Distant Voices, Still Lives
| Distant Voices, Still Lives | |
|---|---|
| Directed by | Terence Davies |
| Written by | Terence Davies |
| Starring | Pete Postlethwaite Freda Dowie Lorraine Ashbourne Angela Walsh Dean Williams Jean Boht |
Release dates | September 29, 1988 |
Running time | 85 min. |
| Language | English |
Distant Voices, Still Lives is a 1988 British film directed and written by Terence Davies. It evokes working-class family life in Liverpool during the 1940s and early 1950s, paying particular attention to the role of popular music, Hollywood cinema, light entertainment, and the public house within this tight-knit community.
The film is made up of two separate films, shot two years apart (but with the same cast and crew). The first section 'Distant Voices' chronicles the early family life of a working-class Catholics living under a domineering patriarchal regime. The second 'Still Lives' sees the children grown up and emerging into a brighter 1950's Britain, only a few years away from Rock'n'Roll and The Beatles, yet somehow still a lifetime away.
In 2007 the British Film Institute re-printed the film and it was re-distributed in Independent Cinemas across the United Kingdom, heralding the The Guardian newspaper to describe the film as 'British Film's Forgotten Masterpiece"
Location
In Paul Farley's British Film Institute Modern Classsics book on Distant Voices, Still Lives, Terence Davies describes how they chose the location for filming:
"The house where I grew up was demolished in 1961. And it was unique... I was able to rebuild it for The Long Day Closes, but we didn't have a huge budget for Distant Voices, Still Lives, so we had to find something that looked... working class. A working-class street, and we shot in Drayton Park, but there were no cellars, so it wasn't like our house... We had to go with what was there, because we didn't have the money. So that was a practical thing."
Whistler Street, London, N5 1NJ: The central location for the film is a small cobbled street of Victorian houses located in north London on the edge of Highbury Fields. The street can be accessed from the park via a small alleyway, or from Drayton Park, the main road behind the street. The houses on the west side of Whistler Street are bay-fronted and more architecturally similar to those in the Kensington area of Liverpool (L7) and therefore Davies used this row as the location for the film. The houses on the east side of the street are flat-fronted and therefore rarely shown in the film sequences. However, a house on this side of the street is used in the final scene where the group leave Tony's wedding celebration and walk into the darkness.
The Futurist, Lime Street, Liverpool: The Futurist was the location which inspired arguably the films most artistic seqeunce in which the two sisters, Eileen and Maisie, attend a screening of Love is a Many Splendored Thing whilst unknown to them, their brother and Maisies husband, George, have a serious accident. The Futurist was Liverpool's first purpose built and longest-surviving cinema, opening in 1912. A very upmarket city centre cinema with a tiled Edwardian facade and 1,029 seats in the stalls and circle auditorium which was richly decorated with plasterwork in the French Renaissance style. The cinema lasted nearly 70 years and closed its doors for the final time at 10.35pm on 17th July 1982.
Jubilee Drive, Liverpool, L7 8SL A victorian street in the Kensington Fields area of east Liverpool, this was the street where Monica (Micky) lived and begged Eileen to come and visit. "So don't be a stranger - otherwise we'll not see you till next Preston Guild. We're only in Jubilee Drive."
Formby Sands Monica, Jingles and Eileen pitch their tent at Formby sands - a scene which is used to remind Eileen of the free and happy life she lived before her marriage to Dave.
Scourfield Street, Liverpool, L7 A street of Victorian houses (demolished 1952) to the west of Wavertree Park was the home to Davies's real-life mother and the location of the home-mad air-raid shelters in the cellars of the Victorian houses.
Pwllheli Although more famous in later years for the Butlins holiday parks, in the 1940's this welsh seaside town was an upmarket location with high-quality hotels. Teenagers from Liverpool and Manchester would work in these hotels in th summer season. In the film, Eileen, Monica and Jingles are seen working as waitresses in the breakfast hall of an (un-named) large hotel.
Autobiographical References
In his British Film Institute Modern Classsics book, Paul Farley describes the inspiration that Terence Davies used for the biograpical backbone of the film:
Davies was the youngest of ten children, the baby boomer, born ino a working-class Catholic household in post-war Liverpool. His father died when he was six-and-a-half, though memories of him as a powerful, domineering, violent man are vivid and, together with the love and support of his mother, form a huge tension in Distant Voices, Still Lives
In fact, Terence Davies's real-life father can be seen in a photograph which hangs on the wall in one of the film's central sequences when the mother and her three children, Tony, Eileen and Maisie, each walk out of the frame to reveal a tired and bleached photograph of their father hanging on the wall.
Songs
Music is the central core of Distant Voices, Still Lives - and is a device which binds the characters and helps to give them a voice beyond their otherwise repressed lives. In Paul Farley's BFI book, Terence Davies describes the process in which music came alive in the shooting of the film;
"I got my family to sing them [the songs] - on tapes. It was difficult, actually, knowing what to leave out... All the songs I'd heard them sing, that were my favourites, I put in. It was as simple as that. None of them [the actors] knew any of the lyrics. Their parents did..."
Many of the songs were sang by the cast, including Debi Jones's light rendition of Buttons and Bows and Angela Walsh's heart-breaking rendition of Johnny Mercer's I Wanna Be Around. The film's central musical performance however is the juxtaposition of Ella Fitzgerald singing Taking a Chance on Love and a scene of brutal domestic violence.
If You Knew Suzie Joseph Meyer & Stephen W. Ballantine, George Buddy De Sylva
Love is a Many Splendored Thing Mantovani
O Waly, Waly Peter Pears
Taking a Chance on Love Ella Fitzgerald
I Love the Ladies (Trad)
Brown-skinned Girl (Trad)
Buttons and Bows Jay Livingston, Ray Evans
I Wanna Be Around Johnny Mercer - sung in the 1950's by Julie London
Pastoral Symphony No.3 Vaughan Williams
Alchohol
Many of the film's most illuminating sequences were filmed in public houses. In one scene Tony orders a round of drinks from the bar and lists a number of drinks that would have been staple drinks for 1940's and 1950's Liverpool, but barely heard of now. These include 'Mackies', Black and Tan, 'A Pale Ale and Lime' and 'A Rum and Pep'.
Cast
Pete Postlethwaite - Father
Freda Dowie - Mother
Lorraine Ashbourne - Maisie
Angela Walsh - Eileen
Dean Williams - Tony
- - - - - - - - - - -
Jean Boht - Aunty Nell
Michael Stark - Dave
Andrew Schofield - Les
Debi Jones - Micky
Chris Darwin - Red
Vincent Maguire - George