PIERRE and the AMBIGUITIES – A Filmscript - 10. Appendix 1 - Script Notes

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Pierre and the Ambiguities Appendices

 

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Pierre Script Notes

 

1) Time Setting: summer months of 1851.

 

2) Character and Costume Notes:

 

The Ambiguities characters

 

REDBURN: (aka Guy Winthrop) From the Hudson River Valley; 31-32 years old. He is the successful author of several novels concerning his adventures and loves at sea. He achieved great artistic notice thanks to the mentoring of a powerful art and literary critic, with whom he has been romantically engaged for three years. His relationship with Felix Akker is a strained one, for although he loves him deeply for his intellect and wicked wit, the older man is overly jealous and deeply closeted. Redburn cannot shake the uneasy feeling that Akker does not love him to the same degree, and might cut him off when it suits the critic to do so. In any event, Redburn finds comfort in his work, and is a prolific writer with two major projects pressing for his attention at the same time. He has a rented room in lower Manhattan, but spends most of his time living in Akker’s Gramercy Park townhouse. He has longish brunette hair which he lets go free in the manner of a lion’s mane.

 

CLOTHES: He wears clothes that are very close to the conservative Bohemian outfits his benefactor favors: suits that have jackets edged in wide lapels, billowy cravats, form-fitting slacks, and floppy brimmed hats to bespeak of his ‘artist’ status. In the country, he wears simple but well-tailored linen suits and straw hats.

 

FELIX AKKER: From New York City; mid-40s. He is a powerful and rich literary critic, magazine publisher, and elitist New Yorker of Dutch (old school) high society. He took an interest in the handsome young author of Typee several years ago. They have been partners ever since, but Akker is smart enough to know Redburn’s talents as a writer are well beyond the critic’s making and promotion. His interest in his young acolyte is a jumble of fandom, love, respect, and lustful pride to think he ‘belongs’ to Akker. The older man delights in presenting the author to the ‘best and brightest’ of the upper-class as if Redburn was an urchin he found on a street corner, and not a young man who is also from one America’s best families. This conceit lends a certain thrill of sexual dominance over the young man, for let’s face it, Akker is a self-absorbed, selfish and vain man who is constantly worried that someone will call him out. In this regard, he relates in equanimity to Redburn’s fictional character, Glendemming Stanley. Akker has a pronounced New York patrician accent along the lines of what George Plimpton sounded like.

 

CLOTHES: He wears expensive clothes that are engineered to seem effortless. He prefers suits that show he is not a banker or lawyer, but also in luxurious fabrics that most bankers and lawyers could not afford to wear. The cut of his clothes are artistic and geared to impress one that he has ‘edgy’ taste, but one which is grounded in traditions. He rarely wears headgear.

 

RENSLOW LEPINE: From New England; 36 years old. A daring author with soulful eyes, whose handsome looks and confident self-possessed (but not arrogant) nature captures almost everyone he meets; and none more so than Redburn. As a Bostonian, with a highbrow accent to prove it, his literary output is supported by, but also slightly protected from, Akker’s critical reviews. Redburn on the other hand is deeply drawn to the depth and substance of Lepine’s published short stories and novels. But when he finally meets him face to face, much more than just fandom stirs within the hearts of both men. Lepine is a serious-natured person and delights that this earnestness seems to make Redburn want to address him in terms that are nearly spiritual when they are alone. All of this is slightly moot however, as Lepine is rather closeted; he must decide if having the love of Redburn is enough for him to face the fears that he might have to choose him and give up all the rest. He too wears his chestnut-colored hair long and untied.

 

CLOTHES: He wears impeccably tailored and conservative clothes. He instantly makes Akker jealous with his attire, as most men do not like to be reminded that money cannot buy taste, which Lepine has in spades. In the country, he borrows one of Redburn’s linen suits and a spare straw hat.

 

EMILY WINTHROP: From the Hudson River Valley; 24 years old. She is the younger sister of Redburn, and a strong supporter of her brother’s work and happiness. She spends her time divided between Boston, and her mother’s house in a village along the banks of the Hudson. The reason she goes to Boston is to be with the woman she loves, Sara Goranson, and both of them consider themselves to be ‘soul married’ to one another. However, Emily wants the stability (i.e., respectability) and permanence that her brother can provide them by marrying Sara. Redburn is extremely reluctant to complicate his life, both emotionally and legally, by living a lie. He is thus unwilling to submit to the daily grind of a loveless, sham marriage. He feels marrying Sara would be tantamount to him wedding his own sister, and that is something society should decry as immoral – that is, the fact that Gay people are forced by tradition to wed people they can never love. However, he has brotherly-love for Emily, wants her to be happy and knows that two women in love have even more legal issues to overcome than a male couple who struggle in their society to build a life together. Her personality is bubbly, persuasive and exhibits traits of the family strong-will that Redburn associates with himself. She too has darker hair like her brother, and wears it gathered on top of her head.

 

CLOTHES: Her clothes are understated but tasteful. She models her ‘city wear’ on what Sara deems appropriate for Boston, but in the country dumps the black in favor of summer dresses in French cotton prints and hats with many ribbons.

 

SARA GORANSON: From New England; 28 years old. She is the daughter of a Baptist minister from Connecticut. Sara loves Emily and has since they first met in Boston three years ago. She is anxious to build a life with Emily and get out of the dominating control of her straight-laced father. She is pretty, but a bit on the plain side in her mode of dress and hairstyle. She admires Emily for her bravery and sense of feminine grace and charms. She had long, fair hair that she keeps down but tied attractively together about her neck level.

 

CLOTHES: She dresses like a Baptist minister’s daughter in conservative and black outfits. When she is with Emily in the country, she barrows her partner’s clothes and feels and looks totally liberated.

 

REVEREND GORANSON: From New England; 58 years old. He is the type of “Man-of-the-Cloth” who is more interested in the cost of his suit fabric than what rags 99.99% of the world must wear. His Calvinism holds the poor around us were hell-bound on the day God made the world anyway, as is evident by their poverty. A few born poor, but rising in cutthroat fashion via business, politics or crime, can be considered “saved” as well, as the Lord has blessed them with the holy favor of wealth. As for artists and their circles, such devil-agents here on earth are not something he wishes his daughter to marry into, lest her predestinated soul be dragged down to hell with the rest. Does he love Sara? Who knows. Is such a man capable of love in any guise? One thing for certain is that he demeans his Mrs. Reverend Goranson to the point that most of his congregation have no idea what – if any – personal names she may have. The question in his mind is whether Redburn will prove docile to his will or not. Sara is suitably submissive around him, so the Rev. assumes the young man will be too. The only chink in his armor of self-pronounced righteous is his bastard daughter. The Rev. raped a young lady of middling societal standing when a seminary student, as she was the daughter of one of his professors. Family money from his father “took care” of removing the unfortunate girl from prying eyes, and set her up as a soldier’s widow in Boston. Sara’s mother – Bridget – told Sara all about her, furnishing history, names and addresses just in case the young lady ever needs leverage over the black-hearted ‘minister.’

    

CLOTHES: He wears a dog collar and black suits. He also has a round-brimmed hat with a domed top, naturally, in black.

 

MRS. WINTHROP: From the Hudson River Valley; 57 years old. As a widow and doting mother, she made sure the growing Redburn, Emily, and her deceased son Peter, never lacked for anything. She is proud of her children’s accomplishments and loves them deeply.

    

CLOTHES: She dresses in plain clothes as is befitting a woman who mostly stays at home or dashes off to do errands around town.

 

TOBY BROWNE: Born and raised in New York City; 33 years old. Toby’s fire and passion for life is much diminished when he and Redburn finally have a reunion. Although he is still just as strikingly handsome, that tempestuous ‘grab life by the balls’ verve is gone, and this is mostly due to the feelings of having lost Redburn and thinking that he was dead. Unfortunately for the young author, Toby has moved on, and done so in a direction that profoundly unnerves Redburn. He does not want the man he still loves so intensely to suffer, but Toby has written his own script with wife and farm. There is nothing Redburn can do to rework a ‘future’ for them, and that kills both of the men inside.

    

CLOTHES: He wears his Sunday best suit to visit with Redburn: it is black satin, trimmed nicely and a bit showy, which matches his personality.

 

The Pierre characters:

(as conceived of in the mind of Redburn for his book)

 

PIERRE GLENDEMMING: From the Hudson River Valley; 19-20 years old. As the ‘princely’ heir of one of the founding families of the United States, he has led a sort of Jane Austin sheltered life on his family’s estate (named Saddle Meadows) in central New York state. His bucolic existence was punctuated by regular visits to NYC to visit relatives, and especially to spend alone time with his suave city-cousin, Glendemming Stanley. Pierre’s father died when he was 10, and since puberty, his mother has kept him almost ridiculously sheltered. To the lad, she has elevated the status of the dead man to infallible saint. Pierre is a country boy – fit, robust, loves riding and hiking; he loves nature! His father was an importer of French luxuries in his 20s, and the man’s ‘French connection’ is in the name of his only son. Pierre loves ‘Glen,’ but that boy left the US at age 17 to be tutored in Europe. Slowly, Glen’s love letters changed to ones of friendship, and then acquaintance, breaking Pierre’s heart. He is aware that his country pal, Charlie, has feelings for him, but he cannot return them while he still thinks there is hope for him with Glen. Until that young man does return to New York, Pierre is in a sort of limbo – and lets his mother’s dominance pull him, or keep him centered on Saddle Meadows. His escapism is nature, and he loves the sea too. In terms of appearance, he has long, dark hair, which he ties back with a black ribbon. The youth strongly resembles his father as seen in the portraits of him, especially in ‘the closet’ picture of him at the same age as Pierre is now.

 

CLOTHES: He wears slightly old-fashioned, but youthful, knee breeches and cutaway jackets when he is on the estate and in the village. When he goes to NYC, he wears somber black clothes that become more and more threadbare, disheveled and dirty as he grows lost in the work of writing his book.

 

MARY GLENDEMMING: (aka Mother; Sister Mary) A New York City-born upper-class woman; 48 years old. She is a haughty, supremely snobby attention-seeker and mother of Pierre, who married the boy’s father when he was a mature man of thirty-five. In many ways she is glad her husband has been dead for ten years. For one, it has allowed her to run Saddle Meadows in the way she pleases, and being ‘lord and master’ of 5,000 acres of money-producing estate (off of the backs of the dirt-poor tenant farmers who work it) props up her sadistic sense of pride immensely. Although she builds up the image of his father to Pierre, she knows that her dead husband was weak. She knows he sent for his bastard daughter from France after the girl’s mother died, and she knows he’d visit with the girl at the orphanage (where he paid to have her housed and educated), and Mary Glendemming hates him for it! Weak! A potential embarrassment to her is all she ever considered of the matter, but now that he is gone…well, she has tried to forget about the affair and given only random and unorganized thoughts about the fate of the girl in question. However, now that she has been both father and mother to Pierre since the boy was ten, she takes an odd relish in assuming a fatherly dominance over her son – the father’s weakness is in him too, or so she feels. This willful obsession to see greater and greater submissive behavior from her growing teenage son sprang into new realms of unwholesomeness as Pierre developed facial hair, his voice deepened, and his body grew more and more muscular. She began to lust for control of his burgeoning manhood, and as he continued to acquiesce, she increasingly devalued her son as a man. His emotions became her toy thing, her ‘object,’ and as Pierre’s body developed (despite his force-stunted emotional progress), she lusted after his bodily control as well. She began making him kiss her. She began making him hold her (holding her hands, and arms and embracing her close from the front and behind) as if they were lovers. She began making him call her ‘sister,’ and with each passing submissive display, her contempt for the sissified mama’s boy grew. She knows her ‘love’ is a horrible burden for Pierre, and delights in making it so for him, for that is the means by which she will retain control of her money and property even after Pierre turns twenty-one. She has long dark hair, which she secretly dyes, and is extremely vain. She forces her son to say how young she looks (thus propping up the ‘sister’ conceit).

    

CLOTHES: She dresses as if a Van Rensselaer, Roosevelt, or Astor will drop by at any moment. Her clothes are of the latest fashions, but tailored to make her appear youthful and ‘hip.’

 

LUCY TARTAN: Born and raised in the village of Saddle Meadow (i.e. in ‘Nature’ itself), she is 18 years old. In Pierre’s eyes, she is an abstraction – a milky nothing who embodies all of the vague and un-alluring concepts of ‘woman.’ Via her nature of unassuming ease, she is the personified analogy of ‘Art’ to Pierre and Redburn. She is something to seek, to possess, to protect from the harm of others who would lessen her meaning through ignorance. She must be guarded to prevent her from being lessened by others or to have her stolen or killed within a man by societal pressures to ‘conform,’ or dashed to pieces by harsh critics who cannot comprehend ‘Art.’ In the manner of the goddess for whom she represents, she has a sacred object to speak to her powers. ^[18] Her easel is the support she uses to render the two portraits of Pierre – his ‘before and after’ shots – and by which Nature itself shows approval of her human ability to copy nature by having ivy tendrils climb up the legs. These are ripped off of the easel after she is forced to decide if she will continue to support Pierre or abandon him to the world at large, perhaps showing that what Pierre is doing has become unnatural. She is never described in the book, but one can assume she forms a contrast to Pierre/Redburn’s darker hair and complexion, so she should be fair of skin and hair. As she is a stand-in for human expression, she must be beautiful, but again this is never stated or described by Pierre in the book.

    

CLOTHES: Before the split, she wears colorful ‘country clothes’ of the type one may see on milkmaids of Meissen figurines. After the split and abandonment of her by Pierre, she wears black.

 

ISABELLE BANFORD: French-born sister to Pierre; 25 years old. She was brought to live in an orphanage near Saddle Meadows when the girl was eight years old. There she spent an unhappy childhood and was kicked out at the age of twenty-one (when her father’s fund to take care of her was exhausted). Thereafter she was placed as a maidservant in one of the self-owned farm plots just outside of town. There she has lived in quiet hope that one day her path will cross with that of her brother’s. However, just as Lucy is an abstraction of ‘woman’ to the endeavors of artistic expression, Isabelle is the brooding deconstruction of woman as the fleshly entity capable of seduction, entrapment of men’s better senses, and of the earthly pull (per Polynesian cosmology) of the caustic world to beget more worm-food through the animalistic instincts of breeding and lust. As Lucy has her easel, Isabelle has her guitar by which she can siren-call men to their fleshly doom. As women do not need men, her guitar (her womb) can play itself in the cycle of menstruation (another Polynesian symbol via the moon and of womanly lust bearing life that will only die and rot in time). The face of this facet of ‘woman’ haunts Pierre so that he cannot seem to escape the sisterly connection between both his mother and Isabella’s desire to likewise control him. This relentless tug on Pierre hints at the connection of ‘it’ to the depths of his own earthly-bound soul. But like Hautia in Mardi, just as Redburn knew the sorceress was a trap, so does Pierre know it with Isabelle, but he has less strength to try and escape it than Redburn did. ^[19] Pierre is not interested in her, and yet interest radiates from her. He sees his father’s youthful face in hers, meaning, he sees his own mirror likeness in her. In that sense, his desires for an ordinary and unlived life could be his own unmanning if he is not careful to resist this ‘incestual’ pull to procreate at the cost of being true to himself, whom he loves, and his strong desire to create immortal expression that will connect with people through his art. She is described as being dark eyed, dark haired, and dark souled. In all regards, she is a physical ‘match’ for Pierre.

    

CLOTHES: She wears plain clothes and is mostly seen in a protective pinafore, as Pierre has a habit of speaking to her when she is busy with her necessary labors.

 

GLENDEMMING STANLEY: The New York City-born maternal cousin of Pierre; 21 years old. The young men forged a fully-formed relationship when they were teens – half spent at Glen’s home in New York, and half spent on Saddle Meadows and in the mountainous countryside around it. Together they played and loved with a lad their own age named Charlie. Things changed when Glen was 19 (Pierre, 17) and he went on a European tour. His love for Pierre became a hindrance, as his tutor taught him to look down upon his sexual ‘conquests,’ and thus he began to feel repulsed by his own genuine feelings of love towards his cousin, and concerned that he needed to closet himself. He grew more and more incensed that Pierre did not change the way he felt about Glen, and grew aloof. Hearing of Pierre’s break with Mary Glendemming, he snaps up the chance to follow that woman’s demands (enticed by being made heir to the money and estate) to take Lucy away from Pierre. This is meant as the ultimate symbol of society’s ‘norms’ having the ability to deprive Pierre of his chance to create art through his own expression – to make him voiceless. Physically, Glen is fair, tall, dashing, robust and splendid looking, and at the sight of him again, Pierre swoons despite himself. He has an Imperial goatee, is dressed in the luxe fabric expertly tailored to his body in France. He has balance – manliness to dandiness; strength to passivity; vigor to repose. And Pierre is turned on by him in every possible way, but all that manly beauty winds up being unnecessarily cruel, for upon their public reunion, he tells Pierre to leave or he’ll reveal his secret. As Pierre’s ‘city lover,’ Glen represents all the duplicity, self-repressed, unhealthy and un-Christian advantage-seeking of upper class puritanical and hypocritical men. He is thus Redburn’s perfect stand-in for Akker.

               

CLOTHES: He wears the latest in French-made fashions for sporting young men. He looks good, and he knows it.

 

CHARLIE MILLTHORPE: Saddle Meadows-born New York attorney and childhood friend of Pierre; 21 years old. Pierre, Charlie and Glen spent many happy teenage days making love on hikes through the Catskill Mountains. Charlie fell deeply for Pierre, but knowing he was ‘just a tenant’s son,’ and that Glen was rich, he despaired of ever catching Pierre’s love in return. He saw instead the cousins falling in love, and was quietly happy for them. At 17, his father died, and the young man took his mother and sisters to New York. Working odd jobs, he studied law on his own, passed the bar, and now has a meager practice representing the disenfranchised. He is very well respected and moves in some very important circles where Gay power-brokers naturally congregate to create community. Charlie has a good head on his shoulders and is naturally philosophical. As a thinking man, he knows he was not put on this earth to deceive society and one poor hapless woman with a sham marriage. After the break with his mother, the thrill of having Pierre in his life again is almost overwhelming, but seeing Pierre entangled with a woman makes him profoundly sad. He hopes that drawing him into philosophy will clear Pierre’s mind. He still loves the young man, and would do anything for him – anything. Charlie has three younger sisters and has set them up in their own apartment in The Apostles (a converted church and other buildings housing artists, philosophers and their studios), while he lives on his own in the same complex. In contrast to Glen, as Pierre’s ‘country lover,’ Charlie is naturally refined, a free-spirit and not burdened by any affectation or attitude of superiority, although he comes from noble stock, as his ancestors were minor nobility in England. If Glen is analogy for closeted, self-hating myopia clothed in a rich ‘worldliness’ (as indeed is Akker), then Charlie is the fresh-aired openness of real and honest boys who know who they love and have no stomach or will to try to fool anyone about it, especially not himself. In this understanding, Pierre is right between Glen and Charlie – a stymied young man wavering between one approach and the other. This too is Redburn, for although he has always been ‘Charlie,’ he feels pulled to Glen’s side by the pressure of example by Akker and by Emily’s desire for a sham marriage for her own reasons. He is tall, has a swimmer’s physique, a youthful bloom, and is blessed with curly strawberry blond hair. He has a charming, disarming way of speaking.

 

CLOTHES: He wears the slightly shabby chic of a true Bohemian. His clothes are always very neat and clean, but rakish when compared to other legal professionals.

 

PLOTINUS PLINLIMMON: Tennessee-born modern day philosopher; 58 years old. Plain and composed, he is our ‘Uncle Socrates,’ and as a wise Gay Greek figure from history, he becomes a bemused witness to the screwed-up state that Gay men have let the world slip into in 19^th century America. He is a manifestation of Pierre’s guilty conscience: one that always watches him and seems to be ever ready to judge and damn his actions on history’s behalf. He thus becomes a double-goading nuisance to Pierre asking the paired questions of whether Pierre will ever be ‘good enough,’ and as the witness to Gay history, he asks if Pierre will ever be man enough to live freely. Thus, as a personification of conscience, he is a sort of conman – for as a philosopher, Plontinus makes no books of his own, nor does he even read any by others, yet he is the best authority to listen to, if anyone is willing to stomach what he has to tell them. In appearance, he looks neither young nor old, but his face is described as ‘non-benevolent,’ pale and wrinkle free. He has a beard (as did Socrates), and piercing blue eyes.

    

CLOTHES: As a Southern gentleman, I imagine he wears slightly old-fashioned clothes, but keeps them relatively neat and tidy. Melville says Pierre is “disguised by his clothes and very glance.”

 

 

 

Pierre Text Endnotes

 

[1] Akker’s party music: Bach’s Cello Suite BMV 1012, Movement 6, Gavotte and Gigue:

https://youtu.be/Fy2LwZrZyEA

 

[2] Saddle Meadows: the fictional Saddle Meadows is based on the real-life Drayton Hall:

https://www.draytonhall.org/

 

[3] Isabelle’s theme: introduction of the Thomas Tallis theme A New Commandment:

https://youtu.be/QR8Y9y-UMHE

 

[4] Milton passage: quoted after Paradise Lost VIII, 620~629.

 

[5] Renslow and Redburn’s love theme: Cambridge Singers, Thomas Tallis If Ye Love Me:

https://youtu.be/eqt005j1dB0

 

[6] Isabelle’s guitar’s first melody: Bach’s Flute Sonata BWV 1034, Movement 3, Andante (Russell transcription for guitar):

https://youtu.be/Qvg6B3qU55A

 

[7] ”The Guitar Player”: Petrus Van Schendel’s 1859 painting strikes many of the same ‘ambiguities’ as Melville’s verbal portrait of Isabelle. It certainly manages to create the same beautiful-yet-mysterious atmosphere.

 

https://www.christies.com/img/LotImages/2017/NYR/2017_NYR_14141_0057_000(petrus_van_schendel_a_girl_playing_a_guitar_by_candlelight045857).jpg

 

[8] Toby and Redburn’s love theme: Domenico Zipoli’s All’Elevazione N.1 – adagio for cello, oboe, orchestra and organ:

https://youtu.be/Cz7BKFwJJCc

 

[9] Church of the Apostles: Melville’s combination of rental office and live / work lofts is based on the real-life South Baptist Church. Located at 82 Nassau Street and built in 1803, the complex of buildings was deconsecrated in 1848 and put to commercial income-generating purposes. I have been unable to locate a drawing or photograph of the site, but see Elizabeth Kray’s comments concerning the facility here:

http://www.poets.org/viewmedia.php/prmMID/19205#sthash.mnxCgNnX.dpuf

 

[10] Strident flute music: Bach’s Violin Sonata BWV 1003, Movement 1, Grave (transcribed for flute):

https://youtu.be/u12WCnVpqvc

 

[11] Isabelle’s guitar’s 2nd melody: Bach’s Violin Sonata BWV 1003, Movement 3, Andante (transcribed for guitar):

https://youtu.be/p7yJ7G05GRw

 

[12] Akker’s home: is the same one as Glendemming Stanley’s from an earlier scene.

 

[13] Flute and guitar together: Bach’s Flute Sonata, BWV 1034, Movement 3, Andante (Russell transcription for guitar, with flute leading):

https://youtu.be/Qvg6B3qU55A

 

[14] Painting reveal music: Bach’s Violin Sonata BWV 1003, Movements 1, Grave (original violin transcription):

https://youtu.be/3xuDQBB24UM

 

[15] Pierre’s corpse portrait: is it possible Oscar Wilde got his Dorian Gray concept from Melville’s novel? Although Pierre was difficult to obtain in England, Wilde did have a North American tour in the 1880s, which is exactly when the “Melville Revival” began to occur. This rediscovery of the great American’s works was chiefly led by UK critics reevaluating his much-neglected writings.

 

[16] Renslow and Redburn’s love theme: the Harmony-Quartet Thomas Tallis If Ye Love Me:

https://youtu.be/_7lZHByBB84

 

[17] Dutchie’s jig: Bach BWV 577 Gigue and Fugue (the softer sailor version transitions to the gloriously loud Gustav Holst orchestrated version, crescendoing before the song that plays over the end credits starts):

https://youtu.be/nyPciGn47pA

https://youtu.be/DQU0MhiWBm4

 

[18] Lucy’s easel: is a titular sacred object in the way that Zeus has his thunderbolt, Diana her bow, Poseidon his trident, Thor his hammer, etc.

 

[19] Lucy and Isabelle: there is a very blatant connection between Hautia vs. Yillah and Isabelle vs. Lucy, for they are the same personification of the exact pressures to conform to societal expectations burdened relentlessly on Gay men and women, and the natural desire of those people so victimized to seek release, more often than not through artistic expression which become their immortal ‘children.’ I really do not know how Melville could have been more explicit about these fears and anxieties than he actually was in his literature.

 

 

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