StarChoice 18: The Brides of Dracula – (Part 2 of 2)

May14

The morning has broken when Dr. Van Helsing’s carriage chanced upon Marianne lying unconscious in the forest. After reviving her, the doctor and his driver Carl took her to the “Running Boar Inn” where Father Stepnik had booked his boarding. From Johann, the landlord, he came to know of the death of a village girl whose wake is being held there now by a few male relatives.

The deceased maiden, attired in a clean beige satin gown, lay on a patterned sheet inside the wooden coffin. It is the custom that the men related to the deceased are bound to spend the night, short of sleep, keeping watch over the corpse. This is called the privegghia*.

Although no one knows how she died, a brief look at the girl’s bitten throat was enough for Dr. Van Helsing to know the reason. He found a garland of wild garlic flowers # around the girl’s neck, placed there by the superstitious Transylvanian villagers as a precaution against evil. (# It is also very usual to lay a thorny branch of wild-rose bush across the body to prevent it leaving the coffin).

Sometime later, finding Marianne fit to travel, he took her to the Lang School. En route, Marianne related the events at Castle Meinster to him. At the school, they were happily received by the principal’s wife, Frau Helga Lang, a jovial woman.

Although the principal was initially annoyed by her late arrival, upon realising the identity of the eminent Dr. Van Helsing, a Doctor of Philosophy, Theology, and Professor of Metaphysics, he was impressed enough to forgive Marianne.

When Dr. Van Helsing returned to the Inn, he learned that Hans, the dead girl’s father, a casualty of hard times, had buried his daughter in the churchyard which Fr. Stepnik objected because he had this inkling that she is not like all the rest*. Having met Fr. Stepnik who had send for Dr. Van Helsing to investigate the local nefarious activities, the doctor decided to seize the initiative and visit the girl’s grave to ensure that she will not rise as undead and become bound to this earth, which would initiate a new cycle of evil.

Later into the evening, at the girl’s grave, he was horrified to find Greta lying above it, gently tapping on the loose ground, urging the dead girl to wake up to go for her ghastly business. With constant prodding from Greta to push from underneath, the ground finally broke and a feminine hand came out. No sooner the lid of the coffin opened and the girl sat up, the hysterical Greta reached over and flicked the garland of wild garlic flowers off the girl’s neck. The reign of terror of the vampire has reached its full zenith. – (rest on the screen…..)

What is so ground-breaking about this horror film with a level of fear that has made some followers going gaga over it? “The Brides of Dracula” with its devilish violence and sexuality follows the formula of most of the classic Hammer horror films of the 1950s and 60s, a time when the vampires were elegantly dressed unlike someone displaying his buff biceps and abs in an ad of Paco Rabanne. Those spooky films were noted for their eerie storyline, good characterisation, inexpensive sets and gorgeous costumes (that appeared more lavish and expensive than they actually were), sharp and kinetic editing. The action is kept close to its original period and the climax always featured the triumph of the good over evil, despite the occasional dominance of the evil.

Most of these movies were of low-budget nature, created by Hammer in the family atmosphere at Bray Studios using the same producers, directors, writers, cinematographers, production designers, set/costume designers, including sets, costumes, etc.

Veteran Hammer director Terence (Terry) Fisher (1904-1980), an astonishing visionary, helmed the direction with an intuitive and decisive flair. A former editor in films from 1933, Fisher had directed “The Curse of Frankenstein”, “Dracula”, and “The Hounds of the Baskervilles” (1959) to impressive results. Born in London, Fisher began his career in 1928 as a clapper boy from which he worked his way up to become an apprentice editor (for Gainsborough Studios) before progressing to a trainee director with the Rank Organisation. Having been invited by Anthony Hinds to direct “The Last Page” (1951) for Exclusive/Hammer, his unique, laid-back style in gothic horror would start to develop with “The Curse of Frankenstein”. Reportedly, Fisher always insisted that the script came before all else in film-making, although he chose not to follow the original outline of Jimmy Sangster for the destruction of the vampire woman in “Dracula”. Staying within that framework and using minimal resources, Fisher was able to fashion up many horror creations with such power and conviction.

The cast is led by Peter “Wilton” Cushing (1913-1994), one of my favourite actors. Cushing had left the English theatre and moved to Hollywood’s “dream factory” in 1939 to commence his film career. Soon after his arrival there, on September 1, 1939, Germany invaded Poland. In March 1942, he was back in England, fell in love with his future wife actress Helen Beck in April of that year. Cushing joined the Hammer horror school in 1956 to star in “The Curse of Frankenstein” which brought him instant international fame and set him on a course to face an assortment of monsters.

A great persona of humour, Cushing reportedly enjoyed learning not only his lines but his co-stars’ as well. Cushing gives a charismatic and commendable performance as the renowned vampire hunter whose strength is rooted in his knowledge, generosity, honour, discipline, and courage. A noteworthy scene that easily comes to my mind is the one in which Cushing perfectly conveys the learned man’s physical and mental agony upon his realization that he had been bitten by a menacing vampire and should instantly muster up a life-prolonging intervention to get rid of the curse, which he does with the help of a white hot poker from a brazier.

English actor David Peel (1920-1981), once a student of the Royal Academy of Dramatic Art, was known to Cushing since their days in the 1954 BBC adaptation of “Beau Brummell”. In his last major role as Baron Meinster, Peel is acceptable, particularly convincing as a prisoner in the castle.

Although Peel had restrained from aping the mannerisms of Dracula, at times his depiction lacks the presence and menace of the vampire who recharges his batteries on young blood. This deficiency is understandable since, to the audience, the character of Baron Meinster is just a small fish compared to the animalistic ferocity of the chief Transylvanian Count who is successfully anchored in the public mind by the portrayal of Bela Lugosi and Christopher Lee. Dracula depicted by Lugosi and Lee appeared menacing and sexy even when he gently approached the woman, forcing his will on her, brushing his lips lightly on her cheek before sinking his teeth into the throbbing vein of her neck.

Actress Yvonne (Bèdat de) Monlaur (born 1939) is the daughter of a Russian count and his ballet dancer wife. It was her performance in “Avventura a Capri” that drew the attention of Anthony Hinds to her. After Monlaur’s arrival in England, she had much to be glad about since she could not only act in TV series but also in three films in quick succession – “Circus of Horrors” (1960), “The Brides of Dracula” and “The Terror of the Tongs” (1961), a low-budget Hammer film starring Christopher Lee. Known mainly for her roles in Hammer Film horrors, Monlaur also did a screen test for the role of Dominique “Domino” Derval in the James Bond vehicle “Thunderball” (1965) though the role eluded her since the producers eventually cast French actress Claudine Auger.

As student teacher Marianne Danielle, alone and new to the surroundings, everything from the way she dresses and does up her hair to the way she talks reveals the movie’s personality of a naïve young woman with good upbringing. However, the range of emotions Monlaur goes through needs refinement, while, in fact, her energy and beauty gleams throughout the movie.

British theatre and film actress Martita Hunt (née Burnett) (1900–1969), was reportedly trained as an actress under Dame Geneviève Ward and Lady Benson. She graduated from roles of spinsters to grande dames one of which is her role as Baroness Narbonne Meinster. She is noted for her role as Baroness Elena von Livenbaum in director Anatole Litvak’s Ingrid Bergman and Yul Brynner starrer “Anastasia” (1956) and as Grand Duchess Elise Lupavinova in director Charles Walters’ “The Unsinkable Molly Brown” (1964).

As the mysterious Baroness dressed in glorious black and red, (folds flowing downwards in soft easy lines, sleeves full and bulging while on her head was a dark, embroidered filmy veil floating down the back like a Spanish mantilla), Hunt’s looks and mannerisms, highlighted by lights and camera angles, project a certain fear factor which initially leaves us with doubt whether it is she or her son who is the vampire. Her scenes at the Inn where the Baroness gains the confidence of Marianne and entices her to the castle are well acted.

There follows a scene of the Baroness’ encounter with Dr. Van Helsing when, looking pale and morbid, she bares her fangs but does not show the animalistic signs of nosferatu (described as a Romanian word for vampire) in spite the fact that the Baron had initiated his mother into his the realm of the “flesh of my flesh, blood of my blood” – creating a “little death” that gave her the gift of immortality (essential aspect of the vampire) and an eternal demonic bond with her son. Hunt’s depiction of the vampire here is noteworthy for her acting as well as its deviation from the general perception of the characteristic of a vampire.

Even with limited screen time, we cannot help but notice the fine performance of the British actress Freda Jackson (1909-1990) as the eccentric housekeeper/nurse of the Baron – especially, the eerie scene when the hysterical Greta coax the young girl to “push and push” (suggesting parturition) to emerge from her grave.

As much as Bram Stoker wished to demonise his female vampires, he did not create them with decomposing faces and bodies. Likewise, Hammer’s female vampires had beautiful but spitfire eyes, fair skin, voluptuous bodies clad in flimsy negligée, and pearly white fangs.

Beautiful English actress Andrée Melly (born 1932) acts in the role of Marianne’s roommate Gina who was initiated as a bride of the vampire. Andrée’s depiction of the vampire when Gina* tries to sink her fangs into a frightened, but naïve Marianne whose mind fails to register the fact that, by its very nature, the penetration of the vampire’s bite could transform its victim into undead, has come out convincingly.

Mona Washbourne (1904-1988) as the round and roly-poly Frau Helga Lang, the Principal’s wife, is a joy to watch. Her part, though minuscule, provides a fresh air of breath amongst the dark undertones of the movie.

Although obscured by a muffled scarf, hat and top coat, Michael “George” Ripper with his wide staring eyes and controlled mannerisms in a cameo role as the coachman of Marianne, is instantly recognisable.

The supporting characters in pivotal roles are represented by Norman Pierce (Johann, Landlord), Vera Cook (Landlord’s wife), Miles Malleson (Dr. Tobler), Henry Oscar (Herr Otto Lang, Principal), Fred Johnson (The Cure, Father Stepnik), Victor Brooks (Hans, Villager), Marie Devereux (Village girl), Harold Scott (Severin, stable-keeper), Michael Mulcaster (Mysterious man), etc.

The marvellous sets created by Production Designer Bernard Robinson, who enriched more than forty films for Hammer, provides a wonderful gothic feel of the period, namely, the splendidly furnished castle at “the land beyond the forest” featuring a grand staircase, spiral pillars, the griffins, candelabras, wooden furniture, etc.

Likewise, the old Transylvanian Inn with its old-fashioned wooden furniture, stone fireplace, wicker lamps, metal utensils on walls and cupboards, old clock, antique table glasses, wooden walking sticks, a coat-hanger that appeared like the branch of a tree, framed thread-works of flowers on the walls, etc, provides a traditional appearance that is customary in Hammer horrors. All of this was set up at Bray Studios.

The costumes were executed by Hammer Wardrobe mistress Molly Arbuthnot (1908-2001) who discharged the same assignment for “Dracula”. The film is well pieced together by Film Editor Alfred Cox (“The Revenge of Frankenstein”, “The Mummy”, etc).

The celluloid canvas of the movie was illustrated by master Cinematographer Jack Asher (1916-1991) whose immense talents in what is essentially a visual medium, was evident from his initial Eastman colour photography of “The Curse of Frankenstein”. His crisp photography created a sharp, eerie, and visceral look.

The horse-driven coaches, the gothic castle, the haunted cemetery, the simple Transylvanian woods and Inn are all beautifully photographed in glorious Technicolor in superb lighting which has a rich illuminating flavour.

Hairstylist Freda (Frieda) Steiger’s ingenuity is evident in David Peel’s look which was emphasised by a blond wig. You can identify a similar look on the blond character of Herbert von Krolock in Roman Polanski’s “Dance of the Vampires (1967 – “The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are in My Neck”) which also feature a wonderful set of a Transylvanian Inn. Roy Ashton’s make-up appears a bit topped up, especially relating to Andrée Melly and Marie Devereux.

The other members of the crew are: Anthony Nelson-Keys (Associate Producer), Michael Carreras (Executive Producer), John Hollingsworth (Musical Supervisor), John Peverall (Assistant Director), Len Harris (Camera Operator), Sidney Pearson (Special Effects), etc.

The soundtrack dominated by organ, is composed by Australian-born prolific composer Malcolm “Benjamin Graham Christopher” Williamson (1931-2003). Though repetitive, it is nevertheless romantic and genuinely suits the tone of the movie. Being his first film score, Williamson would go on to compose scores for several Hammer productions. A former nightclub pianist whose music maintained a touch of the jolliness and forthrightness of his native Australia, he was the first non-Britain appointed as Master of the Queen’s Music (in 1975) whose duties include composing appropriate music for state events. In 1976, he was appointed CBE., and an officer of the Order of Australia in 1987.

Even if you will not miss Dracula or Christopher Lee, “The Brides of Dracula” does have few flaws. It does not offer any explanation about the motive or connection to the castle of the mysterious man who coerced the coach-driver to ditch Marianne at the Inn. Besides, he never turns up after his initial appearances in which he could be sometimes mistaken for Christopher Lee from the distance. In another instance, Marianne had left her luggage at the Inn and miraculously, it was waiting for her inside the room assigned for her in the castle. The garland of wild garlic flowers does not appear to be an impediment to the dead village girl to rise from the grave.

However, Terence Fisher maintains the suspense while keeping the film well-structured with taut narrative, visually impressive – the atmosphere top notch. As an added incentive, here is Peter Cushing, the great perfectionist and believer in politeness, at what he does best – the positive aspects that would ultimately win this movie a cult following.

By the sixth year after the release of “The Brides of Dracula”, I was into the second year of my school days when, once again Christopher Lee donned the long dark cloak and appeared as the Count in director Terence Fisher’s “Dracula: Prince of Darkness”. That was another reincarnation which would subsequently spawn various horrific and brutal sequels. Though the subject matter would not be necessarily attractive to just anybody, there are many who sought and welcomed the appearance of this abhuman entity. Bram Stoker wrote in his novel: “He may not enter anywhere at the first, unless there be some one of the household who bid him to come, though afterwards he can come as he please.” Are you very warm and welcoming? Until next time, Ciao, Jo

PS:

1) The DVD of this movie is available with main dealers such as amazon.com, TCM Shop, etc. Reportedly, the Blu-ray version is scheduled for release on July 22, 2013.

2) In “Chapter XXV: The Roumanians: Death and Burial – Vampires and Were-wolves” (Page 318) of “The Land Beyond The Forest: Facts, Figures & Fancies From Transylvania” (published in 1888), its author Emily Gerard recounts: “In the case of a (man) who has died a violent death, or …..without a light, such a (man) has neither right to bocete, privegghia, mass, or pomeana (funeral feast), nor is his body laid in consecrated ground…..”. Gerard’s book had quite an influence on Bram Stoker’s Dracula.

3) Scene of the Wake: Although we can see a man standing in the back of the room who could be leading the wake, the film shows only chanting of prayer and omits “Bocete”, the mourning songs usually sung over the corpse by paid mourners. According to Gerard’s book: “Bocete is sung as a “last attempt by the survivors to wake the dead to life by reminding him of all (he) is leaving, and urging (him) to make a final effort to arouse his dormant faculties, – the thought which underlies these proceedings being that the dead man hears and sees all that goes on around him, and that it only requires the determined effort of a strong will in order to restore elasticity to the stiffened limbs and cause the torpid blood to flow anew in the veins.”

4) When Gina’s corpse was watched over in the night as instructed by Dr. Van Helsing, it is kept in the stable inside a closed coffin. According to Gerard’s book, the corpse must remain exposed a full day and night. Maybe the film-makers kept the lid closed in order to dramatize the following scene.

5) Listen closely for the faint notes of “Hallelujah” in the climax scene.

6) A movie tie-in novel “The Brides of Dracula” by Dean Owen is available in some bookstores including amazon.com.

7) This illustrated article is meant for the promotion of this movie. Please refer to “About” for more details.

(This review is dedicated to the memory of Peter Cushing, OBE, one of the finest British actors whose 100^th birthday falls on May 26, 2013)

(Text: © JS/Manningtree Archive)

StarChoice 18: The Brides of Dracula (Part 1 of 2)

May10

(aka. “Le spose di Dracula”, “Les maîtresses de Dracula”, “Dracula und seine Bräute”, “Dracula – blodtörstig vampyr”, “As Noivas de Drácula”, “De bruiden van Dracula”, “Las novias de Drácula”, “Las novias de Drácula” – 1960 – Colour)

Few of my friends have expressed their interest in film reviews of a particular genre which British actor Peter Cushing always referred to as “fantasy” instead of its much common adjective “horror”. When I thought about selecting such a movie from my collection for review, my criteria was to stick to the old masters of horrors: Hammer Films – which led me to the rarest of the Hammer horror Draculas, “The Brides of Dracula”, even though that film is devoid of the chief Transylvanian Count and Christopher Lee.

During the final years of my school days in the Seventies, one of my classmates had a steadfast knack of narrating stories of occult and superstitions which are folklore in his native place. Those were the days when television was on its slow trek to Cochin and the only visual entertainment for us was the movies though accessing them had its limitations due to lack of time from studies and that ever missing essential called pocket money.

Although, my friend’s knowledge on the subject of the undead was limited to a certain religious perspective, whenever time permitted, he carried on entertaining us over and over with the same ancient folklore, each time improvising and adding more spice to it. Despite the scant narration about the dualistic principle of the offsetting of good by evil, his stories often emphasised the use of ritual magic for personal gain or lust.

But then, what is the truth behind the legends of all this? The existence of Satan as the centre of evil is part of the teaching of both Old and New Testament and accentuated in catechism classes to elucidate the righteousness. Whilst the various phenomena related to this subject are difficult to explain, to us teenagers, the twilight world of the unseen seemed fascinating and mysterious.

Horror stories and films have always been popular even though lot of people won’t admit they like such genre. But the fact is that, if you ask about “Cimarron” which won the Academy Award for Best Picture in 1931, it is doubtful that it is remembered. On the other hand, it’s unlikely that you have not heard of “Frankenstein” and “Dracula” which came out in the same year. How can one forget the image of Christopher Lee when he first appeared as the starkly, statuesque and satanic Count Dracula at the head of the stairs in Hammer’s “Dracula” (USA: “Horror of Dracula”)? How can one forget those welcoming words of Dracula in Bram Stoker’s 1897 novel: “Welcome to my house! Enter freely. Go safely, and leave something of the happiness you bring!”?

Count Dracula has followed us through the years – remaining either a reincarnation or undead – regularly making his various onscreen appearances in many manifestations, speaking different languages. His recent outings were in movie creations titled “Dracula 3D” by Italian director Dario Argento and in two movies by Indian directors: in Vinayan’s “Dracula 2012” (in which he came to our State to taste its “bountiful local winepress” and spoke Malayalam!) and in Rupesh Paul’s “Saint Dracula 3D”. Evidently, the interest in him has remained undiminished to this day. And I suspect it always will be. How could such an undead beast be so romantic as to catch the popular imagination, although, most likely, blended with fear?

When I think about the ghoulish tradition of “Frankenstein” and “Dracula” started by Bela Lugosi, Boris Karloff and Basil Rathbone, how could I resist from thinking about that wonderful British production company, “Hammer Film Productions” who revived Frankenstein and Dracula myths, and gained fame and fortune from their cycle of horror films?

Shot in Bray Film Studios, Berkshire, England and in real old houses, the classic horror movies of Hammer, with rampant blood and gore, not only gave the audience graphic violence and sex but also created a feeling of gothic horror amidst purely British atmosphere. Triggered by the tremendous impact of Hammer horrors, those wonderful people earned a massive audience base around the world.

In the wake of the success of Hammer’s “Dracula”, produced by Anthony Hinds in 1958 based on characters in Bram Stoker’s (1847-1912) novel “Dracula”, a surge of confidence spread across Hammer prompting them to press ahead with a sequel which would also be produced by Hinds.

After all, Hammer had already released “The Revenge of Frankenstein” (1958), a sequel to “The Curse of Frankenstein” (1957) which had resurrected the horror genre and had started its race to become the most profitable film ever to be produced in England by a British studio, a position it would retain for some time.

According to a publication, by early 1959, British horror screenwriter Jimmy Sangster, an associate of Hammer, was commissioned by Anthony Hinds (who would write screenplays under the name of “John Elder” from 1961 onwards) to prepare a treatment titled “Disciple of Dracula” which revolved around Baron Menister, a disciple of Dracula, who terrorized a couple of visiting English girls and feasted on the blood of few ladies of a nearby girl’s school. Having been fed up with Baron’s notorious activities, Latour, the hero of the script, calls for the spirit of Count Dracula to put an end to his disloyal disciple.

Christopher Lee knew that the character of Dracula has become the object of popular entertainment and he is unlikely to lie down for long. After his appearance in “Dracula”, the audience has started to consider him the personification of Dracula. Lee wanted to disengage himself from being typecast as the Count. In a desperate attempt to rope in Christopher Lee to the project, Hammer prepared another treatment to suit him which they named as “Dracula the Damned”.

Once the studio realized that Lee didn’t wish to be associated entirely with one part and intend to expand his area of creative endeavour, the options left for Hammer was either to recast the role which could possibly adversely affect the character in their future sequels or else, base the story solely around the character of Dr. Van Helsing, the vampire hunter.

Opting for the second option, a revision was made on “Disciple of Dracula” by writer Peter Bryan wherein the character of Dracula was replaced to bring in Dr. Van Helsing. By now, the script has acquired the misleading title of “The Brides of Dracula”, as a marketing strategy.

Then again, when they tried to hire Peter Cushing to reprise the role of Dr. Van Helsing, Cushing sought further modification on the draft and suggested it be done by Edward Percy (Member of Parliament from 1943 to 1950), known to Cushing from his days with theatre. In spite of the minor facelift to the draft by Percy, the script underwent yet another modification as a precaution to avoid any scissor-work from the British Board of Film Classification (BBFC).

Slated for production under the alternative working title “Dracula 2”, the principal shooting began on January 26, 1960 (7 days after my birth) and came to an end by mid-March*. It was shot on locations in England: at Black Park (Iver Heath, Buckinghamshire); Oakley Court, (Windsor Road, Oakley Green, Windsor); and Bray Studios, (Down Place, Oakley Green, nestled beside the silver Thames). The post-production work was precipitated to meet the delivery date of Universal and the movie was premièred on July 6, 1960 at the Odeon, Marble Arch, London. I read somewhere that actress Yvonne Monlaur, the leading lady of the film, made a regal appearance for the Premièr in one of the horse-drawn carriages used in the movie.

Not far into its general release, the film’s earnings showed progressive improvement which encouraged Hammer to initiate talks about an outing of the Count in Dracula 3. This headway is hardly surprising since, on all fairness, Dracula was not missed in the movie as all the usual ingredients of a Hammer horror was in place – and then, there is the ever distinguished presence of Peter Cushing to keep the audience’s mind alive with the existence of Dracula.

Synopsis for those who have not seen it yet:

After the credits are shown, the movie opens when a horse-driven carriage is rattling and shaking its way through a muddy track cutting across the wet and misty Transylvanian forest. The carriage’s route-board showed: “INGOLSTADT-ABENSBERG-REGENSBURG-BADSTEIN”*. A voice-over narration is heard:

“Transylvania, land of dark forests, dread mountains and dark unfathomed lakes. Still the home of magic and devilry as the nineteenth century draws to its close. Count Dracula, monarch of all vampires, is dead, but his disciples live on, to spread the cult and corrupt the world”

Inside the carriage was Marianne Danielle a naïve young Frenchwoman from Paris on her way to her first appointment as a students’ teacher at Langs School, a girls’ teaching centre at Badstein.

After the driver stopped his carriage to clear the log that was blocking the road and resumed the journey, a mysterious stranger who had appeared from the woods, jumped onto the back of the carriage and hung on, unseen by the others. It was dark when the carriage finally pulled into the courtyard before the Running Boar Inn*. While Marianne went into the comfort of the Inn, the mysterious man in black, approached the scared coach-driver and gave him some money.

The Inn was crowded at that time of the night by village people and Transylvanian folk music can be heard, accentuated by the tones of cimbalom. Johann, the landlord, offered her hot Goulash, a dish of sauerkraut and red wine from the valley. Marianne told him that she would be eating alone and would leave quickly since she must reach Badstein latest tomorrow. At that moment, the mysterious man suddenly appeared before the doorway and stood glaring at her. The gay mood inside the Inn suddenly changed. The music and conversation came to a quick stop. As abruptly as he appeared, he was gone a moment later, closing the door behind him.

There was a scurry amongst the customers as most of them started to leave. Johann expressed his advice to her to leave immediately on grounds that she was alone, and he didn’t want the coach to leave without her. It so happened that the minute he finished talking, they heard her coach leaving. Running out into the courtyard, they were in time to catch sight of the coach disappearing beyond the gate. Her luggage had been left behind, neatly stacked by the entrance to the Inn.

Stranded at the Inn, Marianne’s attempt to spend the night there was not successful since Johann and his wife stressed that none off the rooms were vacant. Nevertheless, the compassionate wife soon sent her husband away to the nearby farm to ask for their cart while she would get something for Marianne to eat.

By the time Johann returned, Marianne had a wooden tray full of hot soup, bread and a bottle of wine set in front of her.

Johann had the cart ready in the back and there was no time to loose. She must leave now. Just then, they heard a carriage pull up before the inn.

Shortly, the local Baroness Narbonne Meinster came in and ordered wine. When Marianne was invited to join the noblewoman, she happily complied leaving her food untouched. The Baroness claims that the Tokaji (Slovakia: Tokaj) wine she ordered is twin brother to the best in the emperor’s cellar – rather different from the wine of the valley Marianne was drinking.

Hearing of Marianne’s futile endeavour to get round her untoward situation and report for duty at the school tomorrow without giving bad impression by arriving late, the Baroness expressed her inability to take her to Langs School that night, but she could see to it that the young teacher gets there early in the morning. Marianne doesn’t need to stay in a poor place like this.

She would be welcome to stay at the Baroness’ castle in the hills just above the village. She’s a lonely woman who often longed for the company of a woman with a little breeding – a rare thing in these parts. Marianne graciously accepted the offer, ignoring the landlord’s wife’s discreet intervention with an offer of a room for her stay which was denied earlier due to mistake of her husband. Soon their carriage departed for the castle, and we could catch a glimpse of the mysterious man stepping out from behind it.

At the Castle Meinster, she was left under the care of housekeeper Greta with instructions to Marianne to be ready for dinner in ten minutes.

Before long, she was out on the balcony of her room, enjoying the breeze when she caught sight of the dark figure of a man on the lower stone balcony.

Moments later, when Greta came to fetch her, she didn’t provide Marianne with a proper explanation about the man who didn’t look like a servant. But at the dining table, the Baroness brought up the subject and let her know that she is not living alone. She has a son who is ill. She never sees him, but Greta, his old nurse, looks after him.

Soon after, with the evening meal out of the way, having retired to her room, Marianne was lying on the bed when she heard sounds, similar to knocking, from outside. From the vantage point of her balcony, she saw the young man again, this time, bracing up to jump off the balcony. Horrified, she abruptly shouted at him to stop, drawing his attention to her. Bidding him to wait, she ran down the rough-hewn steps of the grand stairs to the lower room and over to the dashing young man.

Obviously surprised to see her in the castle, he assured her that he can’t throw himself out of the balcony because his mother had shackled him, keeping him a prisoner. His is Baron Meinster and this castle, the mountains, the dark acres of forest, even the valley below belongs to him – his inheritance. His mother is a vicious evil, a jealous woman. She has made the villagers think that he is dead. Wouldn’t Marianne be kind enough to find the key that fits his iron shackle and free him? According to Greta, it is inside the locked drawer of the bureau in his mother’s bedroom, next to Marianne’s.

It didn’t take her much longer to locate the key and before the Baroness could find her, she tied the key to her handkerchief and threw it down to the Baron on the lower balcony. As he hastily unlocked his shackle, he told her to hurry up and meet him outside.

When the Baroness had gone to look for Marianne in her bedroom earlier and found her missing, she was inclined to expect for the worst. Returning to Marianne’s bedroom, she found the Frenchwoman getting ready to dress.

Instantly, she demanded to return the key which she knew Marianne had taken from her room. Denying any knowledge of the key, Marianne ran out of her room, down the stairs and straight into the arms of the Baron. By now, the Baroness had come to the top of the stairs. Having assured Marianne that his mother can’t harm her now, the Baron sent her back to her room to wait. As she left him, he commanded his mother to come down to him. As if hypnotised, she meekly obeyed him. Clearly under his sway, she moved down the stairs, resigned to face the dread that is to befall on her soon. Marianne ran up and disappeared into her room.

Cut to Marianne’s bedroom. She had changed into travelling clothes when she heard the hysterical cries of Greta from the lower floor. No other noise followed from below. Rushing down, she found Greta on her knees, holding the iron shackle and lamenting that the devil is free to roam the night.

She showed her the lifeless body of the Baroness, lying on a cushioned chair, the wound on her throat clearly visible – the bite of the vampire.

At the sight of the horrible scene, Marianne ran out of the room, down the stairs and out of the castle into the cold night and dark woods.

Inside the castle, Greta was mumbling to her mistress about how truly she had kept faith with the Baroness for twenty years. She accused that the Baroness had spoiled the boy, who was always self-willed and cruel. It is the Baroness who encouraged him and the bad company he kept too, laughing at their wicked games until, in the end, one of them took him and made him what he is. The Baroness had kept him supplied with hot blood of young girls* to appease his unquenchable thirst for it – to prolong her son’s existence of life in death. But the powers of darkness are too strong and they have beaten her. …………….. Continued in Part II

PS:

1) The DVD of this movie is available with main dealers such as amazon.com, TCM Shop, etc. Reportedly, the Blu-ray version is scheduled for release on July 22, 2013

2) Some reports have indicated the dates of principle photography as January 16 to March 18, 1960.

3) Ingolstadt, Abensberg, and Regensburg are all Bavarian cities, but Badstein could be contrived.

4) A comic series of the movie name the Inn as “Running Bear Inn” instead of “Running Boar Inn”

5) Look for a red board with caption “THALHEIMER SCHLOSSBRUNN” inside the “Running Boar Inn”. This relates to the water from the springs of the “THALHEIMER SCHLOSSBRUNNS” (Thalheim castle well), still in use since 1578, which comes from one of the oldest Styrian springs.

6) Also look for the symbol of “Gösser Bier” which is the main brand of the Göss brewery in the Styrian city of Leoben, in central Austria, located by the Mur River.

7) Prescribed by both doctors and witches, the blood, especially of virgins, was an important cure for ailments in the eleventh century.

8) Photo of Bram Stoker from Wikipedia.

9) This illustrated article is meant for the promotion of this movie. Please refer to “About” for more details.

10) The reduced posts in my blog is resultant of a troubling eye which is being sorted out.

(Text: © JS/Manningtree Archive)

Viva Thailand 2: Bangkok – Forever Festive

Apr6

(Display at a shop near Piazza del Duomo, Firenze)

Cute bunnies and chocolate eggs announce Easter time – the most holy festival in the Christian year. Three weeks prior to Easter, we were toying with the idea of a charming and fulfilling Holy Week in Rome followed by a few days in Lugano, Switzerland’s third most important financial centre with parks, villas and sacred buildings. At that juncture, a pleasing stimulus was our reminiscence of the chance we had last year to witness the Scoppio del Carro (ref my post of October 25, 2012: Viva Italia 3: Scoppio del Carro, Florence) at the Piazza del Duomo of Firenze.

Someone once wrote: Life is what happens to you while you are busy making other plans. What could have been a swell time in Rome attending the solemn Easter ceremonies at St. Peter’s Basilica led by Papa Francesco might have turned into a parade in winter clothes owing to the chilly temperatures and scattered showers in Italy.

Having given up our earlier flirtation with the idea of Italy, we had shifted the venue to the bright tropical sunshine of Bangkok. Incidentally, just prior to our departure before Palm Sunday, Andrea ate something funny that didn’t agree with her stomach which culminated in cancellation of our trip though, thankfully, she has since got better.

Here in Cochin, the schools and colleges had closed just in time for “Holi” – the festival of colour and joy (formerly Holika). Holi denotes triumph of truth over evil and proclaims the message of universal brotherhood, although originally it was celebrated for good harvest and fertility of the land.

Rooted in Hindu mythology, the legend of Radha-Krishna has it that the dark-skinned Krishna having been jealous of the fair-skinned Radha, pestered his mother Yashoda about the inferiority of his skin tone. Fed up, she advised him to douse Radha’s fair skin in colours so that she will also sport dark hue like him. Yet another legend, one of the several legends and stories behind Holi, remembers it for the sacrifice of Holika who burned herself in fire on that day.

To commemorate this, each spring the Holi celebrators (preferably dressed in white kurtas or saris or shalwar kameez for maximum effect) enjoyed high moments by spraying gulal (colour) powder and vibrant coloured water of red, pink, yellow, magenta, green, etc at each other in festive merrymaking. The vibrant hues epitomize life, energy, joy and the beginning of spring. One of my friends in Delhi, a lovely warm person, once summarized the colours concisely: Green being healthy, blue lucky, red meaning wealth and pink pleasant anticipation. Caught up in commercial exploitation, Gulal powders are now available with glittering effect, perfumed, skin/echo friendly, non-toxic, easy to remove, even organic or herbal (made from natural Maize starch).

At the wake of Holi came Easter. Being in Cochin for Easter offered us a rather happening atmosphere amongst the close ones and the inviting ambiance of our home. The mailing-list was fished out and the traditional greeting cards were all sent. The local market readily smartened up offering exciting wares, fare and fun – especially the newly opened Lulu Shopping Mall, the largest in India.

(A window display in Aachen, Germany)

The Easter hampers in wicker baskets on display were fun – the latest craze was the Chocolate hampers of tasty treats such as edible decoupage eggs, handmade biscuits, sweeties, bunnies, Chocolate-topped hot cross buns, etc – all the Easter goodies were in there – excluding the bottle of Champagne!

(A display in Central World Plaza, Bangkok)

Tradition is a guide that draws attention to our roots that stretch to our spiritual and blood ancestors. Numerous books and periodicals have traced the roots and facts about Easter traditions of the world. The custom of exchanging eggs goes back to the Egyptian and the Roman times when eggs were exchanged at spring festivals as a token of renewed life. Christianity adopted the eggs as an emblem of the Resurrection of Christ.

(A window display in Firenze, Italy)

The Cocoa Easter bunnies came to be identified as the essence of life and the resurrection of Jesus Christ – an integral part of Easter tradition ever since they originated in Germany, the country of birth of Carina!

The hot cross buns possibly developed from small wheat cakes eaten at the spring festivals in honour of Astárte, the Phoenician goddess of fertility, sexuality and war, though the cross on it is of Christian origin.

(Statues adoring the Battistero di San Giovanni, Firenze, Italy)

It all dated to a past I could know of only by reading about it initially in the Reader’s Digest and The Illustrated Weekly of India (now defunct) while I was a Seventies teenager.

The choice of Bangkok to spend Easter time there was quite natural. For us, Bangkok is not just a place for city sights or major landmarks or friends; it is also special due to one of our favourite churches, The Assumption Cathedral which has interwoven itself into our lives over the years ever since we first went there back in 2002.

Situated at Oriental Avenue in the Bang Rak district within 100 meters from the famous Mandarin Oriental Bangkok Hotel, this principal Roman Catholic church of Thailand has its origins in Father Pasquale Gallo, a French missionary who sought permission to build it in 1809 as per design of an architect from his country. It was completed with imported materials from France and Italy in 1821 during the reign of King Rama II (1809-1824), the second monarch of the House of Chakri.

Named Assumption Cathedral to honour the Assumption of the Blessed Virgin Mary into heavenly glory, the church was rebuilt in the Romanesque style as a tall and rectangular structure with red brick exterior between 1909 and 1918.

However, it underwent extensive restoration following serious damage in 1942 during World War II bombings. The layout of the building is in the form of a cross though the two hands of the cross used as sanctuaries are not wide and their lengths shorter in proportion to the length of the building. Although the exterior of the building looks very simple, the interior has a very luxurious and dignified appearance.

The church is undergoing extensive renovations until December 2014, but even so, worship service is held there on special occasions. I can still feel the tranquility and stillness of its interior when I had sat on one of the polished wooden pews on numerous occasions and said quiet prayers or just meditated.

Those were rare moments in which we were left with our thoughts in silence. Living in cities, seldom do we come face to face with a silent moment in our daily lives. To borrow a quote from Mother Teresa “See how nature – trees, flowers, grass- grows in silence; see the stars, the moon and the sun, how they move in silence… We need silence to be able to touch souls.” It would explain why is it that many of the renowned vacation resorts are situated on secluded coasts, isolated mountains, sweeping oceans or on tranquil lakes.

Easter, Christmas or New Years are not the only attractions for us in relation to the major events and festivals of Bangkok. Following Easter, the Chakri Day is celebrated on April 6 to commemorate the founding of the present Chakri Dynasty in 1782 by King Rama I (Phra Buddha Yodfa Chulaloke).

Earlier, on February 10, the Bangkokians had joined millions across the world to celebrate the Chinese New Year (Spring Festival) which is the most important event in the Chinese calendar.

In Bangkok, the whole of Yaowarat Road in the historic Chinatown is decorated with colourful flags, lanterns, strings but was closed as thousands thronged there to taste the authentic Chinese food and partake in the street fanfare.

People danced as the grandiose and colourful Chinese lion and dragon processions coursed through to the sound of drums and explosions of firecrackers.

I have seen rows and rows of gastronomic display of shark’s fin soup, duck and pork noodle soup, steamed Chinese buns, dim sum, Chinese silky rice noodles, suckling pig, Peking duck, and fresh seafood at hotspot eateries just waiting to be plated into hot clay pots – although none of which I tasted since I had to meet someone later at the Jameson’s Irish Pub at Silom Road (Bang Rak).

That evening at the Jameson’s, I was served a readily dressed Crab Salad in Vinaigrette. It’s a delicious salad with ingredients such as Cornichons (continental gherkins), capers, fresh coriander leaves, grated zest, fresh lime juice, shallot, white wine, olive oil, Tabasco sauce, milled black pepper, few crisp salad leaves to garnish and served with buttered brown bread.

In other parts of Bangkok, restaurants (especially Chinese Thai owned) and shopping malls lured customers with promotions ranging from discounts to special offers to free feng-shui advice. To set the tone for the launch of the New Year, families of Chinese Thais sat together at their home to enjoy sumptuous Chinese banquets and to indulge in conversations that is fairly predictable.

Following the banquet, the children were gifted with red envelopes (ang-pao) stuffed with pocket money as New Year gift. (Thais generally give money in envelopes as gifts rather than a present for weddings, a custom still practiced by many in my part of the world.)

(Songkran celebration at Chiang Mai)

Shortly after Easter, the Thais welcome their traditional New Year called “Songkran” (April 12-16, 2013). But unlike the Chinese New Year Festival, Songkran is celebrated throughout the country, especially in Bangkok, Pattaya, Chiang Mai, with rituals (like sprinkling water on sacred Buddha statues, making food offerings at temples, etc), parades, beauty pageants, oyster shelling competitions and merriment.

In the scalding hot weather of April, the festival has an added fun for the fun-loving Thais since an integral part is friendly water splashing/hurling at each other, which includes locals and tourists, as a ‘gesture to give and request a blessing”. It also symbolizes the washing off all misfortunes of the past year and welcoming the New Year.

Water has a special meaning in Asia. It represents life, prosperity and, of course, a new beginning.

However, to restrict drenching battles carried out by people on the back of trucks and to reduce possible fatalities, this year the authorities have banned all vehicles from carrying water on trucks for the duration of the Songkran festival.

On a few occasions we were also not spared by the frolicking Thais from being miserably drenched by splashing perfumed water for coming within the hurling range.

One takes it all in the stride since the majority of the Thais are friendly and often smile back at you pleasantly in return to your smile. This is a phenomenon you can notice amongst the Thais themselves who display a really warm community spirit by getting along a whole lot better with each other than people from other countries do.

Being the most popular holiday, city life in Bangkok comes to a standstill during Songkran as masses of Thais travel back to their provinces for family reunions since the majority of Bangkokians hail from the countryside.

It’s a time for them to revisit their home-grounds where they have grown up playing in paddy fields with water buffaloes.

After the festival, they will be back in Bangkok like books finding its right place back on the shelf, carrying country grown fruits and vegetables, fermented fish, etc, their relatives had packed for them.

On May 5, once again the nation joins the Royal Family to celebrate the Coronation Day to mark the day when Prince Bhumibol Adulyadej is crowned King (Rama IX), the ninth king of the Chakri Dynasty in 1950.

We have not been in Bangkok on this day nor during the ancient Brahmanic ritual called The Ploughing Ceremony held in May at Sanam Luang, the big park next to the Palace.

This ceremony was re-introduced in 1960 by H.M. King Bhumibol Adulyadej, the longest reigning king in Thai history, to commemorate the beginning of the rice-growing season and to bless the farmers with bumper harvests during the year. I remember, we too once had such an event in Kerala, and practises such as sowing the seeds from north to south across the land to obtain best crops.

Bangkok is a rapidly modernizing city. But best of all, the Thais are conscientious enough to do not severe the threads of their past. On the full moon day of May, the Visakha Puja (May 24) is held. It is one of the most important holy days for the Theravada Buddhists. This day commemorates the birth, Enlightenment and death of Buddha.

When Bangkok experiences rain during June to October, except for the unrelenting tropical heat which is breezed with occasional coolness, the energy and vibrancy and the intense traffic jams still prevail.

Its Golden temples, serpentine canals, cacophony of street vendors and markets, Chinatown, are all still active and busy.

People still strolled in Lumpini Park, made their wishes at Erawan Shrine, visited the Thewet Flower Market (Talaat Taywait), cruised downriver on rented motor launches (rua mai) or toured the Jim Thompson House or their showrooms.

If you happen to be in Bangkok by mid-September, you could watch the International Swan Boat Races which take place under the Rama IX Bridge on the Chao Phraya River (River of Kings) which divides Bangkok into twin cities – Bangkok and Thonburi, but governed by the same municipality.

The nightlife, lively as ever, would still be glaring, mainly in the stretch of nightclubs on Silom, Phat Phong, Sukhumvit, and Ratchadapisek (Royal City Avenue or RCA) Roads. Here is where the sanuk (fun and enjoyment) is – the fun-drenched possibilities, the world of delight hanging there like ripe golden fruit for whoever could leap high enough to take it.

Though we were not on time to attend the 85^th birthday celebrations of His Majesty the King on December 5 of last year, at one time our visit coincided with that event when huge crowds gathered on the evenings of 4th and 5th to celebrate the event at different locations in Bangkok. The city sported beautiful decorations and the excitement in the air was almost tangible. The decorative altars (Khrueang ratchasakkara) honouring the king and the queen were elegantly beautified.

Apart from the existing decorative arches spanning the wide avenues, new temporary celebratory arches were erected. Possibly replicas derived from the Chinese “pai lou” or inspired by the earlier triumphal arches of Europe, these arches are called “sum chalerm phrakiat”, and come in various sizes and shapes featuring moulded garudas, nagas, angels, elephants, etc, in variant hues dominated by gold and blue. (In earlier days we had watered down versions of such arches erected across less wider roads in Cochin which has eventually evolved into plain arches that feature advertisements for events or commercials or traffic indications.)

That year also provided us with the chance to see the regal pageantry of the Trooping of the Colours held on December 3 when the King reviewed the elite Royal Guards as they marched past the members of the Royal Family.

The Thai calendar is dotted with many other interesting events and regional festivals such as the annual Thai Traditional Boat Races, Phimai Festival (performing arts, art and culture) of Nakhon Ratchasima province, Chiang Mai Flower Festival, Chiang Mai Yi Peng Festival, to name a few.

While we were in Bangkok last year, December 12 was treated by many as an auspicious day due to the three twelves’ “12-12-12” involved in it (which only happens once every hundred years). Given that Thailand loves to celebrate auspicious dates, the seasonal mood was one of high romance. I read somewhere that Bangkok’s Bang Rak district (literally the “village of love” which is always a hotspot for marriage registration), and districts in Chiang Mai, etc were much sought after by loving couples to register for their marriage on that auspicious day.

Reports have indicated that, in spite of the economic difficulties of Europe and the United States, the tourism performance of Thailand for 2012 turned out quite impressive. Likewise, with their projections for 2013’s tourism prospects pointing in the same direction, many events to promote tourism have been scheduled – one of which is the Bangkok Bike 2013 during May 2-5 this year co-organized by the Tourism Authority of Thailand to promote the use of bicycles for both recreational and regular use and to popularise the existing cycling tours for local and foreign visitors.

The country’s accommodations industry has shown improvement as hotels in major tourism destinations registered bookings of 85-90 per cent in 2012 compared to the 70-75 per cent of 2011 even though many hotels have raised their room rates by 5 to 10 per cent to cover higher operating costs.

One aspect in favour of the flourish in tourism is the strong Asian economy, which is encouraging people to travel. Keeping an eye on this development, the Thai Tourism Department has been allotted Bt.4.3 billion in 2014 which is substantially higher than 2012 and this year, to continue improving tourism sites nationwide to attract more foreign visitors and to encourage longer stays. In addition to the Visa on arrival facility which allows for certain number of days stay in Thailand based on different nationalities, should you require an extension, the Immigration Office in Bangkok currently provides visa extension for a further period up to seven days for deserving cases. The formalities for such services are simplified and made tourist-friendly so that the extension can be availed within an hour.

Thailand has long been ranked as one of the world’s best tourist destinations. According to media reports, the Thai Government is calling on all Thais, who are generally very tolerant of foreigners, to lend a hand to look after the tourists in their neighbourhood since on few occasions tourists are victims of scams and crimes including rape and assault. As in every touristy country, if you are aware of the ground you walk and keep an eye on your back, you can enjoy a wonderful time without coming across any sleaze.

One of the activities I indulge in any city is to visit the local antique/second hand book shops of which a few can be found in Bangkok. Even though Thailand has a rich literary tradition, and libraries containing religious books and ancient texts in palm leaves were part of many Buddhist temples, the reading habit is rather poor compared to its neighbours.

Now that Bangkok has been awarded the World Book Capital of 2013 by UN cultural organization UNESCO, Thailand is encouraging its citizens to “read for life” and acquire better understanding of the political, legal and economic functions of adult society, and the social and moral awareness to thrive in it.

It is much to their credit that, with sheer dedication and effort, Thailand has finally entered the Huffington Post’s list of top 20 destinations for New Year celebrations. The Christmas and New Year season is a good example of how the country as a whole rose up to encourage tourism. It was an all-out effort of which even the students lend a hand in support. In order to celebrate the festive season and promote tourism, the students of a school in Ayutthaya province dressed as Santa Claus and posed with elephants on Christmas Eve of every year.

(At Hotel Amari Atrium, Bangkok)

Throughout the world late December has always been a time for celebration. Last year, we were sufficiently early in Bangkok for the Christmas and the New Year season.

We could enjoy a vast array of display of beautiful Christmas trees put up in Bangkok including those forming part of decorations at Shangri-La Hotel, Gaysorn Plaza (pic above) and of course, Mandarin Oriental Bangkok (pic below).

How wonderful it is to realize that all this is part of that wonderful Victorian Christmas created by Charles Dickens and Prince Albert – “Christmas Carol” by Dickens while Prince Albert had popularised the Christmas tree.

Free from problems like the political unrest and floods of the last couple of years, the Bangkokians appeared keen to join in the celebrations with shopping and dining experiences – buying gifts for others, merit-making and parties with relatives and friends – the same thing they did during last year’s season.

(Inside Central World Plaza, Bangkok)

As usual, the stores slashed prices and put up festive promotions and discount offers of the season, trade fairs and exhibitions in the run up to Christmas, in a last ditch attempt to get people through their doors – as if reminding them to have a terrific clear-out of their wardrobes or let their love of beautiful and luxurious things grab them.

Apart from the original brands of international fashionistas, you could also find the fakes at lesser price. Only the discerning could distinguish the counterfeit brands and cheap copies that are abound in the market.

SF Cinema came up with a movie gift pack of 10 tickets for Bt1,300/- (about US$45/-) to welcome the new year.

Just as in Singapore, the year-end spending for the Thais was not confined to merely Christmas and New Year, but also intended for the Chinese New Year which falls during February.

New Year’s party is everyone’s birthday party. Thousands turned up for the “New Year countdown to 2013” at locations such as Siam Square, Asiatique the Riverfront, Khao San Road (the backpacker ghetto and unofficial gateway to Southeast Asia), Bangkok Countdown Novotel, etc, while the biggest party with dazzling fireworks and stage entertainments was again at the Rajprasong intersection, with a huge stage set up in front of the Central World Plaza that showcased the theme: “Big Hug Big Fun.”

The long stretch from Four Seasons Bangkok to Gaysorn Plaza to Central World was lit up with thousands of fairy lights. Groups of celebrators flocked to national parks to enjoy a festive tipple though they are urged not to use cooking stoves inside their tents.

The New Year’s Eve party beckoned at many star hotels – the choice belonged to us. For a change from the beaten track, there is the famous Mandarin Oriental Bangkok. An innate sense of comfort, combined with a feel for history, luxury and location epitomise that hotel.

For the affluent and society doyennes, the answer to all their pampering needs awaited in that pioneering place, the lawns of which came alive with fun and gaiety in a party called “Mama Mia” featuring sumptuous food, music, dance, entertainment and fireworks.

To some participants from Britain and Europe, the cooking fire at live gastronomic-stations at the party helped to defuse the superstitious belief that prevailed in their countries that considered it bad luck to let fire go out on New Year’s Eve.

I heard that some went to the banks of Chao Phraya River to watch the midnight fireworks go off on both sides of the river while some couples went to Rama VIII Bridge for an inspiring and illuminated New Year kiss as the clock struck midnight.

A wonderful sight also to be seen occasionally is pre-wedding pictures being taken of happy couples kissing on this breezy bridge while a fleet of every kind of boats – from klong boats to deep-sea fishing trawlers, ornamental tourist junks to long-tailed boats, or even dragon racers to the revived magnificent Royal Barges, passed under the bridge.

Love – that thing between a man and woman is beautiful – the most natural thing in the world.

As for our New Year lunch, it was served to us at The Veranda of Mandarin Oriental. I had a Seared Black eye Tuna in Almond and Pistachio Crust with South American Quinoa, diced vegetables, couscous medley, green asparagus, butter and a soy sauce emulsion for main course.

Carina went for Khaw Phad Oriental – the Oriental fried rice with Chicken, pork and prawns topped with fried eggs with assorted satays as accompaniment. The bottles of wine and strains of romantic music were another perfect accompaniment.

However, as much as Rome and Bangkok inspired us and how wonderful it was to be away, there are always those little homely pleasures that tug at your heart strings to return home, sweet home.

Someone has remarked that you should be careful what you wish for because you might end up getting it. Easter at home was our final wish for Easter.

Ours is a family home and we like it to be lived in. Spending Easter in our house in Cochin amongst close ones was ample proof that wherever you are, the greatest fun in any festivity is the presence of your loved ones and the joy that you feel when you see the glow of happiness in their eyes. Then you realize that there is a feeling of renewal in the air. It is life’s enrichments rather than the riches of life that bring us true contentment. Hold that thought. Until next time. Ciao, Jo

a) Exact dates for festivals vary from year to year since many are based on the lunar cycle.

b) The paintings of “Holi being played in the courtyard” and “Radha-Krishna” are from Wikipedia: Public domain;

c) Reproduction of pictures credited to “Thailand Authority of Tourism” appearing in this post was made possible through the permission of International Public Relations Division, TAT, Bangkok;

d) Photos of “Mama Mia!” New Year party provided by Ms. Somsri (Susie) Hansirisawasdi, Director of Public Relations, Mandarin Oriental Bangkok;

e) All Photos, except those credited on them, © Joseph Sebastine-Carina Simeon/Manningtree Archive.

Viva Thailand: Bangkok – Big as Life

Mar8

The first time I saw Bangkok’s Suvarnabhumi International Airport was in April 2009– a bird’s-eye view from the multi-layered-glass window of an airborne Boeing 777-200 of Singapore Airlines.

Having taken off from Singapore’s Changi Airport for a journey covering 878 miles (1413 kms), we had cruised over the Gulf of Thailand and once above Bang Phli district of Samut Prakan province in mainland Thailand, we flew past the new Bangkok airport before the airplane took a circle for the final approach for touchdown. Until the night of 27-28 September 2006, Don Muang Airport was the primary port of entry to Bangkok by air, a responsibility the new “airport of smiles” took over when Suvarnabhumi was officially opened on September 28.

Now back here once again in early January 2013 to catch our outbound flight to Singapore, the place was milling with people returning home after the New Year holidays.

Although the exterior architecture of Suvarnabhumi airport looked modern and high-tech, I could see that the starkness of the concrete, light-weight steel and clear and e-coated glass of the interior is rightfully neutralised by an indelible stamp of “Thainess”.

Constructed in accordance with the design of Nuremberg (Germany) born architect Helmut Jahn of Chicago based Murphy/Jahn Architects who won the design competition held by the Thai Government in 1994, the airport is truly a combination of transportation centre and shopping mall.

In order to create a building that required low energy but benefited from cutting edge state-of-the-art technology, the architects collaborated with two Stuttgart engineering firms, Werner Sobek Ingenieure (for structural issues) and Transsolar Energietechnik (for climate control). The result was a huge complex of functionally separate buildings, unified under a large roof trellis on steel support structures with exposed precast concrete elements.

Built as per innovative designs with new materials and systems of advanced technology, the airport has ample provision for future growth. The structures are protected from direct tropical sunlight while the interior climate is controlled with minimal air-changes.

Designated high traffic areas of the floor are provided with highly wear resistant finishes. In spite all this, the airport attracted the grievance of culture-conscious citizens who found the design devoid of the values and aesthetics that supports the Thai tradition and culture.

The Thai government, always engaged in shaping and promoting traditional art and “Thai culture”, soon swung into action.

The result was the formation of an expert committee drawn from the best of competent specialists in Thailand.

Aware that the salient features of traditional Thai architecture like sloping multi-tiered roofs, soaring towers and pointed spires, and so forth, is not suitable for large scale project like an airport terminal, the cultural leadership decided to create a symbiosis of Thai traditional flair and modernity by embellishing the interior of the structure.

A series of art representing the various aspects of Thai culture, history and landscapes, etc were set up inside the airport which was adeptly designed to let in lot of controlled daylight.

Huge statues of mythical figures and masked dance drama from Ramakien to mural works to classical oil paintings to Thai pavilions representing different styles of traditional houses, formed a pattern of cultural fabric that spread inside the airport.

(After the destruction of Ayutthaya (see picture above) by the Burmese in 1767, the Indian epic Ramayana was rewritten (not translated) in Thai format by Phraphutthayotfa Chulalok, King Rama I (1737-1809) calling it the Ramakien which unmistakably reflects local values.)

While the airport and those who pass through it are favoured to be under the protection of these mythical figures, these representations offer a last-minute aide-memoire of Thainess for the departing foreigner – whereas to the returning Thais, it is a welcoming reminder of their unique and engaging culture.

According to recent media reports, the airport is geared for its second-phase (which includes a new terminal and third runway) and also possibly a third-phase infrastructure development projects to boost its capacity.

Although some dark clouds are visible against these projects due to complaints from residents of the area not in favour of noise and pollution, this would hopefully be surmounted to the satisfaction of all concerned by the generally genial Thais who are renowned for their knowledge and practice of diplomacy.

Beyond the Immigration Control on the second floor in Terminal 2, at the bottom of the gently sloping white-tiled concourse area, we will finda huge centrepiece of art. Called “Churning of the Milk Ocean” (aka: Samudra Manthan) and designed by an artisan of Thailand’s Department of Fine Arts, it measures 21 metres long, 3 metres wide and 5.5 metres high.

It was reportedly funded by the Chairman of King Power, reputed to be the World’s Top Ten Travel Retailers, whose Duty Free outlets occupy an extensive area of retail space in this airport.

I was photographing this centrepiece and making notes from the official placard placed in front of it when a feminine voice suddenly greeted me.

“Sawasdee”

A brunette in her late thirties, she was taller than I am, more broadly built. Her hair was pulled back in a bun, (Well, it is too hot outside to wear it down) and I could smell that special something which Coco Chanel once phrased “that unseen but unforgettable fashion accessory” – the perfume.

Few moments ago, I had seen her reading that placard. She greeted me politely with a wai, her head slightly bowed. I always liked a Wai – the gesture of respect performed with folded palms before the chest which has its origins in India.

Leaving my camera dangling on its sling, I smiled and returned her wai which she had performed with immaculate accuracy.

“Is this important?” Her smile flashed, beckoning at the centrepiece. No shilly-shallying – simple and straightforward.

“Certainly”

To me, this sculptor is every bit as fascinating as the Tower of Gustave Eiffel or Dome of Filippo Brunelleschi.

I soon learned that it was my acute concentration and also as her knowledge about the sculpture’s association with my country which made Khun Mirella (name changed for reasons of privacy), a native of Barcelona, unable to resist the question.

I must admit, I was as curious as Mirella when I first saw this. There is something about it that draws the eye. I had pointedly checked on the story depicted in this decorative art inspired by religious devotion. With my Nikon in hand and some free time to spare, I wouldn’t have found a better chance to devout my attention to it though by this time of the day, the sunlight was a bit off to the back, obscuring the frontal features.

The tableau depicted an episode from the “Hindu Puranas” (Hindu literature). This legend takes many versions in different adaptations including a bass-relief at Angkor Wat in Cambodia.

The tableau showed a three-headed snake (Vasuki, aka Naga) coiled around a mountain (Mount Mandara) on which stood Lord Vishnu (Phra Narai/Witsanu in Thai) incarnated as a huge turtle (Kurma Avatar). The tail-end of the snake was held by a group of Devas (demigods depicted in human form) while the Asuras (Daityas, demons with demonic faces and coloured bodies) held Vasuki by the hood.

By pulling the serpent to both ends in a tug of war, the Devas and Asuras were churning the Ocean of Milk to extract the nectar of immortality (Amrita) sought by the two groups. This information is readily available on the placard.

For a detailed version, the scene depicting “the Vishnu Kurmavatara and the Churning of the Milk Ocean” saga is set in a time too long ago. While passing through Lord Indra’s kingdom, Sage Durvasa Muni chanced upon Indra, the king of Devas, who was travelling on the back of his white elephant Airavata and present Indra with a garland. Indra placed the garland on the trunk of his elephant which the animal simply threw away to the ground.

Having considered this a great disrespect to him, the Muni, supposed to be an incarnation of Lord Shiva and known for his short temper, cursed Indra, casting him down from dominion over the three worlds (Trailokya). Consequently, Indra and the Devas were bereft of all strength and fortune. Taking advantage of this weakness, the Asuras, with the help of Bali, gained control of the universe, defeating the weak Devas.

Accepting the advice of Lord Vishnu, the Devas formed an alliance with Asuras to jointly churn the Ocean of Milk and share between them the nectar (amrita) of immortality derived from the process. But Lord Vishnu had promised the Devas that he would ensure that only they would drink the amrita and obtain immortality to defeat the Asuras.

Using Mount Mandara as the churning rod, and Vasuki, the snake as the churning rope, the Asuras opted for the head-end of the snake while, once again according to Lord Vishnu’s advice, the Devas took hold of the tail-end since those at the hood are destined to be fumed by the poison emitted by Vasuki, the Emperor of Nagas.

During the process of the churning of the cosmic ocean for thousands of years, the Devas and Asuras pulled the snake’s body back and forth rotating the mountain.

At one stage, when the mountain began to sink, Lord Vishnu took his second incarnation in the form of a turtle to support the mountain on his back.

In addition to the deadly poison Halahal which Lord Shiva drank but was timely stopped from swallowing by Goddess Parvati; numerous opulent things were also produced by the churning, one of which was Dhanvantari (Heavenly Physician) carrying the pot of the nectar of immortality, Amrita.

After a bit of intrigue, Lord Vishnu, having taken the form of the beautiful femme fatale Mohini (the only female avatar of Lord Vishnu), helped Devas to acquire the Amrita and the Asuras are banished into the underworld.

Fast forward to my present location at Suvarnabhumi airport, Mirella had introduced herself as one of those rare and inevitable people, who can design their own clothes, use an electric drill and paint.

In 2008 when economic crisis hit Spain, her business had taken the slump. However, she had used considerable expertise and a modest budget to transform her daunting ladies-wear business into a thriving shop selling Chinese goods at reduced prices that was appealing to the cost-conscious Spanish customers. These inexpensive goods where imported from suppliers in China who were drawn to her to avail the low-cost gateway for their products to the European Union. As part of her annual “quick discussion” visits to China since 2009, it is her custom to take ten days break in Thailand on her return journey home.

While we were talking, I had noticed that apart from few tattoos of Chinese dragons, she had tiny diamonds on posts impaled through piercings in the crease of her left nose and under the lower lip. But it was her split tongue that held my attention.

Much later I couldn’t help thinking about the object behind this “signature make-up” she has created on her to “make my own imprint on life – my own inimitable style” It’s not that she would go to any length to be in fashion – it’s the quest for individuality! I am glad that she was receptive to my suggestion to mention about our encounter in one of my future posts.Thank you.

Mirella had done the tongue bifurcation (forking/splitting) during last year in England though she got the idea from a Dutchman she had met at the Chatuchak Weekend Market (aka. Jatujuk or J.J) of Bangkok. That was in 2009.

She had stayed at a hotel in Sukhumvit Soi 11, Bangkok’s expat hub for clubbing and dining. It was her first visit to Bangkok and she had hit the city hard and had lot of fun – a typical tourist experience.

Sukhumvit Soi and Chatuchak Market are not unfamiliar to us. Chatuchak Market is fun – a mammoth market covering an area of about 35 acres containing more than 15,000 shops and stalls.

It generates nearly 175,000 visitors on a market day, and an estimated 30 to 32 million Bhat per day.

A place where professional and amateur art-lovers and artists meet, the items on display consists of a vast array of art objects and antiques such as Japanese, Vietnamese and Chinese porcelains; Khmer bronze and pottery; accessories; household items; cloths; leather goods; potted plants; pets such as dogs, cats, birds, aquarium fishes; native food, amongst other bric-a-brac.

Though the prices are marked in most cases, you are free to ask for a proper discount since the market follows the art of bargaining long practised in Asian countries including Thailand.

We had come across stalls in this market for tattoos where you will be fascinated by the various traditional and mythical designs available for decorating the body.

Once I had found a stall run by a team of Indian Mehndi artists offering traditional, modern, contemporary and retro Mehndi styles. But I don’t think such body modification as tongue-splitting is available there though at Chatuchak Market you could find practically anything.

Having had another closer look at the sculpture, Mirella had bid farewell and left for her boarding gate. Looking past the aircrafts parked on the tarmac of the parking bay, I could see that the sky was clear and cloudless – something I preferred when I fly.

As I sat in the air-conditioned commons sipping my iced drink, I saw Carina beckoning at me to join her at the Blue Elephant Duty Free.

The couple of bags in her hand were clear indication that she had found the special curry pastes and seasoning sauces we couldn’t find at the MBK (Maboonkrong) Shopping Mall yesterday.

That is the one good thing about Bangkok. Being a national treasure house and Thailand’s spiritual, cultural, political, commercial, educational centre where the “threads” to the past have not been cut, it is common knowledge that in Bangkok you are bound to come across that special something you have been looking for.

Amongst the Asian countries, Thailand has a long history of being the most “foreign friendly” country and had profited from this. So tall, so modern, so crowded, Bangkok is not an ancient city.

Krung Thep (City of Angels) was founded in 1782 in succession to the older city Ayutthaya by King Rama I, the first monarch of the present Chakri dynasty, and offers a multitude of something for everybody.

Be it glittering ancient-looking Buddhist temples, historic monuments, canal and river scenes, quaint charm of older districts, classical dance, Muay Thai (Thai boxing), vibrant nightlife, big shopping malls, street markets, the three wheeled open air TukTuk (Sam Lors), win motersai (motorcycle boys with numbered jackets), Thai massage, culinary delights – they are all there – just waiting around the corner. And all this being a bit “easy on the pocket” can be an appealing factor to foreigners.

But the most alluring of all this is the energy of Thai people, their sense of optimism, their penchant for feasting guests and their respect for friendships – clockwork of elements that will seize your admiration and hold onto you long after you have boarded your aircraft.

As I bid goodbye for now, I know I will also miss their instincts of politeness, introduced from early childhood – an integral aspect which had fascinated me and prompted me to visit this beautiful country year after year – quite happily. Until next time, Ciao, Jo

1.. Many thanks to the Director and staff of the International Public Relations Division, Tourism Authority of Thailand, New Phetchaburi Road, Bangkok for their kind and valuable assistance and photographs (two of which regarding “Ayutthaya” and “Traditional Thai Massage” are incorporated in this article) to support my posts about Thailand.

2.. Paintings of Sage Durvasa Muni, Lord Indra, Lord Vishnu are from Wikipedia: Public domain

Thai Phuang malai (Jasmine) Garlands: Symbol of respect and good luck

(All other photographs © JS-CS-Bianca Celine Diane-Andrea Lalis Sebastine/Manningtree Archive)

Pope Benedict XVI

Feb11

(Photo: Joseph Sebastine/Manningtree Archive)

StarChoice 17: Anne of the Indies

Feb7

(Aka: La Mujer Pirata – La Regina dei Pirati – A Raínha dos Piratas – Die Piraten Königin – Technicolor – 1951)

“Ahoy, landlubbers! Come abroad the good ship “Sheba Queen” and lend an ear to Anne of the Indies”

So much has been written about the buccaneers of the high seas. Even though the deplorable activities of pirates are rightly condemned by the humanity, world literature has nonetheless romanticised them with stories depicting the daredevil deeds of pirates such as Sir Henry Morgan, Blackbeard, etc and correspondingly lionised them in many movies produced in the Americas and Continental Europe.

The West Indian buccaneers were initially hunters of pigs and cattle on the islands of Hispaniola and Tortuga until they became pirates after being driven off by the Spaniards. Long before Johnny Depp flashed on screen as Captain John Sparrow doing his rounds with the “Pirates of the Caribbean” series, swashbucklers in the kinds of Elliott Dexter, Douglas Fairbank, Errol Flynn, Burt Lancaster, Gregory Peck, Louis Hayward, etc. ruled the high seas. This doesn’t mean that the period was devoid of dashing females wielding deadly swords and thrived in the sunshine. Historians tell us that a significant minority of historical pirates have been female, who were acclimatized to the wild ways and conquered the seas.

The 1945 film, “The Spanish Main” by director Frank Borzage (The Big Fisherman) featured the fictionalized account of the real-life cross-dressing buccaneer Anne Bonny (1698-1782), a daring Caribbean femme fatale who joined the crew of pirate John “Calico Jack” Rackman after having an affair with him. Reputed to be the first film of RKO Radio in the Technicolor, starring Paul Henried, Maureen O’Hara and Binnie Barnes in the role of Anne Bonny, it told the story of Dutch sea Captain Laurent “The Barracuda” Van Horn. Shipwrecked on the coast of Spanish-governed Cartagena, he escapes from the hangman’s noose and takes up piracy for revenge against Spain. The film registered impressive profit in the box-office and won George Barnes an Academy Award nomination for Best Colour Cinematography.

In 1946, a short story by Herbert Ravenel Sass titled “Queen Anne of The Indies”, appeared in the Saturday Evening Post which generated enough excitement amongst the New York publishers and Hollywood studios prompting Sass to draw up a movie treatment of the story in 1948. Originally slated to be a Walter Wanger (Walter Feuchtwanger – 1894-1968) project starring the indestructible redhead Susan Hayward, this fictionalised treatment failed to generate necessary enthusiasm in independent producer Wanger due to its larger budget that he sold the story rights to 20th Century-Fox. (Some confusion prevails here regarding the different treatments of the story prepared for Wanger). At that time, Wanger was also busy with a grand project for the comeback of Greta Garbo who was on long retirement. But when “Anne of the Indies” was finally released in 1951, Wanger was in the “cooler” for having shot and wounded his wife Joan Bennett’s agent Jennings Lang when he found them together in the MCA (Music Corporation of America) parking lot.

In early 1950, at Fox’s instance, a new script was prepared by Romanian born screenwriter/playwright Arthur Caesar incorporating unused footage shot for “The Black Swan” (1942) starring Tyrone Power. The studio assigned George Jessel to produce while tests were done with Patricia Neal and Valentina Cortese for the title role.

However, Darryl F. Zanuck, Vice-president in charge of production for 20^th Century Fox was still unsatisfied with the script that a revision was done on it by Philip Dunne, a contract writer at Fox since 1936, sprucing up the character of Anne. When the film would finally appear on screen, Philip Dunne and Arthur Caesar are given credit for the screenplay.

Naïve, darkly sensual actress Linda Darnell was also considered for the role of Anne before it finally went to American actress Jean Peters (Oct 15, 1926 – Oct 13, 2000). Hailing from East Canton in Ohio, Elizabeth Jean Peters grew up on a small farm, majored in literature and won a screen test with 20^th Century-Fox as prize for winning the Miss Ohio State Pageant title in the fall of 1945. Owing to a contract with Fox, Jean moved to Los Angeles and later acquired a small part in “I Wonder Who’s Kissing Her Now” (1947). However, it would be her role as Catana Perez (replacing Linda Darnell) in director Henry King’s “Captain from Castile” (1947) that will bring her star treatment and public attention though the film grossed net loss because the studio spent more for it than the market could afford.

After a brief slump in her popularity, the 5’ 5” (166cm) Jean had pursued the studio and convinced them to cast her as “Anne of the Indies”. It was a down to earth, unglamorous role– exactly what she preferred since sometime earlier the studio had put her on her first suspension owing to her refusal to don sexy roles. However, being the current romantic interest of the legendary billionaire Howard Hughes, beautiful Peters with brown hair and green eyes must have found it easy to step over that suspension. Even though she had a celebrated romance with Hughes in 1947, their marriage will take place only in 1957 after living with him off and on for a decade.

Jacques Tourneur was given the director’s hat for the project in January 1951. Essentially a small-budget director with a penchant for the macabre, Tourneur had a reputation to direct movies on various genres since he always accepted all the scripts offered to him.

Having finished directing “The Flame and the Arrow” (1950) starring Burt Lancaster and Virginia Mayo, Tourneur was in the right mood for yet another swashbuckler. With a secured contract with Fox and devoid of interference from producer George Jessel, the film went into production at the 20^th Century-Fox Studios in Los Angeles.

Synopsis: Once the credits flashed over the screen, an establishing note on the state of affairs of the 17th century Indies is shown: “Less than two hundred and fifty years ago, the last of the great pirates wrote their names in blood and fire across the pages of maritime history. This is the story of a buccaneer Captain whose name for one short year struck terror in the hearts of seafarers and merchants, from the ports of the Caribbean to the great trading houses of London….”

As the movie begins, we are shown the names of two English ships, Royal Charles and Sea Lady are being stricken off a register of ships for having been destroyed or sunk by the notorious Captain Providence. We then cut to: the deep ocean off Antigua where the English vessel Gemini is preparing to repel the attack of Anne’s flagship Sheba Queen. As the two ships draw nearer and the canons started firing, Anne suddenly appears on the deck of her ship while her men valiantly fought the English, their swords flashing in fierce combat. Even Anne joined her men in the fight. Before long, the English Captain had surrendered.

Inside her cabin, Anne threw the enemy’s flag on top of the wooden desk and was pleased to learn from Dr. Jameson that he had attended to all the wounded. At this time he wanted to tend to Anne’s wound which he was sure would leave a scar on her beauty. Anne was not unfamiliar to scars most of which she had received from the English. But she is not a wench to brood over her scars, has chosen not to show her pain, even now, at her moment of glory though the fact remained that she had lost her sailing master in this assault.

She invited the doctor, her confident, to the deck where her crew were making the prisoners walk the plank – a sight, she was certain, would put some iron in the alcoholic doctor’s soul. The Captain of Gemini was grumbling that he had struck his flag hoping to receive some water. He protested to Anne about the merciless treatment meted out to the prisoners by her men. Anne retorted that she had learned such mercy from the English. Did they show mercy to her brother? They had hanged him in chains in the wharf of Port Royal with all the English just spitting on his face – she snapped at him.

The hatred towards the English that had grown in her heart for the death of her brother, was one of the many scars Anne accumulated in her life that made her reject her femininity. The Captain was given the opportunity to express his last words. All he had to say was that, her brother was a pirate and he deserves the end that he got as Anne will deserve hers. But Anne knew that she had chosen to live with that. “By the veins of your nose you have drunk your king often in wine, now drink him in salt water” With that reply, she ordered the Captain to walk the plank.

It was then she noticed the handsome man in irons being led to the plank, the upper part of his body exposed. They have found him imprisoned in the English vessel which meant he is not a friend of the English. Questioning him, she learned that he is a Frenchman named Pierre François. When she introduced herself to him, it was a revelation to him. Caught in the propaganda that surrounded Captain Providence, Pierre had never expected the buccaneer Captain to be a woman. Furthermore, he had least expected it when her palm cracked on his face for having disrespectfully addressed her as “mademoiselle” rather than in her proper title of “Captain” which displayed the forcefulness of the identity she had chosen.

It was revealed that Pierre was the owner/master of the Bordeaux registered Irish privateer, Molly O’Brien, captured by the English. He is being sent to England to stand trial for having captured too many English ships. Anne had allowed her men the pleasure to make their prisoners walk the plank except for Pierre. Being sea-smart, Anne knew that Pierre, a sea artist, would make a suitable replacement for the navigator she had lost and that was what she did to the displeasure of her Scottish first mate Red Dougal, who had been delegated by Blackbeard to protect her. As for Pierre, who is fond of life, it was not a hard choice to make when his choice was between joining the buccaneers or walk the plank.

When the booty from the Gemini was shared with her crew, Pierre was permitted to choose something for himself. While Pierre decided a woman’s dress, Anne laid her claim on a sword with a long blade, the virility of which reflected on her authority. However, Pierre’s choice had kindled her curiosity to make her enquire if he has a wench somewhere. Pierre would only reply that he is a Frenchman. Anyhow, she let him know that the sword was selected for Captain Teach, Blackbeard, a great sea-rover of a soul whom she is certain she would find in Nassau where they plan to get the supplies. The Sheba Queen headed for Nassau.

Anne is a protégée of the notorious English pirate Captain Edward Teach (aka. Blackbeard ca. 1680–1718). Since childhood, he was father, mother and schoolteacher to her and her half-brother. Although she knew that her father was English, his name never passed the lips of her mother who succumbed to death when Anne was young. She was called Anne Providence owing to her birth on New Providence Isle, a night to Nassau town.

The Black Anchor Tavern in Nassau looked a beehive of boisterous merriment. Apparently, the tavern was taken over by Blackbeard and his men and their women for partying and their idea of fun appeared to be to laugh, shout, fight, bear-wrestle, break things, get drunk, etc in the dreadful manner possible. The enormous figure of Blackbeard sat at the head of a wooden table with a woman on his lap, drinking heavily and having a great time.

It was during the bear-wrestling that Anne and her entourage walked in. At the sight of Blackbeard, Pierre had tried to excuse himself to go off for some business in Nassau, but reluctantly stayed when Anne assured him of her protection. So excited was Blackbeard to see her there, that he said she’s like a Northeaster after a calm.

Although Blackbeard had doubts about Pierre which was also intensified later by Dougal, his main interest was focused on Anne and the sword she presented him. When all of his men shied away from being a willing partner to the impulsive Blackbeard to help try the new sword, Anne was ready to let him try to carve her. A fierce but friendly duel of swords broke out between Anne and Blackbeard in which Anne displayed some playful but competent skills of swordsmanship but it was pretty obvious that he could have won over Anne easily. However, when Blackbeard was momentarily distracted, Anne grabbed the chance to win; a trickery which Blackbeard merely laughed off in a fatherly manner. Then again, Anne’s glory was short-lived when she learned from Dougal that Pierre had slipped out of the Tavern while the duel was on. The confidence she had placed in him has been displaced.

Later, confronted by Anne in her cabin, Pierre didn’t provide her with a proper explanation about his absence, to satisfy her doubt about his loyalty. He had neither gone to see a wench, nor is he a spy because he knows nothing of her plans. All Nassau knows that she’s in the port. Suspicious that he is hiding a secret, she ordered Dougal to put him in irons. Subsequently, he was tied up on the deck and mercilessly flogged until Dr. Jameson convinced her to stop.

Dr. Jameson was evidently dismayed for having been ordered by Anne to search Pierre’s cabin where he had found half of a map tucked inside his mattress. Though Anne cannot read, she can read from patterns. Assisted by Dr. Jameson, she finally figures out that the map is a link to Captain Henry Morgan’s treasure. When Morgan (ca. 1635-1688) captured Panama City, he had taken a king’s ransom which has not been accounted for.

Having matched the piece of map with her main map, she questioned Pierre, now lying on the wooden floor of her cabin, drained from “the taste of the cat”. Pierre had no qualms in telling her that he had bought it five years ago from an inn-keeper on the Bordeaux waterfront who found it in the body of a lodger of his. Once Anne assured him to make him equal partner with her, Pierre opened up further and related to her that his men in Porto Bello had told him of a Portuguese in Nassau trusted by Henry Morgan, In fact Pierre had been taken prisoner by the English while he was heading to Nassau to meet the Portuguese. At Nassau, Pierre had learned from the Portuguese man that a man called Pedro Mendoza living in Port Royal in Jamaica possessed the other half of the map.

It was then Dr. Jameson remarked to her that since she now knows what Pierre knows, she could very well kill him and go after the treasure on her own. But Anne would have none of that, for she had given Pierre her word. And that counts.

Port Royal was the lion’s den – the Headquarters of England’s Caribbean Squadron. That’s where they will go once they careen the hulk of Sheba Queen encrusted with hardened barnacles, to restore the ship to its proper speed. Dr. Jameson confirmed that the parchment and the ink of the map looked authentic to him.

As Blackbeard had taught her, Anne had carefully docked her ship in a secret cove, known only to Blackbeard and Anne, ideally positioned to cannon and command the passage through the reef while her ship lay inoperable.

Later, while she was walking along the beach with Pierre, she was surprised to learn that he was born in Paris. Anne advocated that he can take her there as a partner after they have lifted the treasure. But overriding this subject was her curiosity to know for whom he had chosen that yellow dress.

He had obviously noted the anxiety in her question and told her that it is for no one in particular – perhaps for a woman he hoped someday to meet. Having caught with her guard down, she quickly pulled herself up to her rank, but her sudden change in manner essentially gave away the tell-tale sign of affection for him that was growing in her heart.

The following day, Pierre walked into his make-shift cabin and found Anne trying on the yellow corseted dress he had chosen from the booty. This is the moment for which that dress was made for. She looked like a breath of spring. Even though her face looked unaffected from his sudden intrusion, the thoughtful Frenchman knew that he had awakened the feminine side of this ruthless pirate queen.

Well, she can’t underestimate his ability to get through to her heart and to melt away her defences. But he would use his power responsibly. Pierre helped her tie the back ribbons of the dress, an act which acted as the precursor to a conversation that stirred the woman inside her, exposed her inner feelings she was silently weaving around Pierre. She dared him to tell her “how a Frenchman, a gentleman, made love?” knowing that it would draw him to her. Soon, they merged into a passionate kiss.

It seems all good things in life are not meant to last. The expression of their “burning” desire turned out to be short-lived and frustrating as Dougal suddenly walked in and caught them in the act.

On hearing the news about an approaching ship, Anne’s spyglass confirmed the arrival of Blackbeard’s flagship “(Queen Anne’s) Revenge”. How happy she appeared in welcoming Blackbeard with Jamaican rum. She listened to him saying that he had looked for her in Tortuga and had realised that she’s docked here to careen.

Without losing much time, Blackbeard accused that Pierre is a traitor. He is Lieutenant Pierre François La Rochelle of the French Navy. He had seen Pierre at Martinique when the French hanged his colleague Sam Austine from a yardarm. Confronted once again by Anne, Pierre explained that everything which Blackbeard told was true. He merely neglected to mention about the commission because the memory of that chapter was painful to him. He was cashiered from the navy in disgrace. He had witnessed the hanging only because the entire officers were ordered to be present. Anne is in command here, and he is not on Blackbeard’s deck. She can be assured that he will serve her loyally.

Disregarding her support for Pierre, Blackbeard’s sword struck out at Pierre. Abruptly, Anne’s sword lashed out at Blackbeard with dynamic forcefulness. During the angered spat of words that followed, Anne slapped his face- in front of his men. She ordered him and his men off the island. The line has been crossed. Blackbeard never forgets an insult. Now there will be war between them.

As Blackbeard and his men left the island, Anne ordered Dr. Jameson to care for Pierre lying unconscious on the ground. Before she moved off from Pierre, she couldn’t resist planting a kiss on his forehead.

The Sheba Queen was safely anchored off the coast of Jamaica. Given that Anne was denied from going to the island in his place to obtain the other half of map from Petro Mendoza, she arranged with Dougal to take Pierre on a row boat to leave him ashore at the Portland Point and wait for him on the beach. She gave Pierre some English Guineas to pay the man and advised him to offer Mendoza a share of the treasure if he insists for more.

At Port Royal, Pierre went straight to “The Governor’s Tavern” where the English Aristocrats were engaged in smoking, drinking, playing table games or other things such men usually do in such places. Pierre was recognised as “Captain La Rochelle” by the Maitre d’ and promised to arrange the people whom Pierre wanted to meet urgently.

In a dark room upstairs, he met a pretty woman we soon discover to be his wife Molly La Rochelle. He confirmed to her that their plan has succeeded and that the legendary Captain Providence is a woman. They seal their reunion with a kiss before he was called downstairs to meet up with the English Naval officers who have engaged him to entrap the pirates.

The English were rejoiced at the news that the Sheba Queen was anchored off Portland Point and will remain there till daybreak. And, of course, they appreciate that Captain Providence suspects nothing though they were rather surprised to learn that the notorious pirate is a female. With this information in hand, the English attack Anne of the Indies …..

As Darryl Zanuck once said, “Success in movies boil down to three things: story, story, story.” The final climax of the film was subject of deliberations since Zanuck was not satisfied by the motive provided for Anne. The result was that Dunne suggested shooting the climax in different ways. However, after the shooting was completed, having found that the present ending was unsatisfactory to the audience, the ending was again modified with further retakes. According to Tourneur’s contract which stipulated that the production was to be completed within fifteen weeks, the production of “Anne of the Indies” must have been wound up before May, 1951 since by then Tourneur was supposed to be in Argentina for the production of “Way of a Gaucho”.

Adventure movies call for a directorial and an acting style which is well known to adventure directors such as Raoul Welsh, Howard Hawks, John Huston, Richard Fleischer, Henry Hathaway, Michael Curtiz, and Jacques Tourneur. Shot in Technicolor by Cinematographer Harry Jackson and ably edited by Robert Fritch, director Jacques Tourneur’s film features restraint and admirable performances of his stars in well made up sets, lighting and studio locations.

The film truthfully portrays Anne as a ruthless pirate who has denied her femininity and doesn’t know what it means to be a woman, or to be loved. In order to illustrate Anne’s crisis of identity, Tourneur used a scene in the beginning of the film to establish Anne’s strong heart and the softness of her bosom when Dr. Jameson tends to her wound. Despite Jean Peters’ cute and pretty looks which occasionally subdue her efforts to make Anne look dangerous and ruthless, her performance with an athletic agility is flawless though, couple of times, her cheerful countenance has appeared rather teasing.

Louis Jourdan’s performance in the role of Frenchie merited critical acclaim. Ever since Zanuck had that terrible polo ball accident in late December 1941, he had switched his interest in sport to croquet which he used to arrange on the lawn of his house in Palm Springs. Frequented by a cross-section of Hollywood society, international celebrities, etc, his lawns became the croquet capital of California. Jourdan who was a contract star of Fox and best of the regulars to Zanuck’s house, was found to be perfect fit for the role of Pierre.

Louis Jourdan’s movies conjure up an image of him as a suave, dashing, romantic charmer. In spite of this, the Marseilles born Jourdan (aka Louis Gendre) had also managed to appear in villainous roles. Beginning his acting career in the French film “Le Corsaire” (1932), Jourdan became a star after producer David O. Selznick cast him in Alfred Hitchcock’s court room drama “The Paradine Case” (1947) for which Franz Waxman was the music director. But his finest performance before he acted in “Anne of the Indies” was in Max Ophuls’ “Letter from an Unknown Woman”.

British actor Herbert Marshall (1890-1966) with considerable stage experience acts as the alcoholic Dr. Jameson who helplessly hovers around watching Anne trapped in her crisis of identity. The mannerism of the wise and philosophical Dr. Jameson in the scenes where Anne displays her determination to acquire the respect she deserves; when she is in conflict with her human emotions; is well portrayed by Marshall.

In the role of the boisterous Blackbeard, the heavyset, stage character actor Thomas Gomez (Sabino Tomas Gomez – 1905-1971) made use of the opportunity to drink, laugh, turn tables, and swash his sword to realistically portray the larger-than-life of the renowned pirate.

Gomez was a member of the Alfred Lunt and Lynn Fontanne theatre group before he ventured into movies. An aficionado of gourmet dining and a close friend of Jean Peters, he had co-starred with her in “Captain from Castile”

Tall and hefty, England born actor James Robertson Justice (James Norval Harald Robertson Justice – 1907-1975) with whiskers and booming voice had completed a series of films, viz. “The Black Rose” and “The Magnet” (1950), “Blackmailed”, “Pool of London”, “Captain Horatio Hornblower” and “David and Bathsheba” (1951) prior to his role as Red Dougal.

The mannerism of Dougal when Anne chose Pierre as her sea artist when she knew nothing of him; his confidential talks with Blackbeard and Dr. Jameson; his ever watchful eyes on Anne; the suppressed outrage on his face when he caught Anne and Pierre kissing – have all been perfectly portrayed by Justice.

Hailing from a show biz family, the 5’ 2” (157cm) Debra Paget (Debralee Griffin) obtained an acting contract from 20^th Century-Fox at the age of 14, debuting in “Cry of the City” (1948). Having earned proficiency in speaking from Helena Sorrell, the dramatic coach of 20th Century-Fox, and fairly active in movies at that time, she co-starred with Louis Jourdan and Jeff Chandler in director Delmer Daves’ “Birds of Paradise” which also hit the screens in 1951.

Although Paget’s role in “Anne of the Indies” is confined to few dark scenes, her effervescent beauty lights up the darker scenes which are rampant in many of Tourneur’s films. Appearing pale and innocent, Paget has nothing much to do except look distressed and wear a few moments of brave face when she antagonizes Anne over Molly’s rights over her husband.

Other members of cast are Francis Pierlot (Herkimer), Sean McClory (Hackett), Holmes Herbert (British sea captain), Byron Nelson (Bear handler), Douglas Bennett (Bear wrestler), Mario Siletti (Auctioneer), etc.

Notwithstanding the lesser budget, the film features sets and props with truthful authenticity, there are Naval cannons, antique swords, males’ earrings and some of the guns used by the pirates and the English are even Flintlock pistols.

The artistic and talented art directors Lyle Wheeler (1905-1990) and Albert Hogsett have faithfully created the set pieces, though standard and familiar, with the expertise of set decorators Thomas Little and Claude Carpenter.

Lynn had started his career at M.G.M when David Selznick hired him to work under production designer William Cameron Menzies on “Gone with the Wind” following which he ran the art department of Twentieth Century-Fox from 1944 to 1960. Lynn won five Academy Awards for Best Art Direction after having been nominated twenty-nine times, four of which in 1951.

While the makeup is by Ben (Benjamin Emmet) Nye, the film’s wardrobe is directed by American Costume designer Charles Le Maire (1897-1985) who ran the Wardrobe department of 20th Century-Fox from the early 1940s. For this film he had collaborated with Costumes designer Edward Stevenson (1906-1968) who himself started in Hollywood from 1922 and became the chief designer at RKO from 1936-49.

Although most of the costumes are standard pirate and navy gear which kept up the atmosphere, the feminine costumes for Jean Peters and Debra Paget and for some extras are very minimal. Apart from the yellow dress Anne wears inside the make-shift cabin, the other one is a white nightgown shown in very dim lighting as she gazed at the glittering sea.

German composer Franz Waxman (Franz Wachsmann – 1906-1967) with orchestration by Edward Powell have provided a rousing score that blend well with the romantic nature of the story. Other than montage, music is one of the two most “invisible” contributing arts to cinema and Waxman is renowned for his very close understanding of when music should appear in the narrative.

Arriving in America in 1934, Waxman provided his first original score for “Bride of Frankenstein” (1935) after which he worked for two years with Universal Studios, before moving to M.G.M and later onto Warner Bros until he won the Academy Award for “Sunset Boulevard” (1950) and “A Place in the Sun” (1951).

Years and years later, this routine swashbuckler evoked some deliberations in seminars and conferences because of the identity crisis of the lead character. There were also some writings including an essay titled “Femininity and the masquerade: Anne of the Indies”.

Considering the lack of depth in the psychological density of the main characters and also in the thinly plotted story, I would think this movie was just another job for Tourneur.

I would also like to think that Tourneur made this film without any alternative agenda other than to make a simple pirate tale – some 81 minutes of entertainment which has all the virtues of the genre: sea-battles, swashbuckling, adventure and drama with a twist showcasing the protagonist as a female dressed in male attire to suit the environment of the buccaneers of the story; and also, to differentiate this film from a series of swashbuckler films featuring male leads various studios were chucking out during 1940s and 50s.

Anne of the Indies cannot be compared to a lively, colourful period film featuring a protagonist with the lighter-than-air agility of Douglas Fairbanks or an extrovert, acrobatic hero portrayed by Burt Lancaster. Nevertheless, this old-fashioned harmless family movie has an underlining story of Anne going through her identity crises, searching for love which is quite unfamiliar to her.

Anne’s love is her weakness and to us it has made her human, even though she is riddled with faults. By making Anne endearing to us, lovely Jean Peters leaves a memory of a breed of heroines long gone from our screens. Until next time, Ciao, Jo.

(This review is dedicated to the memory of lovely Jean Peters)

Viva Italia – 5: Le Celle – The Light above Tuscany

Jan18

(At Suvarnabhumi Airport, Bangkok – January 2013)

The jingles, bells and whistles have faded – the calm has set in around me. Arriving back in Cochin was like a locomotive train pulling into the last station after a long journey, letting out the steam and settling down.

(Cochin, Kerala)

But my mind is always travelling. After all these years of visits to Bangkok, that mysterious appeal of Bangkok still pulls me to it. There are many special people in there that I care about – not too many places in there I can go without someone saying, “Hi, It’s good to see you back, Jo” or similar. Missing someone is just a part of moving on…. after all, Goodbyes are not forever.

(At Mandarin Oriental, Bangkok)

Back home, the wind has scattered one month’s deciduous leaves on the ground. But this is not unfamiliar to me. Then again, there is the blissful tranquility and peace of our home – the old, familiar pillow to rest the head on. When we are able to find tranquility within ourselves, only then it is worthy to seek it elsewhere too. I had often found it in the twinkle of a smile, in the presence of my loved ones, in the solitude of a church, up the hill at Le Celle in Tuscany.

(View of Tuscany – taken in Assisi)

Today I wish to write about Le Celle, a Santuario of San Francesco di Assisi situated above Cortona. It is one of the most distinctive hermitages of medieval Franciscanism – a place that draws you close to God, whoever and whatever you believe that to be.

(View of Tuscany – taken in Assisi)

Tuscany is a place where, more than anywhere else, I breathe easily. It was in Firenze at Il Porcospino, a Trattoria owned by our good friends Valerio Lo Cascio and his lovely wife Elvida where Valerio suggested that we visit Eremo Le Celle.

(Valerio and Elvida)

That lovely autumn day appeared perfect for visiting this pious hermitage for which our friendly abbots of Basilica de San Antonio in Padova had so much praise. Carina and Bianca were enthralled when they heard of this place.

We have had a good number of wonderful meals and hearty times at Il Porcospino. There prevailed a homely ambiance exemplified by an efficient staff serving Tuscan cuisine. I had read somewhere that the most exquisite food was served for the Medicis in Firenze, especially during the time of Lorenzo de’ Medici (1449-1492). Situated right opposite the entrance of Cappella Medici, Il Porcospino seems to have gained certain competence in their quest for the cuisine Lorenzo il Magnifico savoured.

As we got into Valerio’s four-wheel drive, their black Labrador, Asia, jumped in and took his place in the luggage area where he was safely tucked in. Well, San Francesco loved birds and animals – Asia would be welcome there.

A momentous event occurred some eight hundred years ago which was to affect the course of history for many people to this very day. This was the moment when a young man named Giovanni “Francesco” di Bernardone (1181-1226), born into wealth, realized that he was personally called to his vocation – to follow the way of the apostles in poverty and simplicity. This little pauper known as Saint Francis of Assisi who cultivated austerity, but had retained his love for singing, is not a stranger to any of us.

San Francesco is the embodiment of the spirit of Christian romance. We know of his belief that love alone, not suffering, can bring us in unity with God. We know that he had this great intuition to not keep for himself the inspiration that came to him but to pass it on to a community…..

Even though Asia had remained quiet throughout the ride, at times, resting his doggy-long snout on Bianca’s shoulder, or looking out through the windshield, once we started climbing the five km road through endless sloping ranks of vines and olives up to Cortona, he showed signs of impatience to get out of the vehicle.

Past Cortona, on the well paved path of the villages that wind among settlements on the hillsides where there is no traffic at all, Valerio allowed him to run before our car, something Asia apparently enjoyed, which is absolutely impossible in the streets of Firenze.

The Etruscan city of Cortona with its medieval and Catholic influences, offers an interesting archaeological element to the visitor. Dominating the entire Valdichiana, this walled city with streets and buildings dating from ancient times offers wonderful view as far as Lago Trasimeno. In “Aeneid III and IV”, Virgil called it “…mother of Troy and grandmother of Rome” while in 1993, Pope John Paul II regarded it as“… a marvelous city where everything speaks of God – the nature, the mountains, the woods…”

You have to pass by Cortona in order to reach Le Celle and Chiesa di Santa Margherita located above it. Situated around 80 km from Firenze, at about 600 meters above sea level on the border between Tuscany and Umbria, it is the birth place of many artists, namely Pietro da Cortona (Pietro Berrettini, 1596/7–1669) who designed the silver urn in the 17^th century to contain the body of the great Franciscan Saint Margherita (1247-1297) which is on a windowed casket on the high altar of Chiesa di Santa Margherita. Likewise, artist Luca Signorelli (1445/50–1523) whose important works can be found in the Museo Diocesano, was also born here.

Cortona is home to a good collection of Etruscan and Roman bronzes, Athenian and Etruscan pottery, and ancient coins which can be viewed at Museo dell’Accademia Etrusca in the Palazzo Casali. The Bistecca Festival (Sagra della Bistecca) is held here in mid August which is in homage to the delicious char-grilled Bistecca alla Fiorentina made from Chianina cattle. The city is featured in the book and movie “Under the Tuscan Sun” (2003) starring Diane Lane.

One of the first places of the friars, Le Celle is located just five km from Cortona, backing on to Mount Sant’Egidio. I was told that, more than 30,000 visitors leave behind their routine of daily life and hike or ride up to this hermitage each year. This is hardly surprising since the moment you step into its premises; you could feel the air of mysticism that engulfs it.

I have visited a few sacred places allied to early Franciscanism. Though no two monasteries are alike, Le Celle, ranks amongst one of the most prominent of them where you can experience the beauty and tranquility of the uncorrupted nature.

In the absolute silence that cloak this area, you could feel the mildness and wholesomeness of the air, you could hear the rustling of the wind, the natural sound of the running water of the stream, the chirps and calls of birds in vocal communication, see the green meadows and flowering pastures, well-watered gardens, useful growth of various trees…… Indeed, the sense of peace Le Celle exudes is almost tangible.

Le Celle’s architecture has a predominantly medieval character to it, similar to Cortona and the habitations in the surrounding areas. Devoid of much artistic value, it has a very humble appearance.

Constructed in an irregular manner during a period spanning 1200 to 1600 without a pre-established design, it epitomizes the poverty and simplicity of the early Franciscan architecture which gives it a charming appearance amidst the natural beauty of the surrounding leafy mountainous area – thickly populated by trees and bushes including age-old oaks, spruce, acacia, beech, sweet chestnut, cypress, parasol-pine or rows of maples and olive groves with River Vingone streaming on one side.

The sanctuary became known as Le Celle after Francesco and his companions chose it as a temporary place of domicile in 1211, a few years after his conversion. To Francesco, it was a period of two halves, one was down-to-earth, the second inspired and imaginative. As per his custom, Francesco used to spent long periods in solitary and secluded places in silence and prayer because he felt it offered him better atmosphere to be with God and converse with Him.

While he was preaching in Cortona, inspired by the brotherly love and peace spread by Francesco, a young noble named Guido Vagnottelli offered him great hospitality in his house. Impressed by the devotion and humbleness of Guido, Francesco was only happy to receive him into his Order – no resume, internship experience, and credentials such as extra certification in specialized skills. Having given away all his wealth to the poor, Guido soon embarked on a rigid discipline of Franciscan ideals at Le Celle.

Years later, San Francesco’s charisma would also conquer the heart of young Margherita who was born in Laviano near the Castiglione del Lago in Umbria but spent the second part of her life in Cortona. She was fascinated by the Saint’s life which reminded her that you cannot convince other people of what you say unless your own life is in accordance with it.

Similar to “Blessed Guido”, Francesco’s words also penetrated the hearts of many citizens of Cortona, springing spiritual enthusiasm in them. On many occasions they had listened to the priests without actually hearing anything. When they listened to Francesco, they actually heard.

(Statue of San Francesco at San Damiano, Assisi)

Seeking his future presence amidst them, the inhabitants of Cortona generously offered him the desolate site of a small chapel dedicated to the Archangel Michael which existed at the foot of Mount Sant’Egidio since the Lombard invasions. We can see a similar pattern here when Count Orlando Cattani of Chiusi donated the Mount of La Verna to Francesco in 1213, which became Tuscany’s holiest pilgrimage center.

The small chapel situated by the clear stream, the waterfall (together with the stream, it becomes active during winter), caves, ravines and trees, was at that time surrounded by few small cottages of hermits and peasant dwellings.

Here heaven seemed to reach down to earth. Francesco found it to be a suitable place where he could direct his mind completely to God – away from the world, peaceful, with the essential solitude and water. The area was engrossed in nature, beautiful and untainted, which was joyful to Francesco for he loved beauty in everything, in life. What he saw then at Le Celle is rather what the visitor sees today.

Having chosen a cave, he built his little shelter there with stones. This is the little cell, Le Celle in which he briefly lived. We can see a boulder here which is the remainder of that early cave of San Francesco.

We enter Le Celle after we cross the middle bridge known as Ponte Barberini, so named for having been built by the Capuchin novice Antonio Barberini (1607-1671), the cardinal-nephew of Pope Urban VIII (Maffeo Barberini – 1568-1644).Ponte del Granduca which is a bit downstream is named after Gian Gastone de’ Medici (Giovanni Battista Gastone, 1671-1737), son of Cosimo III de’ Medici and the last Medicean Grand Duke of Tuscany, who constructed it in 1728.

The first impression as we step into Le Celle is of peace, silence, plainness and good sense. Inside the cell where San Francesco stayed and prayed, there exists his wooden plank which was his cot, in its original place.

Above the door of the cell is an ancient manuscript: “Take off your shoes because the place in which you stand is holy ground.” Surrounding Francesco’s cell, other poor little huts were constructed at that time, out of natural caves or with branches of trees to accommodate his companions who underlined the similarity of their souls, to lead a life of meditation and spiritual friendship.

Some documents cite that San Francesco visited the sanctuary in April, 1215 for Easter after having spent the period of Lent in Isola Maggiore, the second largest island on Lake Trasimeno in Umbria. In Chapter VII (105) of “Vita prima S. Francisci”, his first biographer Tommaso da Celano set down that, during April 1226 while in Siena for treatment of the infirmity of eyes, Francesco fell gravely ill and upon recovery, he had gone to Le Celle with Brother Elias where he fell ill again. He was escorted to the Church of St. Mary of Porziuncola (later Basilica Papale di Santa Maria degli Angeli Porziuncola) where he will die peacefully at the age of forty-four on October 3, 1226. It was at Porziuncula where he founded the Franciscan Order of Friars Minor back in 1209.

(La Porziuncola)

During that final stay at Le Celle, his body bearing the marks of stigmata which he received in September 1224 on the mountain of La Verna (Monte Penna), Francesco had documented the ideals he had believed in and his last wishes. Probably, Le Celle holds the honour of being the place where he dictated his Testament.

(Basilica Papale di San Francesco in Assisi)

After completing the construction of the Lower church forming part of Basilica di San Francesco on a hill at the west side of Assisi in 1230 (Foundation stone was laid on July 17, 1228 and construction started as per design and supervision of Brother Elias, by then the second Minister General of the Order of the Friars Minor), in order to promote the growth of the Order and to conserve the precious places where Francesco and his first followers had stayed, in 1231, six year’s after the death of San Francesco, Elias undertook a number of restoration and expansion works at Le Celle strictly according to the virtue of poverty loved by San Francesco.

On the upper floor, he arranged eight cells measuring two meters by two that opened onto a long corridor that cut across its center. A door marked no: 4 with Elias’ picture above it, is traditionally believed as his cell (one of Elias’ two residences, the other being in Assisi). It is believed that Sant’Antonio di Padova, who was educated and specially fitted to preach, was also a visitor to Le Celle during this time.

Caught in the differences between Pope Gregory IX and excommunicated Holy Roman Emperor Frederick II (1194-1250), Elias was forced to retire to Cortona in 1239 where he built a church and monastery dedicated to San Francesco.

With the departure of Elias, Le Celle gradually lost its significance though some hermits lived there, including a community of Fraticelli (Little Brethren or Spirituali). This group of Friars Minor observed extreme proponents of the rule of San Francesco, mainly regarding poverty, his original lifestyle. Fraticelli developed into a separate entity after they were declared heretical in 1296 by the Church under Pope Boniface VIII (1235-1303).

It was during the period of Fraticelli that the present church was constructed at Le Celle, but after their departure in 1318, the convent was left abandoned though no one proposed that it should be abolished.

By 1537, the hermits from the newly founded Order of Capuchin Friars Minor, offshoots of Franciscans, took their turn to occupy Le Celle after it was granted to them by the Bishop of Cortona, turning it into the seat of their novitiate.

They led a life of extreme austerity, poverty and simplicity – as closer to the ideals of San Francesco as was practicable, working among the poor and teaching the Christian life by living it.

Retaining the original architectural style, they enlarged the convent, constructing the highest part on the existing structure which now houses some twenty cells in the size of two meters by two on the upper level, corresponding to the number of novices who enter the Order each year to engage in prayer and work.

The present chapel which the visitor will find adjacent to San Francesco’s cell was the Dormitory of the first community which was transformed into an Oratory dedicated to the Stigmata of San Francesco in 1614.

It has a small altar, devoid of art objects, but only an essential picture of Madonna and Child, hanging above it. Similar paintings, including one by Italian painter Simone Pignoni (1611-1698), can be seen elsewhere in the sanctuary.

The building also houses a Bibliotheca to cater to the religious and cultural needs of the brothers. Of the good number of old theological books, you could see leather bounded volumes of “Compendium Theologiae Moralis” by Fr Gabriele De Varceno. Apart from vegetable gardens, the front and sides of the buildings are adorned with beautiful lawns and hedges, well maintained.

This atmospheric and evocative place has changed little since the Middle Ages. The humble friars of Le Celle are not bounded by its walls, but live their lives in the public eye, inspiring others to follow their example.

The laity could observe the lives of the friars as they went on in a continuous succession of prayer and work. Rituals like daily procession after reciting Matins, etc are observed in their monastic life.

A placard here displays the timing of their daily routine in which private prayer, public reading, communal worship and manual work are balanced.

Over the centuries the sanctuary grew famous among the believers as a godly inheritance of the past. The serene ambiance, the simplicity of the buildings, the way of pious life, the contents of the library, the regular activities of preaching and catechesis, the grooming of the novices, the signature look of the friars – all reflects austerity and the original poverty and compassion towards every suffering person – aspects that reach out and touch the discerning visitor.

Eremo Le Celle heartily welcome homeless people who seek their solace or anyone who want to know and assimilate the very essence of Francesco’s unique vision and wish to involve in the life of their community.

(Valerio with Asia)

They provide facilities for spiritual retreat to priests as well as to independent groups of visitors in the little houses beside the convent for limited period of time. A friar, who generously allowed us to take photographs on the site, told me that some couples even chose the hermitage to bless their wedding. The charm of San Francesco remains irresistible.

There were fewer visitors today. But unlike the lot I have observed in some places of worship in Italy where they simply chatter and click photographs; loiter around in flip-flops, wearing revealing tops and trousers that reach just below the knees, that impious phenomenon was missing here.

This is not a place for sightseeing and the air of serenity draws your attention to the notice that enjoin strict silence – for almost everywhere you walk, San Francesco’s spirit reappears.

As I walked out into the side courtyard, I could see Asia happily moving around on the paved ground in the company of Bianca. He was staring at the swallows darting by the old oak tree. Upon seeing me, he came running towards me. How happy he appeared in this special place…

At this point, I could hear bells calling the friars to pray. It is time for us to leave – for now. I believe I will come back here another time and I know I would be welcomed to this magical experience. When you start believing, you will discover that all things are really possible. San Francesco was a house without windows or doors. We all could come and go – in peace. Ciao, Jo

PS: Asia left for dog heaven in November 2012.

Paintings Courtesy: Wikipedia Public Domain:

1) “Êxtase de São Francisco de Assis “ (1642) by Jusepe (José) de Ribera (1591-1652);

2) “San Francesco di Assisi “ (1597-99) by Lodovico (Il Cigoli) Cardi (1559-1613);

3) “Estasi di Santa Margherita” by Jacopo Alessandro Calvi (Il Sordino – 1740-1815)

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