Episode 42: On Law and Order (feat. Scott Ott)

We talk about Trump and Hillary, constitutionalism, Christianity, Hamilton, A Tale of Two Cities, and scary movies - featuring our first guest, Scott Ott of BillWhittle.com.

10 Movies About Resurrection

Today is Easter, the day Christians celebrate the defeat of death and the beginning of the end of this curse we bear. More than ever, with the specter of terrorism and war hanging over the world, death seems ascendant, but Easter is a reminder that darkness is defeated.

Reasonably enough, this most powerful truth echoes through the imagination of men redeemed and rebellious. Common grace manifests in our stories, revealing the power of sacrificial love, obedience to death, and life springing up from the ashes. While not all the films I list here involve literal resurrection (or even literal death), the theme here is of sacrifice, of the via dolorosa.

A Tale of Two Cities (1958)

As film popularity goes, A Tale of Two Cities is a mid-level Dickens novel. Oliver Twist, Great Expectations, and A Christmas Carol have been filmed so many times that it just isn't Christmas without one of them coming out.

Bulkier novels like Bleak House, Our Mutual Friend, and Little Dorrit have been relegated to the small screen. But while A Tale of Two Cities is easily Dickens's best-selling novel (according to Wikipedia, the second best-selling novel of all-time), its cinematic footprint is fairly meager. The last Hollywood version was this one, in 1958, and it was an uneven remake of the 1935 version.

As plots go, it's far easier to summarize than the average Dickens, and with its romance, action, and melodrama, it's prime stuff for an epic film. (In fact, there is a new version in the works.)

Hey! Young Christopher Lee!

The story opens with a carriage struggling up a muddy hillside in the night. A rider approaches through the mist, crying out for one of the passengers, a Mr Jarvis Lorry. The coachmen check with their clients - it's not the handsome, sardonic lawyer, Sydney Carton (Dirk Bogarde), but a fussy banker (Cecil Parker).

After receiving the odd message ("Recalled to life?"), Mr. Lorry continues to Dover, where he informs young Lucie Manette (Dorothy Tutin) that her long-lost father, Dr. Manette (Stephen Murray) has been found alive. After eighteen years in the Bastille, he has been released to some kindly friends: the Defarges.

A Tale of Two Cities Dream Cast

Dorothy Tutin and Dirk Bogarde in A Tale of Two Cities (1958)

A Tale of Two Cities is my favorite novel. So, even the whiff of a chance of a rumor that it may be filmed is enough to get me out dream casting. As it is, we're pretty sure that BBC4 will be adapting it soon. It's more than due, since the last TV version was in 1989, and it hasn't been on the big screen since 1958, if we don't count The Dark Knight Rises (which, given the cop-out ending, we don't). The new version is written by Alan Bleasdale, and Netflix might co-produce. There's also a feature film which has been on the shelf for ages. So who knows? Maybe we'll get two, which means there will be lots of thinkpieces from me.

To begin with some minor characters...

Our Mutual Friend (1998) - Review

“I was just playing a part.”

G.K. Chesterton once said that Charles Dickens was the poet of the fog. Nowhere is it more evident than in Our Mutual Friend, a massive, rambling tale of money, and murder amid the murky mists of the Thames. 

It's about honesty, and true love. But also, it's mostly about stalkers (there are seven). And not only dudes obsessed with beautiful women, but greedy rogues tracking down any embarrassing secrets in the lives of rich public figures, or jealous rivals shadowing their opponents.

Dickens was already fascinated by the idea that we cannot really know what goes on inside the hearts of our fellow men, and Our Mutual Friend further complicates this theme by incorporating the devious facades of high society and its occupants. 

Ordet (1955) - Review

Ordet – The Word

I’m not inclined towards hyperbole, but I seriously think this little-known Danish drama has had an effect on me that is completely unique in my entire history of film-going. It’s a mixture of the dark, bizarre, confusing, inspirational, and sublime. I’ve never seen anything like it.

So now we’re clear on that, I’ll describe the plot itself. Carl Theodor Dreyer adapted the screenplay from a (much wordier) play, and the influence can be felt in the few locations and small cast, but it is the stronger for the narrow scope.

Picture a bleak, windblown farm in 1920s Germany. Here live the Borgen family, ruled by a pious, disillusioned patriarch. Most of his disappointment stems from the fact that his second son, Johannes, whom he was grooming to be a spiritual revolutionary (presumably the next Martin Luther), went mad. Now Johannes wanders the moors, wailing ancient prophecies into the wind.