 - Bao Ly <lybao@earthlink.n - Re: You'll Never Walk Alone
005 - plath3@his.com (Peter Lat - Re:HC-2: Frighteners;Possible Spolier
006 - plath3@his.com (Peter Lat - Re: Melanie Lynskey
007 - kate ann jacobson <kjac@u - Cancel
008 - "Chris Black" <qleap@inte - Re: Cancel
009 - Tim Baglio <raven@nas.com - Re: Cancel
010 - Michaela Rhea Drapes <ole - RE: Donkey Serenade (The Firefly)
--------------- MESSAGE heavenly-c.v001.n093.1 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Re: Donkey Serenade (The Firefly)
Date: Wed, 14 Aug 1996 14:39:20 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Hi Sandra, and everyone!
Well, opera-l missed some stuff, or Mario improvised. Here's the lyrics as
sung on the soundtrack.
Bracketed <<this way>> = extra or different than the opera-l version.
(Thsi way) = sung by the chorus.
The extra lyrics here explain my confusion as to just who he's singing to,
besides the mule. Who is Amigo Mio, who plays the "little tunes"? And what
about Don Diego? Was this an inspiration for "I'd walk a mile for a Camel"?
Guess I'll have to go rent "The Firefly" to learn all the answers!
There's a song in the air
But the fair senorita
Doesn't seem to care
For the song in the air.
So I'll sing to <<the>> mule
<<If you're sure she won't think>>
That I am just a fool
Serenading a mule!
<<Amigo mio, does she not have >>a dainty bray
She listens carefully to each little tune you play
(A bella sniorita)
She see me muchachito
She'd love to sing it too, if only she knew the way
But try as she may
In her voice there's a flaw
And all that the lady can <<say>>
Is hee-haw!
<<(There's a light in her eyes
Though she may try to hide it
No-one can deny
there's a light in her eyes...)>>
<<Oh the charm of her smile so beguiled Don Diego
that he rode a mile
for the charm of her smile!>>
<<Amigo mio, is she listening to my song?
No, no, mi muchachito, how can you be so wrong?
(A bella seniorita)
She see la seniorita (?)
She'd love to sing it too, if only she knew the way>>
<<Her face is a dream like an angel I saw
But all that my darling can scream
Is hee-haw!>>
Senorita donkey-cita
Not so fleet as a mosquito
But <<so sweet like>> my chiquita
You're the one for me.
------
TTYL,
Adam
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n093.2 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: Donkey Serenade (The Firefly)
Date: Wed, 14 Aug 1996 17:56:56 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Wed, 14 Aug 1996, adam abrams wrote:
> Senorita donkey-cita
> Not so fleet as a mosquito
> But <<so sweet like>> my chiquita
> You're the one for me.
OLE!
--Jefferson
--------------- MESSAGE heavenly-c.v001.n093.3 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: 'Heavenly Creatures...whatever...'
Date: Wed, 14 Aug 1996 23:10:31 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Dear 'Heavenly Creatures... whatever's
I thought you might like to know how my good friend John has just
described me on his homepage <http://www.geocities.com/Athens/5379>:
>I have a friend who has become a Heavenly Creatures...
>whatever... and so you might like to know that there's a
>very very good homepage for that film. Just thought I'd
>mention it.
So now all you 'whatevers' out there know what you are, and why
people look at you and talk about you the way they do. Shall I forgive
him for giving Bryan a good write-up?? Well, he has this excuse, that
when I showed him HC he needed several large whiskies (and a potted
account of the FAQ) to recover.
Michael: he has just put up a huge Tori Amos piccy you might like -
though I'm afraid I can't say I approve. I shall send him a digital
Melanie Lynskey immediately (as I have to tell him how I loathe T.A.).
When, oh when, will we get 'The Frighteners' in England? Soon, please...
Phil
--------------- MESSAGE heavenly-c.v001.n093.4 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: You'll Never Walk Alone
Date: Wed, 14 Aug 1996 16:02:25 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
The lyrics to "You'll Never Walk Alone" is also different from the
original by Oscar Hammerstein II:
Mario sang, "When you walk through a storm keep your chin up high";
instead of..."When you walk through a storm hold your head up high."
Just the first line though.
p.s. That Guardian article is damn good! I am reading it right now...if
Phil is still planning to post it soon, I'll continue to re-install all
the 2-3 Gigabytes of junk back onto my computer; if not, I'll get my
scanner going again and OCR the document and post it for everyone...
--
"The end is everywhere: Art still has truth, take refuge there."
Matthew Arnold -lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n093.5 ---------------
From: plath3@his.com (Peter Latham)
Subject: Re:HC-2: Frighteners;Possible Spolier
Date: Wed, 14 Aug 1996 20:12:51 -0500
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
I just saw "The Frighteners" and confirmed all the "Heavenly Creatures"
references identified on this list.These were: 1] the Parker/Hulme
photograph on the videocassette 2] Ms. Alvarado's role as "Dr.Lynskey" 3]
the two cameo appearances by Melanie Lynskey as a cop and 4] Sherrif Walter
Perry.
I had expected these references to be peripheral to the plot, sort of
"teasers" for the Heavenly Creatures faithful. But as I watched the film, I
formed the conclusion that they were central and that "The Frighteners"
might plausibly be viewed as "Heavenly Creatures II".If you haven't seen
The Frighteners and plan to do so, please don't read further, my discussion
may contain a SPOILER.
The plot revolves around the Dee Wallace character (Patricia), who at the
age of 15, committed a series of 12 murders with her lover who was executed
for it.has lived the time from 15 to middle age as a virtual recluse, whose
principal companion is her mother (sound familiar?).But Dee Wallace hasn't
changed.She's no different in middle age from what she was at 15.Together
with the ghost of her lover,28 additional "supernatural" murders are
committed.The spirit of Patricia is finally sent to hell, but her crimes
are memorialized in the writings of Walter Perry.His muse is FBI Agent
Dammers whose refusal to rebury Patricia's lover ensures that the couple's
murders will never rest.
Note that Patricia kills 28 more times. 28 has great significance for
Juliet Hulme, who was born on 28 October 1938 and was convicted of murder
on 28 August 1954.These relationships are ones we should pay attention to,
according to FBI Agent Dammers.
I propose that Peter Jackson means to suggest that Juliet Hulme is
unchanged and still commiting frightening crimes through the writings of
Anne Perry.
In Heavenly Creatures,Jackson explored the girls' minds while sticking
strictly to the facts established in the trial record.Now he explores the
mind of Juliet Hulme/Anne Perry by sticking strictly to fantasy.
Does this seem plausible?
"A mistake does not mean that you are finished. Please, never give up - you
can't alter yesterday, but tomorrow is yours. It can be wonderful." Anne
Perry, bestselling murder mystery writer,whose prior life as Juliet Hulme
was the subject of the film, Heavenly Creatures (1994).
Sincerely,
Peter Latham
--------------- MESSAGE heavenly-c.v001.n093.6 ---------------
From: plath3@his.com (Peter Latham)
Subject: Re: Melanie Lynskey
Date: Wed, 14 Aug 1996 20:13:12 -0500
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
If Peter Jackson is going to do another true crime story, let me suggest
that he do the Lizzie Borden story and use Melanie Lynskey in the key role.
"A mistake does not mean that you are finished. Please, never give up - you
can't alter yesterday, but tomorrow is yours. It can be wonderful." Anne
Perry, bestselling murder mystery writer,whose prior life as Juliet Hulme
was the subject of the film, Heavenly Creatures (1994).
Sincerely,
Peter Latham
--------------- MESSAGE heavenly-c.v001.n093.7 ---------------
From: kate ann jacobson <kjac@unm.edu>
Subject: Cancel
Date: Wed, 14 Aug 1996 19:57:18 -0600 (MDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
I'm very sorry, but I have to be off the list. Nothing personal, but I do
believe they -were- taking photographs of each other in the bathroom.
--------------- MESSAGE heavenly-c.v001.n093.8 ---------------
From: "Chris Black" <qleap@interl.net>
Subject: Re: Cancel
Date: Wed, 14 Aug 1996 21:35:21 +0000
>
> I'm very sorry, but I have to be off the list. Nothing personal, but I do
> believe they -were- taking photographs of each other in the bathroom.
Eh? And that's why you're leaving? heh
--Chris
--------------- MESSAGE heavenly-c.v001.n093.9 ---------------
From: Tim Baglio <raven@nas.com>
Subject: Re: Cancel
Date: Tue, 13 Aug 1996 21:08:17 +0000 (GMT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
> > I'm very sorry, but I have to be off the list. Nothing personal, but I do
> > believe they -were- taking photographs of each other in the bathroom.
>
> Eh? And that's why you're leaving? heh
Yeah.... that doesn't seem to make a whole lot of sense...
--------------- MESSAGE heavenly-c.v001.n093.10 ---------------
From: Michaela Rhea Drapes <oleanna@mail.utexas.edu>
Subject: RE: Donkey Serenade (The Firefly)
Date: Wed, 14 Aug 1996 23:58:18 -0600
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit
On Wednesday, August 14, 1996 4:39 PM, adam abrams[SMTP:adamabr@mail.helix.net] wrote:
here's my contribution to the lyrics...
><<Amigo mio, does she not have >>a dainty bray
>She listens carefully to each little tune you play
>(A bella sniorita)
A bella senorita
>She see me muchachito
Si, si mi muchachito (yes, yes, my boy)
>No-one can deny
>there's a light in her eyes...)>>
She cannot deny
>She see la seniorita (?)
Si, si la senorita
regards,
michaela
----
Michaela R. Drapes
oleanna@mail.utexas.edu michaela@cibola.net
http://www2.cibola.net/~michaela
"Hey! They're frosted! Hey! We're made of clay!"--Gumby
and Pokey in the Frosted Cherrios commercial
---
--------------- END heavenly-c.v001.n093 ---------------
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Subject: Digest heavenly-c.v001.n094
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-------------- BEGIN heavenly-c.v001.n094 --------------
001 - Bao Ly <lybao@earthlink.n - Re: Cancel
002 - "Bao Ly" <lybao@earthlink - The Guardian Article
003 - 9506148v@Magpie.Magill.Un - Re: Cancel
004 - "Jefferson F. Morris" <jf - Re: Cancel
005 - Thaiphong Vo <thaivo@ea.o - Re: Melanie Lynskey
006 - Thaiphong Vo <thaivo@ea.o - Re: my curiosity
007 - "Jefferson F. Morris" <jf - Blubberhead(?)
008 - Bao Ly <lybao@earthlink.n - True Life/True Crime
009 - kate ann jacobson <kjac@u - Re: Cancel
010 - kate ann jacobson <kjac@u - Re: Cancel
--------------- MESSAGE heavenly-c.v001.n094.1 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Cancel
Date: Wed, 14 Aug 1996 23:08:06 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
kate ann jacobson wrote:
> I'm very sorry, but I have to be off the list. Nothing personal, but I do
> believe they -were- taking photographs of each other in the bathroom.
Bao (Upset) Don't...please! Please, don't!
--------------- MESSAGE heavenly-c.v001.n094.2 ---------------
From: "Bao Ly" <lybao@earthlink.net>
Subject: The Guardian Article
Date: Wed, 14 Aug 1996 23:53:39 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable
Well, thanks to Sandra Bowdler and Phil West for bringing this article
into our knowledge and onto the list. I happened to scanned, converted,=20
and spell-checked the darn thing...so here it is on Sandra and Phil
behalf.
=20
--
Facts on File Dec 31 '94 (p. 1015) -lybao@earthlink.net
Mystery novelist Anne Perry, 55, had publicly revealed that in 1954 she=20
had been convicted and jailed for her role in widely publicized New=20
Zealand murder, it was reported Aug. 18, Perry's real name was Juliet
Hulme.
--
The Guardian Weekend, June 29, 1996.
Robert McCrum
Memories of murder
Exclusive interview by Robert McCrum Portrait by David Eustace=20
Anne Perry spent half her teenage years in a New Zealand prison, convicte=
d
of killing her best friend's mother. On her release, she moved to the oth=
er
side of the world and for decades managed to bury her past. Under her new
identity, she has become a prolific murder mystery writer-and her recurri=
ng
theme is crime within the family.
In her life and her work, Anne Perry is a woman of mystery. For year=
s
she wrote novels of crime and punishment in relative obscurity. Then,
almost overnight, she became famous. News broke that her own life conceal=
ed
a horrifying murder. Forty years ago, she had been a convicted killer.
Perry maintains that she has long since forgotten the episode; she though=
t
she'd left her past behind. But when she picked up the telephone in her
Scottish retreat just after lunch on July 29, 1994, she discovered to her
horror that her secret was out and-worse-was to be the subject of an
international feature film. The fateful phone call came from Meg Davis, h=
er
literary agent in London.
"A ridiculous thing has happened," Davis said. "There's a film being
made about this murder, and some people have got hold of this crazy idea
that it's you." Perry, who is repeating this story to me while lying on a
couch in her forest-green guest room, stares into the middle distance and
says, "I think that was one of the worst moments of my life. I had to say=
,
'I'm sorry, but you can't.' I said, 'You can't refute it because it's
true.' "
This moment of melodrama might have come from any of Perry's 22 book=
s
of come fiction which are set in Victorian England and have sold more tha=
n
three million copies in the US and UK Suddenly, the world she'd spent yea=
rs
making for herself, fell to pieces. "It was a matter of living each day a=
t
a time," she says. "I thought it would kill my mother."
Heavenly Creatures, the film which tells her bizarre tale with eerie
verisimilitude, came out last year with great success. However much Perry
tries to disavow it, it is based on painstaking research into her early
life in New Zealand.
Now 57 years old, she became Anne Perry only in 1959, when she was 2=
1.
Before chat, she was Juliet Hulme, a sickly English schoolgirl living in
Christchurch. And it was as Juliet Hulme that in 1954, she was accused,
tried and found guilty of helping to murder her best friend's mother.
For some years, she has lived discreetly in a converted stone team o=
n
the edge of Portmahomack, a remote fishing village an hour's drive from
Inverness in the far northeast of Scotland. From her study windows, there
are breathtaking views of Dornoch Firth and the highlands of Sutherland.
Across the yard, her friend, Meg MacDonald, who shares a cottage with a
menagerie of cats and dogs, habitually cooks Anne's evening meal; Meg's s=
on
Simon, who lives a few miles away, works for Perry as unofficial chauffeu=
r,
gardener and man about the house.
Five, often six days a week Anne Perry sits in her armchair and
writes, with Verdi or Puccini playing in the background. Her bedroom is
feminine and rumpled, but the rest of the house-sitting room,
half-furnished, and unlived in. Her mother, Marion Perry, who is 83, live=
s
a mile away, in Irongate Cottage. She has a heart condition (a fact her
daughter often mentions), but she has a temperament of steel. She, too, h=
as
had a life to rebuild. She was not unprepared for her daughter's news.
"It was always in the back of my mind," she says. "Occasionally, I d=
id
say to Anne, 'Have you ever considered chat you are perhaps being too
adventuresome?' When she came to see me that day, I thought: 'This is it.=
'
" Even in old age, Mrs Perry radiates glamour, self-possession and
worldliness. She is snappily dressed; rings glitter on her fingers; at fo=
ur
o'clock she offers sherry. Now she sits very straight in her chair,
speaking in the faultless English of her class. "I said, 'There's no plac=
e
for tears. If there's any crying, it's to be done much later.' " She told
her daughter to draw up a list of friends and sent her back up the hill t=
o
do battle.
There's an undeniable frisson to a conversation with a woman who has
taken a life. Perry is eager and friendly, but there is something damaged
about her, she has the wariness that comes from the fear of expressing
trust. She exclaims, with rare spontaneity, "It's extraordinary to talk a=
nd
to be able to tell the truth."
The 'gym-tunic murderesses" still fascinate New Zealand. Victoria
Park-where the girls Juliet Hulme and Pauline Parker, bludgeoned Pauline'=
s
mother to death-retains its macabre associations. It was inevitable that =
a
movie about the case would revive curiosity in Perry's fate. Ever since h=
er
release from prison in 1959, Perry has tried to become someone else. Now
she has been forced to acknowledge that inside or alongside, Anne Perry,
the successful crime writer, stands the spectral figure of Juliet Hulme,
the teenager who, when last seen by the world, had just been spared the
gallows because she was too young for the death penalty.
She was born Juliet Marion Hulme on October 28,1938, in Blackheadh,
London. Her father, Dr Henry Rainsford Hulme, was a brilliant Cambridge
mathematician . Her mother, Hilda Marion Hulme (whose name became Marion
Perry after her daughter's trial), was the daughter of a Presbyterian
minister. Family photographs show Hilda as a glossy, confident woman, and
Herny as a reedy, bespectacled figure. His daughter remembers him I as "a
very gentle man, very compassionate, an absent-minded scientist". She
admits chat she was afraid of her mother, and had a difficult childhood.
She was highly-strung, demanding, and prone to illnesses. At six, Juliet
nearly died from pneumonia:
When she was eight her parents, who had been told their daughter wou=
ld
not survive another British winter, sent her to the Bahamas to stay with
some friends of friends, the Brownes, and the impact of this exile on the
young girl cannot be underestimated. She rejoined her parents when they
arrived in New Zealand in 1948. Dr Hulme had been appointed rector of
Canterbury University College, Christchurch. Juliet now ten, had not seen
her parents in nearly a year and a half. "I felt very alien," Perry
remembers.
The young Juliet, in snapshots is pale and willowy, with wavy hair.
She was always in the top three in any class, and was good at everything
except games. She liked to draw. She was, apparently, cocky, articulate,
and a bit of a dreamer, with a special interest in history and poetry. He=
r
classmates nicknamed her the Duchess, and Perry retains a certain duchess=
y
manner today. She is dogmatic in conversation, and displays an exaggerate=
d
belief in the power of positive chinking. She speaks repeatedly of the ne=
ed
for compassion
In her 1992 novel Defend And Betray, Perry writes of a woman who ha=
s
committed murder that 'she will never cease to pay within herself for her
act". And I detect in her manner an unassuaged inner despair. She is both
like a child and like an adult, but the two parts seem not to connect. Sh=
e
reluctantly agrees chat "reliving all this has been very, very difficult".
Upon their arrival in the remote, provincial Christchurch of the
Fifties, they took up residence in a colonial mansion outside town called
Ilam House. Both Dr Hulme and his wife contrived, in their separate ways,
to offend the locals. Henry Hulme, Perry admits, "did not suffer fools
gladly and made himself much disliked". Hilda was high-spirited and
opinionated-"the sort of women jealous of mother," she says, "which was
part of the reason why they were, only too glad to tear us down." But tha=
t
came later. Juliet was sent to a succession of boarding schools at which
she was "absolutely tormented". In May, 1952, when she was 13, Juliet
enrolled in Class 3A, the top scream, at Christchurch Girls' High School,
and where she met Pauline Yvonne Rieper.
Pauline had suffered from osteomyelitis as a child; she had a scar on
her leg, and she, too, didn't quite fit in at school. She insisted on bei=
ng
called "Paul", and her dark, curly hair was cut short like a boy's. She i=
s
described by other members of 3A as "sullen", "queer" and "stroppy", and
she lived on Gloucester Street in a gloomy, rambling house that was known
to some pupils as "the house with the rusty roof". The Riepers were as
dowdy as the Hulmes were glamorous. Pauline was the second of three girls=
,
whose English-born mother, Honorah, a shy, domesticated woman, ran 31
Gloucester Street as a boarding house to make ends meet. Honorah wore a
uniform and had "rules" tacked up around the house. Pauline's father,
Herbert (Bert), managed a fish shop and he had another family in Auckland=
;
he was always short of money. Bert and Honorah's secret, which came out
after the murder, was that they had never married, and Pauline was
ultimately charged under Honorah's maiden name, Parker.
Pauline resented her parents. A note of teenage rebellion dominates
her diary, an extraordinary document that, after the murder, proved her
undoing. In her daily entries, she moans about household chores and lack =
of
privacy. Her friendship with the solitary English girl Juliet seemed to
open a door into a world of comfort and sophistication.
Unlike Perry, Pauline has managed to keep her adult identity a secre=
t
in her absence, her journals have to speak for her. When asked about her,
Perry at first claims defensively, "I don't remember Pauline", a variatio=
n
on a consent refrain. "Good dark eyes," she recalls when pressed. "Short
dark hair . . . good-looking . . . a bit heavy. . . bright."
"They were absolute opposites in every way but Pauline just made a
beeline for Juliet," their classmate Laura Cairns remembers. It was what =
we
called 'a pash'." The two were inseparable, eating meals together sitting
together in class, holding hands and giggling. They both exploited their
illnesses to get out of organised games, and became increasingly lose in =
a
private world of fantasy. They listened to the music of Mario Lanza,
idolised the movies of James Mason, and revelled in tales of derring-do
such as The Prisoner Of Zenda. The two adopted pseudonyms-"Deborah" for
Juliet, and "Gina" for Pauline. Later they added "Pandora" and "Nina". (I=
t
is a peculiar feature of this story that almost all the main participants
appear with at least two different names.)
Over the years, the nature of Juliet and Pauline's friendship has be=
en
scrutinised up and down. Who was the leader and who the follower? Was the
friendship homosexual? At the trial, the prosecution portrayed the two
girls as unfeeling and unnatural, arguing that their relationship led
inexorably to matricide. Anne Perry says that this is "absolute rubbish"
and adds, "we were not lovers". She explains-convincingly, I think-that a=
s
a teenager in the 1950s, she was naive about sexual, especially homosexua=
l,
matters. Slowly, she cases her friendship with Pauline in more convention=
al
terms. "We did a lot of things together, ordinary things," she says. "It
was not obsessive."
But Pauline's diaries for 1953 and 1954depictan adolescent friendshi=
p
inching toward hysteria. She describes the things the two girls did
together- horse-riding, listening to records, talking on the telephone.
They also took baths together, they sometimes slept in the same bed (and
worried about adult discovery). Pauline's writing reflects a mood of mutu=
al
joy and a growing sense of isolation from reality. On March 17, 1953, she
writes that, "After school I biked out to Ilam with Juliet to get my came=
ra
and snap each other ... We have decided how sad it is for other people th=
at
they cannot appreciate our genius." A few days later, she describes an
Easter visit she made to the Hulmes: "3rd April. Today Juliet and I found
the key to the 4th World . . . We saw a gateway through the clouds."
In May of chat year, when a test revealed that Juliet had tuberculos=
is
on one lung, she was sent away to a sanatorium, where she stayed until
September. Once again, she found herself deserted by her parents, who wer=
e
on a lecture tour. Pauline wrote to her every day. "We had a continuous
running story which we wrote turn and turn about," Perry remembers. "It
wasn't romance, more adventure, with sword fights and things. Pauline was
my one connection with the outside world."
This, it turns out, is not strictly true. Juliet had many visitors:
classmates, Canterbury College students and family friends. Nevertheless,
it is a vital element of her explanation for the murder of Honorah Parker
chat she should have a profound debt of obligation to Pauline; there is a=
n
emotional, if not a literal, truth to her mis-remembering these months. O=
n
September 9, Pauline wrote, "I believe I could fall in love with Juliet."
Looking back on the final month of 1953, Perry's mother reluctantly
agrees that there was "a sense of concern" at the "unhealthy" nature of t=
he
girls' friendship. Both Juliet and Pauline were sent to the local doctor.
Pauline was suffering from what would now be called bulimia and growing
desperate:
20th December. Mother woke me this morning and started lecturing me . . .
She has brought up the worst possible threat now. She said that if my
health did not improve, I would never get to see the Hulme's again. The
thought is too dreadful. Life would be unbearable without Deborah [Juliet=
].
I wish I could die.
At the same time, Hilda Hulme had fallen in love with another man:
Walter (Bill) Perry, a much decorated, twice-wounded soldier with a Clark
Gable moustache. Major Perry had travelled to New Zealand as an "industri=
al
consultant" and he had been introduced to Hilda by Dr Hulme himself. By
December, 1953, he had been installed as tenant at Ilam. Pauline's diary
vividly describes the breakdown of the Hulme family. On April 23, there w=
as
a cataclysm: "Deborah" had come upon Mr Perry and Mrs Hulme in bed
together, drinking tea. The next day Pauline rode her bicycle out to Ilam
and found herself drawn deeper into the Hulme family drama. Dr Hulme told
the two girls that he and his wife were going to divorce. Pauline writes
that Juliet and she "were near tears by the time it was over". "I was
devastated for my father," Anne Perry says now, but I don't remember
feeling angry toward my mother."
In his notes before the trial, the chief psychiatrist for the defenc=
e,
Reginald Medlicott, describes Juliet's discovery of her mother's infideli=
ty
as "the final blow". Medlicott's report goes on, "The girls were shocked
and severely upset ... There is more than a suggestion that it [the crime=
]
might have been a ritual murder of all the 'mother figures'- witch-like,
unloving, cruel and relentless." Hilda Hulme evidently thought so. In one
of her pre-trial interviews she asked, "Do you think Juliet really wanted
to murder me?"
Once the Hulmes began to organise the break-up of their family, Juli=
et
and Pauline were forced to confront their imminent separation. Dr Hulme w=
as
to return to England with his children via South Africa; Juliet would be
billeted there with an aunt, and Jonathan, the younger son, would go on
home with his father, while Hilda would remain with Major Perry in New
Zealand. The two girls plotted to have Pauline accompany Juliet abroad an=
d,
not for the first rime, it was sensible Honorah who put her foot down.
Pauline was now in a state of all-out confrontation with her. "Anger
against Mother," she writes, "boiled up inside me as it is she who is one
of the main obstacles in my path."
On June 10, with Juliet's departure date set for July 3, Pauline was
invited to stay at Ilam for a farewell visit. The two girl-overwrought,
volatile, and in a fever of mutual devotion-continued to explore their
sexual fantasies and began to entertain the unthinkable, an idea that
Pauline euphemistically expressed as "moider":
12th June. We came to bed quite early and spent the night very hectically.
13th June. We had very amusing discussions about God, Christ and the Holy
Ghost. . . We came to bed early feeling very excited. We spent a hectic
night going through the Saints. It was wonderful! Heavenly! Beautiful! an=
d
Ours! We felt satisfied indeed. We have now learned the peace of the thin=
g
called Bliss, the joy of the thing called Sin.
18th June. We planned our various moiders and talked seriously as well.
19th June. Our main idea for the day was to moider Mother. This notion is
not a new one but this time it is a definite plan which we intend to carr=
y
out.
The girls' scheme was m suggest the: Honorah join them on a farewell outi=
ng
to Victoria Park, a craggy, wooded recreation area in the hills overlooki=
ng
Christchurch. Pauline's mother welcomed her daughter's apparent change of
heart.
The plot to kill Honorah Parker was extraordinarily naive, and seems
to have been based on the idea that a single blow to the head would be
enough. On Tuesday, June 22, there's a final entry in Pauline's diary: "T=
he
Day of the Happy Event. I am writing a little of this up on the morning
before the death. I felt very excited and the night before-Christmas-ish
last night." Before she left Ilam that morning, Juliet collected a
half-brick from beside the garage and placed it in her bag, together with=
a
bright-pink stone taken from a brooch. Hilda Hulme later told the court s=
he
noticed how "radiantly happy" her daughter seemed. At 2.30pm, the two gir=
ls
and Honorah arrived at Victoria Park. They bought tea, cake, and lemonade
from a small kiosk near the entrance, and then set off for a walk down a
long, steep path through the rustling eucalyptus and pine trees. There wa=
s
no one about.
After about half a mile, near a little wooden bridge, Juliet
surreptitiously placed the pink stone on the path. They all walked on for=
a
while, and when the track gave out they turned back. As they approached t=
he
bridge for the second rime, it seems that Pauline pointed to the pink
stone, and her mother bent down to look. Pauline took the brick wrapped i=
n
the lisle stocking from her shoulder bag and began to hit her mother on t=
he
head. Honorah's screams were heard by a farmworker in the fields across t=
he
ravine, but ignored. Juliet joined in, taking the brick from Pauline.
Honorah fell, and then one of the girls held her by the neck while the
ether continued to hit her. Both girls later said that once they discover=
ed
that a single blow was not enough, they felt they had to go on. Honorah
started to vomit, and there was a great deal of blood.
At 3.30pm, Agnes Ritchie, the owner of the kiosk where they had
earlier taken tea, saw Pauline and Juliet running towards her. They were
drenched in blood, and they were in shock, shouting that there had been a
terrible accident. Both girls asked for their fathers and eventually they
were driven back to Ilam by Dr Hulme. The two girls claimed that Pauline'=
s
mother had sustained her injures from a fall. Mrs Hulme bathed them and p=
ut
them to bed. (In Anne Perry's book Cardington Crescent, Charlotte Pitt
visits her sister, who has been accused of murder; she puts her arms roun=
d
her "and let her weep as she needed to, holding her close and rocking a
little back and forth, murmuring the old, meaningless words of comfort fr=
om
childhood".)
When the police found Pauline's diary open where she had left it in
her room, the truth began to sink in. The girls gave conflicting intervie=
ws
to detectives, but Pauline was taken into custody late that evening. Juli=
et
was arrested next day. Anne Perry refers to that afternoon in Victoria Pa=
rk
as "nightmare time" and adds, "I felt like I was going to my own
execution." A long pause. "Time stands still at such moments. I don't kno=
w
if it was seconds or minutes." She has blanked out the murder, she says,
but "it was violent and It was quick."
What the scene-of-crime photographs actually reveal is a horrific
killing that would have taken some time. Honorah lies sprawled on her bac=
k
in a pool of blood; rivers of blood flow down the path from her head; her
false teeth have come out, and the little finger on her right hand has be=
en
almost severed by the brick from her trying to ward off the blows. The
stocking lies, discarded, next to the body, along with Honorah's feather
hat, gloves, and handbag. Honorah received some 45 lacerations, and death
was attributed to shock associated with multiple wounds to the head.
When Anne Perry is asked why she did it, she offers several,
well-rehearsed justifications. She will claim, for instance, that she was
suffering the side effects of the medication (isoniazid and streptomycin)
she had been taking for her tuberculosis. She will speak of her "agony fo=
r
my father". She will say that she was "backed into a corner by Pauline, w=
ho
was "throwing up after every meal and wasting away in front of us", and
finally, she will play her ace: "Pauline felt her life was in the balance=
,"
she says. "I believed she would take her own life. And so I helped her. I=
t
was a stupid thing to do, but I felt I couldn't have her suicide on my
conscience after she had stood by me [in the sanatorium] . . . I don't ha=
ve
any feeling for Pauline now, but it's ugly to blame someone else. You can
say I believed she would kill herself. Yes, I was in a state of hysteria.=
"
In Perry's novels, violence is a family affair, and the crime
invariably happens to someone known, or even related, to the detective
Charlotte Pitt, who is described as "a well-bred woman . . . of terrifyin=
g
honesty". In Resurrection Row, the heroine muses, "Actually to kill
someone, you have to care desperately over something, whether it is hare,
fear, greed, or because they stand in the way between you and something y=
ou
hunger for." When I ask whether this sentence is autobiographical, Perry
replies, "You'll notice that I always have the person dying as painlessly
as possible. The thought of inflicting pain horrifies me. I've done it
once, and it sickens me . . . You will notice in my writing, " she adds,
"that when people behave badly it's because they have no time to think an=
d
are rushed by events."
Perry has come to believe that her trial at the Supreme Court in
Christchurch was a travesty of justice, bur the court record simply
reflects the procedures of the Fifties. Today, the case would be held in
family court, and both girls could expect anonymity and counseling. In
1954, Juliet and Pauline were tried as adults in the full glare of the
media, but, being under age, were denied the right to testify. The defenc=
e
counsel for Parker and Hulme entered a plea of not guilty to the charge o=
f
murder, by reason of insanity, and the trial centered on a simple debate:
were the girls "bad" or "mad"? The defence argued "folie =E0 deux-joint
insanity. The prosecution, citing the evidence of Pauline's diaries,
contended that "this plainly was a callously planned and premeditated
murder, committed by two highly intelligent and perfectly sane but
precocious and dirty-minded girls."
The defence was hampered by the fact that both girls had signed full
confessions before their parents engaged lawyers-a questionable procedure.
Nevertheless, Medlicott, the psychiatrist on behalf of the defence, state=
d
that the girls' relationship was homosexual, and that he believed they we=
re
insane. Dr Kennerh Stallworthy, an expert witness for the prosecution,
observed that it was "extremely common for adolescence to go through a
stage in which they do have an intense and sometimes physical relationshi=
p
with another member of their own sex". He added that it was normal for
"such adolescents to grow out of that homosexual stage".
The judge, in his summing up, more or less directed the jury discoun=
t
the insanity defence. The all-male jury reached their verdict in less tha=
n
three hours, and the girls, being under 18, were sentenced to "detention
during Her Majesty's pleasure". The judge ordered that the two be sent to
separate institutions and that they should never meet again. The Departme=
nt
of Justice determined that Juliet was "the more dominant personality and
the leader of the two", so she was flown to Auckland, to a maximum-securi=
ty
prison called Mount Eden, which was, and still is, a brutal Victorian
fortress.
Perry describes Mount Eden as "pretty horrific". There were several
hundred men and about 40 women, almost all of them much older. "There wer=
e
lifers, prostitutes and abortionists," she remembers. "I had some pretty
unpleasant experiences, from lesbians, basically." The day began at 5.45a=
m
with slopping out. The prisoner washed in cold water and then had
breakfast, usually lumpy porridge. Juliet was set to work in the laundry,
where her tasks included washing the inmates' canvas sanitary towers. The=
re
were no games, no library, and exercise was only permitted at weekends. T=
he
regime broke Juliet's health, and she was transferred to the sewing room
under the supervision of Grace Powell. "Juliet was quality," says Mrs
Powell, now in retirement in Auckland. "You couldn't help but like her. I
treated her like a daughter." (Mrs Powell still corresponds with Perry.)
Perry did have the privacy of her own whitewashed cell. Here, she
could recite her favourite poetry-G K Chesterton, James Elroy Flecker, an=
d
Rupert Brooke-and her survival instinct and resilience were extraordinary.
"I felt desperately lonely, but I never felt it was anyone's fault," she
says. "Within the first three months, I got down on my knees in the dark
and said I was wrong, and I was sorry for what I had done. I told myself =
to
stop running away."
After four and a half years, Juliet was moved to another prison and =
a
milder regime. She was given two afternoons a week tuition, passed her
university entrance exams, and took a typing course. Then, shortly after
her 21st birthday, without any warning, she was released. She was given a
new passport in the name of Anne Stuart-Stuart for her maternal
grandmother-and taken straight to Auckland airport. "I was in a state of
shock," she says.
Back in England, she went to live with her mother and Bill Perry in
Hexham, Northumberland. When I ask how her family came to terms with her
come, Anne replies, "We've none of us referred to the past. It's too
painful." She took on her stepfather's name and became Anne Perry. "I nev=
er
lied, but I evaded," she explains. "I would ray I'd been ill and I'd been
abroad."
In Hexham, Perry worked as secretary, then moved to Newcastle-upon-Tyne,
where she found a job in a department store. She also worked as a
stewardess for a local airline, and later as assistant purser on the
Hull-Gothenburg ferry. In the freewheeling Britain of the Sixties, she wa=
s,
in some ways much older than her contemporaries and in other ways much le=
ss
experienced. "I'd never dated, danced, worn make-up or stockings," she
says.
What she wanted to do was be a writer and go to America. Eventually
she was granted a visa and arrived in San Francisco in January, 1967. She
had found a job as a nanny, but the household was "unhappy", she says, an=
d
she was miserable, "a stranger in a strange land". In prison, and after h=
er
release, Perry had explored, and rejected, various kinds of faith. Now,
alone once more, she had an epiphany. Shortly after arriving in Californi=
a,
she joined the Church of Jesus Christ of Latterday Saints and became a
Mormon-a conversion, she says, that made her feel "enlightened, fired-up
and lifted".
"I do believe I owe my survival to the Mormon Church," she says. "Th=
e
Mormons believe we are all children of God and that the fall from
perfection is part of life." This theology of forgiveness and forgetting
has clearly helped her to feel she has suffered enough for her crime. "I
can't be bothered with people who make a profession out of suffering.
Dwelling on your own past pain is self-pitying and a damned nuisance. In
the Mormon Church if you have something you were ashamed of, you want it
washed away, and if you repent, it can be. It's washed out of the Book of
Remembrance in Heaven."
Perry moved to Los Angeles, and found work as a limousine dispatcher=
,
a secretary for a post-production company, and an insurance underwriter.
Her new life was now giving her confidence and success. She lived alone,
and had, she said, a number of "red-hot affairs" with men. "Once or twice=
,
I thought I'd found the right person and I prayed hard that it would work
and then I prayed with gratitude that it hadn't! . .. I'm a writer and I
need to write."
In 1972, Perry lost her job and, hearing that her stepfather was
seriously ill, she decided to come home. Dr Hulme, now Chief of Nuclear
Research at the Atomic Weapons Research Establishment, Aldermaston, gave
her a monthly allowance of =A3100, and also provided a lump sum with whic=
h
she was able to move to a rundown cottage in the village of Darshan,
Suffolk. She resolved to work half-time to earn a living and to devote th=
e
rest of the day to her writing. She had been turning out fantasy stories
for years, but now, in search of a marketable genre, she composed
historical romances set in Arthurian England, the Crusades the English
Civil War and the French Revolution. Her literary models were Charles
Kingsley, Arthur Conan Doyle and Anthony Hope. "My parents fielded God
knows how many rejection slips," she says. Towards the end of 1976, she
acquired a literary agent, and within a few weeks she had a contract for =
a
mystery story set in Victorian England.
In 1979, The Cater Street Hangman became her first published book. F=
or
the next ten years, Perry produced one Pitt mystery a year. She could hav=
e
produced more, she says, but her publisher, St Martin's, would not let he=
r.
In ten years, her sales more than doubled.
The Pitt books are characterised by well observed period detail, a
fascination with miscarriages of justice and the high drama of the law, a=
nd
an intense scrutiny of family secrets, above and below stairs. Anne Perry
says she enjoys detective stories because she likes to see "masks being
ripped off, and to see what people will do under pressure, when they are
afraid . . . "Crime fiction is not my choice. I'm obsessed with what is
right and what is wrong."
Through the Mormon Church in Lowestoft, she met Meg MacDonald, and once
again the daughter of privilege made friends with a woman from the other
side of the tracks. Meg, who was born with a hole in her heart and now
draws a disability pension, ran away from home at the age of 17. Like
Perry, she joined the Mormon church 'in extremis' after the sudden death =
of
her third child.=20
"She would get in a right tiswas whenever the question of capital
punishment came up," MacDonald says, recalling how the truth about Anne
emerged. Y began to suspect something when we studied the Bible. She was
irrationally against King David sending Uriah the Hittite into battle so
that he could have Bathsheba. We were discussing the idea of deliberately
killing someone, and it just came out." She continues: "It's a bogey that=
's
always haunted her. She's always been afraid to give herself to people
because she was afraid that if they discovered the whole crush they
wouldn't like her any more. She is very, very insecure. She looks
confident, but underneath there's a lost little girl."
In 1988, MacDonald moved to Scotland, and Perry followed her. "I cam=
e
to visit Meg," she explains, "and fell in love with the place." In the
Highlands, Meg took on a role which has uncanny echoes of Juliet's earlie=
r
collaboration with Pauline. "We think about names and characters," Meg
says. "Then Anne writes it out in long-hand, a chapter at a time. Anne wi=
ll
read the chapter to me, and we'll go through it with a red pen. We're
always thinking of new things. We went to the Canary Islands and worked o=
n
eight books. We chapterised and characterised for two weeks."
Perry also relies on the woman she calls "Meg No 2"-Meg Davis, her
London literary agent. Davis has played a decisive role in improving
Perry's contracts, and has devised a new series, featuring a new detectiv=
e,
William Monk. In the words of the blurb, Monk has been left "with only ha=
lf
a life, because his memory and his entire past have vanished".
(Predictably, Perry resists the obvious interpretation. "I'm not amnesiac=
,
for Pete's sake. I just don't choose to remember certain things.")
Pauline Parker, part of the past Perry wishes to forget, is more
difficult to track down. Those who protect her will only speak on conditi=
on
of anonymity. But her presence in New Zealand has helped to keep the stor=
y
alive.
When the trial was over, Pauline had been sent to Arohata Prison, ne=
ar
Wellington, on the North Island. She was, at first, intensely depressed,
and found the loss of Juliet almost unbearable. Slowly, she appears to ha=
ve
become a model inmate. She wrote chatty letters to her father and made go=
od
progress with her studies. Without Juliet, her fantasy life dwindled. She
told one correspondent that ``in theory I still write, but in practice I =
do
not". She did, however, continue to sustain several identities signing
herself "Nina", "Rosemarie", "Yvonne" and "Pauline [ugh loathsome name]".
Quite early in her sentence, she deeded she wanted to become a Roman
Catholic nun. The church turned her down but continued to play a vital ro=
le
in her life. Gradually, the hysteria surrounding her name cooled down. In
1958, the Parole Board, evaluating both girls, noted that "individually
neither would have committed this crime, and it was a one-in-a-million
chance that their association was of such a nature as to lead to planning
this outrageous act". When Pauline was finally released, in November 1959=
,
she settled in the North Island and took the name Hilary Nathan.
For the next five years, she was on probation. She worked in a varie=
ty
of manual jobs (washing bottles in a hospital, for instance), studied for
university, and in 1960 began an affair with a female coworker, which
caused her probation officer some concern. She did, however, gain her
university degree. The last official reference to Hilary Nathan occurs in
February, 1967, when she is reported teaching at an English girls' school.
After that, she becomes a figure of mystery. She is known to have
returned home in the Seventies and to have taken a new name. She has kept
in touch with her family, but from a distance, and has pursued a number o=
f
different careers, including work with the mentally handicapped. Reports =
of
her state of health and mind vary. Some say she is "troubled", "sad", eve=
n
"suicidal". Others indicate a more robust condition, pointing out that sh=
e
has been adept at covering her tracks.
Her story has become part of contemporary New Zealand folklore. In
1991, Julie Glamuzina and Alison J Laurie published Parker And Hulme: A
Lesbian View. In the same year, Michelanne Forster, an American playwrigh=
t
living in Christchurch, staged her play Daughters Of Heaven. More or less
simultaneously, Frances Walsh and the film-maker Peter Jackson, who
describe the story as "an open wound that has never healed", had begun
their research for the script of Heavenly Creatures. For the first time i=
n
years, there was widespread speculation about the girls' identity. By the
time Daughters Of Heaven transferred to Wellington, there was a rumour
circulating that Juliet Hulme had become "a writer called Perry".=20
Lin Ferguson, a reporter for the Sunday News, a New Zealand tabloid,
did some research in the local library and in a who's who of authors and
found the gossip to be true. Ferguson now says that she agonised over her
decision to report the story. "I knew I was going to blow up this woman's
life after 40 years," she says, adding that it was Perry's career as a
murder mystery writer that overcame her doubts. Strangely, neither Fergus=
on
nor any rival reporter has made the same effort to unmask, or even to tra=
ck
down, Pauline Parker.
Back in Scotland, Anne Perry is slowly coming to terms with her late=
st
identity. "No, I don't think the world is ever going to forget that I am
both of these people." There is a note of resignation in her voice. "It's
not ever going to go away, but maybe I shall live in such a way that it
will not be what people remember of me." So she continues to write,
obsessively, perhaps in the hope that she can somehow bury her terrible
past in a mountain of fiction.
One morning, towards the end of several days of interviews with Anne
Perry, I asked her, "What is your worst fear?"
"My worst fear about all this," she replied, "is chat you will find
Pauline."=20
---
Endnote: Weighed In The Balance, Anne Perry's new William Monk novel, wil=
l
be published by Headline in July. Cain His Brother and Belgrave Square
recent came ...=20
Caption One: A portrait of Anne Perry by David Eustace.
Another time, another country: Anne Perry now live in a remote fishing
village on the north-east coast of Scotland and work steadily on her crim=
e
novels. In 1954, as a 15-year-old schoolgirl in New Zealand (left), she w=
as
herself involved in a brutal murder.
Caption Two: Pauline Parker and Juliet Hulme walking to their trial; Henr=
y
and Hilda Hulme.
Testing time: Pauline Parker (above, left and Juliet Hulme (as Anne Perry
then was) step out together during their trial. The case was a sensation =
in
the New Zealand press, but polite Christchurch society it was taboo topic.
The headmistress of the girl' school instructed parents not to discuss th=
e
murder with their daughters. Juliet's parents, Henry and Hilda Hulme
(right) were not much liked in the university circles where they moved.=20
Caption Three: Melanie Lynskey and Kate Winslet laying in a field of
leaves.
Gateway through the clouds: Heavenly Creatures was the film which raised
the question once more: what happened to New Zealand's notorious 'gym-tun=
ic
murderess'? It depicted their fantasy-filled friendship with what seemed =
to
be great authenticity.
Good companions: Anne Perry met her friend Meg MacDonald at a Mormon
meeting. Now they work on Perry's novel together: 'Anne will read the
chapter to me, and we'll go through it with a red pen. we're always
thinking of new things' .
--------------- MESSAGE heavenly-c.v001.n094.3 ---------------
From: 9506148v@Magpie.Magill.UniSA.edu.au
Subject: Re: Cancel
Date: Thu, 15 Aug 1996 19:08:56 +0930
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: 7BIT
> I'm very sorry, but I have to be off the list. Nothing personal, but I do
> believe they -were- taking photographs of each other in the bathroom.
Is this for real? Maybe it's just me, but isn't that a little rash? Hell, if
it'll make any difference, then sure, they were taking photos of each
other in the bathroom. So what? Is it *that* important?
Shannon.
--------------- MESSAGE heavenly-c.v001.n094.4 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: Cancel
Date: Thu, 15 Aug 1996 10:34:44 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
> > I'm very sorry, but I have to be off the list. Nothing personal, but I do
> > believe they -were- taking photographs of each other in the bathroom.
>
> Eh? And that's why you're leaving? heh
Am I missing something? Was there some kind of heated debate about
exactly what the girls were doing in the bathroom? Why wasn't I notified?
--Jefferson
--------------- MESSAGE heavenly-c.v001.n094.5 ---------------
From: Thaiphong Vo <thaivo@ea.oac.uci.edu>
Subject: Re: Melanie Lynskey
Date: Thu, 15 Aug 1996 09:03:30 -0700 (PDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>If Peter Jackson is going to do another true crime story, let me suggest
>that he do the Lizzie Borden story and use Melanie Lynskey in the key role.
I'm afraid that would lead to slight type casting.. but I suppose I should
be glad if Melanie got a role.. she has been making us wait hasn't she? : (
I'm not very familiar with the Lizzie Borden story, but I think Peter
Jackson wasn't actually very keen on the idea of doing a crime/murder movie.
He needed to be convinced by Fran Walsh. He fell in love with the idea with
more research, but I'm not sure if any other crime story would appeal to him
as much as the Parker-Hulme one. Yet (no, I'm never very decisive) he did
his best work with HC, maybe he should return to this type of movie... I'm
not sure if it'd be a crime one, but one that has the emotional power of
"Heavenly Creatures". "The Frighteners" was good, but it really pales in
comparison to HC, and maybe to even Brain Dead... Both of these movies were
unforgettable, for different reasons though.
Whatever he does next, I hope Melanie gets a speaking role!!!!! : )
-Thai
----------------------------
"New Year's Resolution...Is a far more selfish one this year..
It is to make my motto, eat, drink and be merry... for tomorrow
you may be dead." - Pauline Parker 1954~
Melanie Lynskey: The One I Worship (http://www.best.com/~thaivo)
---------------------------
--------------- MESSAGE heavenly-c.v001.n094.6 ---------------
From: Thaiphong Vo <thaivo@ea.oac.uci.edu>
Subject: Re: my curiosity
Date: Thu, 15 Aug 1996 09:03:35 -0700 (PDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>I was at a photo shoot today here in Pittsburgh at some particularly gothic
>locals...a graveyard, churches, etc... couldn't help but envision the girls
>there...
That's a chilling image, that they are together? It actually conjures in
my mind a very strange image. Where the real Juliet, and Paul have grown
out of their youth, but there is another pair of them... together after all
these years, and roaming the graveyards trying to ask forgiveness. It's a
silly thought, but that's what your message made me think of. : )
>more curiosity: Is anyone else into Tori Amos?
I'm a early Tori Fan, can't say I understand her latest work. Little
Earthquakes was really something special.
>---got my letterboxed copy today---
>
>mpellas@sgi.net
>
>
>
----------------------------
"New Year's Resolution...Is a far more selfish one this year..
It is to make my motto, eat, drink and be merry... for tomorrow
you may be dead." - Pauline Parker 1954~
Melanie Lynskey: The One I Worship (http://www.best.com/~thaivo)
---------------------------
--------------- MESSAGE heavenly-c.v001.n094.7 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Blubberhead(?)
Date: Thu, 15 Aug 1996 16:50:52 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Thu, 15 Aug 1996, Thaiphong Vo wrote:
> Yet (no, I'm never very decisive) he did
> his best work with HC, maybe he should return to this type of movie...
On a related note, does anyone here know anything about that fantasy film
Jackson has been kicking around in his head for a number of years? I
think it takes place in some kind of Borovnia-esque world. In an old
interview I have with Jackson in Cinefantastique (pre-HC), he mentions
the project, and I think he said the title was 'Blubberhead,' or some
similarly weird-sounding name. I'll go back to that article and
double-check.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n094.8 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: True Life/True Crime
Date: Thu, 15 Aug 1996 15:13:13 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
In the Peter Jackson Web Chat session:
>Liza [user] asks: How easy was it for you to go from directing gore horror
>(Dead Alive) to something so stylistically aesthetic in "Heavenly
>Creatures"?
>Peter Jackson answered: It was a challenge, but also incredibly
>refreshing. After finishing Dead Alive, where I was soaked in red colored
>maple syrup for three months, I couldn't face another film like that
>straight away. Heavenly Creatures was fascinating just as a writing
>project let alone directing as we had to be like investigative
>journalists or detectives uncovering the facts of a 40-year-old murder
>case. I'd love to do another "true life" movie again sometime.
He actually said "true life" when talking about doing another movie like
HC. I guess it doesn't mean "true crime" as I had suggested in one of my
many taglines. In other words, it doesn't neccesarily have to be
something murderous, gorry, or digusting (something Peter
Jackson-ish)...it could be something like Orson Welles' 'Citizen Kane'
or Woody Allen's 'Love and Death' or Peter Jackson-himself's 'Meet The
Feebles'! That is, he might want to do another satire of a 'true life'
event or person--perhaps something like 'Forgotten Silver'? (To which I
have dubbed the word "psuedo-documentary"; I would love to get a copy of
this or info from anyone on acquiring). How about something like 'Gumpy
Creatures'? Half Forrest Gump, half Heavenly Creatures...I'm joking of
course...I have thought of writing psuedo-documentaries of HC and the
murder trial in a humorous and entertaining way before, something like
Woody Allen's 'A Look At Organized Crime', but that's a whole different
story and nevermind...
Anyone has any "true life" ideas out there? Any famous New Zealand
stories or history?
--
The knife that is sharp today may be dull
by tomorrow... lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n094.9 ---------------
From: kate ann jacobson <kjac@unm.edu>
Subject: Re: Cancel
Date: Thu, 15 Aug 1996 21:05:46 -0600 (MDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
I just meant that as a joke about the girls taking photographs in the
bathroom. I always burst out laughing whenever Dr. Hulme says that because
he says the line "taking photographs" like it's the worst thing anyone
could possibly be doing in the history of humankind. Sorry. I guess it wasn't
that funny. I would never leave because of that scene, especially if Juliet
did look just like Veronica Lake...
--------------- MESSAGE heavenly-c.v001.n094.10 ---------------
From: kate ann jacobson <kjac@unm.edu>
Subject: Re: Cancel
Date: Fri, 16 Aug 1996 00:03:17 -0600 (MDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
But I still need to be off the list, and I'm very sorry.
--------------- END heavenly-c.v001.n094 ---------------
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-------------- BEGIN heavenly-c.v001.n095 --------------
001 - Bao Ly <lybao@earthlink.n - Re: Cancel
002 - Bao Ly <lybao@earthlink.n - Premeditated Movie-Watching
003 - Sandra Bowdler <sbowdler@ - Re: Premeditated Movie-Watching
004 - Sandra Bowdler <sbowdler@ - Re: They're really getting to me, too!
005 - Sandra Bowdler <sbowdler@ - Re: City of the plains
006 - Sandra Bowdler <sbowdler@ - Guardian article
007 - adamabr@mail.helix.net (a - Re: Donkey lyrics
008 - adamabr@mail.helix.net (a - Re: Cancel
009 - John Argentiero <jargent@ - You'll Never Walk Alone redux
010 - Bao Ly <lybao@earthlink.n - Re: La Boheme
--------------- MESSAGE heavenly-c.v001.n095.1 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Cancel
Date: Fri, 16 Aug 1996 00:17:14 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
kate ann jacobson wrote:
>
> But I still need to be off the list, and I'm very sorry.
>
>
Farewell sadness
Good morning sadmess.
-Bao
--------------- MESSAGE heavenly-c.v001.n095.2 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Premeditated Movie-Watching
Date: Fri, 16 Aug 1996 00:20:44 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Has anyone heard of anything of Michael Winterbottom? I=92ve been reading
previews on "Jude" (The Obscure) and keep running into "Butterfly Kiss".
Winterbottom is supposedly a British director of "Go Now," "Cracker",
"Butterfly Kiss" and "Jude" (The Obscure, dammit! Why change the title?
I need to ask--). (this is actually much like "Tess" (of the D=92
Urbervilles) directed by Roman Polanski, another Thomas Hardy=92s
novel-title shortened.) (They might as well called "A Madding from The
Crowd, "MAD"!)=20
Anyway, "Butterfly Kiss" is described as a "Bitterly moving and
provocative story of two girls on the road, one a mass murderer." Amanda
Plummer who plays Eunice, the angel of death, is "both unwatchable and
fascinating, a doomed soul murdering out of revenge toward God, who has
forgotten her." Miriam, played by Saskia Reeves, is the other girl who
is "in love and in thrall with Eunice". Winterbottom propels the two
through "English landscapes and over stodid English bodies on the fuel
of bloodlust and sex."=20
I think this movie might make a good "getting-to-know-you" jingle for
Michael Winterbottom before we all head out to see "Jude". And don=92t sa=
y
you don=92t know that Kate Winslet will be totally nude in it!! Not that
it matters one way or the other...I will watch "Jude" and I will like
it! even if she is nude or dress in steel armor...I guess if you=92ve see=
n
"A Kid in King Arthur=92s Court", you=92re ready for anything...especiall=
y,
"Jude".
--
Ed Sanders says: Refuse to be burnt out.
-lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n095.3 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: Premeditated Movie-Watching
Date: Fri, 16 Aug 1996 15:55:55 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hello all,
I saw Butterfly Kiss in London last year, after a couple of weeks in the
north which included driving along the motorways featured in the movie.
It is a very intense movie, certainly not for all tastes. On the one
hand, I was taken with the accuracy of the mise en scene. On the other, I
thought the performances by Saskia Reeve and Amanda Plummer were quite
brilliant, surely a tribute to the director. As to the story, well, it
ain't Heavenly Creatures, but there is something resonant there...
cheers
Sandra Bowdler
--------------- MESSAGE heavenly-c.v001.n095.4 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: They're really getting to me, too!
Date: Fri, 16 Aug 1996 16:09:37 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
So this is a good afternoon for cleaning up my e-mail; here's one I meant
to respond to, ages ago.
On Tue, 6 Aug 1996, Phil West wrote:
> On 5 August, Mela wrote
>
> >they're really getting to me.
>
> I know what you mean. I keep finding 'heavenly' resonances in other works
> of art; the film just sort of butts its way in. For instance, I
> can't hear the ending of La Boheme (my favourite opera, anyway), where
> Rudolfo cries out 'Mimi!', without thinking of Juliet's heartbreaking
> 'Gina!'from the liner, just after the second blow. It is one of Puccini's
> most shamelessly tear-jerking moments, with a reprise of the 'Sono andati'
> theme blasting out in the brass and strings. Puccini, like Peter Jackson,
> likes throwing his audience's emotions around; and both do so masterfully.
> Hmmn, not the only similarity in their art, either: any opera fans out
> there?
I am a BIG opera fan, but I dislike La Bohe'me intensely. The music on
its own is fine, the story is repulsive: four middle class layabouts play
at being artistes, one of them seduces a working class girl and chucks her
out as soon as she gets sick and a nuisance, then sobs all over her death
bed. The much-vaunted Baz Lurhman Oz in the 50s version only
accentuates all this, IMH(?)O.
OK, flame proof jacket in place.
BTW, there has been a discussion on opera-l recently as to whether that
last Mimi! should be a cry of anguish, or a more questioning tentative
bleat because Rudolfo has not at this point quite realised she's dead.
> And one to ask. Just what is that grotty gold box that Wendy gives to
> Honora for Christmas 1953??? It's horrible! (Cue Melanie smelling the
> mackerel).
Good heavens, don't you know a HANDBAG when you see one?
Or as the septics would say, a purse. (I write from the only major city
in the world described by a friend as having been named after an
accessory) (you have to lisp).
cheers
sb
--------------- MESSAGE heavenly-c.v001.n095.5 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: City of the plains
Date: Fri, 16 Aug 1996 16:15:13 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Here's another old post: Christchurch is very much known as the city of
the plains to this day, in NZ. I visited there recently, my god, the
weather. But it is located on what is quite an extensive flat area for NZ.
cheers
sb
--------------- MESSAGE heavenly-c.v001.n095.6 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Guardian article
Date: Fri, 16 Aug 1996 17:39:26 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hello all,
Now that most of us have seen the Guardian article, here is a little item
for discussion. I believe it is the same article described in the FAQ as
being originally intended for the New Yorker, and described thus:
The New Yorker Magazine. to be published. [mf]
"Robert McCrum was just here [Christchurch] recently writing
the definitive Parker/Hulme story. ...I think his article
will answer a lot of your questions and push all our ideas
about 'the moider' into a whole new territory." [note:
personal communication, mf 94/04/20. jp]
jp is of course John Douglas Porter, and mf is Marianne Forster, author of
the play Daughters of Heaven (which I think is rather better than PJ has
wished to allow).
Anyway, it does not seem to me that the article pushes our ideas about The
Moider into new territory, although I think it tells us quite a bit about
Anne Perry. Discuss.
cheers
sb
--------------- MESSAGE heavenly-c.v001.n095.7 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Re: Donkey lyrics
Date: Fri, 16 Aug 1996 03:15:16 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>On Wed, 14 Aug 1996, adam abrams wrote:
>> Senorita donkey-cita
>> Not so fleet as a mosquito
>> But <<so sweet like>> my chiquita
>> You're the one for me.
>OLE!
--Jefferson
Wow, how could I forget the best part!?!!? 8^)
Thanks to everyone for help completing the lyrics....I'm going to add them
to the FAQ!
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n095.8 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Re: Cancel
Date: Fri, 16 Aug 1996 03:15:20 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>From: kate ann jacobson <kjac@unm.edu>
>Subject: Re: Cancel
> I just meant that as a joke about the girls taking photographs in the
>bathroom. I always burst out laughing whenever Dr. Hulme says that because
>he says the line "taking photographs" like it's the worst thing anyone
>could possibly be doing in the history of humankind. Sorry. I guess it wasn't
>that funny.
On the contrary, I found it was good for a hearty chuckle! But then you
wrote...
> But I still need to be off the list, and I'm very sorry.
What! Why are you bidding us farewell, really? Are you being whisked off to
South Africa for the good of your health? Just tell them, "I'm _not_ going
without the Heavenly Creatures Mailing List!"
Adam, feeling quite whimsical for 3 in the morning
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n095.9 ---------------
From: John Argentiero <jargent@wam.umd.edu>
Subject: You'll Never Walk Alone redux
Date: Fri, 16 Aug 1996 10:03:17 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Yo all!
Since music has been discussed for the last few days or so, thought I'd
interject this relatively unrelated tidbit
While flipping though the most important philosophical work of our
generation, The Hitchhiker's Guide to the Galaxy, I chanced upon our
favorite ending credit song, You'll Never Walk Alone.
Flip to page 128, where the Magrathean defense system has just launched
some 5 million year old missiles at our heroes in the Heart of Gold.
Eddie the overly-chipper computer begins crooning, perhaps in a twisted
electronic Mario Lanza emulation, which fails to have the desired calming
effect on the crew members.
Well, talk about tangents that have nothing to do with Heavenly
Creatures...
For further randomness, check out Harry Dean Stanton singing "Just A
Closer Walk With Thee" on acoustic guitar in Cool Hand Luke
Also, Winton Marsalis played "Closer Walk With Thee" on trumpet at some
Olympic ceremony after the bombing.
Now back to discussions about the movie! :)
Stickily,
John
_________________________________________________________________________
| John Argentiero | The state is the embodiment |
| 9441 Copenhaver Drive | of the great myth that we |
| Potomac, MD 20854 | can all live at each other's |
| (301) 762-4327 | expense. |
| jargent@wam.umd.edu | -Clemenceau |
| *********** http://www.wam.umd.edu/~jargent/winslet.html *********** |
|_________________________________________________________________________|
--------------- MESSAGE heavenly-c.v001.n095.10 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: La Boheme
Date: Fri, 16 Aug 1996 12:15:48 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Sandra Bowdler wrote:
> I am a BIG opera fan, but I dislike La Bohe'me intensely. The music on
> its own is fine, the story is repulsive: four middle class layabouts play
> at being artistes, one of them seduces a working class girl and chucks her
> out as soon as she gets sick and a nuisance, then sobs all over her death
> bed. The much-vaunted Baz Lurhman Oz in the 50s version only
> accentuates all this, IMH(?)O.
La Boheme is a very simple love story that has a lot of truth and beauty
to it--the end is tragic(it's always is)because Mimi, who undeservingly
so, dies. Rudolfo, the poet, seduces and nourishes her, but he scares
for her illness and of losing her through death. It is a pitiful opera,
in which all the participants' lives are miserable--the poet, the
painter, the philosopher and the short, round guy. There is that final
moment of goodness and truth that pulled them together...there was a
reckoning of human nature...of kindness and of love...a moment of
separation. The death bed/moment of truth scene shows hopes in mankind,
even if our lives are miserable and that the end is inescapable.
> OK, flame proof jacket in place.
In La Boheme there is one thing that thrive the opera and that is
love...you might not like the way they've done it--but in the end it is
the only thing that mattered. :)
--
"The end is everywhere: Art still has truth, take refuge there."
Matthew Arnold -lybao@earthlink.
--------------- END heavenly-c.v001.n095 ---------------
From heavenly-c-errors@lists.best.com Sat Aug 17 18:01:55 1996
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-------------- BEGIN heavenly-c.v001.n096 --------------
001 - clumber@ici.net (Ann or E -
002 - 9506148v@Magpie.Magill.Un - Heavenly Web Chat Thingy
003 - Bao Ly <lybao@earthlink.n - Re: Heavenly Web Chat Thingy
004 - Bao Ly <lybao@earthlink.n - [Fwd: ] Kate Winslet: People Weekly, July 1, 1996
005 - Bao Ly <lybao@earthlink.n - [Fwd: ] Kate Winslet: People Weekly, May 6, 1996
006 - Bao Ly <lybao@earthlink.n - [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
007 - Bao Ly <lybao@earthlink.n - Multimedia: See It, Hear It, Feel It
--------------- MESSAGE heavenly-c.v001.n096.1 ---------------
From: clumber@ici.net (Ann or Eric Kingman)
Subject:
Date: Fri, 16 Aug 1996 20:25:30 -0400
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Sandra Bowdler <sbowdler@cyllene.uwa.edu.au> wrote:
<Anyway, it does not seem to me that the article pushes our ideas about
< The Moider into new territory, although I think it tells us quite
a bit
< about Anne Perry. Discuss.
Well, off the top of my head, and without having the article in front of me
and having last read it almost a week ago, the article made me think quite a
bit about such things as:
This close relationship with neighbor Meg: In a sense, Meg and Anne
Perry work together in the same fashion as Juliet and Paul -- together they
dream up the stories, and the characters, and it seems to me that Anne
basically writes it down. Fascinating.
Anne Perry "followed" Meg to Scotland...because she couldn't bear to
be apart?? Obviously we don't know for sure if that's the reason (maybe it
was just the beautiful scenery), but I thought that was an odd thing for
Anne Perry to admit to, knowing that she was being interviewed not as Anne
Perry but as Juliet Hulme under an alias.
Lastly, (for now), the bit about AP's worst fear being that someone
will find Pauline: why is that her worst fear? Is it that Pauline's life
would be ruined and AP still cares deeply about that? Is it that Pauline
might shed some new light on certain "facts"? Or is it that Anne/Juliet
would then know how to find Pauline and might make contact, despite herself?
Okay, I know I've stated the obvious...anyone else?
Ann Kingman
clumber@ici.net
--------------- MESSAGE heavenly-c.v001.n096.2 ---------------
From: 9506148v@Magpie.Magill.UniSA.edu.au
Subject: Heavenly Web Chat Thingy
Date: Sat, 17 Aug 1996 17:24:43 +0930
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: 7BIT
Hello hello hello -
I've just been taking a look at the Chat Zone thing on Bryan's page.
Why are none (or so few) of those people a part of this list? Surely
they could not be ignorant of it? It seems sort of silly to have both
forums running side by side, yes?
Or does it have something to do with the fact that some people have email
and no internet (the web part) or vice versa? I dunno. I just thought it'd
be real nice to have 'em all over here (and then they can make their
messages as long as they like!)
Oh well...
Shannon <9506148v@magpie.magill.unisa.edu.au>
'It's everyone else who's bonkers!'
--------------- MESSAGE heavenly-c.v001.n096.3 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Heavenly Web Chat Thingy
Date: Sat, 17 Aug 1996 11:43:06 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
9506148v@Magpie.Magill.UniSA.edu.au wrote:
>
> Hello hello hello -
>
> I've just been taking a look at the Chat Zone thing on Bryan's page.
> Why are none (or so few) of those people a part of this list? Surely
> they could not be ignorant of it? It seems sort of silly to have both
> forums running side by side, yes?
The difference between the Chat Zone and the Mailing List is that the
Chat Zone is for chats and the Mailing List is for discussions. Most of
the people are bypassers leaving their comments for the public (some
will eventually join the mailing if they stick around long enough, I
believe), while the mailing list is reserve for those few individuals
who can appreciate our genius! I think. It's like a Gateway to the
Clouds...and on the day of the Death of Christ...well, you know, how it
goes...
> Or does it have something to do with the fact that some people have email
> and no internet (the web part) or vice versa? I dunno. I just thought it'd
> be real nice to have 'em all over here (and then they can make their
> messages as long as they like!)
You know what: I really like the Chat Zone at first because the
wallpaper (background) reminded me so much of Borovnia, that I later
change my Netscape E-mail previewing plane (background) to "muddy" gray.
Recently, I just took the exact wallpaper from HeavenlyWeb's Chat Zone
out of my cache and place it in E-mail to use as background while I read
and compose! Nonetheless, I am more productive now! If only I can change
the "Send" button in Netscape to "Transmit to Borvonia!", I think I have
it made!
> Oh well...
>
> Shannon <9506148v@magpie.magill.unisa.edu.au>
>
> 'It's everyone else who's bonkers!'
I see your point Exactly!
--
Ooh, pretty! -lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n096.4 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: [Fwd: ] Kate Winslet: People Weekly, July 1, 1996
Date: Sat, 17 Aug 1996 13:10:07 -0700
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Date: Fri, 16 Aug 1996 18:48:05 -0600
From: nbeach@lancelot.us.dynix.com (Newport Beach Public Library)
Message-Id: <199608170048.SAA28469@lancelot.us.dynix.com>
To: LYBAO@EARTHLINK.NET
Content-Type: text/plain
People Weekly July 1 1996, v46, n1, p108(1)
Think of England. (English actress Kate Winslet had to constantly remind hersel
(Screen Pages: 1-1) Document Page 1
After baring her soul as a wistful romantic in Sense and Sensibility,
English actress Kate Winslet bares the rest of herself as Sue
Bridehead, a feisty, independent-minded heroine in Jude. The film,
based on Thomas Hardy's 19th-century novel Jude the Obscure, is due
this fall. How comfortable was Winslet in her first nude scene? "Not
at all! No way! Oh, it was awful," says Winslet, 20, who also stars as
Ophelia in Kenneth Branagh's forthcoming Ham- let. "I was so nervous,
I starved myself for a month beforehand. I went through all the
paranoias: 'My bum's massive. My breasts are saggy. I've got a spotty
back. Chicken arms. I can't do it.' " But she did. "I just had to keep
remembering that the scene was a real turning point in the story and
to get on with it. At the end of the day, you forget that you're
completely naked."
REQUESTED BY: ly TIME/DATE: 18:48:03 16 AUG 1996
TOTAL COST: $0.00 SOURCE: Magazine Index
COPYRIGHT 1996, Information Access Co., ALL RIGHTS RESERVED.
--------------- MESSAGE heavenly-c.v001.n096.5 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: [Fwd: ] Kate Winslet: People Weekly, May 6, 1996
Date: Sat, 17 Aug 1996 13:11:33 -0700
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From: nbeach@lancelot.us.dynix.com (Newport Beach Public Library)
Message-Id: <199608170049.SAA28474@lancelot.us.dynix.com>
To: LYBAO@EARTHLINK.NET
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People Weekly May 6 1996, v45, n18, p175(1)
Kate Winslet. (20-year-old British actress overcame a weight problem as a teena
(Screen Pages: 1-2) Document Page 1
The most important beauty tip Kate Winslet ever received, she says,
came from her mum. "She said if I ever start to get the family
whiskers--because there are women in my family that do get
them--never, ever pluck! Always trim. And a makeup-artist friend told
me that when I get a spot, don't squeeze! And if you must squeeze,
it's essential to exfoliate." The 20-year-old actress keeps her
toilette simple--with two exceptions. "My most prized possession is my
pair of eyelash curlers, which I wouldn't sell to anyone," she says.
Neither would she give up her dozens of pairs of funky boots, "because
they mean that my feet are on the ground. Besides, I can't bear
pathetic little shoes." That kind of spunk, says Richard Briers, who
plays Polonius to her Ophelia in Kenneth Branagh's forthcoming Hamlet,
reflects Winslet's "bloom of youth." As the fragile Marianne in Sense
and Sensibility, the 119-lb.Winslet was compared to a Pre-Raphaelite
maiden in the British press, but as a Reading, England, teenager
tipping the scales at 185, she better resembled the chunky cherubs
painted by Rubens. "For a good two or three years my nickname was
Blubber," she says. "Being overweight is a family trait too. But I
knew that I wouldn't work if I stayed that way."
REQUESTED BY: ly TIME/DATE: 18:49:07 16 AUG 1996
TOTAL COST: $0.00 SOURCE: Magazine Index
COPYRIGHT 1996, Information Access Co., ALL RIGHTS RESERVED.
--------------- MESSAGE heavenly-c.v001.n096.6 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
Date: Sat, 17 Aug 1996 13:12:39 -0700
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From: nbeach@lancelot.us.dynix.com (Newport Beach Public Library)
Message-Id: <199608170051.SAA28488@lancelot.us.dynix.com>
To: LYBAO@EARTHLINK.NET
Content-Type: text/plain
People Weekly March 4 1996, v45, n9, p106(1)
Austen-tatious.(actress Kate Winslet appreciates the way Jane Austen wrote her
(Screen Pages: 1-1) Document Page 1
English actress Kate Winslet, 20, who plays the lovestruck Marianne
Dashwood in Sense and Sensibility, is dumbstruck to be among this
year's Oscar nominees for Best Supporting Actress. But she credits
Jane Austen's realistic, clear-eyed view of romance, which dates back
to the early 1800s, for drawing viewers today. "It's hard when you're
really in love with someone," says Winslet, who has been there, done
that. "I'll sit by the phone for a few days, and then I eventually say
to myself, 'Come on, girl. There's more to life than this crud.' Just
because these characters lived almost 200 years ago and wore corsets
doesn't make them aliens. Girls today can relate." Winslet's current
role, as Ophelia in Kenneth Branagh's Hamlet, will take her even
further back in history, but, she insists, "I'm not just some period
babe. In fact, what I'd really like to play is a wild Valley Girl."
"I wouldn't want to be Julia, but I wouldn't mind looking like her."
REQUESTED BY: ly TIME/DATE: 18:51:40 16 AUG 1996
TOTAL COST: $0.00 SOURCE: Magazine Index
COPYRIGHT 1996, Information Access Co., ALL RIGHTS RESERVED.
--------------- MESSAGE heavenly-c.v001.n096.7 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Multimedia: See It, Hear It, Feel It
Date: Sat, 17 Aug 1996 16:15:50 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Amnesty International - The Secret Policedogs Electric Auction
http://www.web13.co.uk/amnesty/
Kate Winslet's Birthday Countdown
http://www.tnef.com/kate_winslet.html
Showbusiness News with Kate Winslet
http://www.audionet.com/pub/lyons/lyn0503a.ram
Berg's Cyberplex 30 (Kate Winslet talks about HC)
http://www3.t1.com/publicnews/pnplaza.html
Sense and Sensibility's "My Father's Favorite"
http://www.sony.com/music/ArtistInfo/SenseAndSensibility/sense2.wav
Kate Winslet & Emma Thompson Soundbytes on S&S
http://www.realaudio.com/contentp/rabest/premrad_index.html
I must also mentioned that there used to be an AVI clip of "A Kid in
King Authur's Court" on the Disney website (I swear I've seen it, but
have no recollection of downloading it!)--it is no longer there, of
course. I have e-mailed the webmaster, agonizingly, twice about it, but
IT IS NO LONGER AVAILABLE AND I DON'T KNOW WHERE YOU CAN GET IT STILL,
blah blah blah. So if anyone out there downloaded this clip, we really
admire you! -just give me a 'bing'--drop pins and needles for MCI...
--
"I have seen the future and it is just like
the present, only longer." -lybao@earthlink.net
--------------- END heavenly-c.v001.n096 ---------------
From heavenly-c-errors@lists.best.com Mon Aug 19 21:18:11 1996
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Message-Id: <199608200416.VAA26921@lists1.best.com>
Subject: Digest heavenly-c.v001.n097
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-------------- BEGIN heavenly-c.v001.n097 --------------
001 - "Joanne Hickey" <jhickey@ - Joining the mailing list!!!!
002 - Donald Chin <donaldc@nets - Re:Heavenly Web Chat Thingy
003 - "Jefferson F. Morris" <jf - Re: your mail
004 - Phil West <pgw16@hermes.c - La Puccini
005 - "Jefferson F. Morris" <jf - Kate's wardrobe
006 - "Jefferson F. Morris" <jf - Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
007 - "Jefferson F. Morris" <jf - Heavenly Tragedians
008 - Bao Ly <lybao@earthlink.n - THOSE FRIGHTENERS
009 - Tim Baglio <raven@nas.com - Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
010 - mpellas@sgi.net (Michael - Re: 'Heavenly Creatures...whatever...'
--------------- MESSAGE heavenly-c.v001.n097.1 ---------------
From: "Joanne Hickey" <jhickey@hotmail.com>
Subject: Joining the mailing list!!!!
Date: Sun, 18 Aug 1996 17:05:36 -0700
Content-Type: text/plain
subsingle
---------------------------------------------------------
Get Your *Web-Based* Free Email at http://www.hotmail.com
---------------------------------------------------------
--------------- MESSAGE heavenly-c.v001.n097.2 ---------------
From: Donald Chin <donaldc@netspace.net.au>
Subject: Re:Heavenly Web Chat Thingy
Date: Mon, 19 Aug 1996 18:18:29 +1000
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Hi all,
Shannon <9506148v@magpie.magill.unisa.edu.au> wrote...
> I've just been taking a look at the Chat Zone thing on Bryan's page.
> Why are none (or so few) of those people a part of this list? Surely
> they could not be ignorant of it? It seems sort of silly to have both
> forums running side by side, yes?
>
> Or does it have something to do with the fact that some people have email
> and no internet (the web part) or vice versa? I dunno. I just thought it'd
> be real nice to have 'em all over here (and then they can make their
> messages as long as they like!)
I thought the same thing a couple of months back when the list traffic
started to fall. I think the ease of entering messages via a web server is
the attraction (although I wouldn't call the four line limit one). Maybe
people just don't like using an email.
What Bao Ly said about the differences between the Chat Zone and the list
is also true. But I have seen some continued in depth discussions being
carried out over the Chat Zone. It seemed quite interesting (but quite
frustrating for person entering the information I am sure).
Whatever the reason, they can't possibly not know of the existence of the list.
Regards, Donald
--
Donald Chin <donaldc@netspace.net.au>
"Lost somewhere in Australia...
and fanatical about Heavenly Creatures and Jane Austen!"
<http://netspace.net.au/~donaldc>
--------------- MESSAGE heavenly-c.v001.n097.3 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: your mail
Date: Mon, 19 Aug 1996 10:20:09 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Fri, 16 Aug 1996, Ann or Eric Kingman wrote:
> Lastly, (for now), the bit about AP's worst fear being that someone
> will find Pauline: why is that her worst fear? Is it that Pauline's life
> would be ruined and AP still cares deeply about that? Is it that Pauline
> might shed some new light on certain "facts"? Or is it that Anne/Juliet
> would then know how to find Pauline and might make contact, despite herself?
I think she probably just doesn't want anything else about that time in
her life to be dredged up. If Pauline was discovered, the fascination
with the case would be re-doubled, the interviews would start again, and
you know that pretty soon someone in the press might try to arrange a
"reunion."
I doubt that Perry has any desire, hidden or otherwise, to see Pauline
now. It's been over 40 years, after all. It's like when you go to a
school reunion--there are some people you simply aren't that
interested in seeing again, even if you were once great friends with them.
You were both different people back then, and you're no longer a part of each
other's lives. At least that's how I often feel at those kind of
things. I imagine Perry feels something similar, though undoubtedly
compounded by the memory of her crime.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n097.4 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: La Puccini
Date: Mon, 19 Aug 1996 21:48:33 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hallo Sandra, all
On Friday 16 August, Sandra consigned the 'four middle class layabouts'
in La Boheme to the 22nd circle of opera hell (where they are punished
by being shown the trailers to 'Heavenly Creatures' without ever getting
to see the film). Some time ago, I had rather whimsically said that the
final 'Mimi!'s in that opera reminded me of Juliet's 'Gina!' from the
liner at the end of HC, in one of those 'ooh, this makes me think of that
film again, am I going crazy?' sort of ways. Are you with me?
I think I said it was my favourite opera, but I now realize (& it's
not even the day of the death of Christ) that like Sandra, it's the music
that I find most affecting, and yes, the story is full of nastiness and
stupidity, whatever you think of the love story. I am an occasional
percussionist, and once played cymbals for quite a good production of the
opera, and those last clashes are a classic squidgy cymbals moment (in
case anyone's interested, the end of Mahler 8 is the transcendental
Romantic cymbalist's moment - aaagh!), so perhaps that's why I adore it
(s'queer).
That said, part of the tragedy of the thing is that they *are* layabouts,
surely? They don't really know what they're doing, they haven't grown up
and taken responsibility for themselves, etc. In the Australian video
version of La Boheme, Rudolfo's 'Mimi's certainly suggest that he hasn't
the foggiest what's going on... Personally, I'll stick to my ancient
Beecham recording, featuring Maria de los Angeles and the
incredibly-difficult-to-spell-if-you're-a-court-transcriber Jussi
Bjorling, alias THAT (recorded 1956, I think, so too late for the
girls to have heard it). Very romantic Mimis.
Pontificate... Does anyone have any observations on HC and the nature of
tragedy? (I realise it's quite a large question!!!) The savage ironies
in the film remind me of Euripides a little. The University Eng. Lit.
course here has a compulsory Tragedy paper, which I don't teach myself.
However, a friend of mine does, and I will strongly suggest to him that he
lets me loose with a class and a copy of HC. Of course, the academic
atmosphere here sometimes makes '50s Christchurch look liberated, but I
think they've heard of 'film studies'.
Yours being frightfully decent about everything (and trying, really trying
not to let the La Boheme fish-eating scene remind him of Bert's mackerel)
Phil
--------------- MESSAGE heavenly-c.v001.n097.5 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Kate's wardrobe
Date: Mon, 19 Aug 1996 17:26:03 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: QUOTED-PRINTABLE
On Fri, 16 Aug 1996, Bao Ly wrote:
> I think this movie might make a good "getting-to-know-you" jingle for
> Michael Winterbottom before we all head out to see "Jude". And don=92t sa=
y
> you don=92t know that Kate Winslet will be totally nude in it!
Alright, I won't say it. But according to a cool new article on Kate=20
(from Weight Watchers magazine, of all things), she's also had to do a=20
similar scene in 'Hamlet.' A scene invented for the film=20
version. Branagh...you sly dog. Looks like Kate will be unwrapped on=20
Christmas day right along with all those handy pocket diaries, socks, and=
=20
Mario Lanza records. =20
The article, which details Ms. Winslet's stunningly decisive victory over=
=20
her metabolism, can be found on John Argentiero's Unofficial Kate page. =20
--Jefferson
--------------- MESSAGE heavenly-c.v001.n097.6 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
Date: Mon, 19 Aug 1996 17:28:53 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Sat, 17 Aug 1996, Bao Ly recorded Kate Winslet as having said:
> "I wouldn't want to be Julia, but I wouldn't mind looking like her."
Who is she referring to? Julia Roberts? God, I hope not. IMHO,
compared to Kate, Julia Roberts isn't even recognizably female.
But of course, people have called me a fanatic.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n097.7 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Heavenly Tragedians
Date: Mon, 19 Aug 1996 17:46:32 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Mon, 19 Aug 1996, Phil West wrote:
> Pontificate... Does anyone have any observations on HC and the nature of
> tragedy? (I realise it's quite a large question!!!)
Hmm...I'm trying to recall my college days and what my Shakespeare
professor told me about tragedy...
But what the hell did he know, really? I think that HC is an excellent
example of tragedy in that there is a genuine sense of inevitability to
the murder, despite its horrible nature and the apparent senselessness of
it. I suppose that using the events in Victoria park (along with the
shipboard fantasy) as a framing device helps hammer this point home. We
know that something bad is going to happen to 'Mummy,' and that
everything in the film is going to lead up to it. Just like we know that
Lear, or Oedipus, or Macbeth can only come to unhappy ends.
A film sets a tone for itself from the opening minutes, and we know that
the film has to resolve itself in that tone eventually. Paul and
Juliet's story must end in violence and heartbreak, and that's a large
part of what makes the giddy heights of their love so extraordinarily
evocative and powerful. We're acutely aware of the fact that their
happiness is transitory (and perhaps also dimly aware of the transitory
nature of our own lives and moments of true happiness and belonging).
Didn't Wallace Stevens say something like, "Death is the mother of
beauty?" I take that to mean that only with the loss of something can we
come to appreciate its true value. To me, Paul and Juliet's relationship
(which spawned an entire vivid, magical world) is something so powerful
and uncontrollable that it simply couldn't last very long. And for this
reason, even despite the matricidal turn it takes...it's beautiful. And
tragic.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n097.8 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: THOSE FRIGHTENERS
Date: Mon, 19 Aug 1996 14:58:37 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Wow, check out these quotes from Filmzone:
THE FRIGHTENERS doesn't suffer from a lack of original ideas. On the
contrary, it suffers because it tries to assemble too many of them. The
film never seems to have any idea where it's going, but it's intent on
getting there as fast as the Steadicam operator can run.
It get worst...
There are a smothering amount of slick CGI effects here, likely to lull
the audience into a stupor in hopes that they won't be irritated by the
sloppy story. It's like Director Peter Jackson was worried that this
would be his last chance to play with this much money, so in a panic he
randomly splattered his conceptual canvas with everything but the
kitchen sink.
Even worst...
Despite its title, it's just not, well, frightening. For more potent
chills, check out that episode of "Scooby Doo" where the mummy runs
around moaning, "Coin! Coin!"
-- Dan Vebber
They're really getting me still: I went to the only Arthouse in Orange
County this weekend to see "Trainspotting" and noticed two restaurants:
Hamburger Hamlet and Joe's(?)Grill, to which the signs reads "Heavenly
Hamburger", "Great steaks too!"
--
"Me sexy? Oh no, no...no way." she exclaims turning red. "Sometimes I
think I may be a man, because I'm happiest when I'm scruffy and dirty."
(I hate to ask this, but could 'Blubberhead' be named after Kate
Winslet?)
p.s. I see that Phil West has started a question, "HC and the nature of
tragedy?" which is something had been wanting to asked or discussed for
a couple months. "Discuss Perry" or "Discuss HC and the nature of
tradgedy" --anyone? Well, I'm off to the doctor now and I'm bringing
Diello with me! 'Comedy tomorrow, tragedy tonight!'-lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n097.9 ---------------
From: Tim Baglio <raven@nas.com>
Subject: Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
Date: Sun, 18 Aug 1996 16:03:07 +0000 (GMT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Mon, 19 Aug 1996, Jefferson F. Morris wrote:
> On Sat, 17 Aug 1996, Bao Ly recorded Kate Winslet as having said:
>
> > "I wouldn't want to be Julia, but I wouldn't mind looking like her."
>
> Who is she referring to? Julia Roberts? God, I hope not. IMHO,
> compared to Kate, Julia Roberts isn't even recognizably female.
Actually, I think the person she was refering to in this insance was
Julia Childs.
_______________________________________________
| |
| Tim Baglio http://www.nas.com/~raven/ |
| raven@nas.com Bellingham, WA |
|_______________________________________________|
--------------- MESSAGE heavenly-c.v001.n097.10 ---------------
From: mpellas@sgi.net (Michael Pellas)
Subject: Re: 'Heavenly Creatures...whatever...'
Date: Tue, 20 Aug 1996 00:14:10 -0400 (EDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Well, he has this excuse, that
when I showed him HC he needed several large whiskies (and a potted
account of the FAQ) to recover.
>After almost twenty viewings...it still brings tears to my eyes...
Michael: he has just put up a huge Tori Amos piccy you might like -
though I'm afraid I can't say I approve. I shall send him a digital
Melanie Lynskey immediately (as I have to tell him how I loathe T.A.).
>'At's OK Phil...I have shown HC to about 5 people so far...I have not come
across another Heavenly Whatever yet. Someone even said I was "Psychotic"
when I went into an account of the FAQ
When, oh when, will we get 'The Frighteners' in England? Soon, please...
>Just got to see it...I made such a fuss when Melanie got on stage and
during the other reference I think everybody else thought I was crazy..
one whatever to another
Mike
--------------- END heavenly-c.v001.n097 ---------------
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-------------- BEGIN heavenly-c.v001.n098 --------------
001 - 9506148v@Magpie.Magill.Un - Re: Heavenly Web Chat Thingy
002 - adamabr@mail.helix.net (a - Heavenly Thoughts
003 - Phil West <pgw16@hermes.c - 'A HANDBAG?' ????!!!
004 - edinman@felix.TECLink.Net - A Reunion
005 - "Jefferson F. Morris" <jf - Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
006 - Bao Ly <lybao@earthlink.n - Re: Heavenly Web Chat Thingy
007 - Tim Baglio <raven@nas.com - Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
008 - Bao Ly <lybao@earthlink.n - Reviews: Cineaste, Dec. 1, 1995
009 - Bao Ly <lybao@earthlink.n - Reviews: SF Chronicle Nov. 23, 1994
010 - Bao Ly <lybao@earthlink.n - Reviews: Advocate, Nov. 29, 1994
--------------- MESSAGE heavenly-c.v001.n098.1 ---------------
From: 9506148v@Magpie.Magill.UniSA.edu.au
Subject: Re: Heavenly Web Chat Thingy
Date: Tue, 20 Aug 1996 16:34:54 +0930
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: 7BIT
It's just me whining again -
> Maybe people just don't like using an email.
But email is beautiful...
> What Bao Ly said about the differences between the Chat Zone and the list
> is also true. But I have seen some continued in depth discussions being
> carried out over the Chat Zone. It seemed quite interesting (but quite
> frustrating for person entering the information I am sure).
That's another thing I meant to mention. For what some of these people are
trying to say, they really are not using the right medium. It did not seem
to me that most of these people were just there to say hello (although some
undoubtedly were).
> Whatever the reason, they can't possibly not know of the existence of the
> list.
Yeah! Everyone knows about The List, don't they? (Well, they *should*)
I know, I know. This doesn't strictly belong in a discussion of HC, but it
has to go somewhere, so I chose to stick it here, my chosen place in which
to stick anything worth saying.
Shannon <9506148v@magpie.magill.unisa.edu.au>
'It's everyone else who's bonkers!'
(I'm actually not too sure about this anymore...)
--------------- MESSAGE heavenly-c.v001.n098.2 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Heavenly Thoughts
Date: Tue, 20 Aug 1996 01:05:50 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Bao Ly <lybao@earthlink.net> wrote:
>They're really getting me still: I went to the only Arthouse in Orange
>County this weekend to see "Trainspotting" and noticed two restaurants:
>Hamburger Hamlet and Joe's(?)Grill, to which the signs reads 'Heavenly
>Hamburger', 'Great steaks too!'
Hmmm... and Heavenly Kate's going to be in Hamlet. Wow. Still working on
the meaning of the steaks.
Well, now I feel bold enough to confess the little mental double-take I do
when I come across a "Parker Street" or someone named "Perry". And like
someone else wrote here some time ago, when I encounter a "Deborah", I
can't resist stressing the middle syllable. If only to myself.
mpellas@sgi.net (Michael Pellas) wrote...
>I have shown HC to about 5 people so far...I have not come
>across another Heavenly Whatever yet. Someone even said I was "Psychotic"
>when I went into an account of the FAQ
Well... we all know it's everyone _else_ who's bonkers!
Or are we all stark raving MAD? Could be!
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n098.3 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: 'A HANDBAG?' ????!!!
Date: Tue, 20 Aug 1996 12:42:04 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hallo all and sundry (and Sandra again)
On Friday 16 August, in reponse to another of my whimsical questions, this
time about Honora's 1952 Christmas present, Sandra wrote
>Good heavens, don't you know a HANDBAG when you see one?
If I may say it one more time (well, Paul & Julie did like a bit of Oscar
Wilde here and there)... [Cue Great-Aunt Ina voice]
'A HANDBAG?!'
It can't be, surely, it's got a LID! And it's rectangular! I know some
handbags don't have handles, but you'd be hard pressed to carry that thing
clasped in your hand! Ow! My guess is it's a jewelry box, or a box
of something-or-others (more yukky ornaments for the sideboard). Didn't
Wendy work in the lingerie department of a big department store?
Doesn't matter really, I guess, as whatever it is, it is quite clearly
the most hideous Christmas present ever (ranking just above Bert's socks).
Cream cakes would have been a much better idea - eh, Wendy?
Phil
--------------- MESSAGE heavenly-c.v001.n098.4 ---------------
From: edinman@felix.TECLink.Net (edinman)
Subject: A Reunion
Date: Tue, 20 Aug 1996 09:21:42 -0500
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Jefferson wrote:
>I doubt that Perry has any desire, hidden or otherwise, to see Pauline
>now. It's been over 40 years, after all. It's like when you go to a
>school reunion--there are some people you simply aren't that
>interested in seeing again, even if you were once great friends with them.
>You were both different people back then, and you're no longer a part of each
>other's lives. At least that's how I often feel at those kind of
>things. I imagine Perry feels something similar, though undoubtedly
>compounded by the memory of her crime.
I tend to think attraction and repulsion are really just two sides of the
same coin. They were not "different people back then." We're always the
same people no matter how much we may want to forget certain things about
our past.
Whatever inner feelings Perry may have about Pauline are, as Jefferson
says, "undoubtedly compounded by the memory of her crime." But I think her
public expression of fear toward seeing Pauline are, arguably, an
indication she really would like to see her. If she wasn't so defensive or
said she really couldn't care less I might feel differently, but it would
appear there are still some real unresolved conflicts there and, court
orders aside, I suspect one of Perry's very supressed desires is to see
Pauline again at least once before she dies. --Ed
--------------- MESSAGE heavenly-c.v001.n098.5 ---------------
From: "Jefferson F. Morris" <jfmorris@CapAccess.org>
Subject: Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
Date: Tue, 20 Aug 1996 11:54:12 -0400 (EDT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Sun, 18 Aug 1996, Tim Baglio wrote:
> > > "I wouldn't want to be Julia, but I wouldn't mind looking like her."
> >
> > Who is she referring to? Julia Roberts? God, I hope not. IMHO,
> > compared to Kate, Julia Roberts isn't even recognizably female.
>
> Actually, I think the person she was refering to in this insance was
> Julia Childs.
Julia Childs? I guess that makes sense, but only if she wants to "cook"
like her, and not "look" like her. A typo, I assume.
--Jefferson
--------------- MESSAGE heavenly-c.v001.n098.6 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Heavenly Web Chat Thingy
Date: Tue, 20 Aug 1996 11:45:56 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
9506148v@Magpie.Magill.UniSA.edu.au wrote:
> Yeah! Everyone knows about The List, don't they? (Well, they *should*)
Well, maybe someone should post a message to the Chat Zone to let them
know--this message will help them do so a little, though no one could
fully appreciate us.
--
"We have decided how sad it is for other people that they cannot
appreciate our genius..." -lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n098.7 ---------------
From: Tim Baglio <raven@nas.com>
Subject: Re: [Fwd: ] Kate Winslet: People Weekly, Mar. 4, 1996
Date: Mon, 19 Aug 1996 11:57:55 +0000 (GMT)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Tue, 20 Aug 1996, Jefferson F. Morris wrote:
> On Sun, 18 Aug 1996, Tim Baglio wrote:
>
> > > > "I wouldn't want to be Julia, but I wouldn't mind looking like her."
> > >
> > > Who is she referring to? Julia Roberts? God, I hope not. IMHO,
> > > compared to Kate, Julia Roberts isn't even recognizably female.
> >
> > Actually, I think the person she was refering to in this insance was
> > Julia Childs.
>
> Julia Childs? I guess that makes sense, but only if she wants to "cook"
> like her, and not "look" like her. A typo, I assume.
No... I think everyone deep down has a desire to look like Julia
Childs. I know I want to. The hunched back is so attractive these days.
_______________________________________________
| |
| Tim Baglio http://www.nas.com/~raven/ |
| raven@nas.com Bellingham, WA |
|_______________________________________________|
--------------- MESSAGE heavenly-c.v001.n098.8 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Reviews: Cineaste, Dec. 1, 1995
Date: Tue, 20 Aug 1996 16:43:17 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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HEAVENLY CREATURES
In the opening sequence of Peter Jackson's Heavenly Creatures, a
travelogue film details the wonders and beauties of Christchurch, a
seemingly bucolic New Zealand community. These scenes of steepled
churches, rolling hills, and lush dales are abruptly interrupted by
tracking and handheld shots of two young girls running frantically
through the woods. As the narration reaches its monotonous close, the
film cuts to the two girls exiting the woods, their bodies bloodied,
screaming that "Mother's been killed." Like the haunting contrast of the
white- picket-fenced community and a sliced ear in David Lynch's Blue
Velvet, this prologue similarly sets the film's dark tone by pairing the
mundane with the perversely bizarre.
Based on the true story of Pauline Parker (Melanie Lynskey) and Juliet
Hulme (Kate Winslet), who in 1954 plotted and killed Pauline's mother,
Honora (Sarah Peirse), the screenplay draws from the pages of Pauline' s
diary to reconstruct the events leading up to the brutal matricide. A
dumpy working class girl, Pauline is immediately attracted to the
cosmopolitan and beautiful Juliet and her carefree disregard for
authority. The girls form an intense bond, an adolescent amour fou.
Their parents become increasingly concerned, unwittingly drawing the
girls even closer as allies in the 'war' against the dogma of adulthood.
In their need to escape, the two construct an elaborate narrative, an
Arthurian kingdom with rakish men and damsels in distress. They build
shrines to their heroes, James Mason and Mario Lanza, and conjure up
nightmarish fantasies of their ominous foe, Orson Welles.
What makes Heavenly Creatures so fascinating is that Jackson literally
renders these fantasies on the screen. The small clay figurines that
Juliet molds as characters in their story transform into lifesize clay
people who save them from the wretched adults. In one sequence, Pauline
is being probed by a psychiatrist about the appropriateness of her
relationship with Juliet. Frustrated with the doctor's inquiries,
Pauline imagines the roguish hero of their fantasy tale impaling the
doctor, much to her delight. In another sequence, the two girls are
chased home by Harry Lime, Orson Welles's character from The Third Man,
his black-and-white screen image framed inside their world of color.
Throughout the film, Jackson highlights this frightening tale's elements
of social class, suggesting that this act of matricide resulted not only
from the frenzy of teen angst but that it was also possibly a product of
their social positions. Juliet's furtive imagination is condoned in the
bourgeois household of a philosopher father and marriage counselor
mother. Pauline's imaginary musings, by comparison, take on the quality
of dementia, seemingly due to her working-class background. Though the
psychological dimension of Juliet's penchant for the imaginary is
derived from parental neglect, Pauline's is attributed to class envy, to
a desire to rid herself of her own identity, rather than just lose
herself momentarily in fantasy.
Jackson's portrait of the two self-pro-claimed "heavenly creatures" is
ultimately far more sympathetic to the trials of adolescence than
critical of their crime. But Heavenly Creatures never presumes to be a
documentary. Instead, we are privy to a fascinating murder story, a
perverse coming-of-age tale told from the unlikely perspective of those
on the wrong side of the law. And unlike Jackson's previous gorelest
flicks (Bad Taste, Dead Alive), the monsters and demons of this artfully
crafted film are not otherworldly but set in the guise of adulthood and
a rigid moral code.
PHOTO (BLACK & WHITE): Sarah Peirse (left), Melanie Lynskey (center) and
Kate Winslet star in Heavenly Creatures.
~~~~~~~~
By John Fried
Directed by Peter Jackson; starring Melanie Lynskey, Kate Winslet, Sarah
Peirse, Diana Kent and Sam O'Connor; VHS, color, 99 rains. A Miramax
homevideo release.
Copyright 1995 by Cineaste. Text may not be copied without the express
written permission of Cineaste.
--------------- MESSAGE heavenly-c.v001.n098.9 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Reviews: SF Chronicle Nov. 23, 1994
Date: Tue, 20 Aug 1996 16:50:07 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Fascinating Study Of Teenage Killers =
EDWARD GUTHMANN, Chronicle Staff Critic =
HEAVENLY CREATURES: Drama. Starring Melanie Lynskey, =
Kate Winslet and Sarah Peirse. Directed by Peter Jackson. Written by
Jackson and Frances Walsh.
(Rated R. 99 minutes. At the Clay, the Shattuck in Berkeley, the Marin
in Sausalito, Camera 3 in San Jose and Palo Alto Square.) =
Little darlings they weren't. At 15, when most teenage girls were
swooning over pop stars and first crushes, Pauline Parker and Juliet
Hulme were plotting coldblooded murder. =
On June 22, 1954, during an afternoon stroll in a Christchurch, New
Zealand, park, the girls placed a brick inside a nylon stocking and
bashed it repeatedly against the head of Pauline's mother. =
``Deceased had been attacked,'' a police report noted, ``with an animal
ferocity seldom seen even in the most brutal murders.'' =
New Zealand film maker Peter Jackson recreates that murder and the
circumstances surrounding it in ``Heavenly Creatures,'' a chilling,
amazingly accomplished new film that opens today at the Clay and other
Bay Area theaters. A critics' winner at this year's Toronto Film
Festival, it stars two remarkable newcomers, Melanie Lynskey and Kate
Winslet, as Pauline and Juliet. =
Coming from Jackson, who cut his cinematic teeth on the horror comedies
``Bad Taste'' and ``Dead Alive,'' ``Creatures'' is a big surprise. It
would have been easy to make a pulpy, over-the-top murder yarn --
focusing on the murder and reinforcing the standard perception of the
girls as fiends without mercy. =
Instead, the film he's made is an evenhanded, fascinating look at two
lives gone wrong. Jackson and co-writer Frances Walsh take pains to
examine the weird trajectory of the Parker-Hulme friendship, and imagine
what happened to make it go wrong. =
They refuse to see Juliet and Pauline as monstrous sprouts from a demon
seed, but demonstrate the girls' humanity and vulnerability --
suggesting that each of us, ultimately, has a similar shadow inside. =
Jackson opens the film, with tongue in cheek, showing an early- '50s
newsreel that describes Christchurch as a peaceful, well-ordered place.
He cuts rapidly to a brief glimpse of the murder scene and then flashes
back to 1952, the year that Juliet, a British transplant, enrolled in
the strait-laced Christchurch Girls High School. =
Smug, precocious, smarter than her teachers, Juliet instantly connects
with Pauline, an overweight misfit who draws horses and keeps to
herself. Bonded by their love for writing, by a passion for singer Mario
Lanza and by the fact that both suffered long-term childhood illnesses,
Pauline and Juliet form an exclusive, intensely imaginative society of
their own. =
``We have such extraordinary telepathy,'' Pauline writes. ``We are both
stark, raving mad.'' =
DREAMY UTOPIA =
Together, they write a series of richly detailed ``novels'' that
describe a dreamy utopia called Fourth World and a medieval fantasy
kingdom called Borovnia. In voice-over narration taken verbatim from
Parker's journals, Pauline describes the Fourth World as ``full of peace
and bliss,'' adding that she and Juliet ``have an extra part of our
brain that can appreciate it.'' =
Before long, Pauline has grown so attached to Juliet and her worldly
lifestyle that her own humble family becomes an object of embarrassment.
When Juliet goes to a sanitarium after a recurrence of tuberculosis,
Pauline writes her, ``I have to report that the lower classes are
terrifically dull.'' =
With time, the friendship turns obsessive, causing both sets of parents
to wonder whether the girls have become lovers. Finally, when Juliet's
parents decide to send her to South Africa to live with relatives, and
Pauline wants to go along, her mother refuses. =
``Suddenly,'' Pauline writes, ``the idea of getting rid of this obstacle
occurs to me.'' =
``Heavenly Creatures'' captures the heightened emotionalism of
adolescence -- the myopic fever in which Pauline and Juliet created
their alternate universe -- better than any other film in recent memory. =
In a wonderful montage, interlocked by the swelling romance of a Lanza
song, Jackson demonstrates the escalating passion of the friendship: We =
see the girls in class, biking on a country road, eating dinner, dancing =
in front of a cinema that's playing a Lanza movie; we see the imperious =
Juliet, building from clay the mythical figures of Borovnia. =
GIDDY TEENAGERS =
During its first hour, in fact, ``Creatures'' bears a strong resemblance
to ``The World of Henry Orient'' (1964), the wonderful George Roy Hill
film about a pair of giddy teenagers who romp through Manhattan and
idolize an eccentric concert pianist played by Peter Sellers. Juliet and
Pauline are about the same age -- 14 or 15 -- and have the same sense of
impulsive, madcap play. =
The difference is that Jackson takes us inside the heads of his
characters, showing the world from their deluded perspective, and
demonstrating, in several ingenious ways, the thin line that Pauline and
Juliet rode between fantasy and reality. =
When Pauline speaks of crossing the threshold into the Fourth World, for
example, Jackson creates a morphing sequence that places the girls in a
wonderland of giant butterflies, voluptuous gardens and magical white
horses. =
And when Pauline has sex with one of her parents' male boarders,
``Creatures'' shows her interior fantasy: a scene in Borovnia, with
life-size versions of the clay figures that Juliet sculptured. =
PERFECT FOR THE PARTS =
In the lead roles, Lynskey and Winslet are impeccably cast. Winslet,
older by two years, was 17 when the film was made, more experienced than
Lynskey, and used those factors to the character's advantage. She's
supposed to be the sophisticated, more self-composed member of the duo,
and she looks it. =
Lynskey, on the other hand, had no experience outside of school plays.
She brings to the role an openness, an emotional transparency that's not
only touching but also perfectly suited to her character. There's not a
lot of technique in her performance, only an intuitive gift and an
identification with her character that's eerie and heartbreaking.
Jackson has called ``Creatures'' a ``murder story about love, a murder
story with no villains'' -- which is true, and another way of saying
that it's a character study, both fanciful and psychological, and not a
standard murder yarn. Because of his generous, compas sionate approach,
``Creatures'' is all the more moving -- and unforgettable. =
=04=1A =
DAY: WEDNESDAY =
DATE: 11/23/94 =
PAGE: D1 =
=A9 11/23/94 , San Francisco Chronicle, All Rights Reserved, All
Unauthorized Duplication Prohibitted.
--------------- MESSAGE heavenly-c.v001.n098.10 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Reviews: Advocate, Nov. 29, 1994
Date: Tue, 20 Aug 1996 16:46:10 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Worlds apart
Heavenly Creatures directed by Peter Jackson (Miramax)
It's very rare nowadays to see a film that is so audacious in its
narrative, so startling in its visual style, so emotionally disturbing
that you're simply overwhelmed. Peter Jackcson's "Heavenly Creatures,"
an astoundingly innovative feature from New Zealand, is such a fihn.
Premiering at the Toronto Film Festival where it won the critics' award.
"Heavenly Creatures" is likely to generate debate about friendship: its
joy and rewards -- and also its hazards.
Set between 1952 and 1954 Christchurch, the movie is based on the true
story of two bright teenage girls from opposite sides of the social
spectrum. A product of poor, uneducated family, Pauline (Melanie
Lynskey) is a shy, insecure girl who's literally snap out of her shell
by the arrival to school of Juliet (Kate Winslet), flamboyant,
self-assured English girl whose neglectful parents are absorbed in their
professions.
Chronicling the events leading to a brutal murder, the film is more a
psychological thriller than a docu-drama of a tabloid crime. Jackson
who cowrote the script with Frances Walsh, delves deep into the psyche
of two eccentric girls whose friendship goes beyond affection into
obsessive attachment -- an intense physical and psychological passion.
Drawing on his skills in puppets, Jackson brings to life a mythical
kingdom called Borovnia, a world in which the increasingly histerical
girls vividly engage in sexual escapades and violent revenge fantasy:
figure disembowels Pauline shrink when her parents force her into
counseling.
As the withdraw more and more into their imaginary world, their
concerned parents attempts to separate them -- to disastrous results.
Ultimately, the boundaries between reality and fantasy blur, and the
unbalanced girls plot a hideous crime for which they are convicted and
sent to prison.
"Heavenly Creatures" is a breakthrough film for Jackson, who's mostlyy
known in the international film circuit for his sci-fi and horror flick
Bad Taste, Dead Alive), some of which have achieved cult status.
Jackson's restless camera swoops spins, and his sound track is filled
with operas as well as songs by Mario Lanza, who is the girls' romantic
ideal.
Dazzling direction, a talented cast, an authentic script (based on the
real-life Pauline's diaries) make for a truly mesmenzing film.
Distressing but always exhilarating to watch, "Heavenly Creatures"
invents a whole, new film language to capture the subtle, perilous
nuances of an unusual bond whose lesbian dimensions are never overtly
acknowledged.
-Emanuel Levy
Copyright 1994 by Advocate. Text may not be copied without the express
written permission of Advocate.
--------------- END heavenly-c.v001.n098 ---------------
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-------------- BEGIN heavenly-c.v001.n099 --------------
001 - Bao Ly <lybao@earthlink.n - Reviews: Source Unknown (?)
002 - Ameyumi@aol.com - Heavenly mush?
003 - Bao Ly <lybao@earthlink.n - Re: Heavenly mush?
004 - mpellas@sgi.net (Michael - Re: Heavenly mush?
005 - Bao Ly <lybao@earthlink.n - Re: Tagline Riff
006 - Sandra Bowdler <sbowdler@ - Re: 'A HANDBAG?' ????!!!/versions
007 - Douglas J K <c9315678@ali - Butterfly Kiss
008 - Douglas J K <c9315678@ali - A Heavenly Convention
--------------- MESSAGE heavenly-c.v001.n099.1 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Reviews: Source Unknown (?)
Date: Tue, 20 Aug 1996 16:54:20 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
By Susan Polk
Heavenly Creatures is not a film for the faint of heart. Based on the
true story of two New Zealand teenagers who, fearing separation, bashed
one of their mothers to death in 1954 in order to try to save their
obsessive relationship from being torn apart. Far from being a simple
true-to-life horror film, Heavenly Creatures goes into great detail as
to how the mechanics of dysfunction operate, and how such a relationship
can progress from being merely unhealthy to deadly with the proper
combination of circumstances.
The story dips in and out of reality, alternately exploring the girls'
growing friendship and the fantasy world they create and inhabit as
projections of their subconcious minds. At first the friendship seems
fairly normal - both ***'s lower-class parents and ***'s intellectual,
uppercrust family approve of the girls finally finding a soulmate. As
the escapist behavior increases and the friendship takes on lesbian
overtones, however, both sets of parents attempt to separte the two and
are met with frightening ferocity. Most adamant is ***'s mother, who (to
make things all the worse) reviles her daughter for having lost her
virginity to a male boarder. So the seed is planted - the girls' hatred
for the world which doesn't understand them and the parents who seek to
hold judgement over them is focused on **'s mother.
As their imaginary kingdom expands, so do the actions and morals of
those who inhabit it, and in this way the girls come to grips with the
concept of murder in the corporeal world. The inevitable is set in
motion, and the tale heads pell-mell to it's horrible conclusion, which
only comes in the final moments of the film, the act itself not being so
important as the reason why. This is not as clear as it one would like
it to be, although ***'s motivations are fairly well spelled out, given
that her parents left her in the Bahamas for five years while she
recovered from TB - a solid case of fear of abandonment and parental
resentment if ever there was one. ***'s psychology is not so clear, as
she was introverted but had a stable and loving family, and although
hormones and supressed emotions can certainly do a lot of damage, just
what threw the final switch remains a mystery.
The film is lovingly photographed, and careful attention is given to the
fact that the friendship did indeed begin as an innocent one. But given
the known outcome, the spectre of death shows itself early on, and the
sense of forboding will make your blood run cold.
~~~~~
--------------- MESSAGE heavenly-c.v001.n099.2 ---------------
From: Ameyumi@aol.com
Subject: Heavenly mush?
Date: Tue, 20 Aug 1996 22:48:18 -0400
What is the address to heavenly mush?
Lisa
--------------- MESSAGE heavenly-c.v001.n099.3 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Heavenly mush?
Date: Tue, 20 Aug 1996 20:12:46 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Ameyumi@aol.com wrote:
>
> What is the address to heavenly mush?
> Lisa
Hello,
The address is purple.cow.net 8888
You will need to either a Telnet application or Mush Client to get in.
If you need further infos, you might find this e-mail I send to another
creature helpful. Good luck...
(snip...)
(snip...)
(snip...)
--
1. You will need either a Telnet appliciation or a Mud/Mush Client--the
latter is strongly recommended because telneting hardly get you through
anymore; and it just does not provide the same functionalities that a
Mush Client can. To find yourself a Mud/Mush Client
(shareware/freeware), I recommend you do a search for the word "Mud
Client" in Yahoo (or check out the following website if you're a Windows
95 user):
http://www.rahul.net/galen/client.html
Depending on what operating system you use, you must choose one that is
right for you. For Unix, the most popular by far is TinyFugue; for
Windows 95, I use MushClient; for Macs, you might want to look at the
following site:
http://www.eden.com/~hsoi/mud/#clients
2. After you find a Mud/Mush Client, you should read the instruction on
how to get to Heavenly MUSH and how to do things once you're there. This
instruction is provided on HeavenlyWeb under the "New Stuff" section:
http://www.reflection.org/heavenly/newstuff.html
http://www.reflection.org/heavenly/media/hcmush.txt
I also strongly recommend that you read the Mud/Mush mannual to learn
yourself some Mush codes--though I'm sure some creatures inhabitant
there, would be delighted to help out a new user.
3. You would want to create your character and make yourself at home.
Have fun exploring Pauline and Juliet's world. So far, there is only
Ilam and Gloucester--but Melanthe Alexian (Pauline) is working on
Borovnia and Port Levy next. Heavenly Mush is a place on Living Fiction
for new users learning Mush codes, you see a lot of other characters
that is not HC. We need more creatures user like yourself on. Good luck
getting into MUSH! I hope you find a Mud Client.
--
"...never before have I hit so many creatures so hard for so little
reason..." -Pauline Parker. lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n099.4 ---------------
From: mpellas@sgi.net (Michael Pellas)
Subject: Re: Heavenly mush?
Date: Wed, 21 Aug 1996 00:02:56 -0400 (EDT)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
"...never before have I hit so many creatures so hard for so little
reason..." -Pauline Parker. lybao@earthlink.net
>Pardon my apparant slip of mind...but when did she say that?
Michael
--------------- MESSAGE heavenly-c.v001.n099.5 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Tagline Riff
Date: Tue, 20 Aug 1996 21:34:40 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Michael Pellas wrote:
>
> "...never before have I hit so many creatures so hard for so little
> reason..." -Pauline Parker. lybao@earthlink.net
>
> >Pardon my apparant slip of mind...but when did she say that?
>
> Michael
1953, Jan. 10 (Sat).
"...never before have I hit so many creatures so hard for so
little reason..."
[note: Quoted by G&L, p. 77, as an example of a misleading quote taken
out of context during the trial. In context, it was part of a
description of PYP's helping to 'muster sheep' while visiting a farm,
through the Methodist Church PYP and Wendy attended. G&L noted the
allusion to Churchill's 'famous speech' though didn't identify it or
give the original quote. It was:
Never in the field of human conflict was so
much owed by so many to so few.
Winston Churchill
Tribute to the Royal Air Force,
House of Commons, Aug. 20, 1940.
which followed Britain's triumph over Goering's Loftwaffe in the "Battle
of Britain." Note that PYP used the same allusion in an ironic sense
when Nicholas was caught in her bed by HD Rieper. jp]
Crucial FAQ material! [not in the film]
--
"My other tagline is a footnote." -lybao@earthlink.net
--------------- MESSAGE heavenly-c.v001.n099.6 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: 'A HANDBAG?' ????!!!/versions
Date: Wed, 21 Aug 1996 16:37:32 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
OK fellow Whatevers, I had a closer look and I guess it's not a handbag.
I had thought it resembled ones my mother used to have. But how can you
say it's the most hideous chrissie pressie ever, when you've seen what
poor old Honora got from Wendy in 1954?
I got this from the English video, which I just received. It seems to me
to be identical to the Australian video (not as yet available on
sell-through), which is also I think identical to the Australian cinema
release version, apart from having the masking removed. They all have the
bloody Bill playing tennis and arriving at Ilam scenes, and none of them
show the gout of blood in this place of disease and decrepitude.
cheers
Sandra
--------------- MESSAGE heavenly-c.v001.n099.7 ---------------
From: Douglas J K <c9315678@alinga.newcastle.edu.au>
Subject: Butterfly Kiss
Date: Thu, 22 Aug 1996 09:00:29 +1000 (EST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
I saw "Butterfly Kiss" a while back. It really is worth having a look at
(especially for HC fans). Not that it is similar...but the female
relationship, and the effect intense relationships can have on a person's
social behaviours is something that is explored in this film.
I agree with whomever said that the performances were really good. It is
gritty British realism at is best. The soundtrack is great...and it has a
kicker of an ending. The presentation, particularly the direction really
is impressive (so I'm looking forward to Michaal Winterbottom's "Jude" for
this reason).
I would be interested to hear from HC fans of their impressions
"Butterfly Kiss" films. One interesting comparison point may be the difference in the
relationships of the two women in the respective films. Hope you can all
see it.
Cheers from Kate Douglas.
--------------- MESSAGE heavenly-c.v001.n099.8 ---------------
From: Douglas J K <c9315678@alinga.newcastle.edu.au>
Subject: A Heavenly Convention
Date: Thu, 22 Aug 1996 09:30:23 +1000 (EST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Does anyone think that sometime in the future there would be interest in a
Heavenly Creatures convention of sorts? After all, the Trekkies have them.
Or are we unlike the Trekkies in that regard.
Perhaps we should all make a pilgramage to New Zealand and pay homage to
the historical site of HC.
Just a wacky idea....
Cheers from Kate Douglas.
--------------- END heavenly-c.v001.n099 ---------------
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-------------- BEGIN heavenly-c.v001.n100 --------------
001 - Sandra Bowdler <sbowdler@ - Re: A Heavenly Convention
002 - Phil West <pgw16@hermes.c - Kiwis on video?
003 - adamabr@mail.helix.net (a - Re: Heavenly Convention
004 - Bao Ly <lybao@earthlink.n - Re: Heavenly Convention
--------------- MESSAGE heavenly-c.v001.n100.1 ---------------
From: Sandra Bowdler <sbowdler@cyllene.uwa.edu.au>
Subject: Re: A Heavenly Convention
Date: Thu, 22 Aug 1996 12:29:49 +0800 (WST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Thu, 22 Aug 1996, Douglas J K wrote:
>
> Does anyone think that sometime in the future there would be interest in a
> Heavenly Creatures convention of sorts? After all, the Trekkies have them.
> Or are we unlike the Trekkies in that regard.
>
> Perhaps we should all make a pilgramage to New Zealand and pay homage to
> the historical site of HC.
ROFL!!! They would *FREAK OUT* in Christchurch. I have just been there
recently: EVERY MENTION has been expunged. Nowhere is the video or the
soundtrack displayed, and that goes for Auckland too. Once Were Warriors,
now, a nice little story about domestic violence amongst the dispossessed
and disadvantaged, is evident at every turn: I had no idea there were so
many editions of the book, not to mention the video, soundtrack, posters,
t shirts etc etc. But that awful crime of only 40 years ago - we're not
mentioning thet, thenk you very much.
cheers
Sandra
--------------- MESSAGE heavenly-c.v001.n100.2 ---------------
From: Phil West <pgw16@hermes.cam.ac.uk>
Subject: Kiwis on video?
Date: Thu, 22 Aug 1996 08:31:41 +0100 (BST)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
A question for any healthy Kiwis out there. I remember a long time ago,
when I was a humble digest reader, that someone (Jane, I think? Kiaora
Karen??) said that the NZ video of HC was likely to be released for
purchasing purposes in August this year. Hmm, I guess it's August now, so
is there any sign of it? Sandra's comments on the British version being
identical to the Australian one confirm my suspicions that this cut
(bloody Bill but no bloody hospital floor) is sort of the final version
that's been decided on. However, what about those extra bits - are they
in the NZ general release? I've just re-read the FAQ description of the
extra scenes, and, frankly, I want to see Kate W in a strappy strop and
Melanie doing some more of that wonderfully disturbing glowering...
Phil
--------------- MESSAGE heavenly-c.v001.n100.3 ---------------
From: adamabr@mail.helix.net (adam abrams)
Subject: Re: Heavenly Convention
Date: Thu, 22 Aug 1996 02:05:38 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
>From: Douglas J K <c9315678@alinga.newcastle.edu.au>
<snippety snip...>
>Perhaps we should all make a pilgramage to New Zealand and pay homage to
>the historical site of HC.
>
>Just a wacky idea....
Hey, not so wacky. That's exactly what I want to do one day... hopefully
within a year or two! It's my dream trip: the HC Tour - Christchurch, CGHS,
Ilam, Port Levy. Also drop in on Wingnut Films in Wellington. And maybe
pick up a handy diary at Whitcombe & Tombs'. And on the last day, take the
18 Cashmere to Victoria Park. I think I would want to leave some flowers
there, or something.
Hey, I just had a brainwave. Let's all go together! Hey kids, can you say
"group rates"?
Can anyone think of other stops they'd make on a NZ trip?
Adam
==========================================================================
Only the best people fight against Adam Abrams
all obstacles... in pursuit of happiness! Vancouver, BC, Canada
--Juliet Hulme, "Heavenly Creatures"
Visit the "Fourth World" at http://www.helix.net/~adamabr/creatures.html
==========================================================================
--------------- MESSAGE heavenly-c.v001.n100.4 ---------------
From: Bao Ly <lybao@earthlink.net>
Subject: Re: Heavenly Convention
Date: Thu, 22 Aug 1996 03:22:53 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
adam abrams wrote:
>
> >From: Douglas J K <c9315678@alinga.newcastle.edu.au>
>
> >Perhaps we should all make a pilgramage to New Zealand and pay homage to
> >the historical site of HC.
> >
> >Just a wacky idea....
>
> Hey, not so wacky. That's exactly what I want to do one day... hopefully
> within a year or two! It's my dream trip: the HC Tour - Christchurch, CGHS,
> Ilam, Port Levy. Also drop in on Wingnut Films in Wellington. And maybe
> pick up a handy diary at Whitcombe & Tombs'. And on the last day, take the
> 18 Cashmere to Victoria Park. I think I would want to leave some flowers
> there, or something.
One and a half to two year would be great! While, after my graduation, I
would definitely want to visit England -and- Christchurch...Don't forget
the Sanatorium (Cashmere) outside of Christchurch Adam!! Of course, we
would need to get Bryan W and Kate J (who is still on the list, btw,
through some heavy nagging/convincing--I am happy to announce! hi kate-)
to come along also because they're about the same age and we can play
with them.
>Hey kids, can you say "group rates"?
The buddy-system.
--
"To think that so much could have happened in so
little time caused by so few." -lybao@earthlink.net
--------------- END heavenly-c.v001.n100 ---------------