English 225 Introduction To Film
The film The Elephant Man is an iconic and powerful humanistic filmmaking endeavor from one of the most interesting directors of the 20th century. Based on the true story of Joseph Carey Merrick, the film depicts a man with severe deformities experiencing life as a human sideshow in 19th century London, and his attempts to find peace and solace amongst the curiosity of man. Director David Lynch forces the horrors and sadness of deformity onto the audience in a way that leaves the viewer tear choked with sadness and sympathy. Most people who watch the film are touched in a way that alters their view of the crippled, weak, and deformed persons of the world, while showing his plight as being uniquely horrific. The film presents a subtle and sensitive portrayal of a man excised from the rest of society, attempting to live life as a man but still having to deal with prejudices and the lack of understanding of other human beings.
The creation of the film begins with Joseph Merrick’s incredible story being written into a play by Bernard Pomerance in 1979. Lynch’s film version was released the following year; it was not derived from the play, but Pomerance's work did give Lynch inspiration for his film. Lynch based his film version of the tale of Joseph (now John in the film) Merrick’s life on Merrick’s own memoirs and other sources from the time. The script, written by Lynch, contains information based upon Merrick’s memoirs and biography, as well as from Frederick Treves’ personal accounts. As far as historical accuracy is concerned, details have been altered to make the story more palatable for film. For example, Merrick is referred to incorrectly as “John“. This inaccuracy is a perpetuation of the error that was made in history, according to Frederick Treves’ account of the story. Lynch in an effort to maintain realism changes the name purposely but fails to make this understandable to the viewer. Beyond this change, many elements within the film are based in history, including his state of dress (wearing a hood and cloak when he travelled), his relationship and adoration for his mother, and his cardboard construction of a cathedral.
Perhaps most central to the film is John Hurt's amazing, sensitive performance as John Merrick. Despite being forced to emote through layers of makeup and prosthetics (modeled after Merrick's real face and appearance), Hurt manages to convey a depth of emotion that few actors could accomplish, finding beauty in this beastly figure. The character is played as that of a child, one who does not quite understand the world around him, if only because he has not really been exposed to any parts that did not contain cruelty. Lynch shows Hurt being victimized by Victorian society, but also abandoned like a child; numerous closeups of children are show, and Princess Alexandra describes him as "one of England's most unfortunate sons." His disability shows just how medicine and Victorian society of the time treated people with disabilities: quite poorly, and deserving of the criticism Lynch's camera provides.
Since no one was with Merrick when he died, Lynch's ending is purely based in fantasy, but makes a compelling scene nonetheless. Lynch divines a hypothetical death in which Merrick lies down like a normal person, which because of his abnormalities, causes his death. Merrick was found lying down in this manner when he was discovered the next day. Because of the peaceful state of his body it is supposed that he chose his death in this manner. Lynch stays true to at least what is known and believed. Lynch also gives a final grace and dignity to the character of John Merrick which allows the film to end in a way that is touchingly appropriate. In this way, we are oddly relieved for Merrick, as he had endured so much suffering and pain that it seemed fitting that he would die trying to be normal. In his death, we see him try to lie like a drawing of a sleeping child from his room, yet another tie to Merrick as a childlike figure.
The supporting cast deliver spot on performance that give validity and weight to the human drama at the heart of The Elephant Man. Of great note is Anthony Hopkins as Treves, one of the few true allies Merrick has along his journey. As Merrick’s “proprietor,“ Freddie Jones plays a ruthless menace and desperate part of man his greedy and delights in the suffering and controlling of those weaker than himself. Michael Elphick's performance as a night porter is chilling, particularly in one scene where he plans to humiliate Merrick in his hospital room by showing him naked and charging admission. Anne Bancroft as Treves’ wife, provides the needed compassion as she shows Merrick kindness in the face of a lifetime of women screaming at his physical ugliness.
Perhaps the most challenging and famous line is the scene when Merrick the tragic hero demands that everyone acknowledge that he is human. In the famous subway scene, Merrick is chased by crowds of people, viewing him as a freak. He utters in anguish, “I am not an elephant! I am not an animal! I am a human being! Iama man!” (Lynch, 1980) The working class is stunned and step back as he falls in exhaustion and sickness. It is a scene that lives on in the minds of viewers and it is the culmination of Lynch’s humanistic endeavor to make the audience realize that the deformed, the hurt, the ugly, and the forgotten; are still human beings and still deserving of respect.
Today, “The Elephant Man” remains a highly-acclaimed film and emotional masterpiece. Expertly directed, written, and performed, with an old style cinematography and orchestral score, the film can be seen as a return to the days of black white film. Victorian cultural superiority is thrown into question, as the high-class sophistication of the aristocrats is shown up by Merrick's raw, basic empathy and humanity. The emphasis on character and acting skill was an original move by Lynch during a time when special effects and color were taking the lead in cinematography. In fact, when one views the movie, he or she comes away with the idea that it could not have been filmed any other way. One of Lynch's decidedly less surrealist films (like Blue Velvet or Eraserhead), Lynch still manages to examine the macabre subject of a real-life freakshow, who becomes the most human character in the film. It is because of this sensitive, nuanced portrayal of disability and human cruelty that Lynch's film remains one of the great film dramas of the 20th century.
References
Clark, R. (2007-03-02), "The Elephant Man", The Independent
Ebert, R. (1980, January 1). The elephant man . Retrieved from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19800101/REVIEWS/101031 3/1023
Lynch, D. (1980). The elephant man. Retrieved from Movie
