Morvern Callar

If you are feeling too much Christmas cheer left over from the holidays, a perfect antidote is Lynne Ramsay's second feature Morvern Callar. Based on a 1995 novel by Alan Warner, Morvern Callar, superbly performed by Samantha Morton, is a 21-year old supermarket clerk in a Scottish town who wakes in a semi-stupor to discover the sprawling corpse of her boyfriend on the kitchen floor. With Christmas tree lights flashing, she caresses his body but seems unable to act rationally. All she can think to do is open the Christmas presents that include a music tape labeled "Music for You".

She also finds a note in which he apologizes for his act, directs her to publish his recently completed novel, and reveals that he has given her access to his bank account. Morvern does not tell anyone about his death and astonishingly no one asks any questions. Matter of factly, she changes the name on the novel to her own, mails it to a publisher, then cuts up his body in the bathtub, and buries it using only a flat-bladed garden tool.

Using her newfound money, Morvern takes her girlfriend Lanna, played by nonprofessional actress Kathleen McDermott, to the Costa del Clubland in Spain on an extended vacation. They engage in drinking, sex, and drugs to the beat of a hip rock music soundtrack that includes The Velvet Underground, Aphex Twin, and Can. Ramsay creates a technically stylized dreamscape in which physical sensation takes the place of narrative, dialogue is sparse and self-examination is non existent.

When a publisher offers Morvern an advance of 100,00 pounds for a novel she did not write, she believes she has found the ticket to endless pleasure and, after an argument, ditches Lanna somewhere in the Spanish countryside but remains closed and enigmatic to the end. Morvern is impenetrable and unreflective, content to drift along in a mental and physical haze, lacking any sense of right or wrong or feelings for others. Morvern Callar is a beautiful looking film and an enticing sensual experience, but ultimately I found it uninvolving and lacking in emotional depth or integrity.

I looked at my watch quite frequently during Morvern Callar. I first felt impatient during the opening sequence which seemed unnecessarily drawn out. I'm sure living with a corpse in a small apartment for apparently several days can't have been very pleasant as decay starts to set in.

There are other parts of the film that just don't ring true, either. How did she use her boyfriend's debit card to get access to his entire balance? Also, I can't believe that the publishers would find her a credible author. I would have been very suspicious of her attitude and empty-headedness.

There were some beautiful images and some likeable scenes in this film, but it was like sitting through someone else's dream. The more I think about this film the less I really like it. Downgraded from my initial score of seven to a six.

I have to say that Samantha Morton is a superb actress. She doesn't play a part so much as become the part. I only hope that she's grounded enough in real life to survive this kind of immersion in her roles.

For me, the most notable thing about this film was the scarcity of dialogue. It is a brave move on the director's part for sure, but for a film that tells a story of personal awakening (of sorts), the infrequent speech means we can never be sure of what Morvern is thinking or feeling. We don't get much help from the camera either - the film is exquisitely shot, but many of the scenes have a confrontational, tense and opaque sense of aesthetics - there is not enough variation in feel to tell the story of someone who changes their life completely.

My reading of Morvern Callar (as a film and a character) is of a woman who escapes from a humdrum, ugly life. Through personal awakening, art and good fortune, she comes to embrace a more bohemian and expansive existence. In short, she learns to live.

It's a big story and a big theme - yet we never really understand how and why Morvern comes to change her entire outlook on life. Neither do we hear enough from her to mitigate the more unpleasant sides of her character - her frequent (and occasionally sociopathic) lack of emotional response, her selfish excess, her deliberate mistreating of her friend. I suspect she is supposed to be a hero of sorts, but she could equally be an anti-hero or even something in between. We just never find out enough about her - in her words, anyone else's words or the director's shooting of her.

I'm glad that the film has made me consider questions like this, and as an intellectual exercise it's therefore quite enjoyable. As entertainment, as statement or as spectacle however, it's quite badly flawed.

I haven't read the book of 'Morvern Callar', but I have read a couple of other works by Alan Warner, both of which where distinguished by their spiky characters and irreverent tone. This film, however, is made by Lynne Ramsay, whose first work was 'Ratcatcher', a move both astonishingly affecting and almost unwatchable. In 'Morvern Callar', she opts for a similarly intense style. Ramsay is a master of certain cinematic tricks, which she uses with more skill than discretion: frequent cutting (both within and between scenes) and the use of fragmentary, non-explanatory dialogue. She succeeds in conveying a sense of alienation and a semi-documentary feel, but there's no relief, no variation in mood at any point in the film. Samantha Morton (too old for the role and, crucially, not Scottish) plays Morvern as a kind of semi-moron; and yet their are times when the film seems also to be presenting her as a deep and knowing soul, a not altogether happy conjunction. Also worthy of criticism is the peculiar soundtrack: the songs we hear just don't sound like what we would expect a girl like Morvern to listen to, feeling instead like a heavy handed attempt by the director to set the scene from the outside.

Perhaps I am being too hard on the film because it wasn't what I expected from my knowledge of the writer. Once I got over this, I did quite enjoy it, many individual scenes are very nicely crafted, and the loose, drifting plot has its own appeal. But it feels more as if it was based on a short story than a novel, and Ramsay's determination to show Morvern as a victim (it's never clear of what) strips it of its potentially comic dimensions and leaves us with a thin outline trying too hard to assert its own significance. An interesting film, but one that appears to have lost sight of its purpose.

Ramsey's second film after the totally impressive Ratcatcher has an air of aimlessness about it. I haven't read the book but the film has only one idea: how does a girl behave when she finds her boyfriend dead with slashed wrists on the floor of their flat? Callar's response is almost post-contemporary - what happens here could simply never have been conceived of more than a few years ago. We follow Samantha Morton (as Callar) through subsequent hazy meanderings with her girlfriend. We assume she is in severe temporary shock at the tragedy - so the creeping suspicion that she is simply a half-wit is disappointing, though all the soft drugs confounds the issue. Life seems impoverished here, as if the city has sucked something out of people. Even death is meaningless.

The early part of the film looks dangerously like Catherine Breillat territory - the last thing we need is an original talent like Ramsey to start ripping people off - and I think she was only partly able to haul herself out of the Breillat groove. The tension lapses completely during the second half when Callar goes on holiday in Spain, and there is a silly scene when she meets publishers and passes herself off as the writer of her dead boyfriend's novel that we could have done without.

On the whole, very nicely executed though; a fine performance by Morton, a great and atmospheric opening, and some cool music including Aphex Twin make it worth watching. Pity there wasn't more to it.