Morvern Callar (2002) — Read Along
“Sorry Morvern. Don’t try to understand, it just felt like the right thing to do”
“Sorry Morvern. Don’t try to understand, it just felt like the right thing to do. My novel is on the disk, print it out and send it to the first publisher on this list, if they will not take it, try the next one down. I wrote it for you.
I love you
Be brave”
My brief dissection of the opening twelve minutes:
Intertwined within the basic opening credits is “Morvern Callar” (Samantha Morton) her face only sporadically illuminated as she caresses a nearby partially naked body. Later slow reveals show spots of blood on the body, then larger wounds which are gradually illuminated by the flickering on and off of a Christmas Tree’s lights in the background. The only sound is a faint whirring or buzzing sound, presumably from these lights. A brief moment later the room is further lit by a kitchen light in addition to the Christmas Tree lights and two bodies, one male, one female lay prone on the floor.
Morvern awakens and again caresses the prone male body, with the only audio a faint sigh as she runs her fingers across the body and through his fingers. Her wedding ring finger is in focus, with what looks like a wedding ring plus one other ring. This is all seen from an overhead shot which becomes a theme for the film as we progress. With no audio, we cut to a computer screen with a simple “READ ME” on the screen. Further flash cuts are used as we cut between Callar reading the text on the screen with the Christmas Tree illuminating in the background and a zoom on the text itself.
A crashing audio (of collecting coins from a table) is the very first noticeable audio of the film, quickly followed by similarly loud audio of a payphone dial tone and a train roaring past nearby. Now awaiting a train at a deserted station, the same payphone is ringing and brings about another crashing, unexpected audio. Following a brief and bizarre telephone conversation (the first verbal audio of the film), Callar returns home. A brief cut later sees Callar now sitting alone in front of a two bar fire opening Christmas presents.
The only audio is of the unwrapping of the gifts, a coat, a lighter, a Walkman stereo and a tape entitled “Music for You”. On opening this, we see a long shot from Callar to the prone male body, a long, lingering shot until with a jolt we cut to another overhead shot of Callar now in the bath staring directly upwards. Again there is minimal audio of just the faint dripping of water before she leaves the bath with a crash of audio from the gushing water.
A quick cut later sees Callar now preparing for a night out, painting her nails and whilst doing so the camera zooms in/fades on her wedding ring finger set against the newly painted nails. With no audio again until she rises to her feet, the scene continues to be unnerving, almost unreal in its playing out. Her high heels now the only audio, she takes some money from the back pocket of the prone male body and whispers a “thank you” before an overhead shot shows her departing the apartment (high heels on the stairs the only audio) and following a brief walk (again her high heels being the only noticeable audio) she meets her friend “Lanna” (Kathleen McDermott).
How’s that for an opening twelve minutes? Not convinced? Here’s my three favourite brief scenes, with similarly brief description:
With a rolling camera shot merging to a slow motion shot from below, Morven Callar arrives at work, backed by the gorgeous “Some Velvet Morning” from Nancy Sinatra and Lee Hazlewood.
A brilliantly shot and surreal brief scene.
Amidst a beautifully scenic yet bleak backdrop, Morvern Callar completes her burial with only a far away sound of a bird for company. There follows an ecstatic, excited laugh and dance accompanied by “Blue Milk” from Stereolab. A beautiful scene despite it’s horrific connotations.
And a simple and short scene of Callar perfectly framed within a telephone booth, the backdrop a setting sun. Utterly brilliant.
Despite the above being three favourite scenes there are many more I could have chosen but along with the rest of this appraisal, I will leave it deliberately vague so as not to provide any further spoilers. Funded in part and supported by The National Lottery, Scottish Film and BBC films, this really is a gem of a film based on the book of the same name by Alan Warner. Brilliantly shot by Director Ramsay and her Director of Photography Alwin Kuchler, the above telephone call amidst a setting sun is a wonderful example of their eye for detail and for framing a beautiful shot perfectly. There are so many more examples in this fantastic film, a busy moving camera in a nightclub, a deserted and dusty road framed to accentuate the remote and barren backdrop and a deserted, remote loch or river in the early morning are other cinematic joys awaiting you.
There are many, many more.
Together with numerous overhead shots and oddly framed shots which with further investigation and engagement from the audience really work on an affecting level, the film engages you constantly with a twisted and surreal narrative that never relents in intensity. Already referenced, the wedding ring and other devices are framed close up with lingering shots reinforcing their significance, or otherwise. The soundtrack is a real joy and a mix of thumping songs morphed against more chilled, relaxing songs, giving it an air of a very eclectic mix. In addition to the two songs already referenced, there are many from Aphex Twin, The Velvet Underground “I’m sticking with you”, Lee Perry’s “Hold of Death” and Holger Czukay’s “Cool in the Pool” among many more.
With so little dialogue in places inanimate objects often provide the background noise and “score” if you will. Many scenes are purposely slow, building and with no audio are eerily brilliant, jolting at times and affecting at others with any actual musical score itself cleverly faded in and out of Callar’s new Walkman. Although billed as the film’s star, it is more joint stars, as both Samantha Morton and Kathleen McDermott are simply stunning as best friends, confidants and thrill seekers. Although Morton has far more screen time, both actresses deserve great joint credit for their wonderful performances. Their joint scenes together depict two best friends and two young girls desperately trying to make sense of life while making the very best of their situation.
This 97 minute gem from Director Ramsay sees only 24 main character roles but the emphasis is always on Morvern Callar and her best friend Lanna seeking the absolute from life. There is a constant juxtaposition of quiet serenity and melancholy crashed against a louder and more brash real life that surrounds them. A film of loss, taking a chance and exploring life outside of the norm which is seen through a drug fuelled haze at times, cut frenetically, and between some extraordinary scenes of brilliance, and of bizarre scenes matching the eclectic mood of the accompanying soundtrack.
A master class from Director Ramsay.
“Morvern Callar” can also be found singing and dancing inside my 7 volumes of “Essential Film Reviews Collection” which can be read for free should you have an Amazon Kindle “Unlimited” package.
"The Essential Film Reviews Collection" VOL.7 - link to Amazon
Thanks for reading. I hope this message in a bottle in The Matrix finds you well, prospering, and the right way up in an upside down world.