Henrik Ibsen's 'A Doll's House'

Film Accounts - Part Four

So I left the classroom just before the film went to Act III and unfortunately broke my leg, so despite the sub title this account is actually just from reading the script online on http://www.stagebeauty.net/plays/th-doll3.html. 

The Helmers are upstairs at the party and Christine is downstairs, everyone is asleep or away, as she receives Krugstad into the house. It is apparent that he used to love her and she turned him away as he calls her a 'heartless' woman, adding to the griefs that we are aware Krugstad has suffered throughout his in-fact quite hard life. His love for Christine is extremely apparent as Ibsen uses the image that he is 'a ship wrecked man - clinging to a bit of wreckage'. Slightly symbolic that Nora is the piece of wreckage along with him, due to the similar crime that they have committed. Their love seems to still be alive as Christine suggests that they as two ship wrecked people come together, she has always worked her entire life and in a sense it has been her greatest pleasure, but now she wants someone to work for instead of just herself. Her character contrasts so strongly with Nora's who is completely naive and hasn't seemed to done any hard work ever - showing the sort of women that were going to help change the stereotypes were not Noras with rich husbands but Christines who need to work to put food on the table and to provide for their families. As they discuss how they plan to be together Krugstad feels in himself the desire to change himself and become who he wants to be seen by others as Christine ignores all the facts about him she knows, even admitting that she knows what is happening between him and the Helmers now. At first I thought that she was doing it purely to help Nora as from the beginning of her entrance she seemed to be a hard working woman always doing things for other people, even describing herself as a woman who 'has once sold herself' for another person - I now believe that she is truly being with Krugstad for her own benefit. 

As Nora and Torvald come back down the stairs from the party, having danced the tarantella, Christine pretends that she has waited there that whole time to see Nora's dress. Torvald shows off his wife as he wants Christine to 'take a good look at her, I [he] think[s] she is worth looking at.' Continuing the way he looks at her like an object and only compliments her beauty and not her brains or personality. As Christine tells Nora that she has to tell Torvald, who seems to be a little drunk at this stage, about what has happened Nora is described in brackets as being expressionless - this is the beginning of her acceptance I believe. Nora tells him that 'everything you [he] do[es] is right' and Torvald accepts it, showing the dominance in the relationship and his self assertiveness and arrogance over Nora. He continues to speak to her as if she is an object with comments such as 'all that beauty that is mine, all my very own' and never comments on anything else, whilst continuing to call her random bird names - he thinks he owns and control her. He is startled when Nora doesn't seem to want to entertain him after he describes all his boyish fantasies he has in his head about her, separating their real relationship from some fixated dream he has in his head. 

As Dr Rank comes in for a visit and Nora discusses that he may have made some scientific investigations today, Torvald begins to mock her for talking about that type of conversation, as if it was not meant for woman but only men - appearing extremely patronising. After an odd conversation about how Dr Rank would be invisible at the next party, Nora and Torvald receive a letter from him after he leaves with a black cross - he was telling them of his death. Torvald despite his best friend dying is a selfish character, Ibsen uses the simile that Dr Rank was 'like a cloudy background to our sunlit happiness' as if they were a perfect couple, when really it is sort of ironic for what is anticipated to follow them as Nora bids him goodnight and tells him to read his letters - she has accepted her fate. 

Nora repeatedly tells herself 'Never, never' with regards to seeing her husband and children again. She almost reaches the door when Torvald stops her and shouts at his disbelief over the contents of the letter. Accusing her of being a 'miserable creature' when before he would only call her beautiful, the direct contrast is effective as his anger is translated. He describes the lies as an 'ugliness' and it further enhances my thoughts that Torvald is obsessed with the beauty of things in life, only the appearances of people and not the inner feelings. The appearance that he is obsessed with is continued as he wants himself and Nora to 'appear as if everything between us [them] was the same as before' as he constantly is obsessed with how he is seen by other people. He merely wants to save the 'the remains, the fragments, the appearance-' again this tricolon emphasises the obsessive nature he has towards beauty and appearance. 

In the middle of his panic and anger he reads another letter from Krugstad returning the bond and essentially freeing them of all worries. Torvald completely flips and is rejoicing and even caring about Nora, he starts to think of the agonies she went through and instead of thinking about himself he tries to see the other side of the story. He speaks of how she has loved him 'like a wife ought to love her husband' and goes on to say that 'I should not be a man if this womanly helplessness did not give you a double attractiveness in my eyes'. He once again, despite acknowledging the lengths Nora has been through condemns her to being less than what he is, always seeing himself as more knowledgeable and worthy in society than a mere woman. The term 'womanly' shows a generalised feeling towards the gender and gives an astounding realisation of the lack of gender equality in these times. Torvald speaks a lot about how he has forgiven her, while Nora stands there with a cold set face. He speaks of how now he has forgives her 'it seems as if that had made her, as it were, double his own; he has given her a new life' where as there is no mention of how she spent the money to give him a new life in Italy - he only speaks of what he can do for her and not what she can do for herself, as if she is unable and unworthy of such status. 

Nora finally stands up for herself and gives herself a voice stating how Torvald has 'never understood me [her]. I [She] has been greatly wrong, Torvald first by papa and then by you'. She finally starts to blame the men in her life as she realises that she has been subjected to become what they want.

When I look back on it, it seems to me as if I had been living here like a poor woman--just from hand to mouth. I have existed merely to perform tricks for you, Torvald. But you would have it so. You and papa have committed a great sin against me. It is your fault that I have made nothing of my life.

As Nora speaks a million things which scream out her longing to find herself and be independent she says this quote I've entered underneath and it really epitomises the name of the play and the meaning of it in relation to her character.

No, only merry. And you have always been so kind to me. But our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald.
Torvald continues to treat Nora as the equivalent to the child, as I have written in my other parts of the film accounts that he refers to her behaviour as child like. He states 'You talk like a child. You don't understand the conditions of the world in which you live.' Which is true to an extent, for both the audience to acknowledge and also for Nora, she realises that she has not been educated but instead has been told what to do - like a child would. She finally wants to become a woman who can make her own opinions in life. As she explains to Torvald that she wants to leave him because he did not act in the way in which she has hoped when he read Krugstad's letter he says 'But no man would sacrifice his honour for the one he loves' and she replies, probably indicating to herself as well as 'It is a thing hundreds of thousands of women have done.'

Nora has finally had enough. she realises that she can 'receive nothing from a stranger' - the stranger being her husband.

Henrik Ibsen's 'A Doll's House'

Film Accounts - Part Three

So we are currently picking up from the beginning area of the second act. Nora has spoken to Torvald regarding Krugstad keeping his job and Christine Linde not getting it but he dismissed it and sent Krugstad a letter regarding his dismissal, Krugstad then comes and visits Nora by surprise. 

The realisation of what Nora has done has finally come to surface and even Mr Krugstad can realise as he states that she has 'a little clearer idea, than you [she] had yesterday of what it is you [she] has done?'. The dramatic tension is built and the audience is constantly anticipating whether Torvald and Chrstine will find out what Nora has done and just how far Krugstad can threaten and control her. Nora is still naive though regarding money and tries to tell Krugstad that she'll pay him more money in due course, Krugstad explains how he wants to 'rehabilitate myself [himself]' - this contrasts with Nora's obsession for money which is shown in the beginning of Act I as she constantly discusses spending money and being given a Christmas present of money from Torvald. This highlights how not everything can be bought and just as Nora's freedom cannot be bought nor can her place in society as an independent and free thinking woman. Krugstad posts a letter to Torvald explaining everything that has happened; Christine finds out as she sees him leaving and suspiciously comments that she will help Nora as 'there was a time when he wold gladly do anything' for her. Showing that there is an unknown relationship that the audience is unaware of. 

Nora uses her womanly and wifely ways to try and entice Torvald into not reading the letter later on in the night. Torvald looks at her in a sympathetic manner and says that 'this evening I [he] will be wholly and absolutely at your [her] service, you helpless little mortal'. The fact that her husband is calling her these things makes her seems like she cannot live without him and that she serves no purpose in life but to please him, making her appear worthless and invaluable. Nora is subject to whatever Torvald wants as she dances the tarantella for their party that evening she says 'criticise me, and correct me as you play' showing how she will mould herself to fit the perfect image that Torvald has in his mind for her - his little song bird. The irony when she is dancing is when Torvald says 'your dancing as if your life depended on it' - little does he know the entire audience realises that she literally is dancing for her lfe, as it is symbolic of the rest of the time left she has to reveal what she has done, stop Mr Krugstad's letter reaching her husband or stopping him accusing her of fraud. 

Torvald continues to demoralise Nora, explaining how naive and young she is by constantly referring to her being a child. He discusses that 'the child will have her way' and 'it is simply nothing more than the childish nervousness I was telling you of' to Dr Rank. If Torvald merely sees her as a child and therefore not an equal he is subjecting her to the stereotypical image of women that they had in the late nineteenth century in Norway.

Henrik Ibsen's 'A Doll's House'

Film Accounts - Part Two

So the second part, around 45minutes in, which we watched picks up just after Mr Krugstad accuses Nora of fraud, as she signed the loan of money for her father as he had passed away in a moment of sheer recklessness and panic.

The continuation of the bird theme, therefore the theme that women should follow a stereotypical role of indulging their husbands, continues in the second part of this movie. Torvald continues to call Nora his 'little bluebird' and discusses how his 'skylark' is exciting him when he thinks of her in her outfit for the party they are going to attend. Women in those days were expected to do whatever their husband's wished as the man's role was to gain an education and then a job to provide for his family, whereas the woman's role was to play to her husband's needs and create children. Torvald epitomises this behaviour as he states 'I'm your husband, it's your job to indulge me', I find that this is extremely degrading to women of that time frame. Although Nora doesn't help herself, she accepts her position in society and doesn't try and find her independence as she describes how she will speak 'in her prettiest voice' and dance and sing for her husband.

When Nora tries to speak up for herself regarding her own thoughts and ideas Torvald immediately disregards them, asserting his dominance over her in a shocked manner as he 'never thought you'd [she'd] say something like that to me [him]'. This is the first scenario in which Nora remotely finds her independence and speaks her mind. Despite her classification as a bird who is free to sing and fly by her husband he has locked her in a cage, just as a pet bird is locked in a bird cage. Torvald's disapproving tone is presented as he declares 'This ends now' in a very final and assured way, he is aware that he has the domestic power in the household despite Nora stating earlier to Christine that she knows how to get 'my [her] own way with him'.

Doctor Rank, Torvald's best friend who visits every day, is the exact opposite of Torvald. He speaks to Nora with more respect I believe and instead of trying to make everything seem beautiful and picturesque he accepts his fate and the somewhat ugliness that he sees in the world. I think the contrast between him and Torvald is prominent because he doesn't try and make Nora out to seem a beautiful innocent bird who should have no troubles but instead speaks to her about how he is facing death face on due to the degradation of his spinal chord. 

Henrik Ibsen's 'A Doll's House'

Film Accounts - Part One 

Despite wanting to study Octavio Paz's novel 'The Labyrinth of Solitude' as my text in translation novel I was pleasantly surprised to find that I would be learning about Henrik Ibsen's 'A Doll's House' play which has been translated from Norwegian, as I had recently been to the performance at the Young Vic Theatre in the West End. I remember the play specifically due to the rotating set of the house that some what mimicked the name of the production and also for the repeated use of bird names that Torvald uses for his wife Nora. 

Having done some research I learnt that the play was written in 1879 and that it sparked a lot of discussion and controversy regarding women's rights in the late nineteenth century. Ibsen argued that it was not a form of propaganda for women's rights but instead it was more to draw attention to 'the need of every individual to find out the kind of person he or she really is and to strive to become that person' due to the end of the play being Nora's (the main female character) departure to find who she truly is. Therefore having learnt this from both research and gaining a personal response to the play when having seen it but not completely understanding the background to the story I am aware that when watching the movie and studying it again I must pay attention the expectations that society has between husband and wife, as well as the role of men and women. 

Anyways, now I begin the film...

Immediately I noticed how Torvald uses terms symbolic of birds to describe his wife Nora, often calling her a 'swallow'. Birds are known to be small and beautiful creatures, singing all the time with a beautiful bird call. This reflects the character of Nora who is adored by her husband for her beauty and the way she indulges him. Although Torvald appears to love her and adore her in the opening scenes he does not seem to respect her, but instead controls her. Nora is shown as devious to begin with as she is secretly eating chocolates that her husband has forbade her from doing as she thinks he is 'worried about her figure'. This makes her seem like an object, as merely a toy to Torvald to enjoy than an equal being who can have her own freedom and equality to a man. 

The expectations of women were much less of men in this time period and Nora succumbs to the stereotypical roles that women had as she discusses a period of hard times for her family with regards to financial support as herself starting up 'needlework', which frankly isn't hard at all - but for a lady having to work was not a normality. Later as she discusses to her friend Christine, a single and independent woman who is looking for work, about how she gained money to save her husband, she describes the process of gaining money 'like being a man'. Later Nora describes how it is her husband's 'job to look after me' and also that it was her job to 'dance for him' and 'dress for him'. She degrades herself by only caring about appearances and amusing her husband as he gains the right to have an education and to rule the household. 

I perceive Nora to be quite a childlike and naive character which is slightly ironic given that she is living within the doll's house which is a child's toy. Nora has no manners and she constantly discusses herself with Christine regardless of her idyllic life compared to her friends. Nora is obsessed with money,  she shows off about it to Christine even asking if she was shocked by the amount Torvald would earn with his promotion in the bank. This foreshadows the plays underlining plot which is that Nora has forged a signature with regards to a loan and therefore has committed fraud. Later when Mr Krogstad, whom she owes money appears, he discusses doors being closed to him when he committed fraud. The dramatic tension which had been building up, to reveal whom had lent Nora the money, is extremely effective as there is a form of dramatic irony as the audience knows what all the other characters are unaware of. The motif of doors is important as when Mr Krogstad walked in he described that the 'door was open' where as when he was accused of committing fraud 'every door was closed' to him - therefore it shows the juxtaposition of the current situation he is in now and how he doesn't want to go back to where he was before. Therefore Nora must pay him back or pay for her hasty actions.