Answers to Frequently Asked Questions

** What was the rating of "Heavenly Creatures?" [jp]

"Heavenly Creatures" was rated 'R' in America (children under 17 not admitted without accompanying parent or guardian). The film was rated '18' in the U.K. "Heavenly Creatures" deals with mature subjects, including a brutal murder, a parricide (with formally off-screen violence), in a frank, intense and very engaging manner. There are mature erotic and sexual themes and situations depicted. There is brief, partial nudity. There is brief, explicit on-screen violence depicted. There is no full nudity, nor explicit profanity. There are themes explored which may be offensive to persons with deep Christian convictions. If "Heavenly Creatures" does not sound like your kind of film, then the "Heavenly Creatures" FAQ is probably not going to be to your liking, either, and you are invited to stop reading.

** Which "Heavenly Creature" was unmasked by the press? [jp]

In July 1994 it was revealed by an investigative reporter that Juliet Hulme is now living and working under the name Anne Perry. Ms Perry is a successful and popular author of Victorian murder mysteries. See 3.2.4, 3.2.7 and 7.10.2 for selected biographical information and 7.11 for more information on Anne Perry's fiction.

** What is the FAQ policy regarding data on Ms Perry? [jp]

Anne Perry chose to live her life in the public sphere and has published biographical information for public consumption. Since it was revealed, in 1994, that she was Juliet Hulme, Ms Perry has made public statements about the film "Heavenly Creatures," about the "Parker Hulme" case, about herself, about other people connected with the film and the case, about her life as Juliet Hulme and her life as Anne Perry and, of course, about her work. In general, the FAQ compiler has tended to omit most material concerning Ms Perry's personal life since her release from prison in 1959 and the adoption of her new identity, although Ms Perry talks freely of her new life in interviews. I have included some data from personal information supplied by Ms Perry herself for publication in 'official' biographies. The FAQ compiler believes that it is appropriate to consider including Ms Perry's statements which concern people and events from before her release from prison in December 1959. An exhaustive compilation has not been made, of course, but representative statements of Ms Perry have been collected and presented here. In fact, Ms Perry has provided valuable input in her recent public statements, clearing up several ambiguities and correcting false information, as well as offering some insight into her reasons for participating in the murder. The FAQ compiler also believes that it is appropriate to examine and discuss Ms Perry's published work.

** What is the FAQ policy regarding data on Juliet Hulme? [jp]

Juliet Hulme formally changed her identity in November 1959, upon her release from prison. The FAQ compiler believes that it is appropriate to consider for inclusion in the FAQ all information on Juliet Hulme relevant to the "Parker Hulme" case from dates prior to December 1959. This does not mean that all information on Juliet Hulme is appropriate for inclusion, of course.

** What about the other "Heavenly Creature?" [jp]

Pauline Parker has remained out of the public sphere since being released from parole in 1965. Ms Parker has not identified herself publicly since that time and she has not made any public statements concerning "Heavenly Creatures" or the "Parker Hulme" case. Ms Parker's privacy has been respected by the Press and her new identity has not been revealed publicly without her permission.

** What is the FAQ policy regarding data on Ms Parker? [jp]

Pauline Parker formally changed her identity in December 1959, upon her release from prison. She remained on parole until 1965, at which time legitimate public interest in Ms Parker ended, in the opinion of the FAQ compiler. The FAQ compiler has included only one piece of published information regarding Ms Parker from after that date because it does not constitute an invasion of her privacy and it has some bearing on the case, in my opinion. The FAQ compiler believes that it is appropriate to consider for inclusion in the FAQ all information on Pauline Parker relevant to the "Parker Hulme" case from dates prior to December 1959 and some information between that date and 1965. This does not mean that all information about Pauline Parker is appropriate for inclusion, of course.

** What is the FAQ policy regarding Pauline Parker's diaries? [jp]

Until mid-1994, Pauline Parker's diaries for 1953 and 1954 were, in many ways, the most contentious aspects of the case. Opinion is still very divided about whether or not publication of diary entries is appropriate. The FAQ compiler believes that publication of all material entered into open evidence in the public trial is appropriate, and that includes the diaries. The FAQ compiler has included all diary quotations encountered in the open literature. Sources include newspaper accounts of trial testimony, scholarly papers, scholarly books, popular accounts and "Heavenly Creatures." This FAQ contains the most complete collection of diary entries in the public domain, with entries from more than 100 days so far, but this still represents a small fraction of the total diary days, 537, and an even smaller fraction of the total material. Readers are warned (and this is an important issue discussed in several scholarly analyses) that the small set of available diary entries may paint a distorted picture. And readers should bear in mind that Pauline Parker's diaries were declared in Court to be admissable as evidence against Pauline Parker only, even though that was far from the actual situation during the trial.

3.1About the film "Heavenly Creatures."#

** Are there spoilers to follow in the FAQ? [jp]

Formally, of course there are. But, curiously enough, it is almost impossible to spoil "Heavenly Creatures" by a plot outline. Indeed, I would argue that knowing the main elements of the film actually heightens the impact of "Heavenly Creatures"--the irony, the anticipation and suspense, the creeping dread. In fact, the film has been structured to take advantage of this strategy (see 3.1 below). In this way, "Heavenly Creatures" is like a classical tragedy or even a folk tale. It doesn't hurt to know the main elements of the story, or even the basic story behind the story, before seeing the film. And it may even add a new dimension to the work. Many viewers have commented that "Heavenly Creatures" is every bit as compelling the second and third time around.

** To whom is "Heavenly Creatures" dedicated? [jp]

** Who is Jim? [jp]

"Jim" is Jim Booth, the producer of "Heavenly Creatures," who died in early 1994 before the film was completed (see 5.2.2).

** Where does the story take place? [jp,lw]

Christchurch, New Zealand. Just a reminder: Because New Zealand is in the southern hemisphere, seasons are about six months out of phase with those in the northern hemisphere. This is a very important point for northern-hemisphere viewers to remember. People's emotions are often tied to the seasons, and "Heavenly Creatures" is a film filled to bursting with emotion. The murder occurred on the shortest, darkest day of the year in Christchurch. The school year is also out of phase with the northern hemisphere school year. The academic year coincides with the calendar year in New Zealand (see 3.1.5 for more on school).

** What are the time period and events covered in the film? [jp]

The film covers the time period between early 1952, soon after the beginning of the school year (Third Form) for Pauline, aged 13 (almost 14), and Juliet, aged 13--and mid-afternoon Tuesday June 22, 1954. It was on that bright, mid-Winter day that the two girls murdered Honora Rieper in Victoria Park.

** Where is Christchurch and what was it like in the 50s? [jp,lw,maw]

Christchurch is about 2/3 of the way up the eastern seaboard of New Zealand's South Island. The city is bounded on the east by the Pacific Ocean and on the south by the Port Hills, which separate it from the port of Lyttelton, where the "ship" scenes were filmed. Victoria Park lies near the crest of the Port Hills, overlooking Christchurch and just south of the Christchurch suburb of Cashmere (no longer an 'official' suburb name). Farther to the south-east, past Lyttelton, are Port Levy, where the girls first saw the Fourth World, and the hills of the Banks Peninsula. Before European settlement, the city site was flat but gently sloping eastward, from stony ground in the west toward a coastal swamp drained by the meandering Avon and Heathcote rivers. To some extent the present courses of those rivers have been defined by drainage and channelling works made by the settlers. The town plan was drawn up before the Canterbury Company settlers arrived in 1850. The original town was laid out on a square grid about 2 km on a side, bordered by the four Avenues (Bealey, Fitzgerald, Moorehouse and Rolleston), with Cathedral Square being the planned centre for commercial development. The main N-S axis of the central city is still Colombo St, with shopping extending one or two blocks to either side. The city had expanded well beyond the original town by the 1950s. The old Christchurch Girls' High School (CGHS) was located near the western border of the original town, and Hagley Park lies just outside the original town on its western side. Pauline Parker lived on Gloucester St, inside the western border of the original town, and very near CGHS, Christchurch College and Hagley Park. Juliet Hulme lived at Ilam, which lies about 4 km west of Pauline's house, in the present grounds of the University of Canterbury. The move of the campus from downtown to Ilam is a very important element in the real life events (see 7.10.1.1). The SW corner of the original town was always given over to industry (light industry, now) and the more humble sort of housing. Slightly less humble housing occupied the eastern side of the original town, but the "best" residential district in the early days was in the NW. There was very little crime. [I lived in the outer suburb of Hoon Hay. We never locked our doors at night. If we went out, we would lock the front but leave the back open. It seems hard to believe, now, but it was a different world then. maw] The streets around the old CGHS were lined with rather grand two-storied wooden houses built for the better-off settlers, set in tree-filled gardens. Many of those houses and gardens still remain (though not the Rieper residence), gradually being occupied by professional offices such as architects and engineers and by social services connected with the various hospitals. Some, especially north of Gloucester St and along Park Terrace are still private residences. Many houses that are no longer residential were "student flats" in the 50s, occupied by students attending the nearby Canterbury University College. [In the early 60s, one of the houses behind CGHS had a marvellous old walnut tree. Many of the others were old, wooden, rather rundown dumps. There was a two-storey red house right next to the school that some girls claimed was a brothel! Because I didn't know about the murder when I was at school, I don't know whether I have seen the Riepers' house or not. maw] The summer holidays in Christchurch are generally hot (temperatures into the upper 70s F [mid 20s C] rising to 80s in January and occasionally the 90s [high 30s]) and dry. Frequently there is no significant rain from October to April, and the desiccating north-west winds often blow up dust storms in the country. These are ideal conditions for the beach and rivers, of which there are many in the area. Christchurch is bordered on the east by a sandy ocean beach [note: Ironically called Brighton Beach ... nothing at all like its cold, damp, pebble-covered English 'namesake.' jp] which runs for 30 miles north, to the point near Amberley where the hills come down to the sea. [Christchurch weather sounds very similar to coastal California, south of Monterey through to Los Angeles. jp] The film's prologue provides detailed information about Christchurch society in the early 1950s (see 3.1.3).

** Where can I get a map of Christchurch? [lw,jp]

New Zealand Minimaps Ltd print a first-rate, full-colour street map of Christchurch and surrounding suburbs. They can be contacted at:

I found having a detailed map to be very useful for understanding many aspects of the case. [jp]

** Why is the film structured the way it is? [jp]

The filmmakers were faced with the following fascinating dilemma: The "Parker Hulme" case is so well known in New Zealand and Australia that it has effectively become part of the folklore and culture, even if it is not often discussed and the details are muddled when it is discussed. The case is also very well known in Britain. I had certainly heard of it before "Heavenly Creatures" came to be. So how should the film be constructed, when the 'mystery' was effectively spoiled? Walsh and Jackson chose to tell the audience the rough facts of the case in the stunning Prologue, and this was a critical artistic decision. This device simultaneously removes the element of cheap mystery from the story, and it imbues every word and action in the film with a tremendous weight and resonance, through powerful foreshadowing. In fact, the filmmakers heap more and more foreshadowing on the audience all through the film, until the sense of momentum and tragedy is almost unbearable (see 3.1.14). In effect, Walsh and Jackson exploit the Prologue to recreate for the audience what must have taken place in the homes of quiet, safe, small-town Christchurch on the mid-winter evening of Tuesday June 22, 1954... Perhaps the radio is on as we come home from school, or from work, and we sit down to evening tea. Our thoughts are far away. Then, the tail-end of a sentence grabs our attention. What was that? It was the report of a statement made by Mrs Agnes Ritchie, who owns the tea shop in Victoria Park. She described what she had seen, and what she had heard, when two girls came running out of the Park this afternoon--and our hearts catch in our throats and we get this horrible feeling in the pit of our stomachs. (I certainly did: "It's Mummy! She's terribly hurt!" Didn't you?) Something has happened, something terrible, and we suspect... But wait a minute--we know these people. How could something like this have happened? We know these people, or do we? That's where we join the story. The film is constructed so we find out about the story, and the people, the way the public found out about the "Parker Hulme" case, in the days and weeks following the murder.

** From whose perspective is "Heavenly Creatures" told? [jp]

The narrative of "Heavenly Creatures" is told almost entirely from Pauline Rieper's perspective. The film may, in fact, represent Pauline's version of reality, and hers alone.

** Who narrates the voiceover? [jp]

The film's voiceover is narrated by Pauline (played by Melanie Lynskey). It consists of edited quotations from the real- life writings and diary entries of Pauline Parker (see 3.2.1 for an explanation of names and 7.4.3 for more extensive quotations from Pauline's diaries).

** What is the time line of the narrative? [jp]

The narrative of the film follows a 'wraparound' time line. The stunning opening scene in the prologue takes place at approximately 3:30 p.m., on Tuesday June 22, 1954 in the moments following the murder of Honora Rieper. This time comes from the real-life trial testimony, not the film. The narrative returns, through the titles and opening credits, to approximately February 1952 and the day Juliet first arrives at Pauline's school, "Girls' High." The rest of the film follows a straightforward, linear, but uneven time line, with two brief flashbacks. The narrative comes to its emotionally devastating conclusion in the minutes just after 3:20 p.m., Tuesday June 22, 1954, according to Jackson's speculation. "Heavenly Creatures" ends in the first few moments of Honora Rieper's murder. There is a residual gap between the events shown at the film's conclusion and the events shown at its wraparound start. The length of the residual narrative gap cannot be determined solely from the film, but it can be estimated by comparison with the real-life events. The narrative gap turns out to be an interesting and important topic (see 4.8).

** What does the film tell about the real-life events? [sb]

By way of a printed prologue, (see 3.1.3 below) the film informs the audience that Pauline Parker kept a detailed diary and that the voiceover consists of quotations from Pauline's writings. The printed epilogue (see 4.1) informs the audience of the conviction of the girls for Honora's murder, the terms of their incarceration and the date and terms of their eventual release from incarceration. It also explains the discrepancies between the names used by characters in the film and those mentioned in the prologue and epilogue (see 3.1.4.1).

** What does the film say about the girls' trial? [jp]

Nothing. There is no description of the sensational trial, no mention of the world-wide publicity given to the case, no mention of the howl of public condemnation raised against the murderers and no mention of the tremendous flood of editorializing unleashed by the murder.

** What does the film say about the fate of the girls? [jp]

Nothing beyond the fact that they were released from incarceration in 1959, and the condition of their release.

** What is said about the fate of other characters? [jp]

The printed epilogue mentions that Hilda Hulme was living abroad at the time of her daughter's release from prison (though it does not give Hilda Hulme's new name at the time, or where she was living). No other information is provided about the fate of any of the other central characters in the film.

** Where can I find out about the real events and people? [jp]

That's one purpose of this FAQ. There are biographies of the main characters seen in "Heavenly Creatures" in section 3.2. There is extensive background information in section 7, including bio-sketches of key characters not shown in the film, a time line of important events, press clippings covering the trial, an account of the trial and detailed biographies of Henry Hulme and Anne Perry (aka Juliet Hulme).

** Were the filmmakers aware of the girls' new identities? [jp]

Although the filmmakers discouraged journalists and others from 'hunting down' the title characters in their new, anonymous lives, and Jackson and Walsh have been coy about the subject in many interviews, it turns out that the filmmakers were aware of the present identities of both Pauline and Juliet, through rumour and their own research, as early as 1992. This is an interesting and important fact, because it may have influenced the writing and, especially, the editing of the film for foreign release. It should be pointed out that Walsh and Jackson were by no means the only people who knew Pauline and Juliet's present identities at that time. Press articles since the release of "Heavenly Creatures" have characterized Pauline and Juliet's present identities as being "open secrets" among academics and the literati of New Zealand and Australia for many years. Indeed, it appears as if Anne Perry, for one, had kept in touch with several of her former acquaintances in New Zealand over the years.

** What recognition has "Heavenly Creatures" received? [Mir,aa,sb,mk]

Prizewinner, Silver Lion Award, Venice Film Festival, 1994. Prizewinner, Critics' Prize, Toronto Film Festival, 1994. Nominated for Best Original Screenplay Oscar, 1994. New Zealand Film Awards (1995): Best Director (Jackson) Best Actress (Lynskey) Best Supporting Actress (Peirse) Best Screenplay (Walsh and Jackson) Best Cinematography (Bollinger) Best Foreign Performer (Winslet) Best Film Score (Dasent) Best Editing (Selkirk) Best Soundtrack (Hopkins, Bell, Hedges) Best Design (Major) Best Contribution to Design (Taylor, Port)

3.1.1Peter Jackson#

** What were Peter Jackson's previous movies? [mcw]

(1) "Bad Taste" (1987). A simple tale of prospectors for an alien fast food company, seeking new product: humans. Up against them, the boys from the Alien Investigation and Defence Service whose task is the defence of the earth (and the moon). The boys have to rescue a captured phony priest, with the help of some Stirling sub-machine guns, some pistols ("my turn with the magnum"), an RPG-7 and a chainsaw. [mcw]

(2) "Meet The Feebles" (1989). A sordid tale of greed, violence, drugs, sex, and soft toys. A puppet show prepares for its live television debut but the tensions within the troupe are about to explode in an orgy of violence. Features a hippopotamus running amok with an M-60 machine gun. [mcw]

(3) "Braindead" (aka "Dead Alive") (1992). A simple tale of boy meets girl, mother doesn't approve, follows them, gets bitten by a vampire monkey and before you know it, ZOMBIES. Which all have to be killed by the hero with a lawn mower strapped to his chest. [mcw] [note: Beware of excessively-censored versions of this film on video. jp (passing on the warning of many Braindead fans)].

** How were they received? [jm]

"BORN TO BE BAD (TASTE). // Horror Movie Takes NZ Film Down New Path" Wellington, Sept 15, [1992] REUTER - A new blood-and-guts horror movie, "Braindead," scorns New Zealand tradition of art films by making even the "Texas Chainsaw Massacre" seem like a fairytale. "If you thought the '50s was all bobby-sox and innocence you didn't live next door to Lionel," the film's publicity material proclaims. Set in Wellington, "Braindead" is about 25-year-old Lionel Cosgrove, whose life goes off the rails... But far from clutching the sides of their seats in terror, the audience at the premiere were rolling in the aisles with laughter. Director Peter Jackson insists the film is a comedy.

3.1.2The actors#

** Are some actors in the credits but not the film? [jp,lfr,mk]

Yes. An early version of the script [lfr] contains several scenes that do not appear in the NAm version of the film. The running time of the film at it's premiere was ten minutes longer than the running time in the NAm version [lfr]. Many of the extra scenes in the early script were obviously filmed and shown at the premiere as part of the film, but were subsequently edited out before wide international release. The characters in those scenes are still listed in the film's credits. See 5.1 for the complete credit crawl.

** Who were the newcomers? [jp]

The title characters were both played by newcomers. This was the first feature film for Melanie Lynskey (Pauline) and Kate Winslet (Juliet). See section 5.3 for more information on members of the cast.

3.1.3The Prologue#

** What is the purpose of the opening 'newsreel' footage? [jp]

Jackson used archival film footage and archival radio recordings in the brief but powerful Prologue. This was a clever way of presenting important background information about Christchurch and about Christchurch society and its values and traditions, before the titles. He also used the Prologue to make some sarcastic statements and to provide foreshadowing, as well.

** What is the archival voiceover during the prologue? [jp]

"Christchurch: New Zealand's 'City of the Plains.' "Here, when Spring comes to Canterbury, daffodils bloom gay and golden in the woodland of Hagley Park. "Nearby are tall buildings, busy streets and the heart of the city, Cathedral Square. "Canterbury University College: Weathered greystone buildings, shadowed cloisters. It was here Lord Rutherford began a great career. "The Girls' High School stands in Cranmer Square. "And not far away are the broad acres of Hagley Park, with playing fields for many sports. "In Spring, Summer and Autumn, Christchurch gardens are gay and colourful. "Yes, Christchurch: New Zealand's 'City of the Plai... (wooooshhh!)"

** What archival footage is shown during the voiceover? [jp]

The opening shot is a Douglas DC-3 (Dakota) flying over neat, suburban, flat Christchurch. Cut to beds of daffodils in Hagley Park, Spring, with an artist and easel. Close-up of daffodils. Couple strolling through daffodil beds of Hagley Park. Downtown street, with trams, pedestrians milling on streets, many bicyclists, people driving on the left, very slowly and courteously. The Cathedral, looking much older and more imposing than its actual years, with trams, cars and pedestrians [this is interspersed with new footage, aged to look archival]. Canterbury University College--the old buildings downtown. Christchurch Girls' High School--the old buildings facing Cranmer Square with peaked brick gables, girls in school uniforms strolling outside the school. Hagley Park playing fields: cricket, cricket again, 8-man Crew on the River Avon. A garden in an affluent suburb, with the man of the house mowing the lawn and a toddler crawling happily over the lush lawn. An overview of Christchurch from the foothills of Cashmere.

** What is learned about Christchurch of the 50s? [jp]

We learn that the central events of "Heavenly Creatures" take place in a very small area, downtown. The girls' school was near Canterbury University College, where Dr Hulme was Rector, and both were near the Cathedral and Hagley Park. The impression we get is that Christchurch was very much a cozy, provincial, 'small town' kind of place, despite the voiceover's reference to busy streets and tall buildings (gentle humour on Jackson's part... nothing shown was over 5 floors tall). The narrator has a 'pseudy'-BBC-Queen's English accent, and we are shown images, sports and activities which tie Christchurch firmly to the apron strings of Mother England. The Anglican Church figures prominently in the newsreel footage and, it turns out, in the real-life story.

** What was the influence of the Anglican Church? [lw]

The influence of the Anglican Church on the Canterbury settlement should not be overstated. The Canterbury Company did indeed have the backing of the influential people in the Church of England and all of the first of the Company's colonists were Anglican but, apart from having the site for their Cathedral and other central-city churches set aside, the Church had no special position in the colony. Presbyterian, Methodist and Roman Catholic churches were also established in the new town in the first few years of the settlement. Indeed, when the Canterbury Company colonists arrived, they found that a group of Presbyterian Scottish families had already done their own deal with the Maoris and were settled on and farming the site of their colony. The Deans family, who are still prominent in public affairs, had a grand establishment at Riccarton (now Riccarton Bush, an estate between Hagley Park and Ilam) which they were eventually persuaded to vacate with the offer of large tracts of land in the country, much of which they still occupy. It was the Deans who named the Avon River after a stream in Scotland, not after the Avon of the Bard. There is a joke that the Anglican settlers created Hagley Park to insulate themselves from the dreadful Presbyterians of Riccarton.

** What allusions and foreshadowing are in the newsreel? [jp,aa]

Daffodils: There is a famous photograph of a very young and innocent Juliet Hulme, much reprinted at the time of the trial and in true crime books since, where she is posing and smiling a little self-consciously in a bed of daffodils. A copy of the photograph shows up later in "Heavenly Creatures" on Pauline's bedroom wall. [aa]

Gay and Golden: A bit of a cruel joke--this is how the public would have described Juliet at the time of the trial, had they been kind enough to use modern euphemisms.

Lord Rutherford: Lord Rutherford was a brilliant and famous New Zealand physicist who, among other things, proved that the nucleus of an atom existed, that it was positively charged and it contained most of an atom's mass, but it was extremely small compared to the size of an atom. Rutherford was, by definition, the first true, modern nuclear physicist. So, first and foremost, the reference to Rutherford is an allusion to the real Dr Henry Hulme, who was a mathematical physicist; Dr Hulme's academic discipline is never stated explicitly in "Heavenly Creatures." (see 3.2.2 and 7.10.1 for biographical information on Dr Hulme). However, Jackson is being doubly or triply ironic in this reference. Lord Rutherford is one of two famous New Zealanders invariably brought up by proud Kiwis in casual conversation with foreigners, the other being Sir Edmund Hillary, of course (see 7.3). However, Lord Rutherford left New Zealand to pursue his career. His greatest triumphs came after he had gone elsewhere-- to England and Cambridge University, in fact. The word "began" in the voiceover is a subtle jab at Christchurch provincialism. Cambridge also happens to be the real Dr Hulme's alma mater. Rutherford died in 1937 and Dr Hulme received his Ph.D. in 1932, so the two, no doubt, had met. It is perfectly conceivable that Lord Rutherford was an inspiration or even a mentor to the young Henry Hulme. Lady Rutherford was actually a celebrated guest at Ilam while Henry Hulme was Rector of Canterbury College. [G&L] The real Dr Hulme, of course, came to New Zealand from England, reversing Rutherford's journey in a kind of academic pilgrimage back to the source. By late 1954, however, Dr Hulme must have thought that his hopeful pilgrimage had ended in humiliating failure, shocking betrayal, and an incomprehensible murder. His bitterness was, by all accounts, unfathomably deep and all-consuming and it must have seemed to him that his life and, more importantly, his career had been utterly destroyed by his wife, by his daughter and by "that... Rieper girl." In fact, this was not to be the case, though the real Dr Hulme couldn't possibly have known of his coming good fortune in June 1954. As it happens, Dr Hulme's career was to arise like a Phoenix, spectacularly and with the brilliance of the sun, from the ashes of his life in Christchurch. See section 7.10.1 for the surprising details. There is, of course, a final, supremely ironic connection with Rutherford in the real Dr Hulme's later scientific triumphs. No doubt this was also appreciated by Walsh and Jackson.

Christchurch Gardens: Key events were to take place in the gardens of Ilam, and in the imagined gardens of the Fourth World, and in the wildwood of Victoria Park.

The Cashmere Foothills: The perspective of the newsreel gradually moves from downtown Christchurch, through the pastoral suburbs, to the Cashmere foothills. At this point, the film cuts abruptly, violently and ominously from the newsreel footage to the shocking and disturbing shots of the girls running, just a short distance farther up in the hills, in Victoria Park. The effect is like a punch in the abdomen.

** What is shown in the screaming 'flight' sequence? [jp]

We see the two girls running up a winding wooded path, emerging at the top to find Mrs Agnes Ritchie, proprietor of the Victoria Park tea shop. This sequence is actually an accurate depiction of part of Mrs Ritchie's courtroom testimony (see 7.6). The short 'flight' scene is, of course, a very, very important one to the film, to the story and to our understanding of the real life events. It is discussed in detail in several places in the FAQ, and a shot-by-shot description is given in section 3.1.17.1.

** What does the printed prologue say? [jp,sb]

** Is that true? [jp]

Well--yes and no. 'Yes' the voiceover includes Pauline's diary entries but, 'no', they are not all completely accurate. Many were edited for dramatic effect, and there were many significant omissions. See 7.4.3.

3.1.4The characters#

** Which main characters are fictitious? [jp,jb,sb,ap,mc,maw]

Of the central 'real' characters identified by name in "Heavenly Creatures," none are fictitious. The only characters from the Rieper home who haven't been confirmed yet are the boarders Steve Bayliss and Laurie. Boarders named Ross and John have been confirmed from Pauline's diaries (see 7.4.3). All Riepers have been confirmed (see 3.2 and 7.1). All characters from the Hulmes' home have been confirmed (see 3.2 and 7.1), including Mr Perry, though it isn't clear from "Heavenly Creatures" that Mr Perry was actually living at Ilam. Characters from school who haven't been confirmed yet include the Geography(?) teacher Mrs Stevens, the Art teacher Mrs Collins and the Gym teacher Mrs Zwortz(?) [note: All are suspected to be real. Tentative confirmation of Mrs Zwortz. [maw] jp]. Miss Stewart has been confirmed [ap,mc]. Miss Waller has been confirmed [mc,maw]. Of the authority figures, Dr Bennett has been confirmed (see 7.1) [mc]. Rev Norris has not been confirmed.

3.1.4.1Names#

** What is the origin of the name "Heavenly Creatures?" [jp,sb]

The term appears in a poem "The Ones That I Worship" written by Pauline and recited by Melanie Lynskey in the film's voiceover (see also 7.4). Pauline used the term to refer to herself and Juliet, intending it to encompass all of their physical and spiritual 'identities.' The girls did not use the term "heavenly creatures" explicitly in any conversation in the film. The term "heavenly creatures" appears in all popular and scholarly articles written around or slightly after the trial, though it does not appear in some articles written substantially after the trial. The version of the poem used by the filmmakers (and quoted widely by the press at the time of the trial) was obtained from the version read into testimony during the trial.

** The two "Heavenly Creatures" go by many names. Why? [jp,lfr]

First, the two girls are called different names in the film by different people--this is true to life but not often seen in movies. Second, the girls invent names for the imaginary characters who people their "Fourth World" and their imaginary Kingdom of "Borovnia" and they address each other by those names from time to time, and increasingly so as the film progresses. The constant renaming of the girls throughout the film suggests themes of continual rebirth and transformation.

** By what names is Juliet known in the film? [jp]

** By what names is Pauline known in the film? [jp]

** By what names is John-the-boarder known in the film? [jp]

** Where does the family name "Parker" occur in the story? [jp]

Only one character is referred to by the name "Parker" in the film, and she is 'Nana' Parker, Pauline's maternal grandmother. Nana Parker is seen sitting quietly in the living/dining room in several scenes, including the two "Christmas" scenes, and at table for several meals. Pauline recounts a story told to her by Nana Parker, during a quarrel with her mother in the Riepers' kitchen.

** Who is Pauline Parker? Is she Pauline Rieper? [jp]

Pauline Parker is known as Pauline Rieper in the film. This is true to fact--up until the murder took place, the real Pauline used the family name Rieper and she was known as Pauline Rieper. Since the film is only concerned with the time before and up to the murder, Pauline's family name is Rieper in "Heavenly Creatures." Dr Hulme, of course, referred to Pauline as "that... Rieper girl."

** Why in real life is it called the "Parker Hulme" murder? [jp]

Pauline's mother and father were never legally married--a fact revealed by the police investigation following the murder but not known to Pauline or anyone else in the community (except Nana Parker) up to that point. Hence, the legal family name of Pauline's mother when she was murdered was still Parker, even though she went by the name Rieper. In all official real-life references to her in police reports and the press she is called Honora Parker. Similarly, Pauline's legal name at the time of the murder was Pauline Parker because she was never legally adopted by her father and that was what she was called in real-life documents and reports after the murder. This whole business of marital status and legal names must have been tremendously humiliating and a cruel additional stress for the already-suffering Rieper family. It was common in those times to describe women by their marital status in news accounts. For example, Hilda Hulme was referred to as "Hilda Marion Hulme, a married woman,..." in The Press (Christchurch). Legitimacy was still very much an important social concept in 1954, especially in Christchurch, and Pauline was now publicly declared to be a bastard on top of all the other labels she would acquire. The press and public made two important concessions to the Riepers, however, in recognition of their standing in the community and in sympathy for their suffering. They may seem small measures to modern sensibilities, but they would not have gone un-noticed or unappreciated at the time. First, Honora Parker was almost always referred to as Mrs Parker, in tacit recognition of her being the de facto wife of Mr Rieper. Second, neither she nor Mr Rieper were ever referred to as being the 'common-law' spouse, which would have been legally correct but would have just drawn excessive attention to the fact that the two were not legally married. However, newspaper accounts did not refer to Herbert Rieper as "husband of..." but usually stated that he had lived with Honora Parker as her husband for 23 years. The number '23' was supplied by Herbert Rieper and has an interesting story attached to it (see 3.2.9). "Heavenly Creatures" is precise and correct in these matters. The information presented at the start of the film identifies Pauline as Pauline Parker, but most viewers don't retain the surname at that point. By the time the end notes are shown, the audience has come to know Pauline as Pauline Rieper. The short statement used to explain why Pauline was charged as Pauline Parker is then a poignant one.

** How might the Riepers' marital status have affected things? [maw]

For Pauline to obtain a passport, she would have had to register herself under her true, legal name. This would have meant Honora and Herbert would have been obliged to admit to their family that they weren't married and that all children were illegitimate. It seems unlikely that Honora would have told Pauline these things and they might have been powerful reasons why she wouldn't allow Pauline to get a passport.

** Who was "The most hideous man alive?" [jp]

3.1.4.2The Riepers#

** Who were the members of the extended Rieper family? [jp]

'Nana' Parker Mother of Honora, grandmother of Pauline. She is a silent presence in "Heavenly Creatures."

Honora Rieper Pauline's mother. She managed their boarding house. According to Nana Parker, she "ran away with" Mr Rieper when she was 17. Honora (Nora) is portrayed very sympathetically in the film as a frugal, hard-working, weary woman who loved her family and who was genuinely concerned about their well-being and welfare. Honora was the no-nonsense, practical partner in her relationship. She was also the worrier and disciplinarian. Honora wore a gold wedding band on her left hand and she was known as Mrs Rieper.

Herbert Rieper Pauline's father. He worked at Dennis Brothers' Fish Supply ("He's the manager!"). He is portrayed in the film as a jocular, good-natured, patriotic and caring man. Bert Rieper obviously loved his family and even doted on Pauline. If anything, Bert was even less sophisticated and worldly than Honora. He was a little slow off the mark when it came to worrying about Pauline's relationship with Juliet. True to his times, Bert blamed Pauline for John-the-boarder's amorous advances.

Wendy Rieper Pauline's pretty, blonde older sister. She sold women's lingerie in a local department store, where Sir Edmund Hillary was one of her customers. She did not appear to have much to do with Pauline, or to like Juliet.

Pauline Rieper At the chronological start of "Heavenly Creatures," Pauline is portrayed as an intelligent, imaginative, artistic and headstrong girl with a serious, rebellious nature. She didn't appear to be irreversibly antisocial, but she did appear to prefer her own company. She daydreamt about horses, Mario Lanza and escaping from her dreary, day-to-day, small-town life. Pauline seemed to question authority constantly, but she mostly kept her questions to herself. She had suffered from a degenerative bone disease as a young child but seems to have recovered and adapted quite well.

3.1.4.3The Hulmes#

** Who were the members of the Hulme family? [jp]

Henry Hulme Henry Hulme was Rector of Canterbury University College, husband of Hilda and father to Juliet and Jonathon. He is introduced as a likeable, slightly absent-minded academic (discipline unspecified but maybe a scientist: "I thought I smelled sulphur..."), but his character develops a far harder, more manipulative and cunning edge as the film progresses and his personal problems mount. Dr Hulme was idolized, with tragic repercussions, by Juliet and Pauline, and cuckolded very publicly by Hilda. Curiously enough, if the film has a villain, then it is probably Henry Hulme.

Hilda Hulme Hilda Hulme is portrayed as an intelligent, chic, stylish, cultured and sensitive woman. Hilda was a visible, and audible, pillar of the community. In fact, her face and voice were probably better known in Christchurch than those of her husband. Hilda is shown to be a little bored with her life, but also terribly wrapped up in herself and distracted by the escalating turmoil in her personal life. Hilda obviously loved her daughter and was concerned about her daughter's happiness. Her feelings toward Henry were less obvious, but she clearly worried about the health of her marriage through much of the film. Hilda was sophisticated and had a progressive, liberal outlook on life and sexuality. But... Hilda fell in love with a married man and brought scandal, public scrutiny and disgrace into Henry Hulme's home, and she dealt a severe setback to Henry's career. Hilda was the unwitting catalyst of many tragic events in "Heavenly Creatures."

Juliet Hulme At the chronological start of "Heavenly Creatures," Juliet is shown to be a bright, outgoing, precocious girl although, perhaps, more than a little arrogant and disrespectful. We come to see that Juliet hid considerable loneliness, insecurity and a crippling fear of rejection and abandonment under this confident and brash exterior. Juliet had suffered recurring poor health as a child and her health plays an important part in "Heavenly Creatures." At the chronological end of the film, Juliet helps Pauline kill Honora Rieper. The filmmakers want to know 'why.'

Jonathon Hulme The lively younger brother of Juliet, who claimed, at Port Levy in April '53, to be "almost ten," to which Juliet replied: "No you're not! You're eight and a half, and incredibly stupid!" Juliet calls him 'Jonsy.'

3.1.4.4Accents and social status#

** Are accents important in "Heavenly Creatures?" [jp]

They are extremely important, and Jackson was well aware of their importance. His basic casting decisions (see 5.3) were dominated by his stated desire to get the central characters "right." Jackson insisted on casting the central British characters with British actors, and the central New Zealand characters with New Zealand or Australian actors, so accents were a very important component of the casting decisions. Beyond this, Jackson's choice of accomplished, seasoned professionals for several key roles indicates that it is worth examining accents in "Heavenly Creatures" in some detail.

** Why are accents so important in this story? [jp]

• In British society, spoken language and accents are potent, immediate indicators of social station and rank which are hard to mask. In Britain, especially at the time depicted in the film, it used to be possible to distinguish the following things about a stranger from a brief conversation with them, even if the subjects were never broached explicitly:
• where they were born, within a few miles (in exceptional cases, to a given street),
• what type of school they attended as a child,
• what type of secondary school (if any) they attended,
• possibly the name of the secondary school, if well-known,
• if they attended University and what type it was,
• possibly even the name of the College in the University,
• their family income, quite precisely,
• their family's social status, quite precisely,
• their political affiliations,
• probably their religious beliefs. Christchurch was an archetypal British colonial society (see 5.4.4) with significant social pretensions. Despite what the glowing archival film footage said in the prologue of "Heavenly Creatures," Christchurch was a small, cozy and rather isolated community far from the revered Motherland, in 1954, and it took its "Britishness" very seriously indeed. Or, rather, it's middle- class Britishness very seriously. Christchurch society would have been divided and categorized quite neatly along lines defined by spoken accent. People would have paid very close attention to these things in their daily lives, and would have been very sensitive to these and other, even more subtle, indicators of class and social status. In real life, there are several entries in Pauline's diaries which indicate that she was acutely aware of accent as an indicator of social status. There are also antipodean accents, of course, varying with geographic location and social circumstances, background etc.

** What did Pauline's accent say about her background? [jp,sb]

Pauline's accent identified her as a native, working-class New Zealander. Within the context of the times, this might have described Pauline's station in life for her entire life. However, the times were changing rapidly and Pauline may have been able to better herself considerably, through her education, especially at CGHS. In real life, going by comments in Glamuzina & Laurie (see 7.7), Pauline may not have had as thick an NZ accent as she was portrayed to have in the film (but wasn't Melanie Lynskey's accent great?), possibly because of her parents' backgrounds and accents and possibly because she deliberately changed her accent.

** What did Juliet's accent say about her background? [jp]

Juliet's accent, by way of contrast to Pauline's, clearly identified her as being genuinely English, not simply of British stock (an important distinction in a colonial society that looked longingly back to the Motherland and in which there were religious and social distinctions made between English, Irish and Scottish ancestry). Juliet herself emphasized that point (see 3.1.5) because it conferred extra social status. Furthermore, Juliet's language and accent were consistent with a background that was intellectually rich, even scholarly, and permissive. It wasn't consistent with a long history of privilege, so her family was not rooted deeply in the various upper classes or minor aristocracies. Rather, Juliet's accent placed her family squarely in the upper-middle class intelligentsia. It would be necessary to listen to her parents to pin down her family background any further. See section 7.10.2.1 for a comparison between Kate Winslet's accent in "Heavenly Creatures" and Anne Perry's accent in real life.

** Would Pauline have been aware of these distinctions? [jp]

It can't be emphasized enough that, for Pauline, just talking with Juliet would have blared out the inescapable social differences between them. Just listening to Juliet and the other Hulmes would have reminded her that Juliet came from a shining, impossibly-distant social stratum which both societies would have actively discouraged Pauline from aspiring to join. But aspire she did. Similarly, the accents Pauline encountered in her school environment would have reminded her, a hundred times daily, that she was starting at the bottom of the social totem pole. Even her teachers (with one glorious exception, see 3.1.4.8 below) had accents that defined them to be part of, or pretenders to, the English establishment in Christchurch. However, the 50s were a time of quite radical social and educational reform in New Zealand, so things may not have been completely grim for Pauline's future. Of course, Pauline was just a schoolgirl, not a soothsayer, and she might have had little appreciation of this fact at the time. It is clear from her diary entries (see 7.4.3) that the real Pauline Parker was extremely conscious of accents and their social/cultural/class significance and that she manipulated and changed her own accent to confer upon herself extra social status. This is very important to understanding the case.

** Based on her accent, to what could Pauline aspire? [sb,mc]

I cannot agree that "Pauline couldn't even aspire to become a school teacher" [note: speculated by me in FAQ ver. 1.0 jp]. My reasoning is based on my own understanding of Australia in the 1950s, and an assumption that social mobility in NZ would not have been terribly different. The 50s were a time when education really did open up for everybody; if you were reasonably smart and/or did reasonably well at school, you could get a scholarship, especially to a teaching college, and achieving schoolteacher was just about inevitable from that point. There were, of course, schools and schools, and someone from Pauline's background may well have ended up teaching out in the bush somewhere (like Sylvia Ashton Warner, portrayed in the 1985 NZ movie "Sylvia"). Given her intelligence, however, Pauline may well have achieved entrance to University, and gone on to quite other things if she had stayed in school, since she was in the top 'academic' stream (see 3.1.5). In real life, she may well have done this anyway, with the BA she partly acquired in gaol and which she completed later (see 3.2.6). I know lots of people from quite humble backgrounds who followed this path in the 50s and 60s. (I could even cite myself: my father's father was a fitter and turner, my father finished high school and became a white collar worker, and I was the first in that line of the family to get a tertiary education: typically upward socioeconomic trajectory for the times, certainly in Australia). I know of successful NZ academics in their 50s with NZ accents you could cut with a knife, like Pauline's in the movie, and the art teacher's, so her origins needn't have prevented her from following her intellectual aspirations. [sb] Re: Pauline aspiring to be a teacher. Most of the girls from Form IIIA went to Teachers' College or to University. It was extremely rare for any to go to Digby's instead, and dropping out was unheard of. That class sat School Certificate after 3 years, the rest of the school took 4 years (and the pass rate was higher than for the other classes). [mc]

** What can be learned about Honora Rieper from her accent? [jp]

Sarah Peirse did a tremendous job with Honora's language and accent in "Heavenly Creatures." She was able to paint a complex and very sympathetic portrait of Honora by using her voice. For example, Honora's accent was softer than Bert's accent and Pauline's accent--consistent, in fact, with Honora being born abroad in real life, in England (see 3.2.5), though that fact is never mentioned explicitly in "Heavenly Creatures." However, Honora's accent in the film was very far from the adenoidal, sing-song accent of her real-life birth city, Birmingham. This might be consistent with Honora having spent more than half her life in New Zealand. We never hear 'Nana' Parker speak, so we can't compare her accent with Honora's (possibly this was deliberate because Birmingham is difficult to do right, and hard for foreign ears to understand when it is. jp). Fresh off the boat, Honora would have said she was from 'BEHH-ming-guhm' and would have sounded like she had a permanent head cold (apologies if I offend any Birminghamese). According to Honora's softer accent, she may have sacrificed some social status when she undertook her relationship with Bert, in addition to taking on the scandal of running away with a man far older than she. (Actually, in real life, there is evidence to support this idea and the scandal was larger than even this, since Bert was married, with another family, and never divorced. See 3.2.9). Honora's family may have been living in an environment that was socially lower than the one in which she had grown up (there is convincing evidence for this--her father had been a chartered accountant), or lower than the one to which she had aspired. 'Nana' Parker's bitter comments to Pauline would tend to support this history (See above. In fact, Pauline's comments attributed to Nana Parker were not true. See 7.3). Honora's background, especially her coming from England but not being afforded the extra social brownie points awarded to the Hulmes, would have made Honora particularly sensitive to issues of class and status and quite prickly about them. There is plenty of evidence in "Heavenly Creatures" that this was the case, and that Honora never forgot her Midlands roots, steeped as they were in bitter class conflicts extending back for centuries. Honora's accent also adapted to her situation. For example, her accent was raised in social tone whenever Honora was dealing with her social superiors: in her conversations with Dr Bennett, with Hilda Hulme and, especially, with Dr Hulme. Conversely, her accent slipped whenever she was angry, or when she was rebuking Pauline. When Honora showed John-the-prospective-boarder her home, her social tone was raised a peg to tell him the house was respectable; after he had been dismissed, in shame, her few words were a wonderful mix of haughty, angry attitude and contemptuous working-class tone. Wordplay involving the adoption of higher- or lower-status accents is commonplace in British societies, especially among the working class, and can convey important information about attitudes, prejudices and agendas. Honora's accent was a very important weathervane for her attitude towards Juliet. It changed considerably, when talking with Juliet or about her, between the time when Honora was introduced to Juliet (more on that below in 3.1.14), and those darkest days, for Honora, before Pauline's final visit with the Hulmes. Compare those accents with her tone and accent in the final scene in the Park--there, Honora's accent tells us she was at last comfortable again and, she thought, in control.

** What can be learned about Bert Rieper from his accent? [jp,jwwm,sb]

Bert was a working man who was comfortable with his lot in life, according to his accent. Bert's words and language were changed to fit the social situation, but his accent wasn't. He was a man with no social pretensions. To the trained antipodean ear [jwwm] Bert's accent has a slight Australian feel and, indeed, in real life Bert hailed from Tasmania. [sb] (see 3.2.9).

** What can be learned about Hilda Hulme from her accent? [jp]

Diana Kent is a seasoned and accomplished stage actor, so the accent she gave Hilda Hulme was also deliberately tailored. Hilda Hulme's accent spoke of an upper middle-class background or, perhaps, slightly higher than this; landed gentry, most likely [note: I have found out that in real life her father, a prominent Anglican clergyman, was listed in "Who's Who." That would probably put Hilda's family background at the landed gentry stratum. jp]. Hilda had probably been raised by nannies and had definitely been well-educated at 'good' girls' schools. In Hilda's case this probably meant being sent away to an academically accomplished boarding school, not a fluffy finishing school that catered to the aristocracy. We get the impression that Hilda had fond memories of her own school days and her own deep adolescent friendships with other girls. She may well have gone on to University, and may have met Henry there. We get the impression from their accents that Hilda's social station, or at least her family background, was higher than her husband's. Hilda's accent wasn't modified and was never condescending in her dealings with her social inferiors, which spoke of a liberal attitude to class and social status, also consistent with a landed gentry upbringing.

** What can be learned about Henry Hulme from his accent? [jp]

Clive Merrison also did a first-rate job at conveying subtle cues about Henry Hulme through his language and accent. Unlike his wife, Henry's accent and manner of speaking were those of a consummate intellectual. His accent and manner had been shaped almost entirely by his education, which had obviously progressed to the rarified stratospheres of Oxbridge and beyond. The status arising from his educational background, relayed through his accent, would have been of utmost importance in Henry's day-to-day professional life at the University. However, Henry's accent did not possess that extra something that would have indicated a privileged background. It is difficult to read Henry's accent back any farther than his University days, and this may be deliberate deception on Henry's part. There is a hint of Midlands broadness to Henry's vowels. And, unlike his wife, Henry modified his accent and tone noticeably according to the social situation, most noticeably when addressing his social inferiors. This paints a picture of a man who was not only highly attuned to social distinctions, but who actively sought to maintain them in their status quo, with himself at or near the top. Given the lack of vocal evidence to support a long history of social privilege for Henry, this implies that Henry was a successful social climber who had scaled to his present status through his own achievements and, perhaps, by marrying slightly above his station.

** What can be learned about Bill Perry from his accent? [jp]

Bill Perry's accent was straight middle to lower-middle class working professional and, according to his accent, he probably hailed from the southeast of England [note: In real life, Bill Perry was actually born in Canada. see 3.2.8]. He had had a practical, even "red-brick" university education, not the rarified Oxbridge education of Dr Henry Hulme. Given Bill's profession, engineering, this probably meant Durham University, or Manchester or, perhaps, Imperial College, London. Or, perhaps, he had been trained on-the-job during the War. Bill Perry owed whatever social status he had to his own efforts and hard work. Unlike Henry Hulme, however, Bill's abilities were not sufficient to let him scale the heights of British society. Even though there was a turbulent, almost- anything-goes period immediately following the War in Britain, real social revolution in the U.K. would have to wait for the 60s. (When it came, though, it came with a bang.) Hence, Bill Perry's social status was decidedly inferior to both Hulmes and, in particular, it was inferior to that of Hilda Hulme. This puts Hilda and Bill's relationship into a very interesting light because, socially, they were quite distant from each other. Getting involved with Hilda was effectively a big but dangerous move up in the world for Bill, while it was a very risky move, socially, for Hilda. Maybe this is an indication of just how bored Hilda was with her life or, more intriguing, it could be a little clue that there was more of an emotional component to their relationship than there appeared to be from the surface. See 3.2.8 for more on this fascinating aspect. Bill Perry would have fallen, rationally, between Juliet's and Pauline's stations in life. He would have been derided mercilessly by both girls, of course.

3.1.4.5Imaginary characters#

** Who was Charles? [jp]

Charles was the imaginary monarch of Borovnia. Pauline occasionally adopted his identity, but only in the real world. As Charles, Pauline wrote florid love letters to Deborah (Juliet) when the girls were separated by Juliet's confinement in the TB sanatorium. In Pauline's visions of Borovnia, Charles is always a plasticine figure with the features, and dulcet voice, of a youthful James Mason.

** Who was Deborah? [jp]

Deborah was the wife of Charles. Her identity was taken exclusively by Juliet in the real world. In Pauline's visions of Borovnia, Deborah starts off as a plasticine figure with Juliet's features, but she eventually becomes a real vision of Juliet, in the key 'seduction' scene with John-the-boarder (see 3.1.11.5). Deborah was always dressed in romantic, flowing dresses and gowns, and she was always smiling and laughing. I have received many comments about how carefully-crafted and beautifully-portrayed are the fantasy images of Juliet (Kate Winslet) in her Deborah incarnations. Jackson went out of his way to make Deborah a very appealing character for the audience.

** Who was Diello? [jp]

Fran Walsh: Diello was an imaginary character created by Parker and Hulme. He was "a murderous teen-age prince who'd kill anyone who was a problem to him."

Diello was the son of Charles and Deborah. According to Juliet at Port Levy, Pauline thought up the name. Diello was described by Juliet as "an uncontrollable little blighter who slaughters his nannies." We witness Deborah (Juliet) give birth to Diello (a cushion), assisted by Charles (Pauline), who comments: "You're such an incredible woman, Deborah!" In Pauline's visions of Borovnia, Diello is a plasticine figure who clearly has the intense, scowling features and angry voice of a young, svelte Orson Welles, even though the girls had previously branded Welles "the most hideous man alive" and had apparently banished him from their pantheon of the Saints. So much for consistency. Ah, the vagaries of adolescent infatuation... Diello's costume has very prominent lapels, shaped in a deep 'V' (see 3.1.14). Juliet is the first to imagine Diello crossing over to the real world, where he saves her from Rev Norris in the TB sanatorium. Pauline only imagines Diello once in the real world, where he dispatches Dr Bennett (see 3.1.16.8). Later, Pauline's visions of Borovnia include Diello more and more frequently. Diello is shown murderously protecting Gina's interests and, eventually, it is Diello who carries Gina off to Borovnia, where he 'ravishes her.' Which, logically, would have been a completely incestuous homosexual fantasy on Pauline's part, since she had been his 'father', Charles... except this is the impossibly-convoluted, gender-bending and identity-swapping world of Borovnia.

** Ah! but who was Diello, really? [sb,cb]

In the film "Five Fingers" (1952) James Mason played the part of Ulysses Diello, a suave and dangerous traitor and spy. Is this where the girls got the idea for the name 'Diello?' Possibly because, in real life, James Mason was the girls' principal Saint. There was confusion about Diello's name during the real- life trial (see 4).

** Who was Gina? [jp]

Gina was an "incredibly beautiful gypsy girl" in Borovnia. This description is a clever allusion to real-life comments made about the real Pauline Parker (see 3.2.6). Gina was Pauline's preferred incarnation in her visions of Borovnia. As Gina, Pauline wore long, red velvet gowns and was very popular and an excellent dancer. Diello seemed to be devoted to Gina, violently looking out for her interests in several scenes. By Christmas 1953, Pauline preferred being called Gina, though her mother wouldn't use the name. And, in her final Borovnian vision of the film, Pauline imagines that the flesh-and-blood Gina has, at last, turned into a Borovnian plasticine figure. Gina gradually crosses over from the ugly real world to bright Borovnia, in Pauline's fantasies.

** Who was Nicholas? [jp]

Nicholas was Deborah's tennis instructor in Borovnia, though he "has his eyes on Gina." This is the Borovnian alter-ego assigned by Pauline to John-the-boarder. At first, Gina is convinced that Nicholas is madly in love with her, and she with him. However, John-the-boarder's inept, awkward, selfish and traumatizing performance as Pauline's lover caused Nicholas to fall out of favor with Gina in the Borovnian universe (see 3.1.11.5). Nicholas is then dispatched violently by a lurking Diello in one of Pauline's Borovnian visions. Nicholas is lured to his death by Diello, using a pink gemstone from a ring. This scenario was used again in the murder of Pauline's mother (see also 3.1.16.14). In real life, Nicholas figured prominently in Pauline's diaries (see 7.4.3) and in trial testimony (see 7.7.2).

** Who was the fool (the jester)? [jp,G&L,mf]

The fool was Henry Hulme's alter-ego in Pauline's visions of Borovnia. The fool was initially a plasticine figure, but he became flesh and blood later in the film, when Pauline declared that they were all 'M-A-D.' At that point, she declared Dr Hulme to be "as mad as a March Hare," an allusion to Lewis Caroll's "Alice in Wonderland." This phrase does appear in Pauline's real- life diary entries (see 7.4.3). It is also possibly a rather cruel allusion by Pauline to real-world rumours about Dr Hulme. The phrase actually refers to the crazed behaviour of rutting male hares in springtime. In real life, Dr Hulme was rumoured to have engaged in extramarital affairs himself [G&L,mf]. In "Heavenly Creatures" Hilda Hulme as much implies this when she declares that she had to accompany her husband on his 1953 trip because "it's a long time for your father and me to be separated."

** Who was Mario Lanza's alter-ego in the Fourth World? [jp]

Mario Lanza was himself. He was apparently an important enough Saint for him to retain his own identity in the Fourth World. He was invariably shown singing, on a pedestal, dressed in a tuxedo. Mario begins as a plasticine figure, but he becomes flesh and blood in the ecstatic 'loveliest night of the year' during the girls' tumultuous final days together. Mario has a few key scenes in which it is clear he is devoted to both Deborah and Gina, his biggest fans.

** Doesn't Orson Welles appear as two different characters? [jp]

Yes. Diello has Orson Welles' features whenever he appears in visions, irrespective of which world is shown. After the girls see "The Third Man," they also imagine Orson Welles as Harry Lime, but this incarnation of Welles only occurs in real-world visions. It is as Harry Lime that Orson Welles, or 'IT,' is finally elevated to the status of an official Saint. The events in "Heavenly Creatures" which follow Orson Welles' canonization are the source of much controversy, of course (see 3.1.11.5).

** Who was Prince Ganymede? [jp]

Jonathon Hulme was playing the part of Prince Ganymede on the first morning Pauline came to Ilam. Juliet tells Jonsy to "Bugger off! We're not playing anymore!" when he breaks Pauline's record.

** Who was Lancelot Trelawney? [jp]

Juliet first referred to Lancelot Trelawney in her story at the dining table when she went to "Meet the Riepers" (see 3.1.9). Later, Pauline dresses up as Lancelot in red velvet breeches and crashes through the bushes at Ilam, scattering Dr Hulme and his guests.

** Ah! But who was Lancelot Trelawney, really? [jp]

In real life, Lancelot Trelawney was an imaginary Cornish soldier of fortune invented by the real Pauline. (Cornish = born in Cornwall, the western 'foot' of England). Lancelot Trelawney came to be Emperor of Pauline's imaginary Kingdom, Volumnia, in her writings (see 7.4.1).

** Who were the nameless inhabitants of Borovnia? [jp]

The nameless inhabitants of Borovnia also tended to be faceless, or have poorly-defined features. This characteristic is used with disturbing effect in several visions of Borovnia. Their identities are unknown. The nameless Borovnians also make very unsettling, wordless animal grunts and noises in several scenes. Very creepy and effective use of sound by Jackson.

3.1.4.6Authority figures#

** Who was the psychiatrist who examined Pauline? [lfr]

During his fireside chat with the Riepers, Henry Hulme described Dr Bennett as a "good friend" and a general practitioner with experience in child psychology. After his examination of Pauline, Dr Bennett pronounced that she was suffering from "h-h-homo-sexuality" in that ultra-closeup shot, bad teeth and all. There were several extra scenes featuring Dr Bennett and his family in an early draft of the "Heavenly Creatures" script. (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.) The Bennetts were portrayed as being close social contacts of the Hulmes, and part of the Christchurch social elite, which is, apparently, an accurate portrait of real life on all accounts. In the draft script, the Bennett's son, Colin, was volunteered by the adults to pursue Juliet and rescue her from Pauline's charms, lest she be "lost to the world of men forever!" He complied awkwardly and reluctantly. Naturally, our Juliet shredded the hapless lad with her sarcastic wit and razor-sharp tongue. (see 3.1.25) Too bad those scenes hit the cutting room floor.

** Was Dr Bennett real? [jp,mc]

Dr Bennett was a real person and an important player in the "Parker Hulme" case. He examined Pauline as shown in the film and he was consulted twice by Henry Hulme about the girls' relationship before the murder. Dr Bennett examined both Pauline and Juliet after the murder and testified for the defense at the trial. For a more complete description of Dr Bennett and his role in the real-life events, see 7.1. [jp] Dr. Bennett was a family physician. He was my mother's doctor in Christchurch. [mc]

** Who was the priest? Were there inside jokes here? [jp,se]

The priest was Rev Norris, and he visited Juliet in the sanatorium. The scene with Rev Norris was probably included for three reasons. First, it is a timely reminder of the religious themes that permeate the film (see 3.1.15). Second, for irony. Rev Norris attempts to 'comfort' Juliet with standard Christian fire-and- brimstone rhetoric; taken literally, his words conjure up violent and disturbing images, of course--hardly comforting for a sick and lonely child. And his pamphlet shows a picture of a bloody Jesus suffering under torture on the cross. Juliet imagines her own salvation from this annoying man and it is comparably violent--Diello dispatches Rev Norris by dragging him to Borovnia and publicly beheading him. Funny, but Rev Norris didn't seem to be pleased to be meeting his Maker and Saviour... The third reason was probably to illustrate and emphasize Juliet's contempt for organized religion. Earlier in the film she makes some withering comments about the distinction between Heaven and The Fourth World (see 3.1.12). In real life, a statement from Juliet concerning the concept of Hell was read into testimony at the trial: Juliet said there was no hell--"the idea is so primitive." And the girls' religious philosophizing in real life was a much more significant part of their writings than was portrayed in the film (see 7.6). And, in real life, Dr Hulme was close friends of the Bishop of Christchurch, and Juliet's maternal grandfather was an Anglican clergyman.

3.1.4.7Lodgers and lovers#

** Which boarder hated fish but liked Doris Day? [jp]

Steve wasn't too keen on fish, but he thought Doris Day was "really talented." And, hey, who could disagree? That voice, that enthusiasm, those perky dimples...

** Which boarder was told to leave before Juliet's visit? [jp]

Steve was told by Pauline that it was to be a "private function" and to leave. The poor lad left hungry.

** Which boarder waited patiently for the bathroom? [jp]

That would be Laurie. Even his clothes were neatly folded. Honora really had those boys whipped into shape...

** Which boarder was playing scrabble with Pauline? [jp]

That would be John. Of course, Pauline was getting ready to score big points with "putrid."

** Which boarder admired Pauline's plasticine figures? [jp]

Yup, John again. He commented that "you girls are damned clever."

** Which boarder was impressed by knitting patterns? [jp]

** So the boarder who said "damn" a lot was... [jp]

John. A clever little allusion by Walsh & Jackson to real life. See Pauline's diary entries, section 7.4.3. I love these little touches. W & J really did their homework.

** Which boarder became Pauline's lover? [jp]

John crawled into bed with Pauline, declared his undying love for her, then got kicked out of the Riepers' house. Later, he deflowered the poor girl in a very disturbing but important scene that flashed between reality and visions of Borovnia (see 3.1.11.5). Finally, he was dumped, still proclaiming his love for Pauline as he rode his bicycle into a policeman, when Juliet was released from the TB sanatarium, in the all-important "The Ones That I Worship" sequence.

** Who was Ross? [jp]

Must have been one of the two boarders who chatted at the breakfast table the morning after John was evicted.

** What was the name of Hilda Hulme's lover-then-lodger? [jp,lfr]

Bill Perry, an engineer, first sought Hilda's services as a marriage counselor. Hilda asked Bill to talk about his feelings, and they came to fall in love. Perry eventually moved into Ilam with the Hulmes "to live as a threesome." In real life, this phrase was coined by Pauline in one of her diary entries and it was entered into testimony at the trial, to become one of the salacious tidbits reported worldwide in the international press. An early draft of the script (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.) has several more scenes involving Bill Perry and his impact on the disintegrating Hulme household. In real life, Bill Perry played a much bigger role in the complete story than was depicted in the final North-American release version of the film (see 3.2.8) and the time line involving Bill Perry was quite different than depicted in "Heavenly Creatures" (see 3.1.27 and 7.3).

3.1.4.8School characters#

** What was the real Miss Stewart like? [ap,mc]

Anne Perry confirmed Miss Stewart for me (see 7.10.2.1) but gave a very different description of her than the way she was portrayed in "Heavenly Creatures." Ms Perry did describe Miss Stewart as being feared and respected by the pupils, however. [ap] Miss Stewart was an excellent French teacher who became headmistress in approximately 1948. She continued the discipline established at the school. During this period, NZ high schools were run by the Head and one Secretary and it was a part of the job of the Head to contact parents about academic and disciplinary matters. There were no guidance counsellors. [mc]

** Who was the French teacher? [mc,G&L,maw]

The French teacher in "Heavenly Creatures," Miss Waller, was my Latin teacher (and good). The others you list in section 3.1.4 must have been after my time. [mc (GHS 1946-1950, inclusive)] Pauline Parker was remembered as having done very well in Latin tests, and she took Latin by correspondence during her incarceration in prison. [G&L] Miss Waller was my French Mistress (teacher) in the early 60s and I sure remember her. Her portrayal in the film was superb. I had Miss Renwick for Latin. The Headmistress in my time was Miss Robinson. [maw]

** Can you believe the smock worn by the art teacher? [jp]

Yes. I have a picture of my own mother, in the same occupation, at around the same time, pregnant (with me), in an eerily similar white-with-bright-flowers smock and dark red lipstick. Hey, it was the 50s. Oh, and wasn't the art teacher's accent great? Accents are important in this film (see 3.1.5, 3.1.11.3).

** Ah, but who was the Art teacher, really? [jp]

The Art teacher was played by Liz Mullane, she of the wonderful Kiwi accent. Ms Mullane has an ear for accents herself, because she was also the New Zealand casting director for "Heavenly Creatures."

** Who was Joan? [jp]

Joan was complemented on her artwork by the Art teacher. Joan was the only other CGHS schoolgirl to be identified by name in "Heavenly Creatures."

3.1.5School#

** What schools did the girls attend? [jp,mf,sb,lw,mm,maw]

At the beginning of "Heavenly Creatures," Pauline is in the Third Form (the first grade of high school) at Christchurch Girls' High School (CGHS), an academically well-regarded and progressive state school in central Christchurch. Christchurch residents still refer to it as "Girls' High." Juliet joins CGHS near the beginning of the Third Form early in the film. We are told by Miss Stewart that Juliet had been attending St Margaret's [note: Confirmed to be the private Anglican girls' school in Christchurch, now located just north of Hagley Park. lw,mm. But Juliet Hulme's attendance in real life has not yet been confirmed. jp]. Prior to that, Juliet had been in Queenswood in the Hawke's Bay [note: Located on the east coast of the North Island of New Zealand. See 3.2.4. jp]. And, in real life, she had also been to Ilam School, an elementary school near the Ilam homestead, though this isn't mentioned in "Heavenly Creatures." Later, Pauline is removed from CGHS in a critical sequence of events, and she is enrolled at Digby's Commercial College [note: Confirmed from PYP's diaries, trial testimony and other sources. jp]. Digby's was a private vocational school where girls learned shorthand, typing, bookkeeping and other skills necessary for a clerical job. It is now closed, but it was in the central city, not in Digby Place [note: Digby Place is in the east end of ChCh. jp]. [lw] Digby's was a secretarial "College" and certainly much looked down upon. [maw]

3.1.5.1Christchurch schools and the NZ system#

** What was the school system in place in NZ? [lw,mc,maw]

Here is the English Public school system in place at the time, as a point of reference [jp]:

Form: 3rd 4th 5th 6th Upper 6th Ages: 13-14 14-15 15-16 16-17 17-18

English O-levels A-levels Exams: (typ 7 subj) (typ 3 subj)

(some English Public schools called 3rd Form 'Fourth Form' and 4th Form 'Removes' and 6th Form 'Lower Sixth'.) The corresponding 'equivalent' "Heavenly Creatures" years would be:

"HC" Year: 1952 1953 1954 (1955) (1956)

That is also right for NZ, except for the examinations. I'm not absolutely certain about the early fifties, but a decade later there were three external examinations: (a) School Certificate at the end of the 5th Form (normally 5 subjects, to pass required (i) at least 30% for English and (ii) 50% average for English and the top 3 other subjects. (b) University Entrance at the end of the Lower 6th Form (normally 5 subjects) passed mainly by "accrediting" (internal assessment)--the examination was only for those who were refused accreditation, and few of them passed it. (c) Junior and National Scholarship for the intellectual elite at the end of the Upper 6th Form (again 5 subjects). Many went to University direct from 6th Form. Those who went back for the Upper 6th (now called 7th Form), and lasted the year out, more or less automatically got Higher School Certificate which entitled them to the basic bursary allowance at University. Those who sat and passed the Scholarship exam (bloody hard, I can tell you) got generous living allowances at University. (There was a different system of exams, including the Matriculation and Public Service exams, in the 1930s, but I think the later system would have been in place by the early fifties.) [lw] In the late 40s, the Forms (Grades) in CGHS were denoted by roman numerals: Form III, Form IV, Form V and Form VI, with the classes appended, e.g. Form IIIA. There was 'streaming' with the 'A' classes being composed of the more academically-inclined girls. Most of the girls from Form IIIA went on to Teachers' College or to University. The 'A' class sat School Certificate after 3 years, whereas the rest of the school took 4 years, and the pass rate for the 'A' class was higher than for the other classes. School Certificate was an external exam taken at the end of Form V. [mc] The use of Roman numerals for classes was still in place in the early 60s. Form VA, VB, VC etc are what you will see on school photos. Many girls left after School Certificate, a nationwide exam at the end of Fifth Form. University Entrance Exams could be taken in Lower Sixth Form. Upper Sixth prepared you for University. There was a big gap in standard, so most who went to University without the Upper Sixth year failed. [maw]

** What was the school year in New Zealand? [lw,pb,jp]

The school year was coincident with the calendar year and was divided into three terms. English term names were not used. The terms and holidays coincided with those of Canterbury University College, where Dr Hulme was Rector. The First Term starts in the week in which February 1st falls and runs until the end of April. Easter holidays fall in the First Term. The "May Holidays" follow and run for two weeks in the late Autumn. Canterbury College traditionally had rather wild student activities in the first week of May, after the first term (see 7.10.1.1). This is actually an old tradition in English schools, too, after their first term. [note: This holiday originally for harvest? jp] The Second Term follows, running from mid-May to mid-August. The "August Holidays" run for two weeks at the primary school level and for three weeks at the secondary school level. This corresponds to late Winter, early Spring. [note: Originally for tilling and planting? jp] The Third Term then runs until the week before Christmas. This marks the end of the school year. For 5th and 6th formers the last weeks of the year, after the examinations in November, are a pleasant time (apart from waiting for results). The pressure is off and teachers are often willing to let pupils decide what to do in class. "Summer Holidays" then last for six weeks, and include both Christmas and New Year.

** What were the important high schools in Christchurch? [lw]

The school which figured prominently in "Heavenly Creatures" is Christchurch Girls' High School (CGHS or "Girls' High"). It was located in the original town near Hagley Park. The other girls' schools of similar status were St Margaret's College (Anglican) and Rangi Ruru (Presbyterian), located just north of Hagley Park. The Roman Catholic Sacred Heart School (now merged with the boys' school under the name of Catholic Cathedral College) was on the other side of the central city by the Catholic Cathedral, about 2 km SE of CGHS. The only other state High School in the central city is Hagley, just south of Hagley Park and known as Christchurch West High School in the 50s. Christchurch Boys' High School is in the suburb of Riccarton, to the west of Hagley Park between the Park and the suburb of Ilam. The Presbyterian boys' school, St Andrews, is in the suburb of Papanui, north of Hagley Park. Christ's college, the Anglican Boys' school, is a block away from CGHS on the eastern edge of Hagley Park.

** What kinds of students attended CGHS? [lw,maw]

The "best" suburb of Christchurch is Fendalton, to the north-west of Hagley Park. Until the abolition of school zoning in the 1980s, pupils living in the suburbs of Bryndwr, Fendalton and Merivale were zoned into Christchurch Girls' and Boys' High Schools (which made houses in those suburbs desirable). Both schools also took boarding pupils from the more remote rural districts. [lw] I lived in Hoon Hay, an outer suburb to the south-west of Christchurch near the Heathcote River and attended CGHS in the early 60s. I was admitted based on marks at the end of Form 2. Most girls attending the school lived closer than I did, in the posher suburbs. There was a fair bit of humbug around about people's social standing etc. I remember visiting the home of one school friend who said that her father was an accountant and that they lived in Fendalton. They did not seem any better off than us. [maw]

3.1.5.2Christchurch Girls' High School#

** Where in Christchurch was CGHS located? [lw,pb,jlee,jp]

The old CGHS is in the central city, two blocks north of the old University (now Arts Centre on Worcester Blvd) and the Museum, one block east of the point where the Avon River turns into Hagley Park. The main entrance of the old school buildings is on Armagh St facing Cranmer Square. (The new school now lives in a set of huts that pass for modern school architecture at the north-west corner of Hagley Park.) [lw] The site of the old school is the SW corner of Montreal and Armagh Sts. [jlee] The old CGHS was just east of North Hagley Park, slightly to the NE of the Museum, which is north of the hospital on the other side of the Avon River (which curves around through the park at that point). It is a few blocks north of the old University. If I remember correctly there is a very small (1 block size) park just to the north of the school. [Cranmer Square. jp] The Avon is a block or two to the West of this and N. Hagley Park is past that, further west. At this point the Avon is flowing pretty roughly North to South before meandering through the park and then through downtown. (Note that Hagley Park is huge!) [pb] The Central Police Station is just 3 blocks south and 1 block east of the school. The Law Courts, where the inquest and trial took place, are just a block east of CGHS on Armagh St. Check out these street names from the environs of CGHS in downtown Christchurch; the cultural and historical significance of these names, in the context of this story, are left as an exercise for the interested reader: [jp]

Aberdeen Acton Armagh Bangor Bath Bedford Bishop Blenheim Caledonian Cambridge Carlyle Cheltenham Chester Churchill Colombo Derby Dorset Dublin Dundas Durham Exeter Gloucester Gressons Hereford Leeds Lichfield Liverpool Livingstone Madras Manchester Mayfair Montreal Oxford Perth Peterborough Pope Regent Rhodes Salisbury Shrewsbury Stewart Tonbridge Queens Victoria Waller Winchester Worcester

** What was the background and tradition of CGHS? [jp, maw]

CGHS was established in 1878, administered by Canterbury University College. The equivalent Boys' High School was founded 2 years later. The two schools acted as the main 'feeders' of qualified students to the College, and they were highly valued because of this role. CGHS moved to the Cranmer Square site in 1882. The connection with the College remained very strong. The first female graduate of Canterbury University College, Helen Connon (1860-1903) was the second woman in the British Empire to graduate and the first to win 1st Class Honours. She graduated with her BA in 1880 and MA in 1881 (Latin & English) and taught at CGHS while a CUC student. She was an Assistant Mistress at CGHS from 1878-83, then "later as headmistress (1883- 94) ... Helen Connon both prepared and inspired her girls to seek degrees, and set a standard of scholarly teaching which had influence throughout the colony." [from W.J. Gardner, E.T. Beardsley and T.E. Carter, "A History of the University of Canterbury", Christchurch, U of C, 1973, pp. 156-7]. [jp] One thing the school did have was a terrific academic emphasis, even if it wasn't appreciated by the girls at the time. The girls did everything--no lab techs etc in those days. In the early 60s many girls entered CGHS for upper VIA from private schools that didn't have the facilities. It was always claimed that CGHS had a better academic standard than any of the private schools; it certainly had a better record in science. I know of or know a number of CGHS alumnae who became scientists of one sort or another. Certainly the percentage of CGHS girls going into scientific or academic fields would have been much higher than the percentage of graduates of any other school except CBHS and Christ College (a private boys' school nearby in Hagley Park). [maw]

** Was CGHS a boarding school? [mc,lw]

Although primarily a 'day' school, CGHS also had a house for boarders, Acland House. It was the only Christchurch state high school with boarding for girls. [mc] Christchurch Boys High School also took in boarders. [lw]

** There were many bikes. Did many girls bike to school? [pb,mc,maw]

Christchurch is flat and bike riding was a very common way of getting around in those days. [note: Consistent with the opening archival footage. See 3.1.3. jp] You want references?

I forgot to mention the bike sheds when I described the school grounds. We all biked to school in the late 40s, but for the few who walked. Maybe a very few took public transport. [mc] I only rarely took the bus. I lived about 5 miles away from CGHS in the early 60s and would bike to school all year except one or two bitterly wet and windy days in mid-winter. However, at that time, the majority of girls would have come in by bus. [maw]

** What were the CGHS motto and crest? [jp,mc]

The school crest is shown in close-up in the opening titles and credits. The motto is:

At the top of the crest there is a sheep hoisted in a sling on the left, a stylized Y-shaped yoke (?) or surplice (?) in the middle and a plough on the right. These are above a six-pointed star and the motto. [Any clues about the heraldry would be appreciated... jp] The school crest shown in HC was adopted in approximately 1949. Previously, the school was governed by Canterbury University College (now the U. of Canterbury) and the CUC crest was used. The present school crest was derived from the CUC crest. I am not certain about the 'Y' shape; it is also on the CUC crest. It may be a clerical garment to symbolize the founding of Christchurch by a Church of England group. The plough was also on the CUC crest. The star and the motto were new to CGHS. [mc]

** What was the CGHS school uniform? [jp,mc]

The girls in "Heavenly Creatures" wore white shirts, buttoned to the collar, navy ties (preferably knotted with a Windsor knot), pleated navy pinafores, navy blazers, navy hats with a navy band with red trim at its top and a red crest at the front, stockings, brown Oxford shoes or sandals and brown gloves. They carried brown leather satchels. The girls also had a uniform for gym. They wore white shirts, navy bloomers, white socks and white plimsoles (tennis shoes). Teachers wore black academic gowns over dark, conservative 'day' clothes. [jp] School uniform: The navy hats had a navy band with red trim, and GHS, in red, centre front. The compulsory gloves were NAVY, in my time ('46-'50). 'Bookbags' are not satchels, as shown in "Heavenly Creatures," they are more like the shoebags used in winter in the eastern U.S. and Canada. There may have been a white gym uniform in the fifties but in the late 40s we had navy bloomers and the blouses which were part of our street uniform. In approximately 1948, summer uniforms were introduced in addition to those you describe (not shown in HC). [mc] The school was ridiculously strict about things such as uniforms. [maw]

** Was CGHS unusual in requiring school uniforms? [mc,maw]

There were 7 private high schools and 6 state high schools in Christchurch until the mid fifties and all had compulsory uniforms. Each child was obliged to attend school until the age of 15 and each school obliged every child to attend in uniform. [mc] Some of the really poor girls had their uniforms provided them in the early 60s when I was a student at CGHS. [maw]

** What do we learn of CGHS and its environs from "HC"? [jp]

The opening crane shot of the school is from Cranmer Square, over the cast-iron lamp, looking south. We follow the girls and teachers as they bicycle and walk to school along the radial paths leading from near the center of Cranmer Square. Others arrive by car on Armagh Street and are dropped off. The gabled brick buildings look the same as they did in the opening archival footage, though the door is bright red in "Heavenly Creatures." Inside, we see a clean, neat interior with polished floors, wooden lockers in the halls, large windows. The classrooms have neat wooden desks (mostly doubles, with singles along the windows) and the desks have no graffiti on them or carvings. Pupils use pen and ink, and there is an inkwell. There are about 35 seats per classroom. The teacher's desk is wooden and located squarely in the front of the class. The blackboards are green (possibly an anachronism--mine were mostly black slate in the 60s). There is a portrait of the Monarch above the boards in every class. Doors are shown half-closed during classes. The assembly hall has a high, open wooden ceiling (the beautiful shot under Alun Bollinger's credit), a polished wooden floor and a small stage. The room holds about 200 students comfortably. Outside, the schoolyard is tarmac (paved). The girls have gym outdoors in good weather, and we see calisthenics and 'netball' (not basketball) being played, with coloured sashes worn by the girls to distinguish teams.

** What was the meeting shown in the opening scenes? [jp,G&L,jlee,mm,lw,mc,maw]

The meeting shown was the daily school assembly which would have started off the day for the girls. This type of assembly was a cultural institution in the English-type 'Public' (= private) School system, where it is often called "Chapel." I attended very similar assemblies in a Public School in England in the late 60s. However, CGHS was a prestigious state school, not a private one, an interesting distinction which tells us something about the cultural orientation of Christchurch society. [jp] Glamuzina and Laurie give the following quote from a publication for tourists from the 50s:

The assembly wouldn't have been labelled 'chapel' in a state school (which CGHS was/is). There could have been a generic type hymn and the English-influenced culture of Christchurch might have influenced the choice of hymn in the Anglican direction. There are other girls' schools in Christchurch which were private and affiliated to churches. The Anglican girls' school is St Margaret's. [mm] Christchurch Girls High was and is a state school, not a church or other private school - they might have had a school hymn sung at morning assembly, but a chapel service sounds most unlikely. [lw] The assembly scene was set in what had become the library by the time I attended CGHS 1984-88. I seem to remember being told that assemblies use to be held there, so that seems accurate. When I was there in '84-'88 we had assembly twice a week, and always started by singing, nothing with religious overtones though. I understand this to still be the case although they now have senior/junior school assemblies, mainly for space reasons, I believe. [jlee] In the early 50s the gym was also used as assembly hall for all the Form III and Form IV classes. The assembly hall in "Heavenly Creatures" was used for Forms V and VI for morning assembly. The assembly shown was typical of assemblies held daily in every state school in the country at that time. Because of the Protestant religious content, Catholics and Jews could get themselves exempted. We had a hymn, a prayer by the Head, the Lord's Prayer by all, and a blessing by the Head. The assembly was also used for school announcements. We all carried the blue hymn books shown in "Heavenly Creatures." It was a crime to be without your book at assembly. I attended identical assemblies in several schools in different parts of the country through 1957. The format must have been a Dept. of Education ruling. [mc] In the early 60s the assembly was daily, originally held in the gym and later moved to a new school hall when it was built. Attendance was compulsory for all students and teachers. The singing was always religious hymns, followed by prayers, then school announcements and off to class. In the Upper Sixth all students also had to present a Bible reading to the whole school at assembly, an activity introduced by my Headmistress, Miss Robinson. I caused some waves when I read out something from the UN Charter on Human Rights and not from the Bible. I was called to Miss Robinson's office afterwards and went in with much trepidation, expecting to be in real hot water. Instead, to my relief, I was told what a good job I had done. [maw]

** What can be learned about CGHS from the meeting? [jp,G&L,maw]

The morning assembly tells us lots of information about the school system in place at CGHS. First, that it was patterned very closely after English Public (private) Schools in many ways, even though CGHS was a state school. This is one more clue that there was a wholesale mapping of an idealized value system from slightly archaic, solid middle-class Britain onto the values of this terribly English community. [G&L] We learn the school was quite small (all junior students would have been present--about 200 by my count) and ethnically quite homogeneous [note: Glamuzina and Laurie discuss Christchurch ethnicity quite extensively in their book. See 7.7.6. jp]. The close-up shot of Pauline had her dark curls and knitted brows in a sea of blonde heads and pink-cheeked faces. Every student would have been known, by sight at least, to all teachers and all other students. This was an intimate, even stifling community, therefore, where there would have been very few secrets, and gossip and rumor would have spread like wildfire. Absences and truancy would have been noticed immediately, of course, and reported. All teachers were present on the stage and all participated with purpose and gusto. All were women, and most were portrayed to be archetypal schoolmarms (the art teacher, naturally, stood out as a free spirit--but that's OK because artists are allowed this luxury). [note: When I was a student in the early 60s a male French teacher arrived, Dr Philip Manger (a MAN!! the only one on staff). maw] Even though CGHS was a state school, the assembly still had a thinly-veiled socio-religious purpose. The religious/social affiliations of CGHS were, by default in this city, with the Anglican Church (Church of England), even though this may not have been 'official policy.' The Anglican Church dominated upper Christchurch society and culture at the time and the Anglican Cathedral was just a few blocks away. Students, teachers and staff may not have shared exactly the same faith, but they certainly demonstrated their Christianity to each other on a daily basis. [The headmistress in my time (early 60s) was the daughter of an Anglican clergyman of some sort (can't remember the actual sort) as was the previous headmistress. maw] In an environment like this one, where every action is seen and every whisper is heard, even nuances become significant. Subtleties are important. Small, quiet things can make big statements.

** Was the ethnicity of CGHS portrayed accurately? [maw]

The school was very ethnically homogeneous in my time (early 60s). Almost all students, me included, were of Anglo-Saxon background. There was a handful of students of European ancestry (mainly refugee backgrounds) and only one Maori student in my class, and then only in the upper Sixth.

** Was the religious content really that great in CGHS? [maw]

In the early 60s the school was still permeated with religious influence. My father was an atheist and everyone knew it and this certainly counted against me and made me into a bit of an outsider. Assembly had Bible readings, hymns and prayers and there were religious lessons, which I was the only one in my class not to attend. I was sent to the library during that period, so everyone knew I didn't go to religious classes. I might have missed out on much of the gossip at school.

** What was physical education like at CGHS? [lw,mm,mc,maw]

CGHS would probably have had games perhaps one afternoon a week. That's all the time most schools would have had for that sort of thing - otherwise normal lessons. CGHS was a boarding school with a mixture of day pupils, like Parker and Hulme, and boarders, and the boarders would have some sort of activities on the weekends. [lw] The old school on Cranmer Square had no school playing fields, but there might have been room for a netball court or two (in those days they would have called it "basketball") and somewhere for "PhysEd" (daily morning exercises involving running around, jumping and throwing balls). Otherwise, I guess the pupils would have gone to Hagley Park (just a block away and across the Avon River) to play tennis in the summer and perhaps softball in the winter. [lw] In the 60s and 70s the private schools (same as "Public" Schools in the U.K.) did have games and activities after school for boarders and day girls but I wouldn't think there would be anything that organized at CGHS. Participation in basketball and other team sports was probably voluntary. [mm] GHS did not have games one afternoon per week in my time ('46-'50). Games participation was compulsory and held during mid-morning and lunch breaks. The school had exactly 2 tennis/netball courts, a swimming pool, and a piece of lawn. We played netball - basketball is a different game and was played in elementary school. Outdoor PhysEd was held on/by the tennis courts. We also had a gym used year 'round. Occasionally we had PhysEd in Cranmer Square, adjacent and to the north of the school, [note: Shown in the opening shot of "Heavenly Creatures." jp] which was also used by St Margaret's. We never went to Hagley Park - although the park gates are close, the playing fields were remote from the school. [mc] Health and fitness were emphasized. In the early 60s we had to go swimming if we were doing things like bronze medallion training or if we had chosen swimming as "our" sport--even if the pool had a layer of ice on top when we started. No wonder we had some champion swimmers... trying to get to the other end and out as quickly as possible! [maw]

** What about 'the birds and the bees' at CGHS? [maw]

In the early 60s we had one or two 'biology' lessons at school, so coy that they taught you nothing. This coyness about sex was pretty general, though, and not confined to the school. Any conversation about things such as would have been raised at the trial would have been kept well out of hearing range in my family. Even among girls at school there was not much discussion about such things. There were always teachers lurking around to ensure we behaved properly. No talking too loud, no big groups, no running, no no no. [maw]

** How were grades reported in CGHS? [jp,mc,mm,lw]

Given the similarity of CGHS to the English Public School model, it seems likely that grades would have been reported as percentages and a student's place in class would have also been reported. Parents used to be particularly interested in those class rankings... [jp] I think you are right about the percentages. I'm not so sure about rankings in class. [mm] As far as school internal exams are concerned, reporting as percentages would depend on the school, but you're probably right. School Certificate results were reported as percentages. [lw] In the late 40s, grades were mailed to the male parent at the home address after each term. Marks were entered as percentages, and place in class was also listed for each subject as well as for the term. I do not know how long this practice continued. [mc] In the early 60s grades were sent in written form, with corresponding remarks from the appropriate teacher, to our parents after they had been told to the pupil in class. Grades were given as percentages and approximate (if not exact) ranking in class. I don't remember if any results besides School Certificate and University Entrance were posted publicly, but those two were even published in the local newspaper! However we got to know it, we certainly knew approximately where everyone stood in the class and whether we would be promoted or demoted. [maw]

** What about discipline? [mc,maw]

In the late 40s and early 50s NZ high schools were run by the Head and one Secretary and it was a part of the job of the Head to contact parents about academic and disciplinary matters. There were no guidance counsellors. [mc] Parents would have been notified quickly of serious misbehaviour in my time (early 60s). They would also have been notified of very poor marks. [maw]

** What about truancy? [mc,maw]

Truancy was 'dead obvious'. The teachers knew all the students, and the town knew the uniforms of all the high schools. Truant behaviour was reported back to the school Principal. [mc] After all school sports days, those who wagged were asked to report their absences--most, including myself, were silly enough to do so even if we knew it meant a detention, or a telling-off, or some sort of lines about not wagging, or all three. [maw] [note: This is an important point. In real life, PYP and JMH apparently skipped school frequently, and there are diary entries about PYP and JMH skipping school sports days at Lancaster Park to write poetry together. jp]

** What about school photos? [maw]

My school photos were taken in the early 60s. Two were taken in late autumn, April or early May. There are plenty of leaves on the ground but still leaves on the trees. The third was probably taken in very late autumn; a few leaves on the ground and none on the trees. There is no teacher in any of my school photos and no indication who our form mistress was. The mock photo in the film showed a teacher in the photo, which struck me as strange.

** Is this an accurate picture of the school and system? [mc,maw]

During my attendance at Christchurch Girls' High School (1946-50, inclusive), the enrolment was about 500. My class sizes were 38 in Form IIIA, decreasing to 14 in Form VIA. "Heavenly Creatures" gave an amazingly accurate impression of the school, which was not a unique school in New Zealand--I taught at Auckland Girls' Grammar School in 1955, an identical environment. [mc] The portrayal of the school and some of the teachers, especially the French teacher, was uncanny in its accuracy. I still have three school photos, from Third, Fifth and Upper Sixth Forms. In the early 60s I started off in a class of 35 in Form IIIA which became 30 by Form VA. Of the girls who started with me in IIIA, 10 completed upper VI with me, and the total in that class was 41. Upper VI was not subdivided, but classes like English (compulsory) were split into two classes. Some students entered CGHS at that level, having attended private schools that didn't go through to VIA. Many girls left school after School Certificate at the end of Fifth Form. [maw]

3.1.5.3The importance of school#

** Was school really that important at the time? [jp]

The British take their schooling very seriously and wear it like a badge of membership their whole life, because schooling is completely intertwined with social station in British society. For example, in "The Daily Mail Yearbook for 1954" [note: One of the books I am using for background info. jp], pp. 196-7 lists "Leading Headmasters," the headmasters of the 'leading' Public (i.e. private) Schools. There they are, for all to see, to learn about and to know. Note that The Daily Mail Yearbook would not have been bought by people attending those schools. The publication was designed for consumption by the masses. (This focus on the cultural importance of school hasn't changed much; recently [Jul. '95] there was a press report which made it all the way to San Francisco papers informing the world that one of the Prince and Princess of Wales' sons had been admitted to Eton, a first occurrence for the House of Windsor. jp) The traditions in Christchurch, New Zealand were rooted in the same English sensibilities, especially with regard to the value of education and its social significance. Indeed, many of the power-elite in Christchurch in 1954 were English or were of English stock, and were easily identified whenever they opened their mouths to speak (see 3.1.4.4). Social traditions in New Zealand were changing in the 50s, and the similarities and differences between New Zealand and Britain and the different social trends make for fascinating study. Regardless, it is worth taking a close look at schooling in "Heavenly Creatures."

** How important was school in Pauline and Juliet's lives? [jp]

At the girls' age in 1952, their whole day-to-day life would have revolved around school, and there is plenty of evidence in "Heavenly Creatures" to support this. In fact, the time line of real-life events shows an uncanny correlation between critical events and the school calendar (see 7.3). The girls are shown wearing their school uniforms throughout much of the film, and school uniforms are used symbolically in many ways in "Heavenly Creatures." See below and 3.1.16.5. Despite the fact that they rebelled against it, school was very much the defining experience for the girls at that time in their lives. It concentrated within its four walls everything about the society in which they lived, and especially all of the values and yardsticks used to define the worth of people in that society. And it was a competitive environment. To Pauline, especially, school had been the only outlet for her intellect and for her creativity, until Juliet arrived. The importance of the school events in the first half of this story probably can't be overestimated.

3.1.5.4Lessons from teachers#

** What do we learn about Miss Stewart? [jp,ap,mc]

The Headmistress, or "Old Stew," as Pauline referred to her, was a formidable woman and a traditional disciplinarian. We see her standing at the school entrance checking the arrival of each pupil in the opening credits; enforcing attendance was one of her important duties [mc] and one she took seriously. In the assembly, she commands the students to "Sit-tuh!" and does so again when she intrudes into Miss Waller's French class. We get the impression Miss Stewart liked to run a tight ship. Later, Honora Rieper received a letter from Miss Stewart voicing concern over Pauline's performance at school, so Miss Stewart also took a personal interest in the progress of her pupils. Although she was feared and respected by her students [note: Confirmed. ap,mc], Miss Stewart would have also been an important role model of sorts for the girls. She was obviously a spinster, and the school was obviously her whole life. The girls would have learned from Miss Stewart that it was possible for a woman to be a successful and highly-regarded professional and that a woman's fulfillment and happiness in life wasn't necessarily tied to finding a man and producing babies. Very progressive and subversive... I have no idea if Miss Stewart would have approved of the message, but there you go. Given the emphasis at CGHS on academics, I rather suspect she would have approved. [jp]

** What do we learn from Miss Waller's comments? [jp]

"I will not have girls talking out of turn in my class!" "It is customary for a student to stand when addressing a teacher." Discipline and a traditional code of values and conduct were valued highly.

** What do we learn from Mrs Collins' comments? [jp]

"That's very clever, Juliet. But when I set you a topic, I expect you to follow it. Throw that away and start again." Even the Arts required discipline.

** What do we learn from Mrs Stevens' comments? [jp,lfr,sb]

Mrs Stevens shouted at Juliet: "I suppose you think it witty and clever to mock the Royal Family, to poke fun at the Queen of the Empire with this rubbish!...A girl like you should be setting an example!" This community took things like the Royal Family very seriously indeed. There is an additional dynamic, however. This incident took place on May 11, 1953, according to "Heavenly Creatures." King George VI had died on February 6, 1952 and, since that time, the Coronation ceremonies of his successor, Elizabeth II, had been in the planning. The Coronation itself was a huge spectacle and it was followed by ceremonies and celebrations all over the world and especially all around the British Commonwealth (or, what used to be "The Empire")--basically, this was to be a bash people would talk about for decades to come. The Coronation was scheduled for June 2, scant weeks away, so Royal-mania would have been at an absolute fever pitch in the British-mad Commonwealth community of Christchurch. And, in real life, there was a Royal Tour of Australasia which passed through Christchurch (be still my heart!) around Christmas, 1953. Royal-mania was to become Royal-frenzy in late 1953, although the Royal Tour was not featured in the North American release of the film. [jp]

** What do we learn from the gym teacher? [jp]

** Were the teachers really that strict in real life? [maw]

In spite of the CGHS teachers being pretty strict, dishing out lots of detentions etc, they could still be quite human and caring if there was a real reason. Help was given to families where there was an illness. Allowances were made or provisions made for girls from really poor families.

3.1.5.5Observations about school scenes#

** What do we learn about Pauline from the opening scenes? [jp,sb]

Plenty. These opening scenes in the school under the titles and credits are very important. We learn Pauline lived very close to the school, in a property backing onto the school grounds. In real life, that's exactly where she did live. On the same block, on Gloucester St just south of the school. Gloucester runs parallel to Armagh, which was where the cars were dropping off students at the front entrance. Glamuzina & Laurie (see 7.7) found from their interviews that this situation was unusual, and most of the 'day' girls in the school lived in the more affluent suburbs; presumably, these were the girls being driven to school and dropped off. We learn that Pauline could easily sneak out of her room undetected, over the back fence. We learn Pauline was a serious girl, something of a loner, but not so much that others didn't know her. She is greeted coming over the fence quite enthusiastically by one friend, and others call out to her in the hallways; she responds with a smile that fades quickly.

** What can be learned from school uniforms? [jp,mc]

School uniforms are supposed to remove all sartorial differentiation between students. They are supposed to act as an economic equalizer, and they are also supposed to instill a sense of cohesion in the student body, and a sense of pride and loyalty to the institution in the students. In the 'socially progressive' state High School the girls attended, which freely and deliberately mixed girls of all social strata, these were important roles for school uniforms. Now for reality. Most students actually use school uniforms as instruments of free speech and/or protest and for setting up cliques within the school. The signs are just more subtle than they would be if there were no uniforms--small objects of jewelry or other accessories, added discretely, a certain way of knotting a tie, a unique way of wearing certain objects, for example belts and especially hats, body decoration. See section 6.3 for several good examples of films which demonstrate the versatility of the school uniform as a vehicle of individual expression. Especially Lyndsay Anderson's "If..." And school uniforms are like prison garb in the outside world--the citizens of Christchurch would know on sight all school uniforms, and would be able to report any mischief or truancy in the town to the appropriate school official. Pauline would have had to buy her school uniform, or make it, and this would have been a reasonably-large financial burden on the Rieper family, though it would have saved on the cost of other clothes. Apparently, this cost was borne willingly by her parents, showing the importance which Honora, in particular, placed upon Pauline's education. School uniforms were universal in all Christchurch schools at the time. See Janet Frame's Autobiography (listed in 7.7) for much more, absolutely fascinating, material on school uniforms in NZ.

** What is learned about Pauline and Juliet from their uniforms? [jp]

Pauline was rushed in putting on her uniform, leaving it until the last possible moment, and a little sloppy in her attire. In this context, both of these things are classic signs of protest against authority, and indicate that Pauline very much thought of herself as struggling against the system from the outside. Her hair was wild and messy, her tie wasn't done up properly, she was indifferent about her stockings, she wasn't keen to wear her hat. Throughout "Heavenly Creatures" Pauline's attire in her school uniform gradually became progressively more sloppy. In contrast, look at Juliet's presentation. She was neat, precise, correct. We learn Juliet was also rebellious, but she worked by stretching the boundaries of the system from within.

** What were the girls singing in assembly? [jp]

The girls were singing the hymn "Just A Closer Walk With Thee." For an analysis of this piece, and its significance, see 3.1.19. Several people have commented that the hymn was familiar, but not in the context of school assemblies.

** Why wasn't Pauline singing? [jp]

In context, Pauline was making the following rather bold statement, almost unconsciously: she did not feel like she was part of this system and, furthermore, she was thumbing her nose at those parts of the culture which the system held very dear but which she did not. Pauline's not singing wasn't a small thing, it wasn't a passive abstention, and it wasn't funny in this environment. For proof, look at the reaction she got. Pauline was rebuked by a scowl from the headmistress, Miss Stewart. Imagine being chastised this severely for doing something as innocuous as sitting quietly during assembly. The pressures to conform here were very great indeed. Pauline lowers her eyes and starts to sing, in time for the final line, but her expression is dark.

** Which girl was the last one to "sit-tuh!" in assembly? [jp]

** What class did Juliet join? [jp]

Juliet arrived late and joined Pauline's French class, already in progress. The headmistress, Miss Stewart, identified the class as "the girls of IIIA" after telling them to "sit-tuh!" Naturally, Pauline was the last in her seat, once again. Her name card was wildly askew.

** What can be learned about the girls from their class name? [jp,jb,sb,mc]

Even the smallest details have some cultural significance in this rigidly-structured setting, and some significance within the background of the story, too. This is also true of the girls' class. The school system ranked the students according to their academic abilities, openly and publicly in some respects. The results of important tests and examinations, for example, were posted in descending order of grade for all to see. Students would have related to each other in terms of these academic pecking orders. The classes, too, were ranked. So, we learn that both Pauline and Juliet were at the top of the heap, academically--they were in IIIA, not IIIB or IIIC. Furthermore, since Juliet was half a year younger than Pauline, this tells us that she was particularly bright. Glamuzina & Laurie state that the Hulmes "decided, in view of this, that she (JMH) would get more mental stimulation at the local high school, where she would be part of a larger group of students than at a small private school". [note: "HC" implies the small private school would be St Margaret's. jp] [note: Confirmed that Pauline was in the top academic stream and that Juliet's measured IQ was 170 in '52. jb] We later find out that Juliet had missed much school, on and off, due to illness, as had Pauline. Yet, the academic performances of the girls remained very strong. These were very, very bright kids. And, significantly, their intelligence was recognized by the system and by their community.

** What can be learned from Juliet's introduction? [jp]

Juliet's introduction was a highly-informative, condensed summary of the social mores and attitudes of Christchurch. It's a wonderful scene. Juliet was introduced personally by the headmistress, Miss Stewart (i.e. this student was important). Check out Miss Stewart's quasi-Upper Class British accent, one-upping Juliet's. Miss Stewart stated Juliet's prior schooling, emphasizing that she had attended private schools before coming to Girls' High. Also, Miss Stewart made sure everyone knew that Juliet's father was Rector of Canterbury University College (Juliet beamed proudly). Miss Waller, the French teacher, was certainly impressed (having this child in her class would give her social brownie points and something significant to gossip about). And, finally, Miss Stewart made sure that the class knew Juliet had travelled "all over the world" and that Juliet would be happy to share her impressions "of exotic lands across the seas" with the "gehls" of IIIA. Another reference to the provincialism of Christchurch; we get the impression that most of Juliet's classmates had never travelled far outside the city. This made Juliet an exotic creature, herself. But Miss Stewart made one faux pas: she forgot to mention that Juliet wasn't just well connected, but she was also from the mother country. "Actually, Miss Stewart, I am from England." This transformed Juliet into the closest thing to royalty in the school, and it was a subtle put-down of Miss Stewart by Juliet [note: A sentiment, oddly enough, echoed by Anne Perry forty years later, in her comments to me, though the filmmakers could hardly have known of her present attitude. see 7.10.2.1. jp]. And this scene reinforces that, in this school/social structure, breeding, background and connection were extremely important. Students would have been judged and classified by who their fathers were and what they did. If your father was somebody, you jolly-well spoke up and derived the greatest benefit from his coat-tails. If he wasn't, you did your best to keep the issue out of sight, though there could have been no secrets.

** What do we learn about Juliet in French class? [jp]

We learn that Juliet is willful, more than a little arrogant and quite used to speaking her mind. The fact that she was correct was also particularly galling to Miss Waller, of course. The fact that she rubbed it in was quite beyond the pale; this incident would easily have become the stuff of school legend. Juliet's chosen name (Antoinette) was also flamboyant to the point of bringing on disapproval. But she got away with it, another clue to her privileged status. Incidentally, Juliet's chosen French name may have been a subtle allusion to Anne Perry by Walsh and Jackson. In her published biography, Ms Perry states that she has always held a deep fascination with the French Revolution (see 7.10.2).

** What do we learn about Pauline in French class? [jp]

Pauline daydreamed in French class, and she was meekly 'Paulette'--hardly an imaginative stretch for her. We gather French was not one of her favorite subjects. As mentioned, Pauline was the last pupil to "sit-tuh!" on Miss Stewart's command, her name card wildly askew, and she smiled in subversive approval when Juliet corrected Miss Waller.

** What do we learn about the girls in the first Art class? [jp,lfr]

Pauline was "with no-one." Juliet was quite happy to manage by herself. The girls were thrown together by Art. The girls stood out like sore thumbs from their peers. The other girls were flighty and playfully shallow in their imaginations. Pauline and Juliet shared some deeper sensibility that included grand romance and violence. And Pauline found out Juliet revered Mario Lanza, and Juliet found out Pauline looked up to her. Juliet clearly approved of Pauline's admiration. Mrs Collins rebuked both girls for not following the topic she assigned.

** What do we learn about the girls in PhysEd (gym class)? [jp]

The girls stood apart physically from the other girls, not just emotionally. We learn about their diseases (see 3.1.8) and they learn they have even more in common than their outlook on life. They were excused from 'PhysEd' (physical education) and 'games' (intramural sports). This gave them lots of compulsory, virtually unsupervised time together. It's no wonder they became fast friends. They would have been in all classes together, and they had this extra, special time to themselves as well.

** How does Juliet annoy Mrs Stevens? [jp,lfr,sb]

The class had been given an assignment to write an essay on "The Role of the Royal Family Today." It isn't clear what class this was--it could have been Geography or Social Studies (there were maps of Europe and Palestine on the wall and a globe on the teacher's desk). Juliet read her story aloud to the class about the lives, loves and dramatic intrigues of Borovnia, and Diello in particular. This was not what the teacher had in mind and Juliet knew this, of course. Juliet was treading on very thin ice. The historical context of the upcoming Coronation and Royal Tour made Juliet's stunt not just a minor amusement, but absolutely audacious and scandalous. Once again, Juliet had done something which would make its way into school legend, no doubt. [I am trying to find out if this was, indeed, a true story. jp] The scene with Mrs Stevens is probably an 'homage' to the public reaction during the trial, where it was learned (and reported with incredulity) that neither girl had shown much interest in the Royal Tour--and this was taken to be an indication that they were not mentally balanced. [sb] The Coronation and Royal Tour are featured prominently in an early draft of the script (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.). [lfr]

** What does Pauline say in Juliet's defense? [jp]

** Who are "the Windsors?" [jp]

The British Royal family is drawn from the House of Windsor. By "the Windsors" Pauline was referring to Elizabeth, her husband Philip and their two children (at that time) Charles and Anne. That's Anne with an 'e,' like Queen Anne. In real life, of course, Juliet was later to adopt this name for herself.

** What happens to Juliet in Mrs Stevens' class? [jp]

Juliet starts coughing up blood--she is diagnosed with TB (see 3.1.8).

** What do we learn about Pauline in the second Art class? [jp]

Pauline's fantasies were becoming more violent and explicitly gory by the time of the second Art class scene. We also see that her teacher noted and disapproved of this trend.

** What did Pauline say to John about History class? [jp,sb]

She criticized the teacher as being silly and irrelevant: "senile old bat!" Pauline said "It's no wonder I don't excel at history!" The subject was light, but it indicates just what a prominent place school held in the girls' lives (look at the context!). School, teachers, their fellow students even schoolwork were things they would have talked and gossiped about constantly.

** What happened to Pauline's grades and when? [jp]

According to Honora, who brandished a letter from Miss Stewart, Pauline's grades plummeted early in the 1954 school year, i.e. Fifth Form, or Form V in CGHS. Earlier, at the end of Third Form in December 1952, she had told her mother she got an 'A' in English. A little more than a year later Honora said to Pauline that her grades all used to be A's and B's but that she was now failing, and Miss Stewart was worried she wouldn't get her School Certificate. As discussed previously, it was more likely that Pauline would have actually reported her grades as percentages and also her place in class. ("I got an 84 in English, Mom. Third equal with Cynthia so-and-so."). This would have made Pauline's slide even more obvious and quantifiable, and would have fueled Honora's anger even more. It is interesting to note that Glamuzina & Laurie concluded that there was no evidence of Pauline's grades falling at all, in real life, according to CGHS records. This would put a whole new spin on Honora removing Pauline from school, of course.

** What options were open to girls with academic problems? [maw]

If your grades were too low you would have been demoted, ultimately to the lowest stream of the lowest form. You could have been advised to leave, based on your grades, if you were too poor. However, if you had 'academic' parents, or if your mother or another female relative had attended the school or one of the other Girls' Highs NZ-wide you would not have been kicked out. I would guess if you were from one of the first settler families you probably wouldn't have got the flick either. Conversely, if your grades improved you would be promoted, ultimately into the top academic stream.

** When, how and why did Pauline leave school? [jp,lfr,sb,mc]

Pauline left school during the Fifth Form, in the 1954 school year, around Easter. According to the film, she left at her mother's insistence after a very acrimonious and emotional shouting match. Honora finally declares that she doesn't see "why I should keep a horrid little child like you in school a moment longer." Pauline was fifteen at the time, and was just old enough to leave school legally. But she left before amassing enough credit to sit the examination for "School Certificate," which she would have written at the end of Fifth Form, in December 1954. Although the film is not clear on this point, in real life Juliet did not attend school after her return from the sanatorium in September 1953. This would have contributed greatly to the girls being apart and would also help explain why Pauline took up Honora's challenge and ditched school altogether--why bother going if Juliet wasn't there? Pauline left under the condition that she would pay her own way in the Rieper home. Which meant she had to get herself a job. With her lack of qualifications, this could only have been a dead-end, low-end clerical white collar job. Which meant she had to give up all of her dreams and aspirations. Pauline was certainly no fool--she could extrapolate her fate and all she saw ahead of her at this point were dashed hopes and enormous hurdles placed deliberately and, to her mind, spitefully in her path by her mother. This event might have been even more significant in real life than it was portrayed in the film.

** What is a "School Certificate?" [lw,mc]

In the NZ school system, this was the most rudimentary certificate of secondary education that was available. It was an external examination sat after the completion of Fifth Form. Most white-collar employers would have looked for this as a condition of employment, or a similar diploma. Having School Certificate made a graduate employable.

** Was Pauline's course of action that unusual? [mc,maw,jp]

Remember that the girls of IIIA were identified as the academic cream of CGHS. Most of the girls who entered CGHS in Form IIIA went on to Teachers' College or to University. The 'A' class sat School Cert after 3 years, immediately at the end of Form V, whereas the rest of the school sat the exam after 4 years, and the pass rate for the 'A' class was higher than for the other classes. It was extremely rare for any CGHS girls to go to Digby's instead, and dropping out of school was unheard of. [mc] In real life Pauline's dropping out seems to have generated many waves and much concern, in Miss Stewart and in Hilda Hulme, who was actually a member of the Board of Governors of CGHS. [jp] Digby's was looked down upon. I don't remember anyone dropping out from my class, in the early 60s, except for one girl who became pregnant in Fifth Form--shock, horror!! Pauline's dropping out probably would have been seen as a failure of the school, at the time, and would certainly have caused a stir. [maw]

** What did Pauline do after she left school? [jp,sb]

She went back to school, as she had to, to become employable. Only now, she was in a vocational school, learning to type and file--at Digby's Commercial College. So she could eventually get that dead-end, mindless job. The contrast between the wonderful fantasy world she shared with Juliet and the hard reality of her daily life must have been stark to Pauline. The pull-back tracking shot of Pauline typing in a growing sea of typists, at Digby's, as the sound of letters smacking the page grew and grew, is a wonderful one even as it is terribly dispiriting for the audience to see. "Digby's" is an ominous shadow on the wall, hanging above Pauline's head. The entire class is women, in an ironic perversion of the school she just left. Pauline even sat in the same seat as in her CGHS classes. She is dressed in black.

** Did Juliet miss any school or leave school? [jp,lfr]

Yes, and there is evidence in real life that Juliet worried a lot about missing this time. Juliet became sick with more than one term left in the 1953 school year. She seems to have recovered sufficiently to return to school the next year, but she never did, although this fact isn't made clear in the film. In real life, Juliet never attended school again. Her experiences at CGHS seem to have made a lasting impression on her, because she still recalls them (see 7.10.2.1).

3.1.6The Riepers' home - 31 Gloucester St#

** Where was the Riepers' home located? [jp]

The Riepers lived at 31 Gloucester St in downtown Christchurch. Their garden overlooked the grounds of Christchurch Girls' High School over the rear fence. One block to the south was Canterbury University college.

** Who lived in the Riepers' home? [jp,sb]

In the extended Rieper family, there was Nana Parker, Bert, Honora, Wendy and Pauline. That's five family members. Although it wasn't clear from the film, 'Nana' Parker did not live at the Riepers' home in real life, though she was a frequent visitor and overnight guest. This would explain why she was present in the Christmas scenes and at some meals, but not in some other scenes. In addition, there were boarders. It appeared that up to four could be accommodated at any time, which would bring the total number of people living in the Rieper home to eight or nine.

** What was the layout of the Riepers' house? [jp]

We see that the house had at least two floors. Walking in the front door there was a telephone on the wall to the right, a staircase leading up on the left, and a narrow hall in front leading to the small, combined sitting room/dining room. Beyond that was the kitchen and a back door. Upstairs there were the boarders' bedrooms in the front of the house, a bathroom in the middle near the head of the stairs and family bedrooms in the rear, over the sitting room and kitchen. Honora said "The rooms are small, but they're comfortable." We also know that there was a small bedroom with its own entrance built onto the back of the house.

** What were the living arrangements at the film's opening? [jp]

Living arrangements were very crowded when we first see the interior of the Riepers' home. The boarders probably shared their small bedrooms, two to a room. Bert and Honora would have shared a room in back. Which probably only left one small room at the back, for Wendy. The house was so crowded that Pauline had her own small, separate room built onto the back, probably built by Bert. This is an important detail, because it shows that Pauline may have actually been given special treatment in the years before those shown in the film because of her academic talents.

** How did John-the-boarder change the living arrangements? [jp]

After John was caught in Pauline's room, Pauline was moved into the house. Later we see that her new room was upstairs, and was not shared; she had apparently switched rooms with Wendy. Pauline's parents wanted her inside the house, across the hall from them, so they could keep an eye on her. This was very close quarters for such a tense situation. Pauline's house became a pressure cooker.

** How did having boarders affect day-to-day life? [jp,G&L]

The first thing I noticed about the Riepers' home was all the signs and regulations posted on the walls. On the notice board by the telephone, by the bathroom, by the kitchen door, in the kitchen. Every 'public' space in the house was regulated. It was difficult for Pauline to find a place to call her own in that house. Tripping over 'strangers' everywhere she turned meant that she would have been unable to really relax or just be herself in her own home. It would have been necessary to continually mind her P's and Q's and for her to put on her public face. The responsibility of running the boarding house would have been shared and it looked as if Pauline came up on the short end of that stick. We don't see Wendy doing housework or dishes; in fact we see her being waited upon by Pauline at one point. Granted, Wendy was working and bringing in a paycheck, but her hours at work wouldn't have been all that different from Pauline's hours at school. Glamuzina and Laurie provide an interesting perspective on these close living quarters and how Pauline's home environment would have been very different from most of her classmates. They quote one contemporary (pp. 39-40) who "described the house as 'ghastly ... it didn't look like a home to me ... no decent rows [arguments] to clear the air because there would always be other people around.'"

** What do we learn of the Riepers' cultural sophistication? [jp]

The set dressing in the Riepers' home was brilliant and it communicated an enormous amount of information about the Riepers' station in life and about the extent of their cultural awareness (or not) and sophistication (or not). The set decoration at the Riepers' was one of my favourite 'details' in "Heavenly Creatures." First, look at the wallpaper--busy, dark and hideous and fashionable, perhaps, when the home was last decorated, maybe thirty or more years prior. The whole home was overdecorated with sad, small, cheap, kitsch treasures. At least the 'paintings' weren't on velvet, but they were cheap reproductions in cheap frames. The next time you see "Heavenly Creatures" look around in the Riepers' home to get a good picture of Pauline's chagrin and, eventually, what she came to hold in sneering contempt.

** Where was the bird kept? [jp]

Another nice little touch by Jackson: the bird cage on the kitchen table. Bert was a bird fancier, in real life, and his caged bird figures prominently as a dramatic device in "Daughters of Heaven" (see 6.1).

** Were there any other pets in the Rieper home? [jp]

** Did the Riepers have a car? [jp]

Jackson shows the Rieper family once in a car: Pauline is picked up at Ilam and driven home by Bert and Honora two days before the murder. The outside shots of 31 Gloucester St showed a modest car parked in front of the house. "Heavenly Creatures" has Honora and Pauline using public transportation most of the time. They take a tram to visit Juliet and we also see the girls riding a tram. The trip to Victoria Park is made on the bus. In real life the Riepers had a car, according to Herbert Riper's testimony. However, he may have been the only driver, and he may not have driven the car to work. It is known from her diary entries that Pauline took the bus or rode her bike everywhere she travelled in Christchurch, when she wasn't being chauffeured by the Hulmes (also mentioned in Pauline's diaries). Honora and the girls definitely took the bus to Victoria Park on the day of the murder. Bert Rieper was driven by a coworker to Victoria Park after work on the day of the murder.

3.1.7The Hulmes' home - Ilam#

** Where was the Hulmes' home located? [jp,ad]

Ilam was (and still is) owned by the University of Canterbury (then Canterbury university College). In the early 50s it was used for official entertaining as well as for housing the Rector and the Rector's family. Its gardens were beautiful and locally-renowned. It is a spacious, elegant homestead in an idyllic, spectacular setting. It is located on the present grounds of The University of Canterbury, about 4 km west of Pauline's house, in a well-to-do neighbourhood. At the time shown in "Heavenly Creatures," the College had purchased lands surrounding the Ilam homestead but there was only one College department there--the School of Fine Arts, whose students were mostly young women. Nearby, the land was still in the form of paddocks, for horses, and farmland. Ilam was on the outskirts of Christchurch then, and the countryside was a short bike ride away. However, in "Heavenly Creatures," we get the impression that Ilam is a fairy-tale house set off all by itself, far from the world.

** Who lived in the Hulmes' home, Ilam? [jp]

At the beginning of the film, Ilam is occupied by Dr Henry Hulme, Hilda Hulme, Juliet Hulme and Jonathon Hulme. Later, Bill Perry moved into a semi-private 'flat' at Ilam. The North American release version of "Heavenly Creatures" is not very explicit about Bill Perry's moving in, or about the date.

** What was the layout of Ilam? [jp]

We see that there is a spacious, wood-panneled front hallway. Walking in the front door, there is a sitting room with fireplace to the right and a dining room to the left. Ahead on the left is the stairway leading up to Juliet's bedroom at the head of the stairs. Upstairs, to the left is the bathroom, with the large cast-iron tub, big enough for two, ahead was Juliet's bedroom and to the right was Hilda Hulme's bedroom. We do not see Henry Hulme's bedroom. Mr Perry's rooms could be reached from inside the house, though it isn't clear where they were located.

** What were the living arrangements at Ilam? [jp]

All Ilam occupants had their own bedrooms. Although not made clear in "Heavenly Creatures" it is likely that Pauline also stayed in a separate guest room when she slept over at Ilam, by inference from her real-life diary entries. In fact, it was clear that everyone slept alone at Ilam. For all of its opulence, Ilam was a house of lonely, compartmentalized solitude in the dark of night. It struck me that all doors were shut in the night scenes in Ilam. Perhaps this is one reason why Juliet and Pauline's sleeping together was so noteworthy; it was the only open example of nocturnal affection to be seen at Ilam.

** How did Ilam compare to the Riepers' home? [jp,mf,sb]

To Pauline, Ilam really must have looked wonderful, in the true sense of the word. We don't see them, but there were part- time house staff (Juliet and Pauline mention the housekeeper), and gardeners, employed by the University. The contrast between the refinement and luxury of Ilam and Pauline's home couldn't have been more extreme. No wonder Pauline chose to spend so much time with Juliet at Ilam. There was one major structural change made to Ilam in the intervening years, and this was taken into account using special effects (see 5.5). Today, it is the University Staff Club.

** Were there any pets at Ilam? [jp]

Juliet is greeted on her return from the sanatorium by a yellow labrador retriever. The dog was in one of the 'holiday snapshots' from the beach at Port Levy, too. This agrees with Hilda Hulme's trial testimony. Jackson probably didn't know this when he made "Heavenly Creatures," but Anne Perry now keeps two cats and three dogs, including a yellow lab, in her home in Scotland (see 7.10.2.1).

** What was the name of the Hulmes' home at Port Levy? [jp]

** Did the Hulmes have a car? [jp]

Yes, a blue sedan (Austin?). We see it in the first few shots after the titles, throughout the film and again on the day of the murder near the end of the film.

3.1.8Diseases#

** Was childhood disease common or uncommon in the 40s and 50s? [maw,jp]

Young adults today cannot really comprehend how much more common disease and illness were, then, compared to today, and how much harder it was to get over sickness. Antibiotics were not as available or as effective. Respiratory ailments were common and exacerbated by smoggy conditions--Christchurch was smokey and smoggy in the winter from too many coal fires. [London was the same. jp] I suffered from asthma on and on in the winter, just wheezing away until I got sick, because there was nothing readily available that would help. My hearing is under par because of all the earaches I had as a kid; again, very common childhood experiences for the times. [maw] Childhood disease was very much more a fact of life up into the 50s and even on into the 60s than it is today, and it had an impact on public consciousness of health and well-being. Polio was the big scare when I was small, and it affected the way people lived. Over the years, my immediate family dealt with serious health problems and even death from birth defects, mumps, meningitis, whooping cough, scarlet fever and measles and our experience was not unrepresentative. The list would grow to include polio and respiratory diseases if I were to include cousins. Children's health and fitness were very much on the public's mind throughout the period between WW II and Vietnam. [jp]

** What caused the long scar on Pauline's leg? [jp]

Pauline said she suffered from osteomyelitis as a young child, and was confined to bed for an extended period. She said "it turns your bones to chalk." The Concise Oxford Dictionary says it is an inflammation of the bone marrow. Explaining the scar, she said "it took them two years to drain all the muck out." Possibly she also suffered from secondary infections. In "Heavenly Creatures" Pauline limped when she ran, and she was excused from PhysEd (gym). Juliet commented about Pauline's scar: "That's so impressive!"

** Was Pauline's illness really that serious? [jp]

Yes. In real life, Pauline came close to death. It was also extremely painful for her over many years, and Pauline still had pain associated with her leg throughout the period covered in the film. Medlicott determined that her illness and the pain associated with it and her lengthy treatment were Pauline's earliest clear memories (see 7.8.1). There is no doubt that this experience was traumatic for her family, and for her parents especially, so "Heavenly Creatures" presented the information correctly, though in a slightly flippant manner. Pauline wasn't exaggerating, although we may have been tempted to dismiss her tale as being a little self-indulgent.

** Where were Juliet's scars? [jp]

Juliet said she has scars on her lungs from unspecified respiratory illnesses she contracted as a young child. Juliet was excused from PhysEd (gym) because of bad respiration.

** Were Juliet's illnesses really that serious? [jp]

Yes. Although we may be tempted to dismiss Juliet's childhood illnesses as ploys for attention, and Jackson puts a few clues and indications to that effect in "Heavenly Creatures," in real life Juliet was a very sickly young child and she almost died at the age of six. In fact, the real Juliet's medical history was more involved than was shown in "Heavenly Creatures."

** What did Juliet tell Pauline her mother had promised? [jp]

After discussing their diseases in the schoolyard, she said: "Mummy promises they'll never leave me again."

** What did Juliet have to say about their diseases? [jp,sb]

"All the best people have bad chests and bone diseases. It's all frightfully romantic!"

** How would Juliet's illness have been viewed in the arts? [jp]

Juliet was right on the money: her illnesses were, quite literally, very Romantic. Literary figures from the classical romantic period often suffered vague, consumptive illnesses that made them waste away and become closer to death, more aethereal, more spiritual and more alluring. For examples, see Shelley's "Frankenstein," Bronte's "Wuthering Heights," Poe's stories and poetry, especially his sublime, alliterative "Annabel Lee," Collins' "The Woman in White," or Stoker's "Dracula." Or, for that matter, some of Anne Perry's Victorian crime novels (see 7.11). There are connections between Juliet's diseases and the music used in the film, too (see 3.1.19). Romantic, tragic illness figures prominently in the operas "La Boheme" and "La Traviata."

** How would Pauline's illness have been viewed in the arts? [jp]

Traditionally, Pauline's illness would have been a darker reference, because physical handicap or deformity was often reserved as a symbol of evil, or it was viewed as a 'punishment' meted out on those who had sinned, or it could be a manifestation of a hidden spiritual defect. More rarely, deformity could be an unjust burden, the selfless bearing of which resulting in spiritual elevation. Examples are rife throughout classical literature: Shakespeare was particularly fond of this device and "Richard III" springs to mind as a prominent example of deformity linked to evil, with Wilde's "The Picture of Dorian Gray" and Stevenson's "Dr Jekyl and Mr Hyde." Melville's Ahab in "Moby Dick," Hugo's Quasimodo in "The Hunchback of Notre Dame" and Shelley's monster in "Frankenstein" are examples of more spiritually complex deformities.

** What disease did Juliet contract? [jp]

Juliet was diagnosed with the most 'romantic' disease of all, 'Consumption.' Tuberculosis (TB) is an infectious bacterial disease characterized by the formation of tubercles, especially in the lungs. Tubercles are small, rounded swellings on the body or in organs. TB is highly contagious, capable of being spread by coughing or even breathing, especially in the confined quarters of schools or prisons, two 'public' institutions traditionally sensitive to the disease. Both institutions are relevant to this story, of course. Sufferers are quarantined while they undergo treatment, often in specialized TB sanatoria. Patients are normally released when they are no longer infectious (no live bacteria in sputum cultures) or, more conservatively, once they have returned to good health, i.e. once they have been 'cured.' In real life, Juliet was released before being declared medically 'cured.'

** What is the treatment for TB? [jp,lam]

The classical treatment for TB involves isolation, treatment of symptoms and general attention to improving overall health and well-being through diet and mild exercise. And, of course, a course of drugs to combat the bacterial infection. The classical drug treatment involves three drugs: isoniazid (classed as an inhibitor of cell function), streptomycin (an antibiotic) and rifampin. All drugs are still in very common use and are prescribed widely for TB and for many other diseases. Cautions or side effects listed for isoniazid are mostly concerned with depression of liver function. In real life, Juliet's TB was treated with the drugs isoniazid and streptomycin, according to Medlicott (see 7.8.1) and the treatment continued after Juliet's release from the sanatorium. Also, according to Medlicott, there was no evidence that these drugs had adverse psychological effects on Juliet. Neither drug has been removed from use since that time. In her recent statements to the press, Anne Perry insists that she was treated with an experimental drug, since removed from use, which affected her judgement (see 4.9).

** What are the lingering effects and consequences of TB? [jp]

A TB infection often results in the formation of scar tissue in the lungs, which shows up as shadowing (denser tissue) in chest X-rays. Lung capacity is often diminished permanently and patients can weaken and waste away. A 'positive' TB skin test shows the presence of antibodies for the TB bacterium, meaning the person has been exposed to the bacterium, although they may never have contracted the disease. Many countries restrict the entry of people who exhibit positive TB skin tests or X-rays, and most forbid the entry of people with active TB. Juliet's health could have affected her immediate travel plans.

** What were Juliet's fears related to her diseases? [jp]

A recurring theme in Juliet's life was her parents sending her away from them "for the good of her health." She saw this as an excuse to get rid of her, and she feared this rejection and abandonment by them more than she feared disease. In real life, this rejection of Juliet by her parents, under the guise of concerns over Juliet's ill health, was considerably more systematic and extensive than was portrayed in the film (see 7.3). In real life, it was probably a very real factor in defining the course of events and every bit as important, if not moreso, than was depicted in "Heavenly Creatures."

** Who said "for the good of your health?" [jp]

Juliet first said the phrase to Pauline when she described her childhood illness in the schoolyard. Hilda Hulme told Juliet her confinement in the sanatorium was for the good of her health, darling, before she and Dr Hulme left for England. Juliet made a little cough. Honora Rieper mentioned to Juliet at the end of the first visit that Juliet's stay in hospital was for the good of her health. Juliet flew off the handle a little, shocking Honora with the intensity of her anger. Finally, Hilda had her little bedside chat with Juliet after the subject of divorce had been broached. "You're not ... going ... to England, darling." At that point, Dr Hulme interjected with the final "It's for the good of your health." Juliet screamed.

** Where was Juliet sent "for the good of her health?" [jp,sb,mw]

According to Juliet, to the Bahamas (a British possession off the Atlantic coast of Florida) during World War II, and to "the Bay of bloody Islands." She said the Bahamas were "bloody awful!" Most people would probably view them as an idyllic tropical paradise. The Bay of Islands is a similar environment, in many ways, and it is a site with great historical significance to New Zealanders, one reason why Honora looked so taken aback at Juliet's comment. It is located near the northern tip of the North Island, on the east coast, around 35 deg N, 174 deg E. You can go on a virtual tour of the Bay of Islands at:

This 'exile' to the Bahamas is true, though Juliet was eight at the time, not five, and it happened after WW II. And, in real life, as a child, Juliet was also sent several other places, away from her family, "for the good of her health."

** Did Juliet use her illnesses for attention? [jp]

Yes, though not all that successfully, judging by her parents' responses. In the sanatorium, where her parents are trying to convince Juliet she might actually enjoy a spell in there ("It's very tranquil...") Juliet makes a few well-timed little coughs to act as pleas and exclamation marks. They fall on deaf ears.

** What did Hilda say to Juliet before leaving for England? [jp]

Hilda made two important statements. First, she said, almost in passing, that she would speak to the Matron to make sure "she takes extra special care of you." This line was exchoed later by Juliet in a very poignant and telling line, when Pauline and Honora came to visit. Juliet informed them proudly that the Matron had shown Juliet the Matron's 'special stitch' and "I'm her favourite." We are led to believe that the Matron's lavishing attention on Juliet is simply the result of her following the orders of an important patron. Juliet seems to have been completely deceived, rather naively--she is that starved for adult affection. Hilda's second statement is actually a reference to an extremely poignant and tragic event that occurred in real life. She said to Juliet (and wasn't Diana Kent's delivery wonderful?) "We can always ... cancel ... our arrangements, if that's what you want." A tearful Juliet simply shook her head. She had been offered the opportunity to stop her parents from abandoning her and she passed it up in an act of noble self-sacrifice, exactly as she had been maneuvered into doing. How could she complain when she herself had sent them away? In real life, there was a similar scene played out not by Hilda but by Dr Hulme and Juliet in Paparua Prison soon after Juliet's arrest. See 7.3.

** Did Pauline use her illness for attention? [jp]

No, she didn't. In fact, she seemed to resent any attention given her because of her handicap. At Christmas, 1953, her mother asks her if she has pain, and Pauline brushes her mother off with a shake of her head.

3.1.9Diaries, letters and fiction#

** Which girl kept a diary? [jp,mf,G&L]

In "Heavenly Creatures" we see Pauline receiving a 1953 diary during Christmas 1952, and another 1954 diary at Christmas 1953. The voiceover is Pauline reading excerpts from her diary. In reality, both girls may have kept diaries, according to persistent rumour. Quotations from both were entered into evidence during their trial (see 7.6) but it turns out that the quotes from Juliet's diary were simply misrepresentations of evidence during the trial. There is no physical evidence, officially, that Juliet ever kept a diary, though in real life Pauline Parker referred to Juliet Hulme's diary in many places in her own. Persistent and published rumour has Juliet's diary and writings being destroyed at Ilam on the night of June 22, 1954. Jackson, ever the imp, actually has Juliet writing in a bound journal/exercise book during her stay in the sanatorium, and there is a bound journal on her bedtable in several scenes in the sanatorium and at Ilam. Pauline actually reads silently from the journal, briefly, when she comes to visit Juliet in the sanatorium.

** What kind of diary did Pauline receive? [jp]

Pauline received a "Whitcombe's New Zealand Handy Diary," both times, for Christmas.

** Who gave Pauline her diary? [jp]

Her father, Herbert Rieper, judging by his comments as Pauline unwrapped her Christmas present. This is true and particularly ironic, since Herbert Rieper gave permission for the police to search for, read and confiscate Pauline's diaries in real life.

** How and where did Pauline write in her diary? [jp]

Pauline is shown writing in her diary in the evenings. This is accurate. Sometimes she was in her bed, sometimes she was lying on her bed, sometimes she was seated at her desk. She wrote in ink, using a pen. Another remarkable example of attention to detail: We actually see Pauline writing a few entries onto the pages of her diary, and Jackson has Melanie Lynskey mimic quite precisely the real Pauline's style of writing and her format of writing on the page. Pauline's lettering and annotation of the final diary entry is an almost exact reproduction of the actual diary page, which was photographed and entered into evidence at the trial. See 7.4 for more information about the real diaries.

** What was Juliet's story at the Riepers' table? [jp]

Juliet was relating the story she and Pauline were writing, to be sent to New York for eventual publication: "So, in a blazing fury, Charles runs Lancelot Trelawney through with his sword, leaving Deborah free to accept Charles' proposal of marriage." This is a reasonable facsimile of surviving fragments of the girls' fiction (see 7.4.1). Bert suggested he be signed up for an advance copy.

** What was the story the girls told at Port Levy? [jp]

"Charles clutches his wounded shoulder as he gallops into the courtyard. Deborah awaits his return in their private boudoir at the very top of the tower. He smells her scent from fifty paces and urges his steed onward. He flings open the door and launches himself at the bed, ravishing her!" Judging from surviving fragments of the girls' fiction, section 7.4.1, I may not have used quite enough exclamation marks in punctuating that quote...

** What was Juliet's story read out in Mrs Stevens' class? [jp]

"The Empress Deborah has the most enormous difficulty fending off her husband, who tries to have his way with her morning, noon and night!" "However, the Queen's biggest problem is her renegade child, Diello, who has proven to be an uncontrollable little blighter who slaughters his nannies whenever the fancy takes him!"

** Who wrote letters in "Heavenly Creatures." [jp]

Pauline wrote letters (as Charles) to Juliet (as Deborah) during Juliet's four-month confinement in the TB sanatorium in 1953. Pauline also wrote letters, as herself, to Juliet at the same time. "Heavenly Creatures" paints this correspondence as being the result of Pauline's "brainwave" arising from her despair at Juliet's falling ill and their being separated. Juliet wrote letters (as Deborah) to Pauline (as Charles) during her stay at the sanatorium, and she wrote letters as herself to Pauline. Pauline noted that Juliet "has entered into the spirit of the thing greatly." I love that line, for some reason. Both great lines come directly from Pauline's real diaries. Juliet's parents wrote to Juliet from abroad while Juliet was confined in the sanatorium. Juliet left those letters unopened "for a rainy day," she told Honora during a visit. In reality, the girls' letter writing was apparently much more extensive and protracted than shown in the film. The girls' letters were also important pieces of evidence used against them in court. And, in real life, Anne Perry has placed enormous weight and importance on this correspondence from Pauline during Juliet's confinement in the sanatorium. Ms Perry has frequently called it "a lifeline" in her recent interviews, stressing that this correspondence with Pauline was her only contact with the outside world during a "very sad and lonely time." Jackson and Walsh could not have known of Ms Perry's perspective on this when they wrote the screenplay, of course. It is a bit of a pity that we don't get a greater emphasis on this written communication in "Heavenly Creatures," though what we do get is delightful.

** What do we hear of this "sanatorium" correspondence? [jp]

My Dear Charles, I miss you and adore you in equal amounts and long for the day that we will be reunited. But as I languish in this house of disease and decrepitude, my mind turns with increasing frequency to the problem of our son. Although only ten, Diello has thus far killed fifty-seven people, and shows no desire to stop. It worries me, Charles...

31 Gloucester Street Borovnia 7 June, 1953 My Dearest, Darling Deborah, Affairs of state continue to occupy my time. I have to report that the lower classes are terrifically dull. Only yesterday, I was compelled to execute seven peasants just to alleviate the boredom. Diello insisted in coming along. In fact, he made such a fuss that I had to let him wield the axe himself. Heads did roll... Not just the prisoners, but the Royal Guard, my Valet, and several unfortunate onlookers copped it as well. (splotch!)

Oh Charles, I am despairing enough to put Diello in the hands of the Cardinal, in the hope that a good dose of Religion will set the young chap on the right path!... ("Helllooooo...")

** What is the significance of Pauline's poetry? [jp]

Pauline's poem "The Ones That I Worship," read in part in voiceover, is an extremely important clue to Pauline's attitudes and, possibly, contains clues about her motivation for committing the murder. It also contains several important clues concerning her relationship with Juliet and the Hulmes. For example, the first verse refers to herself and Juliet as being sisters or, more precisely, as being the dutiful daughters of Henry Hulme. Hence, it also conveys Pauline's reverence for Dr Hulme. The poem has a 'religious' tone to it, so it almost reads like a catechism, or a Psalm: a holy celebration and declaration of beliefs. Or an 'exultation' (the term actually used in the trial). The poem also paints a picture of extreme exclusivity, with the girls being referred to as standing apart from others, better than others, in many different ways, and it says that there are aspects to them which can't even be understood by others. This is a pretty common theme in adolescent writing, but it is quite intense in Pauline's poem. Initially, the identities of the girls as heavenly creatures (Goddesses, no less) are separate from the identities of the real-world daughters amongst whom they move. However, the reference frame of the poem goes back and forth between a spiritual plane and a real-world plane. Eventually the two sets of beings merge in the final verses: the heavenly beings are flesh and bone and exist in both worlds. Again, this is almost a straight variation on religious themes which would have been extremely familiar to Pauline from liturgy--phrases like 'the Son of God come down to earth from Heaven,' and 'the Word made Flesh.' There is convincing evidence that the real Pauline Parker maintained an interest in the Methodist Church throughout her childhood, attending quite faithfully with Wendy even though her parents did not. Both girls also attended social functions through their Church, and went on special holidays because of their affiliation with the Church. Pauline also clearly stated in "The Ones That I Worship" the strange commingling of love, reverence and violent hatred she felt, though when she wrote 'men' she was probably writing in the vernacular of the time, and meant 'human beings of both sexes' (though it was not interpreted that way during the trial). The final verses are beautiful and are quite chilling in the context of the film:

The themes outlined above turn out to mirror the themes of "Heavenly Creatures" revealed in the sections below. It appears as if the filmmakers used the themes in "The Ones that I Worship" as their guides when they prepared the screenplay. However, there are two important caveats concerning this poem. First, it should be noted that Pauline's poetry was psychoanalyzed to death during the real-life trial and in the academic literature, and the whole process was ridiculed savagely and with devastating effect by the Prosecution. Second, Pauline herself stated in interviews after the murder that too much was being read into the poem and, in particular, she didn't think of Juliet and herself as being sisters at all. She said the opening lines were used just for the sake of aesthetics. Take that how you will. Extensive discussions of Pauline's writings can be found in Medlicott's article 7.8.1 and in Glamuzina & Laurie 7.7.6.

** What was the plot of Pauline's opera? [jp]

On the morning of the murder, Pauline and Juliet retire to Pauline's room where Pauline prepares the murder weapon as she tells Juliet about her opera. It is a wonderful and chilling scene, done with a counterpoint conversation between the girls. Pauline said: "It's a three-act story with a tragic end." "I thought for hours about whether Carmelita should accept Bernard's marriage proposal." "But in the end, I decided against it. I thought it would spoil all their fun." Pauline's dialogue is an almost direct quotation of a fragment of the real Pauline's fiction. See 7.4.1.

3.1.10Arts and crafts#

** How important were "the Arts" to this story? [jp]

Oh, very important, indeed. The Arts require and nourish creativity and imagination. These things were highly valued by Juliet and Pauline. Pursuit of the Arts raises the pursuer above the mundane and into a more profound plane of existence and understanding, as the girls (and others) would have told it. Having talent and ability in the Arts makes one an Artist, and that is a special status shared by very few. All of these characteristics of the Arts and of Artists reinforced the girls' exclusive and privileged view of themselves. Juliet declared that the primary characteristic of the Fourth World was that it was a place of "Music, Art and pure enjoyment." This is a direct quote from real life. When Juliet met the Riepers, she stated: "Oh, I adore everything to do with the Arts." Again, in real life, the two girls contemplated the Arts and their talents as Artists extensively.

** What arts do we see the girls indulging in? [jp]

Sculpture, painting, composition (including opera), drama (with no audience, and also appreciation, at the cinema), music (appreciation and, in Juliet's case, an imagined performance), dance. The reference to singing comes straight out of Pauline's real-life diaries. Walsh and Jackson doing their homework yet again.

** Who made the plasticine models, and where and when? [jp,sb]

Juliet made the plasticine horses displayed on the Ilam mantlepiece, noticed and admired by Pauline on her first visit. The girls are shown making models in Juliet's bedroom in "The Donkey's Serenade" sequence. They are dressed in school uniforms and they are making human figures and horses. Juliet is also shown making figures in the TB sanatorium, specifically, Diello. Pauline was shown making plasticine figures of Borovnian characters in her bedroom out back. She is dressed in her school uniform, and John(Nicholas) admires her craftsmanship. Pauline tells him that Juliet made 'Gina'. In real life, it appears as if Pauline was the instigator of the plasticine models of Borovnian characters, though Jackson insists there were also models made by Juliet on the mantlepiece at Ilam.

** Where were the plasticine models displayed? [jp]

Juliet's horses were displayed on the Ilam mantle. Juliet displayed Borovnian models in her bedroom, on her bedside table. We see them in several scenes, though the figures and their positions change from scene to scene. For example, the figures are prominent by Juliet's head during the "birth of Diello" scene and later in the "Loveliest Night of the Year." Juliet also displayed Borovnian figures by her bed and on the windowsill in the sanatorium. Diello was there, in a trinity. Pauline displayed her large collection of Borovnian figures on the window sill of her outside bedroom. When she was moved inside, Pauline took her Borovnian figures with her, but they were not displayed as prominently. There were some on her desk and some on her bureau.

** What craft did Mr. Rieper enjoy? [jp]

Woodworking. He mentioned plans to make a birdhouse in "Heavenly Creatures." Apparently Pauline used to enjoy helping her father do his woodworking, when she was younger. This reference to woodworking was taken directly from Herbert Rieper's trial testimony.

** What did Juliet sketch in art class on her first day? [jp,sb]

A rousing portrait of St George (patron saint of England) slaying the dragon (the story is a famous myth). Juliet painted St George in the likeness of "Mario Lanza, the world's greatest tenor." There was no room for Pauline in the picture. "Sorry!" Pauline told her: "I think your drawing's fantastic!" Or, more precisely, "I thunk your drawering's fentestuc!" (see 3.1.4.4). [sb] Juliet's picture was a copy of a famous painting. I am quite sure I have seen it in The National Gallery... any help on this? I remember the dragon was very sinuous and reptilian, low to the ground and coiling around the horse's legs and St George had speared its neck with a lance. According to local legend, heard by me as a wee lad, St George slew the dragon on the flat-topped 'Dragon's Hill' in the White Horse Hills, near Wantage, in what was then Berkshire but what is now part of Oxfordshire, in England. Probably coincidentally, though with Jackson you never know, but 'Dragon's Hill' is just a few miles away from Aldermaston (see 3.2.2, 7.10.1) [jp]

** What did Pauline sketch in her French notebook? [jp]

A picture of three horses. The largest one was rearing on its hind legs, a reference to real-life fiction of Pauline Parker (see 7.4.1), and the other two had their their long manes flying in the wind. If she was a typical schoolgirl, Pauline probably also had romantic pictures of long-tressed maidens on other pages, dressed in long, flowing dresses, though we don't see them. In real life, horses figured quite prominently in the case and in the real-life writings of Pauline (see 7.4).

** What did Pauline sketch in art class? [jp]

A picture of carnage in Borovnia, much of it Diello's doing. Apparently the only colour needed for the painting was red. The art teacher rolled her eyes and shook her head in disapproval. To my eyes, Pauline's painting was drawn in a similar style to the Bayeaux Tapestry (sp?)--you know the one celebrating "1066 and All That," [My favourite history book. It's no wonder I didn't excell in History. jp], the one with Halley's comet flying over severed heads and other glorious carnage of William the Conquerer's doing.

** What paintings and sketches hung in Pauline's rooms? [jp,sb,lfr,aa]

• This is complicated. The set dressers changed the pictures in Pauline's rooms in almost every scene, as a way of showing the passage of time, among other things. We get our first good look in Pauline's room outside after Juliet develops tuberculosis. On her wall are pictures of Mario and Mel, a brown horse head (which migrates around the room from scene to scene) and a pencil drawing of a rearing horse along with other pictures of dancers. Later, when John(Nicholas) is caught in her bed, there is a picture of a pair of horses going in opposite directions above Pauline's head, and a picture of Paradise through columns by an old Master. When Pauline first moves into the house, she puts up a few pictures of golden-haired Juliet on her wall, along with many of the others from her old bedroom. Also, there is now a (famous) photo of (the real) Juliet smiling and posing in a bed of daffodils (actually in the gardens of Ilam and much reproduced in true crime books) above the head of Pauline's bed. And there are lots of pictures and portraits and photos of the Saints. By the time Honora and Pauline have their shouting match over the letter from "Old Stew," the pictures of the various Saints have been joined by 5 drawings of Juliet plus the photo of Juliet. There are now 14 pictures in all on Pauline's walls. In the final scene in Pauline's room, the morning of the murder, almost all of the pictures on Pauline's walls are of Juliet in various incarnations and all pictures are more and more child-like in their execution, including:
• a golden-haired Juliet resembling her real-life mug shot
• the two girls in long gowns in front of a movie camera
• Juliet's face in a star on the Hollywood Walk of Fame
• the Juliet-in-the-daffoldils photo
• Juliet as Deborah, with a golden crown
• Juliet as Deborah, with bright red lips like she had in the "Sono Andati" balcony vision
• the girls looking through the clouds, together
• Juliet in a crown
• Diello, drawn by Pauline, with his prominent lapels
• Port Levy over the bureau

** When was Dr Hulme's portrait painted? [jp,Mir]

A portrait of Dr Hulme was painted to mark the occasion of his resignation as Rector. It was unveiled in a supercilious going-away ceremony and approved by a peck on the cheek from Hilda Hulme and reproduced in the newspapers. The reproduction in the newspaper was a real one, and is shown as an allusion to a real-life diary entry by Pauline (see 7.4.3). It is possible that the portrait used in the film was the real-life portrait of Henry Hulme painted for the occasion depicted (see 5.3.6). It certainly looked like pictures of the real Dr Hulme that I have seen.

** Are there other portraits shown in the film? [jp]

Yes. In every classroom there was a portrait of the Monarch. In the first classroom, French Class in early 1952, we see a black & white portrait of King George. He died on Feb 6, 1952. Perhaps this is meant to imply that the opening scenes occurred very early in the year. In the Geography? class in May '53, the portrait above the blackboard is now a colour picture of a very young Elizabeth II, standard fare for classrooms throughout the British Commonwealth. Especially during the 'Coronation' period depicted in "Heavenly Creatures."

3.1.11The relationship between Pauline & Juliet#

** Where else has the relationship been discussed? [jp]

The relationship between the real Pauline Parker and the real Juliet Hulme has been discussed and analyzed extensively, though there is hardly a concensus of opinion. Books and articles are listed in sections 7.6 and 7.7. There is an extensive analysis of the relationship within the social and sexual context of the times in Glamuzina & Laurie's book (see 7.7.6). G&L is a particularly good resource for describing public perceptions and attitudes towards lesbians in New Zealand, around the time of the murder.

3.1.11.1Questions and labels#

** Who seemed like a "queer mob"? [jp]

Bert Rieper declared that the Marriage Guidance Council seemed like a "queer mob" when Juliet told him of her mother's involvement. Bert did not think the Council was composed of homosexuals. The word "queer" did not have that connotation at the time and place shown in "Heavenly Creatures." It was a common slang term which could be used in reasonably polite company, as Bert used it, meaning "unusual" with an associated negative value judgement attached. "Queer" was also used as a verb, meaning to make inoperable or to break just enough to make something useless. In real life, Pauline used the word quite liberally in her diary entries, meaning "strange" or "unusual" by it. Jackson omitted Pauline's asides of "s'queer" and "queerly" in the quotes used in the voicover, possibly because they would have generated snickering in modern audiences. And possibly as a 'significant clue' to his conclusions about the girls' relationship.

** Who was bothered by Pauline & Juliet's relationship? [jp,lfr]

Concerns over the 'intensity' of Pauline and Juliet's friendship escalated throughout the film. By the second half of the film, all adults in the girls' immediate families were preoccupied with labelling the girls' relationship and with separating them, with the possible exception of Hilda Hulme. The final North American release version of the film has less extreme and explicit concerns voiced by the characters than those featured in an early draft of the screenplay (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.)

** Did anyone else worry about the relationship? [jp,G&L,lfr,mc]

Glamuzina and Laurie state the following (p. 72): "By late 1953, the Riepers in particular had become very concerned about Pauline. According to one of the teachers, the school [CGHS] had contacted both the Riepers and the Hulmes sometime in 1953 regarding the 'unhealthy' relationship between the two girls and to say that the school 'didn't like their association'. The teacher said that Hilda Hulme replied that 'she wasn't prepared to interfere in her daughter's friendships...'" [G&L] [note: This must have been before May 21, 1953. jp] Miss Stewart was a family friend from the 1920s. A story that surfaced recently is that Miss Stewart consulted with my mother re the two girls. My mother had processed three girls through adolescence, so that was not unusual. [mc] The early draft of "Heavenly Creatures" mentioned above (see 3.1.25) has Hilda Hulme say the exact line quoted by G&L. It also has several more scenes which didn't make it to the final release version in which the girls' relationship is discussed explicitly by the central characters. [lfr] The final North American release version of "Heavenly Creatures" has no characters outside of Dr Bennett, the Hulmes and the Riepers voicing concern about the girls' relationship. This is too bad, because in real life other members of the public did take note of the girls' relationship. Nailing down the extent of public notice, and public pressure, is a very important point to understanding the case and this aspect may not have been treated faithfully in "Heavenly Creatures." [jp]

** Why was labelling the relationship so important? [jp]

This is a very complex question. The motives for pursuing the issue were different for each character in "Heavenly Creatures." Broadly speaking, the families were responding in part to intense social and even legal pressures to conform to rigid social norms of conduct. We are told, indirectly, that Christchurch had a particularly conservative, 'more-British-than- thou' social structure in the opening stock footage. The girls were blithely, innocently and quite publicly ignoring the norms of their community. This behaviour was bound to generate unwanted public attention for both families, especially for the Hulmes who were a very prominent family, socially. Remember, this was a small, close community in which chins would wag at the slightest provocation. Sometimes spontaneously, too, with no provocation. But the parents were also reacting, within the norms of the time and place, to what they perceived to be a mentally unhealthy situation. It could be argued that much of the parents' reaction was generated by a genuine concern for the health and happiness of the girls, even if it may seem misguided or ill-informed to modern eyes. Labelling and understanding the girls' relationship was seen as a necessary step to dealing with it. With provisos attached (see below).

** Who first openly raised the spectre of homosexuality? [jp,aa]

Henry Hulme did, in his elliptical, cunning, quietly aggressive conversation with the Riepers in their living room. Henry Hulme was careful to phrase his comments in such a way as to imply that Pauline was forming an unhealthy attachment to Juliet. The cinematography and soundtrack during this scene are particularly ominous and effective.

** What was Honora's immediate reaction? [jp]

After Dr Hulme said that Pauline was forming an "unwholesome" attachment to Juliet, Honora jumped into the conversation with: "What's she done?!" This is an important line. Honora gets Dr Hulme's drift immediately, and even leaps ahead of his thinking. This is a clear statement from Jackson that Honora knew about lesbianism and she clearly didn't approve of it.

** Was an accusation of homosexuality a big deal then? [jp,sb]

Absolutely. This was a very serious charge, carrying with it wide-ranging repercussions. One strength of the book by Glamuzina & Laurie (see 7.7) is their discussion of this issue in depth.

** Were Honora's reactions extreme? [maw]

Honora's reactions to Dr Hulme's talk and to Dr Bennett's 'diagnosis' would not have been considered extreme at the time. My mother probably would have reacted in the same way if she thought one of her kids was homosexual--and would probably still react in the same way. Then, people seemed to think there was something both morally and mentally wrong with you if you were that way inclined.

** What social consequences awaited an accused lesbian? [jp]

According to the social norms of the time and place, being publicly labelled a practicing lesbian would have brought discrimination, scandal and social ruin upon a woman and her family, because societal expectations for women were so narrowly defined. There would have been profound public revulsion, ostracism and social condemnation of the woman. (The public reaction to the crime gives plenty of evidence of this kind of reaction, though it isn't shown in the film.) Both families were well aware of this, though consequences would have been quite different for the well-placed Hulmes and the working-class Riepers. Socially, the Hulmes had the most to lose from such an accusation. Dr Hulme had the most to lose, professionally, from the scandal such an accusation would bring. However, the Riepers probably would have been intimidated by social pressure to a greater extent than the Hulmes would have been.

** What legal repercussions awaited a 'proven' lesbian? [jp,G&L]

Homosexuality was officially classified at the time as a mental disorder. It could be used to deny applications for visas or immigration to most countries, including the US (it is still a question asked of immigrants to the US, for which the penalty for a false answer is deportation)--hence the escape to Hollywood could have been aborted legally by the American INS. A positive 'diagnosis' could also have been used in custody arguments in the Hulme's impending divorce, for example. G&L state that sexual practices of lesbians weren't illegal in 1954, though some practices of gay males were until quite recently. In 1961 it became illegal in NZ for a woman over the age of 21 to have sex with a girl under the age of 16. Being labelled a lesbian could affect employment, especially in the Armed Forces (where it was cause for dismissal), the public service, in terms of security clearances, jobs that required bonding, jobs that involved teaching or supervising children etc.

** What medical repercussions were there? [jp]

Glamuzina and Laurie detail scholarly research and they also document anecdotal evidence that women who thought they might have been lesbians, or who had been accused, in the New Zealand of the 50s, could face medical treatments of various kinds if convinced/coerced into it. Even if treatment wasn't followed through, an 'accused' woman would have had to face very confusing and damaging accusations, doubts and fears no matter if she were lesbian or not.

** What was known about homosexuality by common folk? [jp,mf,sb,G&L,maw]

For most people, there was simply no 'official' information on this topic. It was not a subject which could be looked up casually in the local library, for example. Consequently, information (and misinformation) was passed along by word of mouth, or not at all. Quite apart from the general social etc opprobrium, is the fact that it was probably never officially mentioned. Films, books etc with homosexual/lesbian themes were banned, and indeed PYP and JMH would not have had any accurate information about such things, and no way to see their relationship in a wider context. G&L have a very good chapter on this aspect of the case. In his Forward to "Daughters of Heaven" by Michaelanne Forster, Elric Hooper wrote: "I was a first year student at Canterbury College at the time (of the murder). I remember leaning against a green corrugated iron fence, balancing my bike, and exchanging wonder with someone equally ill-informed about life. I heard the word 'lesbian' for the first time."

** Was there a gulf between adult and adolescent sophistication? [maw]

Although Christchurch adults knew little about homosexuality at the time, adolescents tended to know even less, about all aspects of human sexuality. Most adolescents were far less well informed about many, many things than is the case now. The enormous amount that is learned about life in general as a teenager is learned at an accelerated rate, and earlier, with all the media information we get now. I would be very surprised if the girls really, knowingly, had a lesbian relationship.

** Did CGHS girls talk about lesbianism at school? [mc,maw]

I do not recall any talk about lesbianism at school (CGHS '46-'50 incl.). There was a teacher at St Margaret's with mannish haircut and manners, and we laughed at that, the way children do. That is my only memory. [mc] Believe it or not, I didn't know a thing about the murder until years later, and the kinds of issues raised in the trial would have been kept well out of hearing range in my family. Girls from Rangi Ruru (a private girls school) used to say it was a 'lesbians training school,' but I didn't really know what a lesbian was until I was an adult. My mother (bless her heart) refused to tell me! People were just so prudish back then (early 60s). I was in University before I met anyone who admitted they were homosexual. [maw]

** What lesbian stereotypes were commonly-believed in '54? [jp,G&L]

• If the topic was raised, these things might have been mentioned:
• Predatory lesbians seduced budding young girls.
• Straight girls could be turned into lesbians by being seduced, especially if they were impressionable or naive.
• Predatory lesbians could sometimes be identified by their overly-masculine traits.
• Lesbians had high libidos and powerful sex-drives. When sexually frustrated they could be violent or murderous and they were more likely to be criminals.
• Homosexuality was a mental illness or defect. Dr Bennett says of Pauline: "She'll probably grow out of it. And if not, well, medical science is progressing in leaps and bounds. There could be a cure any day."
• Homosexuality was 'unnatural,' 'perverted,' 'evil,' 'sinful' (still believed by many) but also, apparently, irresistable to the naive.
• It was a phase passed through by some girls in adolescence.
• Homosexuality was dangerous. It undermined the stability of society.
• Lesbians were created by close, smothering attention of their mothers.
• Lesbians were men trapped in women's bodies.
• Lesbians hated men.
• Lesbians could be 'cured' through medical intervention and converted back into heterosexuals.

** Did the "Parker Hulme" case have any lasting repercussions at CGHS in real life? [maw]

The only thing I knew that was odd at the school in the early 60s, and I didn't understand it until I saw the film, was that girls in one class who got too friendly were put into different classes the next year. I must have been so naive, then. [note: G&L mention in several places this kind of vigilance, both private and 'institutional,' over girls and their friendships in the years following the case. jp]

3.1.11.2Official pronouncements#

** Was Pauline and/or Juliet a lesbian? [jp]

This question obsessed the public in 1954 in the months following the murder of Honora Parker. In real life, the girls were judged in the court of public opinion to be murderous lesbians, and there are many tabloid headlines to bear witness to this conclusion. This 'fact' was used to condemn them as evil and "dirty-minded," and it formed the core of the public's rationalization of the murder. Vintage '54 this went: Honora Parker had come between two murderous lesbian lovers so, in their frustrated, unnatural lust, they killed her. The legal defense of the girls was based upon a strategy of admitting they were homosexuals (whether or not it was true) to establish diminished mental capacity. The strategy backfired. The prosecution played both ends of this stick. The public's revulsion of homosexuality was exploited, but experts were also called to declare that homosexuals were not criminally insane. All of this ferocious, rabid public condemnation, focussed upon and fueled by the belief that the girls were lesbians, was well-known to the filmmakers, yet they chose to omit all mention of it from "Heavenly Creatures." The film only deals with events up to the immediate aftermath of the murder, and there is absolutely no mention of the trial, the publicity or public reaction in the film's preface or epilogue. By making this choice, Jackson deliberately leaves the question about the girls' sexual orientations unanswered in the film, at least in terms of making an explicit statement. The viewer may choose to investigate and consider the issue, as did the public at the time of the murder, but Jackson will only provide raw 'background' material in "Heavenly Creatures" to be used as observations or input to a deduction. So, as far as "Heavenly Creatures" is concerned, the official answer is: Maybe the girls were lesbians. Then again, maybe they weren't. It is up to the viewer to decide.

** What have the filmmakers said about the relationship?

Walsh: "I've had very intense adolescent friendships. They were very positive, affectionate and funny, and I understood to a large degree what was so exciting, so magical about the friendship. And though it ended in a killing, the friendship itself is something people would identify with, particularly women." [jp]

Jackson: "What attracted me to this story was that it was complicated, about two people who are not evil, not psychopaths but totally out of their depth. Their emotions got out of control." [jp]

Jackson: "They were totally devoted to each other and felt no one else in the entire world understood them. They felt their world would fall apart if they were separated... "I don't think their relationship was sexually based. I think there was a lot of exalted play acting and experimentation involved and, to be perfectly honest, I don't think it's a relevant issue." [se]

Jackson has also stated in interviews (e.g. Eye Weekly, Jan. 19, 1995) that he believes the question of the girls' sexual orientations is a "red herring."

** What does Jackson mean by a 'red herring?' [jp]

A 'red herring' is a false clue. Often, red herrings are planted deliberately, to deceive or to throw a pursuer off the scent of the pursued. Taking his statements at face value, Jackson implies the murder can't be explained simply to be a consequence of the girls' sexual orientations, whatever they may have been. Given the known public conclusion of '54 that the girls were lesbians, his statement is also a strong hint that he may not believe the girls really were lesbians after all (see 3.1.16.13). And his statement puts the viewer on alert. Watch out! The film might be critical of the kind of simplistic, dogmatic, judgmental moralizing that was voiced by the citizens of Christchurch forty years ago. Or, it may be a warning that Jackson might try to trap the viewer, using false signs, into simplistic moral posturing. Specifically, Jackson's statement is his way of giving notice that there may be misleading or irrelevant clues in "Heavenly Creatures" pointing to the girls being lesbians and/or pointing to the girls not being lesbians. He is not going to point out conclusions with a neon sign. We are on our own here.

** What have the actors said about the relationship? [jp,sb]

At an early screening of "Heavenly Creatures" where she answered questions, Kate Winslet (Juliet) was paraphrased as having said that she and Melanie Lynskey (Pauline) approached their roles with the following attitude: The girls were devoted friends. They acted out exploratory heterosexual romantic fantasies. At times, one partner was a surrogate or stand-in for the (male) object of desire. She also mentioned that the girls were very sexually naive and innocent. In an interview, Melanie Lynskey and Sarah Peirse stated that "the film portrays the girls' relationship as innocent love." Melanie Lynskey went on to say that "when Juliet was arrested she was asked if they had had a sexual relationship, and she said 'How could we? We're both women.'"

** What were the conclusions of the main characters? [jp,sb]

Officially, in "Heavenly Creatures," there was an accusation, expertly-engineered by Dr Hulme, that Pauline was a predatory lesbian, seducing Juliet, and a confirming medical 'diagnosis' of this from Dr Bennett. The diagnosis was apparently accepted by Mrs Rieper, who may have harboured homophobic fears of her own, according to her statements and her reaction to the diagnosis. Mr Rieper was worried in general by the intensity of the friendship and by his daughter's libido, but he was a little slow off the mark concerning the lesbian angle. Mrs Hulme appeared to be unphased by questions of the girls' sexuality, telling Dr Hulme at one point not to worry because it was "all perfectly innocent." In the film, Juliet seems to have escaped official condemnation as an identified lesbian, before the murder, with the label of being sexually impressionable, gullible or easily swayed in sexual matters, but heterosexual. Unofficial worries about her sexual orientation are not made clear, but evidence points to her being considered to be heterosexual, unofficially, too. There is ample evidence that Dr Hulme wanted Juliet to be thought of in this way. If anyone had to bear the brunt of an accusation of homosexuality, according to Dr Hulme, it should be "that... Rieper girl." There is no direct evidence presented in the film about external social pressure being placed on the families because of their daughters' relationship, though it is implied by Dr Hulme once or twice in conversations with Mrs. Hulme. This added pressure may have contributed to his decision to "resign," but it probably wasn't the main reason for his resignation. (see 3.1.25, 3.2.2, 7.10.1). Much more extensive and explicit concerns over Juliet's being "lost to the world of men forever" were featured prominently in scenes (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.) which were not part of the North American release version. In real life, it was clear from public reaction and the sentencing that Juliet was not viewed as weak, or easily swayed at all. In fact, public impression was that she was by far the dominant personality. This public perception is a fascinating topic for discussion, and will be raised again in other sections.

3.1.11.3Social and economic factors#

** Why consider socio-economic factors? [sb,jp]

Superficially, the girls appeared to exist completely in their own little world. However, closer inspection of "Heavenly Creatures" reveals plenty of evidence that the girls took careful notice of their environment. Hence, their relationship may also have been motivated in part by environmental factors, or at least fueled by them, and not simply by 'internal' factors.

** Where can I read more about this aspect? [jp]

A central thesis in Glamuzina and Laurie's analysis of the case is that socio-economic factors played a big role in the case, though not as large as personal conditions within the households. For a brief treatment, see their short article quoted in section 7.8.2. For a more extensive discussion, see their book, described in section 7.7.6. [jp]

** Were family conditions much the same then as now? [maw]

Many families were much harsher on children in the 50s than is the case now and attitudes were different. Discipline was emphasized and open affection was probably much less common, as a rule. In my family, my parents were very prudish, especially my mother, and I wouldn't say that my father (a scientist) was particularly or openly kind to us kids but, rather, he was very distant and never emotional. I was never praised if I did well and the minor mistakes anyone makes were always emphasised as needing to be improved. Good performance at school was always stressed. I was so happy one year when my CGHS school report was lost in the mail (delivered on a very wet, windy day, but found months later near an irrigation ditch at the front of our property). I didn't get into the trouble I was expecting, especially from my father!

** How would being an 'outsider' have affected Pauline? [maw]

It probably meant she had one or, maybe, two close friends and she would have lived with the fact that making new ones was not going to be easy and, perhaps, not worth the effort.

** What was unattractive about Pauline's life? [sb,jp]

To Pauline, almost everything about her own life was unattractive. The social situation of her parents was a cause for acute embarrassment on more than one occasion in "Heavenly Creatures." She hated the poverty that forced her family to take in boarders. She clearly grew to hold her mother in contempt because Honora had run away from home with her father, because she was 'stupid' and seemed to be a dull, plodding kind of a woman and because her mother eventually forced Pauline to contribute financially to the family. Most of Pauline's criticisms of her family and her mother in particular revolved around class, status and money. Pauline eventually summed these feelings up in her phrase "I loathed Mother" and her reasons: "Because she nags me." Juliet didn't help matters. Clearly, she shared many of Pauline's attitudes about the Riepers, all the more evident because of her politeness when she was at the Riepers' house. The scene where Juliet first comes over for tea is a splendid study of class distinction, and holds many clues about the girls' attitudes to Pauline's lot in life. On the day of the murder Juliet opines: "Your mother is sort of a miserable woman."

** What was attractive about Pauline's life? [sb,jp]

About the only attractive thing in Pauline's life, to Juliet, was the aspect of 'family.' Once she got acclimatized to the Riepers, we see that Juliet actually became quite comfortable in the Rieper home, the few times she went there. Of course, that might have been upper-class arrogance, too. It didn't really matter what the little people thought once it had been determined that they had no power.

** What was attractive about Juliet's life? [sb,jp]

To Pauline, Juliet's life looked extremely attractive. First, there were the obvious material benefits--the beautiful home and gardens, the car, the many possessions (contrast the way Pauline treated her one, precious Mario Lanza recording and Juliet's casual spreading of all of hers on the floor). Second, there was the air of intellect that permeated the Hulme household. These were cultured, refined people, who respected and encouraged scholarship, imagination and things cerebral. Pauline was obviously a very bright girl, and she would have shared instinctively many of the sensibilities and passions of the Hulmes. And the Hulmes, in turn, would have encouraged her because of their social mores. Remember, Pauline was always a guest in the Hulme's home, so would have been treated accordingly, especially in the beginning of the friendship. Juliet took many of the material aspects of her life for granted, but that doesn't mean she didn't value them. Her parents indulged her shamefully, in fact--we know she had a horse, an extensive and lavish 'fantasy' wardrobe, and all the accessories of a well-off teenager. Finally, both girls shared an intense devotion to Dr Hulme, who personified for them everything that was best about Juliet's world. Pauline, especially, admired him greatly because of his cool intellect, his even temper and his thoroughly British attribute of grace under fire.

** Does Pauline actually take notice of these factors? [jp]

Absolutely. Jackson makes this point over and over again: on Pauline's first stunned viewing of Ilam, the way she stands timidly in the doorway on her first visit, the way she observes and imitates Hilda Hulme's mannerisms and manners at the dinner table (the one with real crystal, and good china, and silver cutlery, and candelabras and...).

** What was unattractive about Juliet's life? [sb,jp,lfr]

To Juliet, many things. But she dealt with these things by ignoring them, or by flights of fancy to take her away from ugly reality. The most obviously painful thing for Juliet was the constant threat of separation from her family and their world. So Juliet did not find the material aspects of her life unattractive, just some of the emotional ones. Juliet came to feel very threatened by anything which was destabilizing, and she was decidedly hostile to people who threatened to break up the ideal vision of family to which she clung so desperately. This included Bill Perry, of course, and her mother, eventually, though we see a reconciliation in the end. Juliet seemed to have no particular feelings toward her brother; he was a pesky annoyance, as younger brothers can be. To Pauline, there was nothing unattractive about Juliet's life. Pauline empathized with Juliet concerning the things which upset the smooth flow of life in the Hulme household, but just look at her eyes whenever she was at Ilam. This was what Pauline wanted more than anything in the world--to be a part of this world. To "travel to Italy and dozens of other places..."

3.1.11.4"Red Herrings" - misleading clues#

** Is there a misleading 'example' of a lesbian in the film? [jp,mc]

The girls' gym teacher conformed to all the classic stereotypes that society would have held at the time for a lesbian, including her build, bearing, appearance, manner and occupation. The girls in the school, if they took note, might well have speculated about the gym teacher's sex life. Modern eyes certainly note these clues planted by Jackson. The gym teacher is probably a deliberate "red herring." This one points a finger (or fin) at an 'obvious' lesbian as if to say 'if you are going to look for lesbians in this film then they are clearly going to look like this woman because this is what a lesbian looks like, right?' The girls bore little resemblance to the gym teacher so, by inference, they cannot have been lesbians, according to the logic of this red herring.

** Is Pauline's name used as a red herring? [jp]

Probably. The familiar contraction she preferred was the decidedly masculine 'Paul.' Mrs. Hulme pronounced it with just the right preceding pause and raised eyebrow, when first introduced to Pauline, to indicate that she noted its suspicious masculinity. 'Paul' clearly preferred it to her full name and to her safely-feminine 'family' name, Yvonne. Even her schoolmates called her 'Paul,' when they weren't ignoring her.

** Didn't Pauline pretend to be Charles? [jp]

Yes, in several scenes, including Diello's birth scene. She also wrote love letters to Deborah, as Charles. And Charles was, of course, a man. But given the lighthearted tone of the scenes where Pauline pretends to be Charles, Jackson probably intends those scenes to be red herrings, not really proving that Pauline was a lesbian but simply illustrating the rich imaginations of the girls. And Pauline did not assume the identity of Charles in her own Borovnian visions, but the identity of the very feminine and heterosexual Gina. Similarly, Pauline's letter writing is also portrayed, initially, as just a "brilliant idea" to cheer up Juliet. Jackson seems to interpret Pauline's adopting the pen-name of Charles to be insignificant, in terms of her sexual orientation, and he offers this as a red herring, too.

** Didn't Pauline pretend to be Lancelot Trelawney? [jp]

** What other 'masculine' traits were given to Pauline? [jp]

Other vintage-'54 'Pauline was masculine' red herrings: We are told Pauline liked woodworking. We never see her engaged voluntarily in 'feminine' pursuit of the culinary arts, and all of her activity in the kitchen was reluctant and cursory, her housework begrudging. She was a sloppy, dowdy, 'unfeminine' dresser, especially in her school uniform. The bloody carnage in her art work at school--hacked limbs, severed heads, death and mayhem--is more consistent with the art of an adolescent boy. She read "Biggles" war stories beloved of generations of British- Empire schoolboys, and pretended to be a fighter pilot.

** What about Pauline's 'diagnosis' by Dr Bennett? [jp]

Dr Bennett's interrogation was ludicrously superficial: "Do you... like ... girls, Pauline?" "No." "Why not?" "They're silly." "But Juliet's not silly, is she?" "...No!...". His diagnosis of "h-h-homo-sexuality" in Pauline can probably be taken to be a red herring. Jackson is being facetious here, letting us see how simplistic even 'learned' opinion was at the time. Indirectly, for the benefit of the aficionado (and if you are reading this, you are one...), he is also planting doubts about the accuracy and usefulness of the copious psychological testimony which took up more than half of the real-life trial.

** Are there any 'Pauline is heterosexual' red herrings? [jp]

Yes. The most obvious one is the way Pauline's parents reacted to John-the-boarder. They assumed that Pauline was hopping wantonly into bed with him behind their backs, ergo she was obviously heterosexual. The second one, on the surface of it, was the way Pauline rushed back into John's bed. Both Mr. Rieper and John would have stated that Pauline was a 'normal,' albeit lusty, girl. Her reasons may have been more complicated than this, however.

** Are there any red herrings for Juliet? [jp]

Juliet also painted violent scenes. She, too, read "Biggles" books and pretended to be a fighter pilot. And there were the love letters she wrote, as Deborah, back to Pauline, of course. On the surface of her letters, they would obviously point to Juliet being the lesbian lover of Pauline. Too simple.

3.1.11.5Significant clues#

** Pauline rushed home after meeting Juliet and... [jp]

Never mind the passion (!), check out the lyrics and how they match the scenes up to Port Levy. Jackson buries most of his blatant, significant clues in the music. See 3.1.19.

** Juliet always looked so romantic to Pauline. [jp]

True. And warm and sunny and desirable. And not just to Pauline. Jackson went out of his way to make the audience get caught up in these feelings for Juliet, too. Juliet was forever making grand, romantic entrances in "Heavenly Creatures," accompanied by an equally-romantic score (see 3.1.19). And Pauline's expressions were adoring and attentive. Just look at the "Princess of Ilam" scene: Pauline stumbles across Juliet, dressed as a noble medieval Maid of the May in the splendorous Ilam gardens, laughing, spreading petals, dappled in sunlight--and Pauline looked like she fell in love, right then and there. I thought she was going to weep with joy, her heart was so full and soaring. But, for the sake of argument, it should be noted that all such scenes were set at Ilam or in the Fourth World. When Juliet was at the Riepers' she was just a girl to Pauline, and to us. Pauline may have been more attracted to the environment or the lifestyle represented by Ilam and Borovnia than she was to Juliet (see 3.1.11.3). Ah, but then again, there was that last, grand entrance on June 11, 1954. Juliet, golden, luminous, with desire in her eyes, swept down the Ilam staircase and transported Pauline from her drab and shabby life into a stunning red-velvet gown, to her adoring Borovnian family and "The Loveliest Night of the Year."

** The first thing the girls do together on holiday is... [jp]

...cavort in the wildwood, in tremendous, joyous abandon, like nymphs or dyads, shedding their clothing along with their cares. And then, there is that first kiss... This scene was scripted by the real Pauline Parker, by the way, in the front of her '53 diary. This episode had made enough of an impact upon her for it to be one of the 'highlights' of 1952 she recorded soon after getting her first diary. Medlicott sees great significance in this event, which he calls the girls' "ecstatic disrobing" (see 7.8.1). Alas, I don't have this quote.

** Pauline kept portraits of Juliet in her room. [jp]

True, and they were flattering, romantic and many in number. And their numbers increased with time. And they came to encompass all of Pauline's fantasies: Borovnia, sisterhood, Hollywood, the Fourth World. This adoring art was over and above the clay figures the girls used to visualize Borovnia. This excessive objectifying and adoration is a little unusual for a simple friendship, no matter how close. I was reminded of Bud's many pictures lovingly arrayed all over Deany's bedroom wall in "Splendor in the Grass."

** There was great despair at being separated. [jp]

And it began with Juliet contracting TB. The scene with Pauline standing alone and distraut in the hallway, being told over the phone of Juliet's illness, is a terribly bleak and touching one. Imagine the feelings that would drive a girl who had known such pain and sickness in her own life to want to be infected with TB ... just so she could be with Juliet again.

** There was tremendous joy at being reunited. [jp]

Enough to worry Honora, for sure. The girls' first reunion ran the gamut of emotion. It was portrayed as much more than a boistrous and superficial happiness. Once the initial excitement had worn off, there was also quiet concern and caring and some very tender gestures.

** Juliet was jealous of John. [jp]

Juliet became extremely upset when Pauline told her about John falling in love with her. Juliet was obviously very jealous, referring to him as "that idiot boarder" and asking "is that why you haven't replied to my last letter?" The scene certainly plays as if Juliet was in love with Pauline and was afraid of being 'dumped' for a new lover. Then again, her reaction could have been that strong just because her fear of rejection and being left alone had grown to be so overwhelming to her. Pauline was caught a little unawares by the strength of Juliet's reaction, and she dismissed Juliet's comments and fears gently, the way a lover would have. Or, the way a good friend would have. It could be taken either way. The 'jealousy' scene is actually based on real-life testimony and on widely-reported courtroom behaviour (see 7.6).

** "The Ones That I Worship." [jp]

Pauline's poem, and the scenes of Juliet's release from the sanatorium which Jackson builds around it, are full of significant indications of a romantic relationship between the two girls. Juliet beamed triumphantly, and knowingly, at Pauline in the tram-riding scene, after Juliet's release from the sanatorium ("Compared with these two every man is a fool."). Pathetic, rejected John was making an ass of himself on his bicycle. Even bystanders twittered. Jackson may have actually been translating some of Pauline's real-life diary entries not used in the voiceover, written following Juliet's release, into snippets of atmospheric scenes, linking them with the lines of Pauline's poetry. Those omitted entries dealt with Pauline's feelings toward Juliet and 'Nicholas'. See 7.4.3. The issues raised by those entries are not simple ones, in real life, possibly why the entries were not used by Jackson.

** "He's just a stupid boy." [jp]

The girls commented several times to the effect that their relationship was something that was better than a relationship with boys, and that boys couldn't possibly understand it. On the one hand, it is probably unusual for heterosexual adolescent girls not to have any fantasies at all about boys. On the other hand, remember what immature jerks most adolescent boys are... [my sex allows me to cast this stone. jp]. The girls did have romantic fantasies about their male Saints, of course.

** What was Diello's comment to Dr Bennett? [jp]

Diello appeared during Dr Bennett's interview with Pauline. Dr Bennett was saying: "Perhaps if you spent a little more time with boys..." At that point Diello ran Dr Bennett through with his sword, commenting: "Bloody fool!" Amusing, but a direct statement from Jackson, nonetheless. And a direct diary quote. Oh, and can you say "phallic symbolism?" See 3.1.16.8. By the way, the date shown on Dr Bennett's desk calendar was exactly right: December 14, 1953 (a nice little touch). See 7.3.

** The girls bathed together. [jp]

Perhaps a little unusual, but not all that uncommon. In fact, there may have been communal baths at school [there certainly were in a comparable boy's school I attended.. I need to check this. jp] and communal bathing is common in many cultures ... hot tubs, anyone? Certainly, in the film, we don't see the girls engaged in any erotic activities when they are bathing together. This seems to be a deliberate decision made by the filmmakers because we do see the girls in erotic situations elsewhere in the film. Bathing together was taken straight from trial testimony and from real-life diary entries. See sections 3.1.15 and 3.1.16.12 for more about bathing.

** The girls took nude photos of each other. [jp]

This is a pretty common adolescent rite of passage. Hilda Hulme was probably right about this one: "It's all perfectly innocent." Henry Hulme found the photography particularly disturbing, though, an indication of "hanky ... panky" in his mind. Perhaps Henry's opinion said more about Henry than about the girls. There was an additional aspect to this photography. Remember, the girls had just hatched a plan to run off to Hollywood and be film stars. Maybe these were going to be their 'publicity stills.' They read Film Magazines by the score, so they certainly knew you had to have good cheesecake pictures to get noticed.

** The girls slept together. [jp]

The 'sleep-over' is an almost universal phenomenon among adolescent females. On the other hand, sleeping blissfully in each others' arms night after night after night is probably not, although their first night together after Juliet's return from the sanatorium was a very warm, tender and beautiful image in "Heavenly Creatures." And a very innocent one. "And these wonderful people are you, and I." Henry Hulme certainly did not like what he saw when he peeped in at the girls from the Ilam balcony. But why was Henry peeping through windows? Another instance of an unflattering portrait of Henry Hulme because the audience could see no harm. What is not made clear in the film, though it was made abundantly clear in real life, was that the girls' sleeping together was actually done surreptitiously by them; it was not something that was officially 'known' by the parents, or openly approved of by them. Pauline recorded that the girls worried about being caught by Dr Hulme. This paints a slightly different picture than the one Jackson portrayed.

** The girls hugged and kissed and held hands. [jp,mf,G&L]

Girls did, and do, in public and in private, who are just good friends and not lovers. However, there is no doubt that the girls' behaviour would have been very provocative, within their cultural setting. Physical familiarity of this sort was frowned upon, in public, even within socially-approved relationships; this was a very reserved and conservative society, after all. G&L note (p. 61): "They were noticed by teachers and other students at the school [CGHS] because from early 1952 they became very close, sitting together and walking in the school grounds, hand in hand. At that time, showing this amount of affection publicly was seen as unusual." Furthermore, Jackson has Juliet and Pauline kiss on the mouth, which was probably much less common at the time, and especially in that cultural setting, than friends kissing on the cheek. This could be Jackson being impishly provocative, or it might be another red herring--it is barely far enough into the grey zone to be a toss-up either way, according to modern sensibilities--or it might be a genuinely-significant clue to their relationship. The first few times the girls kiss, it is within a light setting such as the "Donkey Serenade" scene. When the setting isn't light the girls' kisses come across as a little surprising or even jarring, for some, but the audience becomes quite acclimatized to this aspect of the girls' relationship by the end of the film. The girls weren't furtive or secretive about their kissing; it wasn't something they only did when they were all alone. They kissed quite openly, in front of their family members in several scenes, and even in public, in the sanatorium. This openness would tend to support the notion that it wasn't an erotic pastime for them. Or, maybe it was a case of 'hide in plain sight.' If it was, we never saw them checking for public reaction, which they would have if kissing was done on a dare, or to deliberately shock or provoke a reaction. Interestingly, Michaelanne Forster also has the girls kiss specifically on the lips in "Daughters of Heaven" because this behaviour was public enough to be the stuff of stories about them in real life. In a sense, then, Jackson was forced to deal with this fact if he wanted to portray the story accurately. In support of the idea that this is a significant clue, the girls really did kiss quite frequently. And a couple of kisses in "Heavenly Creatures" did stand out as being off-the-cuff, spontaneous, heartfelt and intimate. For example, when the girls parted after Pauline's first visit to the sanatorium, and whenever the girls parted under emotionally stressful conditions. And, perhaps most significantly of all, there was that kiss in Pauline's 'ship' fantasy. See 3.1.16.13. Were these kisses a true indication of the girls' romantic feelings toward each other? Perhaps. But then again, maybe the girls really were simply inventing their own rules for demonstrating their own particular kind of love and friendship. Oddly enough, some of the most ambiguous, tender and loving gestures the girls made in "Heavenly Creatures" occurred when they took and held each others' hands. By rights, these should have been the most innocent of their actions. They stood out for me, at least.

** The girls did have sex together. [jp,G&L]

Yes, they did. Two different times, at least, according to the evidence given in the film. On the surface of it, this seems to be pretty strong evidence supporting the idea that the girls were lesbians--how can you argue with simple physical facts? Glamuzina and Laurie discuss this aspect of classification and categorization at some length, and their book is recommended as an informative and readable account of this issue. (see 7.7.6) Though he may have been painted in an unflattering light, Dr Bennett was at least statistically correct in one of his statements: many adolescents experiment in their formative years with physical acts of various kinds that can be labelled 'homosexual,' without being irreversibly, completely or permanently committed to this sexual orientation. In effect, many people do seem to 'drift into and grow out of it.' Maybe this was the case with the girls. Jackson deliberately introduced this evidence earlier, to be recalled by the viewer when the girls are shown making love. It plants a seed of doubt about their being committed lesbians. And, for many people, sexual orientation is a kind of sliding scale, and it can vary with time. Maybe this was a better description of the girls' sexual preferences. Over and above this ambiguity, the girls did have sex under very specific and unusual conditions, namely they took turns imagining what it was like to have a man, one of their Saints, make love to them. And the other girl pretended to be the Saint. So, in their imaginations, they were taking part in heterosexual sex. At least, this is what we are shown and told at the beginning of the scene. However, Jackson introduces yet another layer of ambiguity by having the images of the Saints dissolve back into the images of the girls themselves in the final moments of these shots. Does this indicate that the 'Saints' angle was a rationalization the girls used, perhaps because they didn't want to admit to their physical attraction for each other? Then, once they had overcome their initial reluctance and inhibitions, the pretense was dropped? Possibly. It could also be an artistic way of saying 'we've intruded enough into this private moment.' The scene dissolves soon after. Jackson is toying mercilessly with the audience's preconceptions, driving home his point that the girls had a relationship that pretty much defied simple categorization. Even in the face of 'straightforward' physical evidence. He is saying that the girls may not have been lesbians at all even if they had one or two superficially lesbian encounters.

** What did happen in the "enacting the Saints" scene? [jp]

This was a key and very dense scene and Jackson and Walsh threw everything they had into it. Good cinema, but hard to analyze in a few lines. I'll settle for a description, here. The two girls were running from 'It' in his Harry Lime incarnation. They shut and brace the door to the balcony with a chair, then collapse on Juliet's bed, laughing. 'It' has been locked out of the room. Juliet is shown lying on the bed with Pauline above her. Juliet sighs and the girls kiss, not too briefly and very warmly. We cut to see a dark-coated Pauline against the ceiling from Juliet's perspective. Pauline 'morphs' into 'It' and Juliet gasps. 'It' begins to kiss Juliet; he is b&w, she is flooded by the blue light coming in the window through her gauze curtains, where her gaze is drawn as she becomes lost to her passion. 'It' is wearing crude leather gloves and he plays them over Juliet's neck. The plasticine figures on Juliet's bedside table are seen prominently, and they include a pair of horses facing in opposite directions, an exact reproduction of Pauline's drawing glimpsed on the day Juliet is introduced to French class, but now real, physical objects. Cut to a shot of Pauline lying on the bed in a warm, natural light. We hear and then see Diello grunting, slashing and hacking limbs in a frenzy of violence. Pauline smiles blissfully. Diello comes to her bed and begins to make love to Pauline, his crude gloved hands reaching for her, and he carries her off to Borovnia where Gina ... is now a clay figure. Diello pins Gina to a wall and ravishes her, to Gina's obvious delight. We pull back and see writhing bodies everywhere. The Borovnians are having an orgy and Gina is part of it. We see, though only very briefly, quite a variety of sexual activity among the Borovnians, including males having sex with males, though the gender of many of the Borovnians is hard to determine. Finally, we pull back and Borovnia fades. We see Juliet against the ceiling from Pauline's perspective and Juliet smiles shyly. The girls embrace and kiss; both are smiling warmly and they caress each other as they lie in each others' arms. The diary voiceover informs us that the girls "have now learned the peace of the thing called Bliss, the joy of the thing called Sin." The pink gemstone is on Juliet's bedside table by their heads. Jackson managed to put most of his major themes, symbols and potent clues into this one short scene. For more on them see 3.1.16. How does all this compare to real life? Real life was far more complicated, but that is what Art is for: distillation into the essence of a consistent perspective. See 4.6 and 7.4.3 for more on the real-life episode.

** Were the girls too sexually naive to be lesbians? [jp,G&L,mc,maw]

Or, for that matter, too naive to be committed to any particular sexual orientation. Kate Winslet and Melanie Lynskey both brought this point up. There is ample evidence that the girls were unusually naive and sexually unsophisticated for their age. For example, Pauline thought at first that John's climbing into bed with her was sufficient to constitute her losing her virginity, according to the film. They attended an all-girls school, and seemed to have had little social interaction with boys their own age. Juliet, in particular, seems to have led a particularly sheltered social life, according to "Heavenly Creatures." Neither set of parents was pushing for the girls to become more involved with boys--just the opposite, in fact. (In the NAm version of the film.) The film strongly implies that both Pauline and, especially, Juliet had had absolutely no sexual experiences before the ones that occur in the story. It's quite possible that neither of them had formed definite ideas about their sexual preferences one way or the other. And, as mentioned above, the girls really would have had little access to material about homosexuality or lesbianism and may not have even discussed the subject at school. I admit I was originally a little sceptical of this 'profoundly naive and innocent' characterization of the girls as depicted in the film, but I have been swayed by discussion provided by several FAQ contributors, and others, and by background information provided by and referenced in G&L, and by some of Anne Perry's statements about the real-life context. The time and place really were quite different from contemporary society where I live and, possibly, where many FAQ readers live. I can now accept that this aspect of profound innocence should be considered seriously in the analysis of the film and the case. But is ignorance of one's sexual orientation proof that one is probably 'normal' in a statistical sense? Human hearts and souls don't really conform well to simple statistical descriptions and "Heavenly Creatures" can't answer this question, of course. A much better question (and I did not phrase it this way, deliberately) might be: Were the girls too naive to know what their sexual orientations were?

** Did either girl ever say "I love you" to the other? [jp]

3.1.11.6Conclusions about the relationship#

** What were the girls' stated sexual preferences? [jp,lfr]

When the girls were on the beach at Port Levy, imagining Charles' and Deborah's wedding night, Pauline imagined Charles "ravishing her!" Juliet responded: "Oh, yes! I bet she gets up the duff their first night together." This and many other romantic imaginings mentioned by the girls seem like enthusiastic endorsement of heterosexual sex. They often placed themselves in erotic heterosexual situations in their Borovnian reveries. On the face of it, this kind of statement would also fly in the face of the assertion that the girls were sexually ignorant or naive. Deleted scenes from the early draft of the screenplay have the girls discussing sex more frequently and more graphically, and they discuss the sex manuals that were part of Hilda Hulme's 'family planning' and counseling activities at the Marriage Guidance Council. This could have just indicated interest in sex, not knowledge of it, of course. Obviously, the filmmakers chose to portray the girls' sexual innocence in a more explicit way in the final release version of the film. However, when faced with the physical reality of sex, the girls' preferences became more ambiguous. For example, Pauline was clearly very ill-prepared for her sexual encounter with John; she had some vague, idealized notions that had nothing, really, to do with sex. And she was probably motivated more by a desire to defy her parents than by physical desire for John. The whole process was profoundly unpleasant in the extreme for her, and even quite traumatic. See 3.1.16.11 for more on this scene. This experience was not to become a ringing endorsement of sex with boys. But did this bad heterosexual experience drive Pauline into Juliet's understanding arms? Apparently not, or at least not for about one whole year. It was a very critical scene. However, nearly one year later, Pauline described her sexual experiences with Juliet in completely different terms from the way she had described her encounter with John--with Juliet it was "Wonderful! Heavenly! Beautiful! and Ours!" Pauline was certainly in a position to compare and contrast, and her preference seems pretty clear from her comments. Unless, of course, she really couldn't tell the difference between Juliet and the Saints of her imagination. Juliet's preferences or comments aren't stated explicitly. We only have her expressions to read. When she makes love to Pauline, they are clearly ones of tenderness and pleasure but, ultimately under the stated circumstances, they are formally as ambiguous in their interpretation as Pauline's.

** But there is more to life, and love, than sex... [jp]

Yes, and we must bear this in mind when considering the girls' relationship in "Heavenly Creatures." On the other hand, FAQ readers are invited to cast their minds back to their own adolescence... as I recall, the spiritual and the physical did tend to get all mixed up together, and it was a heady mix. But it is still probably a good idea to keep pure, breathless romance in the back of our minds as we consider the big picture in the sections ahead.

** What does the narrative state about the relationship? [jp]

There is reasonably strong narrative evidence (see also 3.1.16.13), i.e. Jackson's 'official' point of view, pointing to the following 'on-balance' conclusion: the girls were not lesbians, despite the physical evidence that might be interpreted superficially to the contrary. Furthermore, the relationship was unequal; Pauline's view of it differed from Juliet's. At least in terms of the part of their relationship that led to murder. The film's narrative evidence suggests Pauline was desperately attracted to an idealized version of the Hulme family and the life they represented (see 3.1.11.3), and she imagined herself to be the dear, close, loving sister of Juliet and part of the Hulme family. There are a few important counter arguments, however, suggesting that Pauline was attracted to and in love with Juliet in a romantic and erotic sense. Juliet, on the other hand, was desperate for the constant affection of a true soul mate and loving sister. She was traumatized by the accumulated rejection of her family and by the tremendous, overwhelming new upheaval taking place within her family, and she turned to the unquestioning love and devotion of Pauline for solace. Similarly, in opposition to this conclusion, there are a few strong pieces of evidence that Juliet was in love with Pauline, especially her jealousy in the sanatorium.

** What does the music state about the relationship? [lfr]

There is strong evidence (see 3.1.19) that the musical clues point to an intense romantic attraction of Pauline for Juliet. The story is almost exclusively told from Pauline's perspective, and the important musical clues also point to Pauline's emotions. Hence, the conclusion to be drawn from the music is that Pauline's 'diagnosis' by Dr Bennett and his allies was, in fact, correct. Pauline fell deeply, passionately and desperately in love with Juliet in a grandiose, operatic, adolescent way that progressed well beyond a simple crush. She placed Juliet on a pedestal and became progressively more blind to everyone but Juliet and everything but her love and devotion for Juliet. The music has little to say about Juliet's feelings, except that she became overwhelmed, numb and utterly accepting of the inevitability of Honora's tragic murder in the last scene.

** Does a consistent picture of the relationship emerge? [jp]

No. The objective statements made by the characters point to a 'majority' opinion that Pauline was a lesbian attracted to Juliet, with some abstentions. The subjective interpretation of the film's narrative points to an unusual, intense, unequal sisterhood between the girls. The subjective interpretation of the musical score points to Pauline falling desperately in love, romantically, with Juliet. Is Jackson having more fun at the expense of the confused audience? Maybe. Or, it could be he is hedging his bets on this important and controversial matter, despite what he has said in press interviews.

** What do I think? (as of ver. 2.0) [jp]

On balance, despite Jackson's conscious attempts to avoid and obscure the issue, I think "Heavenly Creatures" really does paint a portrait of two young people who fell in love, romantically, unequally and at paces that differed. The circumstances in their lives, and especially their enforced separations, merely strengthened and confirmed their love for each other, which grew after their initial infatuation. It is an intriguing question to ask if infatuation would have changed to love had things been different in their lives. Perhaps. Was this 'real' love? I think it certainly seemed to be to Pauline and Juliet, even if they could never put a name to it, themselves. So, if they couldn't, do we dare? Sure. Perhaps their love was based more on mutual and different needs and less on mutual and ideal celebration of pure and noble pursuits, but does this distinction matter when you are fifteen? They stayed loyal and in love for years, at a time in their lives when they might have changed partners and affiliations weekly or even overnight. Was their love innocent? Yes, and it was passionate and it was physical, too. It was everything love is, at that age, for most people and perhaps more. Jackson and Lynskey and Winslet managed to convey very convincingly this "intensity" and how the girls believed that what was right, for them, had to be right in an absolute sense, without concern or heed to what society said. This quite extraordinary strength of conviction and naivite may have even been assets and a wonderful thing for the girls; it was also the seed of their tragedy, of course, according to "Heavenly Creatures." Was their love good and right? We want it to be and through much of the film it seems to be. "Heavenly Creatures" doesn't necessarily say the murder was an inevitable and completely conditional consequence of the girls falling in love. Was it tragic? Yes. A woman died. Was it this way in real life? See 4.6.

** Is understanding the relationship important? [lfr]

The one inescapable fact is that the two girls, together, murdered a woman. Understanding how one girl could be convinced to perform murder by the other can never be achieved without understanding the relationship between the two. A casual acquaintance who is not legally insane will not perform murder as a favor. Whatever the relationship was, it is at the core of the reason for the murder.

** Are other relationships also important? [jp,G&L]

Absolutely. This is Glamuzina and Laurie's central thesis regarding the reason for the murder (see 7.8.2 and 7.7.6). Contributions are encouraged regarding the other relationships between the central characters.

3.1.12The "Fourth World."#

** Who first mentioned the "Fourth World?" [jp]

The "Fourth World" was first mentioned by Juliet in the scene at the Ilam shrine. Pauline commented: "But we're all going to Heaven!"--sorry, I mean "Hihvin." [This is a reference to many real-life statements by Pauline and Juliet too numerous to list. e.g. see Medlicott's article 7.8.1. jp] Juliet said she wasn't--she was going to the Fourth World (see 3.2.7).

** What was the Fourth World? [jp]

Juliet said it was a place for "Music, Art and pure enjoyment." Mario would be there, and James, only they would be Saints. Later, both girls had visions of the "Fourth World" and it came to intrude on their perceptions of the real world, as well.

** Was the "Fourth World" another name for "Heaven?" [jp]

Most definitely not. Juliet said The "Fourth World" was "better than Heaven because there weren't any Christians."

** Who discovered the "Fourth World" and when? [jp]

Juliet was the first to see the "Fourth World," at Port Levy during Easter holidays with the Hulmes. Pauline was confused at first, until Juliet stood tall against the sky, took a deep breath and, in a sure voice, full of knowing anticipation, said: "Come with me!" (an important moment in "Heavenly Creatures."). Both Juliet and Pauline went on to have a realistic, sensual vision of the "Fourth World." Interestingly, in real life, the vision occurred on Good Friday, 1953, the day commemorating Christ's trials, doubt, crucifiction, suffering and death, and not on Easter Sunday, the day commemorating his resurrection from the dead. "Heavenly Creatures" says the vision was apparently triggered by Juliet's intense depression, brought about because her parents planned to leave her behind in New Zealand when they went on a trip to England.

** Who could 'look in to' the "Fourth World" and when? [jp]

Pauline stated in her diary entry that "only about ten people" had the ability, the 'key,' to look into the "Fourth World," and that this could only occur on well-defined occasions, twice a year, when a gateway opened up through the clouds. The bright light of the gateway was like a brilliant six-pointed star--very similar to the star in the CGHS crest that was shown in the very first shot of "Heavenly Creatures," after the title. Both Pauline and Juliet had this ability to 'look in to' the "Fourth World," because of an extra part of their brain, and that made them rare and special, and brilliant and it set them far apart from ordinary people. 'Looking in to' the "Fourth World" was apparently a different phenomenon, in the girls' eyes, from simply imagining the "Fourth World."

** What was the "Fourth World" like? [jp]

In the girls' visions of the "Fourth World," it appeared to be like a lush, over-ripe, beautiful, sunny garden. There were manicured lawns, fountains and pools, marble statues, flowers in vibrant bloom, birds, giant butterflies and mythical beasts, like unicorns, tame and docile. In short, it looked a lot like the gardens and grounds of Ilam, the Hulme's residence. The "Saints" were supposed to live there, but they were never shown in the girls' visions of the "Fourth World."

** Was "Borovnia" part of the "Fourth World?" [jp]

This wasn't specified clearly in "Heavenly Creatures." At first, the two concepts seemed to be quite separate. The girls had visions of Borovnia independent of their visions of the "Fourth World," and the characters, objects and tone of the two places appeared to be quite distinct. Specifically, Borovnia was shown to be a lusty, bawdy, violent place while the "Fourth World" was peaceful and pastoral; Pauline described it as being full of peace and bliss. Later in the film, it seemed as if Borovnia may have existed as a kingdom in the "Fourth World," judging from images of the countryside seen outside Borovnia in some of the visions. The "Saints" were said to exist in the "Fourth World." Some of the Borovnian characters had the features of the Saints and, of course, Mario Lanza was himself and he was supposed to live in the "Fourth World."

** Who were the Saints? [jp,lfr,sb]

Juliet initially identified four Saints: Mario (Lanza)..........................."HE" James Mason............................"HIM" Mel Ferrar............................"THIS" Suie Bjuling (IDd from script)........"THAT" (I reckon this could be Jussi Bjoerling, the tenor, very popular in the 1950s). [sb,lfr] Pauline commented "Oh, I wish James Mason would do a religious picture. He'd be perfect as Jesus." Then proposed: Orson Welles............................"IT" but Juliet vetoed this, saying: "Certainly not! Oooh! Orson Welles--the most hideous man alive!" and she cast his picture to the water. Later, after the girls see "The Third Man," they don't change their opinions about his looks, but they both admit they "adore him," and "IT" is elevated to full sainthood.

3.1.13"Borovnia."#

** What was "Borovnia?" [jp]

Borovnia was an imaginary kingdom invented by Pauline and Juliet in elaborate fantasies. They wrote extensively about Borovnia and peopled it with a large cast of characters, both noble and commoner. Pauline said to John-the-boarder that the family tree "was all worked out" for many generations. From time to time, the girls would assume the identities of the characters in real life, or would imagine themselves to be the characters in their visions of Borovnia. Borovnia was a violent, fun place full of action, romance and intrigue. See 3.1.16.11 for more on the character of Borovnia.

** Are there parallels with other imaginary kingdoms? [sb,lfr]

The young Brontes had imaginary kingdoms of this kind. A good read on the subject is Daphne du Maurier's "The Infernal World of Branwell Bronte." Apparently the Brontes' fantasy world occupied the sisters for seven years, and was also incredible and quite violent (according to Jay Martin, Ph.D. in a lecture "Movies, Murders, Magic, Obsession and Oppression" given at S. Cal. Psychoanalytical Institute April 20, 1995).

** What are the filmmakers' comments about "Borovnia?"

Jackson: Pauline and Juliet "used [it] ...as an outlet for violent fantasies. Their stories about Borovnia became increasingly violent and bloodthirsty."

** Why were the characters in Borovnia made of plasticine?

Jackson had initially imagined using actors dressed in medieval clothes. Then he heard of real plasticine models made by Juliet and seen by visitors to Ilam in the 50s and thought: "What a fascinating idea. Why don't we have Pauline and Juliet entering into a world populated by Plasticine figures rather than actors wearing costumes." (see 3.1.10 concerning plasticine figures in real life.)

** When and why did the girls have Borovnian visions? [jp]

Although Borovnia started out as a literary exercise for the girls' imaginations, both of them came to have more frequent visions of themselves in Borovnia or of Borovnian characters in their real lives. Both Pauline and Juliet were shown to use Borovnian visions as an escape from unpleasant realities. As "Heavenly Creatures" progresses through a series of upsetting and traumatic events, the girls blur the distinction between the real world and fantasy, usually through Borovnian visions that help them deal with their problems.

** Who had the first 'vision' of Borovnia? [jp]

The first explicit vision of Borovnia was held by Juliet when she was confronted by Rev Norris in the sanatarium. Diello came to Juliet's rescue and carted off the annoying clergyman, bad teeth and all, to his beheading.

** Who first imagined herself actually in Borovnia? [jp]

Pauline awoke outside the gates of Borvnia in the second 'Borovnia' vision, as if from a dream, during her night with John(Nicholas). She smiled, as if she were home. See 3.1.16.11 for more on this scene.

** Who imagined the death of Nicholas in Borovnia? [jp]

That's not clear. Nicholas was dispatched by Diello in the third Borovnian vision, but we see both girls immediately after this vision, and they smile knowingly at each other. Maybe this was telepathy (see diary entries).

** Did Juliet ever imagine herself entering Borovnia? [jp]

Yes. Juliet's first voluntary crossing over to Borovnia, as Deborah, was at the beginning of "The Loveliest Night of the Year" scene, when the Ilam parlour dissolved into Borovnia. Mario became human in this vision. So did Dr Hulme, the Fool.

** Did anyone cross over completely? [jp]

Yes. The film implies that Pauline crossed over completely to the fantasy kingdom during "The Loveliest Night of the Year" when Diello carried her away from Ilam to Borovnia. When we see her in Borovnia, Pauline has become a plasticine Gina, her transformation complete. This final, all-important Borovnian scene would have been "The Rape of Gina" in archaic terms.

3.1.14Foreshadowing and allusion#

** Does Jackson use these devices in "Heavenly Creatures?" [jp]

The film is absolutely rife with foreshadowing and allusion, beginning with the whole narrative of the Prologue. Jackson uses foreshadowing, especially, as a means of building up dramatic tension to an unbearable level. It might almost be shorter to list things which aren't... Some examples are presented in this section. Since the reader must be an afficionado, some of the details of the connections are omitted or left as exercises. Contributions to this section are welcomed.

** The Prologue. [jp]

See 3.1.3 for an extended listing and discussion of foreshadowing and allusion in the archival footage in the Prologue, 3.1.17.1 for a more complete description of the "flight scene" and 3.1.16.13 for a detailed analysis of the "ship scenes." Brief reminders of things which pop up again and again: Archival footage: daffodils, gay and golden, Rutherford, Christchurch gardens. Flight Scene: smashing through the wooded underbrush, screaming, legs and shoes and stockings and feet and running, mud, overcoats, "Mummy," "Help us!", spattered blood and gore. First Ship Scene: legs and running, wooden decking, bright print summer dresses, "Mummy," streamers, an elegant woman in white, a man in an overcoat and hat, the sound of the wind.

** The title sequence at school. [jp]

The title sequence is chock-a-block with foreshadowing and allusion, too. See 3.1.19 for a discussion of the music under the titles, "Just A Closer Walk With Thee," and all the references contained in this piece. Things to watch for later in the film: a six-pointed star, stockings, legs and feet, brown oxfords and sandals, school satchels, bicycles, brown gloves, "sit-tuh!" and distain of other commands.

** What is the significance of Pauline's stockings? [jp,lfr]

We see Pauline hooking up her stocking to her garter belt in the opening sequence under the titles. At the end of the film, Pauline constructs the murder weapon from one of her stockings. So, apart from telling us a lot about Pauline, and having her flash her thigh gratuitously in an allusion to the scandalous and salacious reputation of the case, this little scene is also a wonderful, almost throwaway, foreshadowing of the murder. It is just one example of an object or theme that appears in two forms in the film, first as something innocent and every-day, and second as its dark and sinister doppelganger.

** Others, in no particular order: [jp,aa]

• Horses, first drawn in Pauline's French notebook, are in practically every scene and somewhere on every set. Horses figured very prominently in the real case (see 3.1.16.9).
• The girls are thrown together by Art. They never abandon their singleminded pursuit of the Arts from that moment on.
• Running and crashing through foliage appears in the Prologue, repeatedly in the role-playing games at Ilam, in the "Donkey Serenade" scene, but before the murder... there is a gentle walk through the woodland. There is running and screaming in the Prologue and in the flight from 'It.' There is running and laughing, running for joy, running, running, running. The girls even run past a poster for "Jamaica Run." See 3.1.16.1.
• Juliet reaches out to shake Honora's hand when she "meets the Riepers" and Honora hesitates. Later, as Honora collapses, dying, in Victoria Park, she reaches out for Juliet's hand and Juliet reaches out... and takes the brick from Pauline. Inbetween, disembodied hands reach out for many things in "Heavenly Creatures." See 3.1.16.2.
• Juliet and Pauline stand side by side, hand in hand, for the first time at Port Levy and for the last time in the quiet sunset on the grounds of Ilam as unicorns graze peacefully nearby. And many times inbetween. See 3.1.16.2.
• The shrine at Ilam is made of bricks, and a half-brick reappears at the end, of course (see 3.1.16.3).
• We learn of Juliet's contracting TB when she coughs up and spatters blood onto her schoolbook. There is blood in the Prologue, of course, and blood in the final scene. Somehow, there is a terrifying difference between this blood, real blood, and the buckets of blood featured in paintings and Borovnian fantasies.
• Pauline hears of Juliet's diagnosis over the phone. There will be many more phone calls, sad and upsetting and even treacherous, before the end of the film. There were some extraordinary phone calls in real life, too. See 3.1.16.7 and 7.3.
• Pauline wears a silver bracelet at Port Levy, when she first experiences the Fourth World, and she wears it again on the "Loveliest Night of the Year" and on the day of the murder.
• "I got meself a pair of socks." Twice. And Wendy got a pair of stockings for Christmas 1953. Pauline wears 'sockettes', not stockings, on the day of the murder. That's from trial testimony.
• Honora brings Juliet fruit in the sanatorium and on the morning of the murder Juliet brings Honora... "Fruit."
• The first time we see Honora and Pauline hanging up the wash, Pauline declares "We are so brilliantly clever!" The second time, she says "...Mother will be dead. How odd, yet how pleasing." Pauline does a lot of laundry in the film.
• Juliet appears in a gold-lam� gown on "The Loveliest Night of the Year" and obvious reference to 'gay and golden' in the Prologue.
• Juliet's coat with the prominent V-shaped lapels is mirrored by Diello's dramatic costume, with its prominent V- shape. Gradually, as the film progresses, Pauline comes to see Juliet as her real-life saviour as Diello had been Gina's saviour on so many occasions. Charles has a flying-V lapel design, too.

• The whole final day of the murder is bursting with references to the foreshadowing that came throughout the film and with ironic allusions to the real case. Some of my personal highlights:
• Birds in the soundtrack. See 3.1.16.10 for more on birds.
• The reverential tone of "I am about to rise."
• Henry Hulme in Ilam's drive: "Thought I'd lost you." This one is particularly cruel if you know the real-life story.
• Juliet sits on Pauline's bed in exactly the same pose as the real Juliet's portrait on the wall behind her head.
• Juliet's hand reaches out and grasps the branch during the long walk through Victoria Park, and the sound breaks through for a moment and is lost. See 3.1.16.2 for more on hands.
• Juliet is scrubbing her hands as if she were washing away the blood, all through Victoria Park. See 3.1.15 and 3.1.16.12.
• Honora reaches out for the pink stone in an exact copy of Nicholas' motion. Both are near wooden bridges. See 3.1.16.6 for more on bridges and planking.
• Honora was wearing her 'good' clothes--the same outfit she wore to visit Juliet in the sanatorium and to see Dr Bennett.

3.1.15Religious themes and death#

** How are Christian themes used in the film? [lfr,jp]

Christian themes are used in several ways. First, they are cultural reference points, used to place the story in a cultural setting--the value system and morals percolating through the story are consistent with a very British community, and the Church of England as a distilled representation of that society. Second, they are used as parallel standards against which to compare the girls' visions of the Fourth World. This 'compare and contrast' type of analysis gives the viewer greater insight into the minds of the girls, and a quantitative measure of how much their sensibilities differed from those of their peers and how much their values differed from the values of their community. Third, they are used ironically, in several places. Jackson uses the Church as a comic foil, while still managing to communicate some serious ideas and useful information.

** What are the prominent references to real death? [jp]

• The portrait of the monarch in the school room is changed because of the death of King George. This 'Royal' connection with death and succession was not emphasized in the North American version of the film, however.
• Both girls faced death as small children, and apparently conquered it. And they have the scars to remember their battles.
• Pauline falls off her bike in the "Donkey Serenade" scene and says: "I think ... I'm ... dying!" Juliet orders her: "Don't!"
• The Port Levy revelation happened "on the day of the death of Christ."
• Pauline declares, when she is threatened with separation from Juliet after Dr Bennett's exam, that life without Deborah would be unbearable, and that "the thought of death is not fearsome."
• Pauline at last puts words to her growing black feelings in "the letter from old Stew" scene: "Suddenly, a means of ridding myself of this obstacle occurred to me. If she were to die..."
• Finally, on the morning of the murder, Pauline wrote that she was "writing a little of this up in the morning before the death." Inbetween, she had referred to her mother's 'moider' but she came back to the real, final word on June 22, 1954.

** Wasn't Paul a Christian Saint? [jp]

** Wasn't Jesus a carpenter? [jp]

And didn't Juliet ask Bert Rieper, after he commented he liked to make things out of wood: "Oh. Are you a carpenter, Mr Rieper?"

** What did Dr Hulme think of religion? [jp]

According to Juliet, "Daddy thinks the Bible's a load of old bunkum." A quote from real life testimony, actually.

** Are there other Christian symbols and references? [jp,lfr]

• Well, there is the location, repeated several times more than necessary throughout the film: Christchurch. And the shot of the Cathedral in the Prologue. (The Cathedral also figured in a fantasy scene revolving around Diello's Coronation, unfortunately cut for the NAm version.)
• There are two scenes in the Riepers' home at Christmas, and we are told specifically that the trip to Port Levy occurred at Easter, 1953. The Hulmes' home was "Christmas Cottage."
• The girls spent a lot of time bathing together, an allusion to baptism. This is the moment when sin is washed away, when a Christian is brought into the family of other Christians, and the moment a Christian first accept the Faith and teaching of the Church. We see Pauline plunge into the waters of Port Levy just before she sees Paradise for the first time.
• The day of the murder sees two meals, the scene in the tea shop, especially, being a reference to the Last Supper and to Christ's betrayal by one of his disciples. Judas Iscariot was even brought up by name in the trial, believe it or not.
• The food we see most prominently in the Riepers' home is bread (buttered by Pauline on the morning of the murder) and fishes (brought home by Bert). And Weetabix, but I don't recall Weetabix on the menu when Jesus fed the multitudes...
• The Garden of Gethsemene was where Christ was denied by Peter, and where he had his crisis of faith before his death. And then there are all the Eden references, the expulsion of Satan and, eventually, the original lovers with their stain of original sin. There are gardens everywhere in this film, including the murder scene.
• Juliet commented that Honora seemed to know what the girls had planned for her, and she didn't seem to bear them any grudge. Another reference to Christ and the events of the night before the crucifiction. (And to real-life statements by Juliet).
• The unicorn has often been used as a symbol of purity and of Christ in literature.
• Jackson uses candles as religious artifacts and props in several scenes.
• Juliet pointedly 'washes her hands,' like Pilate, throughout the entire last scene before the death of Honora.
• The girls' concepts of Paradise and resurrection, despite their protests to the contrary and a few pagan symbols thrown in for good measure, are pretty much standard Christian fare. As is their concept of Sainthood.

** Overall, Honora is gradually converted into... [jp]

Something of a Christ figure by Jackson. We get the feeling that Honora's death comes to be seen, by Pauline and perhaps by Juliet, to be the vehicle for Pauline's resurrection and rebirth in Paradise--in her new life with Juliet. Or, if not quite the Lamb of God, Honora is certainly converted into a sacrificial lamb.

3.1.16Fantasies, images, dreams and symbols#

** What did the two girls fantasize about, together? [jp]

• Apart from the Fourth World and Borovnia, the girls had other shared fantasies, too.
• They harbored fantasies of being successful writers.
• They spoke of their fantasy of sending their work to New York to get published, because New York was where all the book publishers were.
• They eventually settled on the fantasy that "was so obvious!" The girls would run away together to Hollywood, to have their books made into films and themselves made into film stars. Although the filmmakers were aware that one Heavenly Creature never lost sight of these fantasies, apparently, and spent much of her adult life chasing them down, the quote is an accurate one and is not an 'in joke' at Anne Perry's expense. See sections 3.2.7 and 7.10.2. Pauline Parker has also, apparently, spent a life close to books.

** Did Pauline have special fantasies of her own? [jp]

Yes, Pauline also had her own fantasies in "Heavenly Creatures." According to clues offered in the narrative, these may be very important insofar as understanding the reason for the murder. The most important of Pauline's private fantasies in "Heavenly Creatures" was the fantasy that she and Juliet were sisters. Or, put another way, to emphasize the most important aspect of her fantasy, Pauline had the fantasy that she was Henry Hulme's daughter and a member of the Hulme family. This fantasy is shown explicitly in the second and third 'ship' visions, and it is a central theme of the poem Pauline recites in the film's voiceover (see below and 7.4). Or, that is one interpretation...

** What recurring images and symbols did Jackson use? [jp]

I have only made a start at cataloguing these things, and their analysis is quite cursory. Hey--I'm a scientist, not a film studies major... The next 13 sections list the most blatant images and symbols used in "Heavenly Creatures." Obviously, (more informed) contributions here would be more than welcomed.

3.1.16.1Legs and feet and walking and running. [lfr,jp]#

** Where do legs and feet feature prominently in the film? [jp]

The film opens with people strolling peacefully through Hagley Park and Christchurch, in the newsreel footage. The Prologue concludes with the jarring 'flight' sequence, intercut with the first 'ship' fantasy, both primarily shots of legs and feet, and running. The second 'ship' scene also featured legs. The opening scenes of CGHS and Pauline all feature feet and legs, shoes, sandals, sockettes and stockings. Later, we see synchronized leg-lifts in the playful "PhysEd" sequence. Legs and feet, by then a familiar motif, are used in agonizing, slow-motion counterpoint to their usual kinetic appearance in the final "Humming Chorus" walk.

** Where does 'walking' appear in the film? [lfr]

Walking is the theme of the opening choral piece under the titles, "Just A Closer Walk With Thee" and, of course, of the closing piece under the credits, "You'll Never Walk Alone." Jackson uses walking in a reverential fashion, as a reference to religious or spiritual themes. And to the calm acceptance of destiny or fate that seems to accompany acts of faith--like showing up to the first day of school, or committing murder.

** How are images of running used by Jackson? [lfr,jp]

Jackson uses legs and feet and especially running to bring across a kinetic urgency to the narrative, and to make concrete the idea that the girls are in a constant state of attempted escape from their lives, escape from their fates. They are also impatient, running toward their new life, together. In the first two ship scenes (see 3.1.16.13), Pauline is running in pursuit of Juliet, chasing the dream of a happy new life with her. Pauline bursts through the doors and runs to Juliet in the first sanatorium visit. In addition, adolescence is a time of great, rapid change and exuberance, and the motion on the screen communicates the restlessness and energy of this period in their lives. Jackson uses running in this way in the "Princess of Ilam" scene, the "Donkey Serenade" scenes at "The Great Caruso" (running past the "Jamaica Run" poster) and the "ecstatic disrobing" sequence, the "Biggles" sequence, the "play-acting at Ilam" scenes. Running in apprehension or fear is used in the beginning of the "Port Levy revelation" sequence, the "flight from 'It'" sequence, and in the Prologue 'flight' sequence, of course.

3.1.16.2Hands#

** What can hands do in "Heavenly Creatures"? [jp,lfr]

1) Hands can work, making things, or writing. 2) Diembodied hands can reach out to grasp something, actively seeking the future or the unknown. 3) Hands can communicate and connect two people, join people together when hands link or touch, or caress. 4) Hands can betray.

** Hands at work... [jp]

Jackson uses close-up shots of busy hands making things to communicate the excitement of creation, the joy of the arts. We see Pauline drawing, the girls painting and sculpting together and individually, making sand castles. All these scenes are happy, to begin with, but they drift a little into unsettled waters with Juliet sculpting in the sanatorium and Pauline painting severed heads (splotch!). And we see tight shots of Pauline writing in pencil, in her exercise books, and in pen and ink, in her diaries. These shots are darker in both lighting and mood. Christmas presents are despatched by disembodied hands. Pauline's hands unwrap her diaries in close-up.

** Hands reaching out... [jp]

These scenes with close-up shots of reaching hands stand out:

• Juliet reaches out for Honora's hand, hesitantly, when she "Meets the Riepers" and Honora is just as hesitant in her returning gesture. The music warns us this moment should be remembered, for later reference.
• Juliet pauses, tearful but resolved, takes a deep breath, reaches out her hand and commands Pauline: "Come with me." Port Levy dissolves and becomes the Fourth World.
• John-the-boarder reaches out for Pauline's door on the night the two are caught in bed together. His fingers are outstretched, his reach is cautious, maybe sly, maybe knowing, but probably not. That one, small gesture, so ordinary and quiet, precipitates his eviction from the Riepers, Pauline's alienation from her father, friction with her mother, and her painful and traumatic deflowering. "I love you (flush)."
• Nicholas reaches out for the pink gemstone on the drawbridge of Borovnia. John's reaching out had led to sweeping changes in Pauline's life, none of them positive, and now his Borovnian alter-ego is lured to his death by the pink stone. Nicholas seals his fate by pausing, and reaching out...
• Juliet reaches out for the branch in the "Humming Chorus" walk. Pauline had walked past, unseeing, Honora had walked past, seeing but not needing the branch, but Juliet stumbles and falters, just for the briefest of moments. And she reaches out to the branch to steady herself. The sound of her hand sliding over the dry bark breaks through the silence, and then the moment is lost, along with the small sound of her hand. We recall the hymn under the opening titles: "If I falter, Lord, who cares?" We do, and we are powerless to change the course of history.
• Honora reaches out for the pink gemstone, in a terrible parody, a very-real echo of Nicholas reaching out in Pauline's fantasy. Her fingers are outstretched, her reach is slow, and hesitant. But she reaches out, and maybe helps to seal her own fate, in Pauline's imagination. It is an excruciating shot to watch.
• Honora reaches out for help to Juliet after the first blows are struck, in another dark parody of an earlier scene. Juliet reaches out in return, and takes the brick from Pauline's hands, and strikes Honora. With both hands.

** Hands joining together... [jp]

• At Port Levy, the girls stand side-by-side and face Henry Hulme, who is working, hold hands, backlit by the sun, and find out the Hulmes are leaving on a trip to England.
• At Port Levy, in the Fourth World, in the garden by the fountain, the girls stand side-by-side and look out over the Port Hills and the inlet. They hold hands and we look out over their shoulders at the island in the blue sea. Everything was full of peace and bliss, just as Pauline said. There was something eerie about this scene, too.
• Pauline sits on Juliet's bed and they hold hands during Pauline's first visit to the sanatorium. Honora says the word "letters" and Juliet pulls back her hand.
• Henry Hulme collects Juliet from the sanatorium with Pauline in "The Ones That I Worship" scene. The girls sit together in the back seat, and their hands steal together. Henry adjusts the mirror and doesn't like what he sees.
• Hearing about "divorce" from Dr Hulme ("the noblest and most wonderful person I have ever known of") the girls cling desperately to each other's hands. Just before Pauline leaves in the rain, their hands linger together when they kiss farewell.
• Before their last night together, at sunset, at Ilam, the girls stood side-by-side and hand-in-hand. We gaze over their shoulders into the setting sun--they are back-lit-- and we see a pair of white unicorns grazing peacefully on the lawn. We are reminded of the Fourth World at Port Levy.

** Hands betraying... [jp]

Juliet scrubs her hands like Lady Macbeth through the entire last day. She begins at the Riepers' house and doesn't stop until after the first blow was struck in Victoria Park.

3.1.16.3Bricks and shrines#

** Where do bricks appear? [jp,lfr]

We first see bricks in the shrine at Ilam: it is made of bricks, and panes of glass, and candles. A very auspicious and deeply ironic reference by Jackson to later appearances of bricks in the film... or is it? This is another incidence of life being more ironic and cruel than art could pretend to be. Trial testimony stated that piles of bricks were scattered in the gardens of Ilam, and that the shrine constructed by the real Juliet and the real Pauline was made of bricks. We next see bricks in a pile by the side of the garage, while the two girls stand in the twilight in front of a bonfire. It is the beginning of their last night together at Ilam. On the morning of the murder, Juliet collects a half-brick from that pile by the garage. Honora is murdered with the half-brick in Pauline's stocking and the image of the brick has come full circle--from the mystical to the grotesquely prosaic.

3.1.16.4Colours#

** How does Jackson use colours? [jp]

Pretty crudely, actually, but in a way that seems appropriately adolescent, somehow, and straightforward. Thematically, colours are used in very conventional ways in "Heavenly Creatures."

** What colours are used thematically in the film? [jp]

• Yellow(gold): Daffoldils bloom gay and golden in the Prologue. The Princess of Ilam first appears like a vision in a flowing, golden dress. Pauline uses bright yellow for Juliet's hair in her pictures of her, and for the stars around her head and for their stars in Hollywood. On "The Loveliest Night of the Year" Juliet appears in a gold lam� gown, and sweeps Pauline off to Borovnia. Gold is for desire. Juliet's hair is golden.

• White: "Mummy" is dressed all in white in an elegant white skirt, white jacket, white hat with white veil, white pearls and white gloves in the 'ship' scenes. The first time we see Hilda Hulme at Ilam she is dressed in the same outfit, all in white. Doris Day is in white on Steve's record and, damn! her teeth are white. The girls wear blinding white shirts in their school uniforms and white underthings in "The Donkey Serenade"--that was their first kiss, remember? Their religious experiences are accompanied by blinding flashes of white light, and there is that wonderful shot of "the way through the (white, white, white) clouds" on the drive home from Port Levy. The unicorns are pure, snow white. The bathroom in Ilam is pure white--white tiles, white paint, white tub. Juliet's room is decorated in white. The sun breaks through, blinding white, in the last, agonizing "Humming Chorus" walk, and flashes of white obscure the view from time to time. White is for purity, for innocence, for the unattainable that must be sought, for the ideal, for deserving goals, for wonderful visions, for desperate faith. For 'good'?--Not necessarily.

• Black: Black is for balance, for sobriety, and for mourning. The Mistresses at school wear black gowns. Rev Norris wears black. Hilda Hulme is in black at Juliet's homecoming from the sanatorium, a reference to the real Hilda Hulme's trial testimony where she said, in essence, that her daughter's love for her had died while she had been abroad. Pauline is dressed all in black sitting at her desk in Digby's, and we pull back to see a room full of tired, hopeless women, not all of them young, all dressed in basic black. At the final bonfire where the girls burn the trappings of their innocence and their old lives and their ties to the real world they are both dressed in black. Pauline is wearing black as she "helps Mother vigorously" the morning after her return home from Ilam. Juliet is wearing black on the Ilam balcony in Pauline's vision, singing the mournful and beautiful "Sono Andate" the day before the murder. Pauline wears a black sweater on the day of the murder. Pauline is dressed in black from head to toe in the final 'ship' vision in that terrible, long, screaming fade-to-black. Black is for 'evil'? That is for the viewer to decide. Pauline's hair is black.

• Red: Red is for danger. The front doors of CGHS are fire- engine red. Maybe that was coincidence. Pauline's bedroom door was red. Pauline clutched Mario Lanza's record "The Student Prince," with its bright red jacket, to her heart. Diello was born a red cushion. Juliet coughed up spatters of bright red blood. And Pauline only needs red paint for her pictures at school (splotch!--we get a whole screen of red). Pauline's dress had red roses on it in her first Borovnian vision, the one she had when she was in bed with Nicholas. Juliet was knitting for Pauline in the sanatorium--bright red: "I love the colour!" Gina's velvet gown on "The Loveliest Night of The Year" was deep, luxurious, wine-red. "The Student Prince" is burned at the final bonfire. Juliet's lips are bright, blood red when she she sings in Pauline's vision. The bus that takes the girls and Honora to their terrible fate is red. And blood, real blood, is startling and deep in its redness.

• Green: Green is used for apprehension and mystery. It isn't that far removed from blue, though, is it? Nicholas sneaks into Pauline's room and then is caught, by green moonlight. When Pauline is separated from Juliet she lies on her bed under blue-green light and declares "the thought of death is not fearsome." The Riepers' bathroom is painted green and we see Pauline there just before we hear how she "loathes Mother." Juliet was sneaking around in Ilam by green moonlight just before "the balloon has gone up."

• Blue: Jackson uses pallid, cold blue lighting for death [lfr]. When the girls enact how the Saints would make love, they do so under blue light, and green light. The final bathtub scene is shot in a cold blue light and the girls look like corpses.

3.1.16.5Uniforms#

** Anything unusual in Jackson's use of uniforms? [jp]

No. School uniforms have been discussed previously (see 3.1.5.5) in terms of the ways they are used in real life by real students. Jackson also used uniforms as a way of showing the importance of school in the girls' lives--most scenes in the first half of the film have the girls in their school uniforms even though they are hardly shown in school. Uniforms are used as a symbol of social pressures to conform, yet the girls are shown slipping out of the confining bounds of society, dressed in uniform but not bound by convention. Pauline's school uniform gradually becomes more confining and oppressive, however, and her appearance more sloppy and rebellious. And the rigid conformity shown by the 'uniforms' in Digby's is a reminder to Pauline and to us that the real world doesn't give up the fight easily.

3.1.16.6Bridges#

** Where do bridges appear and how are they used? [jp]

Bridges are literally the physical mechanisms used to join one place to another across an obstacle or a divide. Jackson used bridges in a pretty conventional, literal way in "Heavenly Creatures." Pauline's first glimpse of "The Princess of Ilam" is of Juliet standing at the crest of a bridge between reality and fantasy in the fountains and gardens of Ilam. What a beautiful vision--Pauline didn't hesitate for a moment: she left reality far behind her. Pauline had to cross a drawbridge in her vision of Borovnia to get inside the kingdom and be with her fantasy family. She didn't hesitate for a moment. She turned her back on reality without a second thought. Nicholas is lured to his death by a small pink stone on the same drawbridge. He dies by Diello's hand, and the pink stone is flung, and lands in the real world, rolling across the planking of a real bridge to the feet of Juliet and Pauline. The drawbridge worked both ways--fantasy was made concrete and real. Honora was killed in Victoria Park just past a small, rather pathetic little wooden bridge. But she crossed it. Pauline hoped against hope that this bridge would let her escape reality. She used her magic stone.

** Who or what was the obstacle? [jp]

Honora, identified as such in Pauline's diary voiceover. Juliet says: "Only the best people fight against all obstacles in pursuit of happiness." Another direct quote from real life.

3.1.16.7Telephones#

** How does Jackson use telephones? [jp]

Real life testimony mentioned the enormous importance of telephones to Pauline and Juliet. Jackson and Walsh took the cue, but they decided to use phones in a specific way. In "Heavenly Creatures" telephones are used to emphasize and foreshadow separation, not as symbols of communication or as a way of making a connection. Phones are a poor second-best compared to being together, resorted to in times of necessity. They never brought good news or laughter or joy in the film. A few points stand out: Pauline hears of Juliet's TB over the phone. The camera pulls back as Pauline has "a terrible job not to cry" and shows us she is quite alone. Then there is that remarkable, heart-wrenching scene that seems to affect so many viewers, the one with the two girls clinging to their phones as if to each other, sobbing and vowing "we won't be separated." The mothers are both standing by to pry their daughters away... Finally, though we don't see it, we hear that the final details of the murder are decided and crystallize over the phone.

3.1.16.8Freud#

** Any genuine Freudian slips? [jp]

Didn't see any inadvertent revelations of unconscious thought or desires. Well, maybe Henry Hulme came close. Let's all think about that one for this evening's essay question.

** OK, what about quasi-Freudian sexual symbolism? [jp,lfr]

Jackson wasn't very subtle here, but he was dealing with adolescent fantasies so there was no reason he should have been. He used the classics, tongue planted firmly in cheek..uh, so to speak:

• Phallic references, symbols and images: Knives, swords and guns and weapons in general are classic phallic symbols. Stabbing, piercing and hacking especially, and shooting, are classic metaphors for the male contribution to heterosexual intercourse. Some of my favourite references in the film: - St George is piercing the dragon with his lance in Juliet's drawing. - Pauline's unicorns sport their phalluses on their rearing heads in her drawings and sculptures and Borovnian fantasies. - The Borovnian kingdom has enough towers and flagpoles to...what is the appropriate metaphor? Check out the scene declaring everyone is "M-A-D:" a chopping, an unfurling, a huge tower, ecstatic delight. Oh, and fireworks bursting. - When we see the short clip of "The Third Man" we see Harry Lime shoot a man before he takes time out to make love to the girls. - Diello is a walking, talking Freudian clich�. He cuts off Rev Norris' head with a broadaxe. He thrusts his sword into the groin of a hapless Borovnian then splits him in two "for you, my lady." Just when Dr Bennett suggests Pauline see more "boys" Diello pierces his belly with an erect sword, commenting "Bloody fool." And before he spirits Gina away to Borovnia--before he 'rapes' her--Diello warms up with a bloodbath of hacked and severed limbs and Gina is ecstatic.

• References to penetration and 'birth canals' and conception and birth: Jackson doesn't stint on the flip side of the Freudian coin, either. The classics are tunnels, doorways, windows, architectural openings of many types, especially when breached, confined passages etc. Once again, Borovnia is full of such features; Gina actually has to stoop to get through the entrance into Borovnia, but she emerges happy. Even the Borovnians join hands and crowd around so Gina has to crouch and scoot through them. We see Pauline sneaking through the window on the night she is deflowered by John/Nicholas. And, on a more serious note, the girls crash through foliage in many scenes, but they never seem to be able to emerge into the open. Diello's birth doesn't count because it was literal.

3.1.16.9Horses and unicorns#

** Why were horses important in the film? [jp]

Jackson and Walsh took their cue from real life. In real life, horses figured very prominently in the case. Pauline had had riding lessons for years. Juliet did, indeed, have a horse, and she did sell it to Mr Perry for cash. Pauline bought a horse, secretly, and hid that fact from her family. There were horse paddocks adjacent to Ilam. The girls apparently snuck out for midnight rides by moonlight on several occasions, and they invited others to join them, according to Glamuzina and Laurie. The grazing fees for Pauline's horse became an issue in the Rieper home, when they were discovered. In real life, Pauline's writings figured horses very prominently as beings with personalities and passions. They were frequently very violent, and were often the agents of revenge or murder. In her real-life stories, Pauline's version of Diello, for example, was a horse named 'Vendetta.' (see 7.4.1).

** Where are real horses mentioned explicitly in the film? [jp]

Late in the film we learn that Juliet had a horse, though it is not shown. She sold it to Bill Perry to raise money for the planned escape to Hollywood.

** Where do horses appear in "Heavenly Creatures?" [jp,aa]

In short, EVERYWHERE. There are horses, somewhere, in just about every set and in most scenes. There are also unicorns. So, again, something factual, namely Pauline's fascination with horses, is communicated very subtly by the filmmakers, rather than as an explicit statement. [aa]

• Pauline drew three horses in her French notebook (see 3.1.10). The largest one was rearing on its hind legs, a reference to real-life fiction of Pauline Parker (see 7.4.1), and the other two had their their long manes flying in the wind. The image of the rearing horse appears elsewhere, in Borovnia, as a unicorn.
• Juliet made the plasticine figures of two horses facing in opposition, with flying manes, displayed on the Ilam mantle. Pauline noticed them immediately.
• There's also a horse motif at the Rieper home, as well--I've spotted three expressions of it [aa]: - There's a large painting on the wall in the sitting room with a white horse. - There's a bronze horse figure on an end table that appears to be a part of a lamp. We see it over Honora's shoulder in the chat with Dr Hulme scene. - And there's a small gold statuette of a rearing horse on the mantlepiece (it took a few viewings before I spotted that one!).
• Pauline and Juliet are making models of horses in the first "Donkey Serenade" model-making scene. Of course, a donkey is a kind of a horse, too. And, in real life, Pauline wrote a book called "The Donkey's Serenade."
• At Port Levy, when "Charles clutched his wounded shoulder," we hear a magnificent steed snorting and panting in the soundtrack. Just before the door gets flung open, there is the shadow of a horse and rider that plays across it. Excellent little touch by the crew doing the 'miniatures.'
• Juliet has plasticine figures of horses in her bedroom, on the night table. We see them in several scenes, most prominently in the birth of Diello and the enacting the Saints making love scenes. Juliet takes them, or makes others, for her room in the sanatorium.
• Pauline has several plasticine figures of horses in both her bedrooms. In the outside bedroom, there are horses on the windowsill and horses in bookends. The bookends reappear upstairs, when Pauline moves inside.
• Pauline has several drawings and paintings of horses on her bedroom walls. They move around as time goes by, and she carries them upstairs to the inside bedroom when she is moved. There are horse heads, rearing horses, and a pair of horses facing in opposite directions, just like the models on the Ilam mantle.

** What would Freud have to say about all those horses? [jp]

Not that hard to figure out, of course. Horses are usually taken to be a sublimation of sexuality, untamed erotic passions etc and to be literal expressions of libido barely held in check and they are often used that way in literature.

** What's a unicorn and how is it related to a horse? [jp]

A unicorn is a mythical beast. There is an excellent account of their history and meaning in myth in the FAQ for Ridley Scott's "Legend." Themes usually associated with unicorns are purity, innocence, conditional love, and they are often used as representations of Christ in later literature.

** Where do unicorns appear in "Heavenly Creatures?" [jp]

The girls first see unicorns grazing peacefully in the Fourth World, during their first vision of the Fourth World at Port Levy. There is a statue of a rearing unicorn in the centre of the Borovnia courtyard. Another reference to Pauline's real-life fiction. After this, the unicorns reappear in a simple but very unsettling shot of the girls outside Ilam at sunset on their last evening together. The two girls are shown standing hand in hand on the lawn, facing Ilam, and the pair of unicorns is grazing peacefully on the lawn by the house. By placing the unicorns in an otherwise 'real' scene, vaguely reminiscent of Grant Wood's "American Gothic" for some reason, Jackson used them to communicate very effectively the complete melding of reality and fantasy that had taken place for Pauline and Juliet by the day of the murder.

** Are there any other connections with mythical horses? [jp]

Christchurch is located in New Zealand on Pegasus Bay. Pegasus, of course, was the winged horse of Greek legend.

3.1.16.10Birds and butterflies#

** Where do we see butterflies? [jp]

We see giant butterflies in the first vision of the Fourth World at port Levy. Why? Probably because they could be done on the computer system Jackson had available. They were a nice image of pretty, innocent, fantastic flying beasts but that's all I would read into them.

** What is the significance of birds? [jp]

• Birds, on the other hand, are of much greater significance in the film. There are three different types of references to birds in the film:
• First, birds are omnipresent in the soundtrack, and their singing and calling are used very, very effectively in several scenes, especially the murder scene. After the "Humming Chorus" ends, there is a pause as the sound comes back to 'live' sound. Then there is a single, hesitant bird that calls out. And then Pauline strikes her first blow.
• Second, birds are referred to in the Rieper house. There is a bird cage on the kitchen table, and Bert says he is going to build a bird house in the back. Both are oblique references to Pauline's life with her family--she already lived in a cage in the back, obviously built by her father, and her life was stifling and confining in that house.
• Third, we actually see no birds at all in the film. Where are they all? They are living free. Birds are used as metaphors for Pauline and Juliet and glorious, natural freedom.

3.1.16.11Borovnia, sex and violence#

** Why are Borovnia and sex and violence so interconnected? [jp]

'Hormones.' Readers who are still adolescents will have no problem seeing the connection between wild romantic fantasy, intense sexual passion, and dangerous violent excitement. The rest of us may have to cast our minds back a few years, but I am sure it will all come back. The important thing to remember is that, for most of us (and perhaps for the real Pauline and Juliet, too), such things remain fantasies--'harmless' dreams and mental exercises that are part of growing up and being human. Besides, most of what was shown in Borovnia was scripted by the real Pauline Parker and the real Juliet Hulme, anyway.

** Was all that violent fantasy all that unusual? [jp,sb,lfr]

No. The Bronte sisters had similar fantasies and wrote/ drew/ acted similar literary exercises when they were growing up. For many years, apparently. So too, it would seem, did the Crumb family. See Terry Zwigoff's 1995 film "Crumb" about the cartoonist/graphic artist Robert Crumb and his quite ... extraordinary ... family.

3.1.16.12Water and Bathing#

** How does Jackson use water in the film? [jp,lfr]

• Water is one of those wonderful, versatile and potent symbols much loved by writers and, especially, by filmmakers. Jackson uses water in the following ways:
• Pastorally, romantically. "The Princess of Ilam" is first glimpsed over an idyllic stream, through a fountain. Classic Romantic stuff (see section 6). 'It' was thrown into the dark, swirling waters by the Ilam shrine. There were fountains and pools in the girls' vision of the Fourth World. Even Port Levy was blue and tranquil in the distance.
• Playfully. Jumping off the dock at Port Levy and playing by the seaside were both there just for fun ... weren't they?
• Spiritually, mystically. The Ilam bathtub scenes were mostly spiritual and religious in tone.
• Domestically, oppressively. We see dishes being washed several times, including the day of the murder. We see clothes being washed in several key scenes. None of these are happy, jolly scenes--water is a shackle, an instrument of oppression in these scenes. When Pauline bathes at home she is seeking privacy and peace, but she doesn't find any.
• Dramatically. 'It' is swept over a small waterfall in the night... he'll be back. Pauline bikes through a terrible downpour to get to Ilam, to hear about 'divorce' (see 7.4.3). Her hair is soaked, hanging down over her face, just the way it was when we found out how much she "loathed Mother." And then there is all that mud in the Prologue and the "Humming Chorus" walk.

** Why did Jackson show the two girls bathing together? [jp]

Having Pauline and Juliet bathe together was scripted by real events. Pauline Parker made frequent reference in her diaries to bathing with Juliet, so Walsh and Jackson were forced to deal with this issue. They chose to take Pauline's cue and turn it into some of the most interesting and significant scenes in the film.

** What was the dramatic progression in the Ilam bathtub scenes? [jp]

The first bathtub scene was in natural light. We see that all is pristine, white, simple--porcelain, tile, paint. Pauline is on the 'sinister' side, Juliet facing on the right. There is no motion. The voiceover is "The Ones That I Worship". There is a close-up of Pauline's brown eyes, and of Juliet's blue-grey eyes. The second scene is by flickering candle light, and tones are orange and red. The sound is 'live' and immediate and harsh, the way sound is when it reflects from water. Pauline has just withdrawn from school and enrolled at Digby's. She is upset: "I think I'm going crazy." Juliet is in command and comfortable and still on the right side. "No you're not, Gina. It's everyone else who's bonkers!" The escape to Hollywood is hatched. With Henry Hulme, we hear the girls taking "photographs." The third bathtub scene is by moonlight, blue and cold through the windows. The girls look like corpses. Only their heads are visible above the still, milky water. It is almost silent, but the sound is again live and harsh; we hear a tap dripping slowly, loudly. This time, Juliet is in tears and Pauline is dark, dangerous and bitter. "We don't want to go to too much trouble." All Juliet can muster is a weak and small "yes."

** So what are the spiritual/mystic references? [jp]

The first Ilam bath scene is a straightforward reference to Christian baptism and rebirth and communion. Juliet had just returned from the sanatorium. The occasion was joyful but solemn, a beginning, when all things were new and untainted and everything was still possible. It was a reaffirmation, a statement of commitment, one to the other. The second scene took place under troubled circumstances, a time when faith was being challenged and the future looked uncertain. The girls responded by grasping a little desperately at the pagan trappings of older, more primitive sects of the Church, and at empty mysticism because their faith wasn't working for them. The scene is reminiscent of the scene at the Ilam shrine. It's not that the girls were making a pact with any deity or devil, though they may have wanted to--we see that there just weren't any around to listen to their prayers. They were alone. The final bathtub scene is even more primitive--the more desperate their straits, the farther back the girls must grasp in human spirituality for help. It is pre-Christian, a reference to Greco-Roman myths of dark, Stygian waters and death, a reference to stories and beliefs even older than that, where water is linked with life, and punishment and death. Deals might be made in such waters but there is often treachery, when dealing with old, minor gods and there is always a terrible price to pay.

3.1.16.13The ship#

** What is the significance of the ship? [sb,mf]

Although it is not stated explicitly in the film, Juliet's real-life trip to South Africa with her father was to have been a sea voyage. The filmmakers obviously used this fact as their inspiration for the 'ship' scenes. Also, in real life, but after the events portrayed in the film, Dr Hulme sailed for England via Capetown and Marseilles with Jonathon on the vessel "Himalaya" [nice tie-in with Sir Edmund Hillary...]. Except, of course, the two sailed alone. And since real life can be more bitter and ironic than fiction, it turns out that Henry Hulme left New Zealand, and his daughter, long before his daughter's trial for murder (see 7.3). Also, in real life, Juliet's mother and Walter Perry left New Zealand after the trial in a much-publicized ship voyage (see 7.3). Also, in real life, Honora Parker came to New Zealand by ship, and her voyage was said to have made a big impression on her. It figures prominently in a key scene in "Daughters of Heaven" (see 6.1). So ships and sea voyages figured prominently in the real- life events and it was almost inevitable that the filmmakers should use this image at some point in the film. In the film, the ship was meant to represent leaving New Zealand and its dreary, painful life for a happy new life abroad. The ship is shown in the excited, bittersweet moments of departure from the quay, when it is traditional to make noise and laugh and cry and throw streamers.

** When do the 'ship' scenes appear in the film? [lfr]

There are three 'ship' scenes in the film. The first appears near the beginning of the film and the third near the end of the film. These two are paired and interwoven with scenes of the murder of Honora Rieper and its immediate aftermath, though a full appreciation of their relationship to these scenes can only be obtained after the end of the film. The second ship scene is interwoven with Juliet's Aria sung from the balcony of Ilam, a more subtle reference to the murder--the aria signals the moment when Juliet agrees to help Pauline murder her mother. Perhaps for emphasis, the three 'ship' scenes occur in a logical progression, so that the second logically follows the first, and the third logically follows the second, but they are out of 'wraparound' chronological order. All other events in the film can be reconstructed in their proper chronological order by wrapping the preface of the film around to the film's conclusion.

** Were the 'ship' scenes imagined by anyone in particular? [jp]

Yes, these scenes were 'imagined' by Pauline, or at least they are images shown from the perspective of Pauline's life. But this is not obvious until the end of the film, and can only be deduced with confidence in hindsight. However, since the film tends to linger in the minds and emotions of the viewer (!) this point is not an obscure one.

** Who appeared in all the 'ship' scenes? [jp]

Dr Henry Hulme, Hilda Hulme, Juliet Hulme and Pauline Rieper appeared in all the 'ship' scenes as themselves. There were also other, nameless passengers shown, and there were also nameless people shown seeing the ship off from the quayside. Henry and Hilda Hulme are unknown in the first scene, identified in the second scene, and active in the third.

** Who was significantly absent from the 'ship' scenes? [jp]

The significance of a character's presence or absence from the ship can only be appreciated after the film is over. However, significantly absent from the ship scenes were: Herbert Rieper, Honora Rieper, Wendy Rieper, Nana Parker, Jonathon Hulme and Bill Perry.

** What made the 'ship' scenes technically different? [jp,lfr]

The 'ship' visions in "Heavenly Creatures" are haunting, eerie and deeply unsettling, despite being devoid of violence or shocking surprises. Technically, they stand apart from all other shots and scenes in the film. They are shot in monochrome and sepia tones, like old photographs, whereas all other shots in the film are in vibrant, saturated full color. The action occurs in various slow-motion speeds. Continuity is not strictly followed, so there is some overlap of shots and missing segments and the frame of reference moves discontinuously. And sound is used brilliantly.

** How are sound and dialog used in the three 'ship' scenes. [jp]

There is an ominous wind sound in the first ship scene which builds as the scene progresses until it washes out the end of the scene. Is used to echo the emotion of the hysterical scene with which it's paired. The only other sound is from the two girls, laughing as they run. Both call out "Mummy!," Juliet first. The second ship scene is accompanied by Juliet's a capella aria. Both girls again call out "Mummy!" We hear the 'smack' of their happy kiss. The final ship scene has only voices and selected foreground sounds. The tone is muffled and there is a noticeable reverb. The scene is paired with the murder and its extraordinary soundtrack.

** Why were the 'ship' scenes made to be different? [jp,lfr]

"Heavenly Creatures" is chock full of fantasy and imagined scenes and characters, yet the 'ship' scenes are set apart stylistically even from the other fantasy scenes. There are probably three reasons for this. First, for artistic effect, because the first and third form symmetric 'bookends' near the start and finish of "Heavenly Creatures." Second, for emphasis. The director may be drawing attention to them to say, in effect, be sure to notice these scenes because they are particularly important to the film. And third, because they are qualitatively different from the wild fantasies in the film. The 'ship' scenes don't involve fantastic paradises or mythical beasts or imaginary characters, but the real people shown in the film.

** Were the 'ship' scenes dreams? [jp,lfr]

There was no explanation offered as to what was being shown- -was it a memory, a flashback, a flash-forward, a premonition, a dream, a treasured fantasy, an artistic interpretation of a feeling? There was no information given as to how the scene compared to the 'reality' within the film, and the viewer was given no guidance about how to interpret the scene or how to react to it. The style is dream-like, but they are not likely to be simple daydreams. Sepia toning is often used to associate a scene with photography and age or, in other words, with a memory. This doesn't strictly follow in this case, either. The subject of the 'ship' scenes is very much that of a familiar, long-nurtured wish or dream of Pauline's. The final perversion of the wish is like the kind of bitter regrets Pauline would have had in the days, weeks, months and years after the murder. Perhaps we are witnessing the shattering of her precious dream at the moment it is broken, told as a forward memory. So, it appears as if the 'ship' scenes defy simple categorization, although their meaning is quite readily grasped by the viewer. They are clever, key artistic devices used by Jackson to convey very important information and to effect powerful emotional responses in the viewer. But they are hard to label--just like the girls' relationship.

** What happens in the 'ship' scenes? What is learned? [jp,lfr]

The first 'ship' scene poses a mystery to the viewer. In the first 'ship' scene, Pauline and Juliet both run and laugh happily, but toward the anonymous turned backs of a man and a woman who can't be identified. The relationship between the characters is a confusing one. Both girls cry out "Mummy!" yet the woman at the stern of the ship never turns around. And, since the scene is interwoven with the aftermath of the killing, in which Pauline says "It's Mummy! She terribly hurt." the viewer might even get the impression that the woman at the stern is injured or killed, and the girls are laughing at the thought of this violence. This confusing juxtaposition of contrasting scenes, with their parallel actions and words, is deeply unsettling and mysterious. The second ship scene takes place during Juliet's aria and provides a happy, surprise completion to the first ship scene, ironic and unsettling in the context of the balcony scene with which it is paired. The mystery couple at the stern turn around, just as the girls arrive, and it is excessively-effusive Henry and Hilda Hulme. Of course the girls calling "Mummy" now has a completely different meaning from what we had feared during the first ship scene. All four embrace, and smile and kiss, and the happy scene is sealed by Juliet and Pauline hugging and then, sealed with a 'smack' on the soundtrack, the two kiss in front of the approving Henry and Hilda. The second ship scene confirms that the events shown are Pauline's fantasies and thoughts. In this scene Pauline has linked the acquisition of her goal--the perfect family, complete acceptance of her being with Juliet in whatever manner (don't forget that kiss)--with the decision to murder Honora, conveyed by Juliet's aria. There is just enough repetition and overlap in this scene to give the impression it was replayed over and over by Pauline, a cherished 'dream.' There is no room in Pauline's dream for any of the unpleasantness in her life--her family, for example, is completely absent; they are not even shown waving goodbye--and she also callously discards Juliet's brother from the scene. Juliet's parents are shown to be a loving, devoted couple, so there is no place for Bill Perry, either. Or history, or reality. And Pauline and Juliet are not shown to be adult lovers setting off alone, together into the world, free of the interfering adults in their lives, but they are shown to be much more like close and loving sisters and part of a family. Of course, there is that kiss, to make things ambiguous... These are Jackson's most explicit statements in "Heavenly Creatures" about Pauline, about what may have motivated her to plan the murder of her mother and about her relationship with Juliet. He is stating that Pauline had been looking for an escape from her dreary life and she was very much attracted to the idealized lifestyle represented by the Hulmes--both their material wealth, and also the intellectually stimulating and encouraging environment their house provided. She was single- minded in her devotion to this ideal and was quite prepared to be ruthless to achieve her dream--she was certainly willing to jettison all of her family and anyone else who interfered, happily, and without a second thought. And, Jackson is saying quite clearly, with just a slight amount of residual ambiguity, that the girls were not independent lovers in Pauline's eyes, but sisters pure and simple, if unusually close. The dream died for Pauline in the third 'ship' scene. First Juliet, distraut on the deck of the ship, cried out "Gina, hurry!" a terrible line when connected with the brutal murder occurring in counterpoint to it. For several more cuts to the ship, the girls were speechless, making whimpering, crying noises and reaching out for each other. Finally, Pauline screamed out in pain and Juliet cried out, softly, "I'm sorry." Behind her, on the ship, there was still the image of the nuclear family, but it was shown to be plastic and oblivious, and fragmenting, leaving Pauline to her fate, in the emotionally devastating final moments of the film. Pauline cried out "Julie," her 'sisterly' name for Juliet, not "Deborah," her Borovnian fantasy name, "I'm coming. Don't go!" Others, laughing and waving silently on the quayside, moved to follow the departing ship, leaving Pauline behind. Juliet cried out again, softly, "I'm so sorry!" over and over, straining to reach out to her, and Pauline was reduced to screaming and crying "No!" during that agonizing fade-to-black. The act Pauline thought would provide her with the realization of her fantasy--the murder of Honora--is causing its exact opposite. Pauline was left alone in the world: Juliet's greatest fear, come true for Pauline. There were no Riepers brought back to comfort the despairing Pauline on the quayside, for she had rejected them completely. This wrenching, sad image is consistent with Jackson's statements from the first two 'ship' scenes. And they may have something else to say about guilt and blame (see 3.1.18).

[lfr] An early draft script (Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.) has Pauline screaming "No!" and calling out to Juliet, hand outstretched--and a pull back revealing the pier empty except for the body of Honora at her feet. I'm delighted they didn't use that--I don't believe it would have worked as effectively as the filmed ending.

3.1.16.14The pink gemstone#

** Was the pink gemstone real or a fantasy? [jp]

It was both a fantasy image seen in Borovnian visions, and it was a real object.

** Where did the pink gemstone first appear? [jp]

The pink gemstone was in Diello's ring. Diello removed it during a vision of Borovnia (it isn't clear whose vision) and threw it down on the drawbridge of Borovnia. Nicholas, who had recently assaulted Gina in Borovnia, saw the ring and bent down to pick it up after saying "Oooh, pretty!" Diello, lurking in the shadows, released the castle gates and crushed Nicholas to death; Diello was avenging all wrongs done to Gina. Nicholas dropped the ring at the moment of his death and the pink stone was dislodged. It rolled over the drawbridge away from Borovnia ... and into the real world.

** Where did the pink gemstone appear in the real world? [jp]

Juliet bent down and picked up the pink stone. It was at her feet, on a wooden bridge, in the real world. She had just been released from the sanatorium. Later, the pink stone was sitting on Juliet's bedside table when the two girls made love on "The Loveliest Night of the Year." Finally, the pink stone was taken by Juliet along to the murder of Honora. Juliet kept it in her coat pocket.

** What role did the pink gemstone play in the murder? [jp]

Juliet threw down the pink gemstone on the path in Victoria Park. Honora bent to examine the gemstone, and Pauline took the opportunity to murder her. Honora did not die as neatly or as quickly as Nicholas, however.

** What was the meaning of the pink gemstone? [jp]

The murder of Honora was staged as a parallel to the imaginary murder of Nicholas, seen previously. So, through the pink gemstone, Juliet was acting as Pauline's avenger, as Diello had been Gina's avenger. Also, significantly, the gemstone was a real object to be seen and touched. It was a real, physical link between the Fourth World and the real world; it leant legitimacy to the Fourth World, and it transformed the Fourth World from fantasy into something that was real. In the film, we first see the pink stone in the Fourth World, and then there it is in the real world. To the girls, the pink gemstone was viewed almost as a matter-of- fact sign that the Fourth World and the real world were becoming connected. To the audience, it is a sign that the girls were having a hard time telling the difference between fantasy and reality.

** Where did the idea for the pink gemstone come from? [jp,sb,mk]

At first sight, the pink gemstone seems such an obviously- theatrical and slightly crude touch on the part of the filmmakers. But realistically adolescent, in a way. The gemstone was something beautiful and valuable, symbolic of everything Pauline wanted in her new, free life. And it lured Honora to her death in such an obvious, ironic way. However, the pink gemstone, and the strategy of dropping it to distract Honora--in fact, the exact choreography of the murder--were all taken directly from Juliet Hulme's testimony read out in court (see 7.5.7 and below). She seemed obsessed by the stone, in fact. And, incredibly, Juliet Hulme picked up the stone and carried it off with her after the murder. Walter Perry retrieved the pink stone from Juliet Hulme's coat pocket later that day, and the small pink stone was turned over to police and entered into evidence at the trial. Truth really is, sometimes, more unbelievable than fiction.

3.1.17The murder#

** What 'facts' are shown about planning the murder? [jp]

• Pauline conceived of the murder and she chronicled everything in her diary.
• Initially, Pauline expressed a wish or desire that her mother should die, because she saw her mother as an 'obstacle,' but she did not state anything beyond that.
• Pauline did not tell Juliet of her desire to murder Honora for some time, until a few days before the murder.
• The murder was planned by both girls during their final visit together at Ilam. Juliet was portrayed as being completely distraut, tearful at the prospect of separation and almost reluctant. Certainly not the instigator. By that time Pauline was calculating, harsh, cynical and possibly not well-grounded in reality. We are shown several scenes suggesting that Pauline's perceptions of the world were quite distorted. What we see does not match her words.
• The method and weapon used were planned ahead of time, in detail, in the day or two before the murder and the murder was eventually carried out very much as planned.

** What 'facts' are shown about the preparation for the murder? [jp]

• Juliet chose a half-brick for the murder weapon from a pile of bricks near the Ilam garage, wrapped it in a newspaper and brought it to the Riepers' house inside her purse.
• In her bedroom, Pauline put Juliet's half-brick in one of her stockings, knotting it to keep the brick from coming out; this was to be the murder weapon.
• Pauline placed the murder weapon in her school satchel and carried it the murder scene.

** What 'facts' are shown about events up to the murder? [jp]

• Pauline is shown writing an entry in her diary headed "The Day of the Happy Event" in bed before getting up.
• Ticking watches and clocks give the times of all important events on June 22, 1954.
• Juliet collected the half-brick and then was dropped off, by her father, by shops near the Riepers'. She walked to the Riepers' after shopping for "fruit."
• Honora prepared lunch, which appeared jolly, and Bert, Wendy, Honora, Juliet and Pauline were present. Bert and Wendy went back to work. Bert said "good-bye" but he turned and looked at his wife, briefly, before he walked out the door. Honora and the girls cleaned up.
• Honora and the girls walked to Cathedral square and caught a #2 bus (Cashmere) to go to Victoria Park.
• Honora and the girls walked from the bus terminal up to the tearooms at Victoria Park for tea and cakes before the murder. Honora had tea, the girls had (orange) soft drinks. There were only a couple of other people in the tearooms. Honora had cakes.

** What was shown during the "Humming Chorus" walk? [jp]

• The three went through a gap in the hedge/wall near the teashop and started to walk down a muddy dirt path into Victoria Park.
• Pauline was leading, Honora came second and Juliet took up the rear.
• Pauline and Honora walked across a small wooden bridge; it looked more like planking laid into the path than a bridge.
• Juliet dropped the pink stone on the path to distract Honora on the way back. "The Humming Chorus" ended, there was a quiet pause and the soundtrack went back to immediate, live sound with no music. A few birds called out.
• Honora was calm and composed and quite cheery, giving motherly advice to Juliet to button up her coat (she did, but her eyes were a million miles away).
• Honora looked at her watch (3:18 p.m.) and suggested they turn back so they wouldn't miss their bus.
• Pauline, standing behind Honora as they started back, pointed out the pink stone to her mother: "Look!, mother!" Honora bent down to examine it. Pauline reached into her school satchel. She had determination on her face, but we find out it was fragile. The camera zoomed in on the tam on the back of Honora's head.

** What 'facts' are shown about the murder itself? [jp]

• Pauline swung the brick and struck the first blow to her mother, from behind, onto the right rear of Honora's head (the blow lands off camera). Honora cried out and we see her fingers drop the stone. Honora fell forward, face downward, head uphill, onto her hands and knees.
• Pauline was shown crying after the first blow, obviously regretting her action. However, once the deed was started, she and Juliet carried on until her mother was dead.
• Honora was hurt but not rendered unconscious by the first blow, or by the second, or the third or the fourth. All four blows were from Pauline, swinging the brick.
• After the fourth blow we are shown Honora, now bleeding quite profusely onto her face from unseen wounds on the back of her head. Honora is shown falling forward again, face- down onto the ground. She has been moaning, wailing and crying out pitiously all this time, in obvious pain.
• Juliet is shown returning. Honora pleads with her, reaching out her hand. Honora's face and hand are bloody. Juliet reaches out...
• Juliet reaches out, but to Pauline. We see that Pauline is blood-spattered, slightly, on her face and hand. Juliet takes the brick from her.
• Pauline goes down and struggles. We see her grasp Honora by the back of her neck and hold her, face down, against the ground.
• Juliet is shown wielding the brick in both hands. She strikes Honora (off camera) once.
• We see, briefly, Pauline holding down a struggling Honora, still face down on the ground.
• Juliet strikes a second (off-camera) two-handed blow.
• Pauline raises her head and we see she is now covered in blood on her own head.
• Juliet strikes a third (off-camera) two-handed blow.

** How accurate are the 'murder facts' shown in the film? [jp]

A detailed comparison is given below in section 4.7, but to summarize: the majority of 'facts' shown by Jackson about the events of June 22, 1954 conformed to facts entered into testimony during the girls' trial.

** But is the film's version of the murder accurate? [jp]

Ah! This is a very different question. It is explored in much more detail below in section 4.7. The short answer is, surprisingly: No. Qualitatively, emotionally, the murder shown may be similar in some respects to the actual murder, but there are many details and complexities omitted by Jackson.

** What was the motive for the murder? [jp]

Jackson's statements at the beginning of this section are pretty consistent with the superficial facts presented in the film. Ultimately, in "Heavenly Creatures," Jackson chose to describe events without providing a statement of a clear, rational motive for Honora's murder from any of the characters, including Pauline. Pauline stated, in her diary voiceover, that she thought of her mother as being "an obstacle" but, really, this is a terribly obscure reference. We are not told anything concrete by Pauline that would provide a convincing motive for a crime of this magnitude. Pauline never says, explicitly, what process or action Honora is being an "obstacle" against, though we infer it is Pauline going away with Juliet. The closest we get is Pauline's statement that, for her to get a passport before the age of 20, she would have to get her "sodding parents' permission."

** Why did Jackson choose to omit a clear motive? [jp]

A motive was presented during the trial and there was also one voiced in the court of public opinion in real life. Jackson obviously does not believe these motives are completely credible. However, it has to be said that his film superficially conforms quite closely to the motive proposed by the prosecution, namely, that Pauline and Juliet were completely overwrought at the thought of being separated and they saw Honora as the person standing in the way of their being together. However, the prosecution implied the girls were lesbian lovers; Jackson does not seem to accept that as either true or a reason for murder.

** Does shutting your eyes help during the murder scene? [jp]

Absolutely not. In fact, the murder is probably more horrific to people who have shut their eyes and who must imagine what is happening from what is heard on the extraordinary sound track. Although the murder is probably one of the most visceral and emotionally-graphic murders I have seen on screen, it is also, perversely, one of the least explicitly violent (no blows are actually shown landing on poor Honora) and one of the least bloody. The blood shown is actually very realistic, nothing like the over-the-top gore-fest for which Jackson is renowned. The only graphic scene of extreme gore connected with the murder is the brief shot we see of the girls at the tearoom, long after the murder has taken place: they have spatters and streams of blood on their faces. We might even think at that time that they have been injured somehow and the blood is theirs. Later, of course, we come to fully appreciate that the blood was entirely Honora's.

** How is sound used in the murder scene? [jp]

In a word, brilliantly. The use of sound in the whole last act is masterful--through the entire film, in fact. The emotion of the scene is painted almost entirely through the presence and absence of sound, the stunning soundtrack (see 3.1.19), the superb sound effects and the tight sound editing. Gold star from me, for the sound. Particularly noteworthy are the way that the commingling of fantasy and reality is conveyed, the way we experience the girls' unsuccesful attempts to detatch themselves emotionally from the events, and especially the way we share Honora's realization and her horror through her terrible cries. It is true that good sound can bypass conscious rationalization in the viewer and strike at a deeper, more primitive level of understanding. This certainly is the case in "Heavenly Creatures." The audience has no quick defense against the sound used in the murder scene and it is a profoundly unsettling experience. Exactly as Jackson intended.

3.1.17.1The aftermath (Prologue)#

** What is shown in the "flight scene" of the Prologue? [jp]

• The archival soundtrack distorts, dissolves into a roaring sound and screams gradually break into the foreground sound.
• We smash through trees and foliage from the perspective of the runners, a steadicam shot.
• Cut to a long tracking shot from below/behind, our view obscured by foliage, of the girls running up an inclined path through the woods. Juliet, in her grey coat, is leading. Pauline, in her brown coat, follows. We can only see the motion and the coats and hear the screaming.
• Cut to close-up of legs, running, stumbling, bloody and muddy. We see shoes. The sound is immediate, foreground sound; we hear branches being hit, mud squirting.
• Cut to sepia legs running on a wooden deck, through streamers and the bars of a railing. The sound is a musical score--strings. The absence of foreground sound is startling.
• Cut to bloody legs, running, feet and, prominently, brown school sandals and socks. The soundtrack is forground sound, screaming, crashing.
• Cut to sepia torso side shot of Juliet, in a print dress running in front of Pauline, in a white summer blouse and skirt. Both are smiling as they run on deck, brushing aside streamers; the railing is prominent.
• Cut to a 'parallel' torso side shot of the girls running through foliage, breathless, in panic. And that soundtrack.
• Cut to shot from behind Pauline, looking forward. We see her black hair flying, her brown cloth coat and Juliet in front.
• Cut to front shot, sepia, on the deck. Juliet is in front; she waves and laughs and calls out "Mummy!" Pauline bobs into view from behind, with the same laughing and waving. She cries out: "Mummy!" Juliet turns to look at Pauline. Their voices are the only foreground sounds. Everything else is silence.
• Cut to see a couple standing at the rail. The man is coated, hatted, the woman is dressed all in white. They begin to turn. There is a huge, growing wind sound.
• Cut to the final dash. First, a steadycam shot around a hedge; we see a woman running down the steps toward the camera. Then a jerky handheld camera shot from the woman's perspective. The girls run up to the camera and we see their faces for the first time. They are both covered in blood and gore on their faces and their hands. Pauline cries out: "It's Mummy! She's terribly hurt!" Juliet puts her face into the camera and screams: "Help us!" By the end of the film we will find out that this is the only time Pauline will refer to Honora as "Mummy"... every other time it is "Mother."

** What 'facts' about the aftermath are shown in the film? [jp]

• The girls both ran screaming and completely hysterical back up the path to the teahouse.
• The teahouse proprietor ran out to encounter the girls, who were covered in spattered gore on their faces and clothes and Juliet's hands are also shown covered in blood.
• Pauline cried out "It's Mummy! She's terribly hurt!" Juliet cried out for help.

** Are these 'facts' accurate? [jp]

These 'facts' of the aftermath match parts of Mrs Agnes Ritchie's statements made to police, section 7.5.1, but there was much more to the aftermath, of course. See section 4.7 and 7.3.

3.1.18Good, evil, blame, conscience and love#

** Do these words ever appear explicitly in the film? [jp]

Good and evil: These are only mentioned, peripherally, in context of the girls' fantasies. Pauline makes one sarcastic reference to being "very good" in one diary voiceover during her drive back home from Ilam two days before the murder.

Blame: Juliet makes one oblique reference to blame, in connection with the murder. In Pauline's bedroom on the morning of the murder, she says of Honora: "I think your mother knows what's going to happen to her. She doesn't seem to bear us any grudge." This is actually a paraphrase of a statement made by the real Juliet and entered into trial testimony. See 7.6.

Conscience: This word figured very, very prominently in the real life trial and publicity, because of Pauline's diary entry made on June 20th: "Peculiarly enough I have no qualms of conscience." "Heavenly Creatures" includes this line, but edits the entry for that day. See 7.4.3. Juliet's actions and words on the day of the murder suggest that she had severe qualms of conscience. Jackson actually uses Juliet as his inexplicably-fallible conscience in "Heavenly Creatures." She is given several opportunities to think, to equivocate and say: "Wait. Stop. Let's think of another way." She never does. In the end, Juliet just scrubs her hands obsessively like Pilate or, perhaps more accurately, like Lady Macbeth through the whole last reel--yet another oblique reference to real-life testimony. Believe it or not both names cropped up in the trial. Walsh and Jackson are amazing in their attention to artistic detail!

Love: Only one character ever says "I love you. (flush)." It is John/Nicholas to Pauline/Gina. He says it several times, but it is a pathetic, weak and whiny voice he uses every time. Compared to the feelings Pauline and Juliet have for each other, Nicholas' ludicrous and superficial declarations of love really do make him look a fool. Pauline says the word "love" once, in her voiceover of "The Ones That I Worship." And that is it for 'love' in "Heavenly Creatures." A deeply ironic, even cynical statement by Jackson: in a film exploding with desperate passion, no-one ever says the word 'love' and means it. In real life, Pauline used the word several times in her diary entries, but in reference to... See 7.4.3.

** What about concepts of responsibility and morality? [jp]

The most explicit example of black/white moralizing is provided by Rev. Norris, and we know what happened to him... The filmmakers were careful to construct a new world with its own set of morals and sensibilities without indulging in explicit comparisons or editorializing. It is quite remarkable how easily the viewer is carried into this new morality; the extreme sympathy we end up feeling for both girls is proof that we have been relocated into their world by the film's end. As Juliet says at the final Ilam bonfire: "Only the best people fight against all obstacles in pursuit of happiness." We are almost convinced she is right. Oh... yet another direct quote from trial testimony. In real life, the girls thought and wrote extensively about morality, religion, society and the law. The issue of their having constructed an entirely new and separate philosophy, moral code and religion for themselves was a key aspect of the defense in the trial. This philosophising wasn't made clear in "Heavenly Creatures." The girls were painted as being imaginative and fanciful but not particularly 'deep' thinkers.

** Why does Juliet say "I'm sorry" in the 3rd 'ship' scene? [jp,lfr]

In the context of the film this is slightly puzzling. It could convey Juliet's extreme sympathy with Pauline, and simply be an expression of how Pauline imagines Juliet would react to the destruction of Pauline's dream of escape. The words also convey an accusation of sorts, that the murder was really all Pauline's idea and Juliet somehow bungled her part, letting Pauline down. Note that Pauline seems to be in for the lion's share of punishment, according to that 'ship' scene; Juliet is still on the ship, after all, with her parents to console her. It almost looks for a moment as if she might be getting away scot-free. This little detail could also be a reference to real life events that occurred after the murder, and may be the way the filmmakers summed up the emotional tone of those events without including them explicitly. It turns out that the issues of blame and responsibility played a very prominent and poignant role in the girls' arrest, interrogation and trial proceedings (see 7.4.3, 7.5).

3.1.19The music#

** Has the soundtrack been released? [nm,aa,lfr,sb]

The soundtrack has been released in Europe and in Australia (see 5.6.1) and is presently available in North America as an import.

** What are the pieces on the soundtrack and film? [aa]

Here are the appearances of music in "Heavenly Creatures" in the order they appear, along with a description of/quote from the accompanying scene.

X= Not on soundtrack

(X) "Just A Closer Walk With Thee." As the two girls separately head off to school - and their first meeting.

"Be My Love." Pauline swoons with furious delight to the sound of "The World's Greatest Tenor"... "Murray O'Lanza"?

"Bad Chests and Bone Diseases." Pauline & Juliet share war stories of youthful illnesses (seen in flashback). "It's all frightfully romantic!"

"The Princess of Ilam." Pauline's first dip into Juliet's enchanted world.

"The Donkey Serenade." A wonderfully giddy set-piece of the spiralling friendship.

"The Shrine." First mention of the Fourth World, the "Saints", and Orson Welles (and his dim chances of Sainthood).

(X) "Deck the Halls" to "Gloria, In Excelsis Deo" medley. Christmas 1952 at the Riepers'.

"Meet The Riepers." Wherein Juliet does just that. There's a nice, brief darkening of the musical mood as Honora reaches out to her guest for a handshake. [The title is a play on Jackson's hit cult film "Meet The Feebles." jp]

(X) "How Much Is That Doggie In The Window." (plus dramatic instrumental music) Easter at Port Levy, culminating in Charles' "ravishing" of Deborah on their wedding night in the sand castle!

"The Fourth World." Juliet's anguish leads her and Pauline into a vision of the land of unicorns, giant butterflies, and impeccable gardening.

"Life in Borovnia." Juliet's parents abandon her again "for the good of her health" - and the letters from Borovnia begin. The scene ends with the ill-fated approach of Rev. Norris.

"Funiculi, Funicula." Pauline's traumatic night with John-the-lodger crossed with her mental escape to Borovnia. A disturbing highlight.

"Two Dutiful Daughters." Poem "The Ones That I Worship" is heard - as Dr Hulme's suspicions darken. He stares disapprovingly as they clasp hands in the car or sleep in each other's arms (as the discordant final note plays). Interesting how the poem adulates him as their "father" just as he is plotting to separate them...

"E Lucevan le Stelle." Pauline sinks into solitude and despair. "My motto now is, eat drink and be merry, for tomorrow you may be dead!"

"To Hollywood." ...with the aid of the Hulmes' valuables. "They'll blame the bloody housekeeper! She nicks stuff all the time!" (see "Daughters of Heaven" described in 6.1).

"Divorce." It's a dark and stormy day as Dr Hulme shares the bad news with Pauline & Juliet. "We none of us know where we're going, and a good deal depends on chance..."

"For The Good of your Health." Juliet: "I'm not going to England without Gina!" Hilda: "You're not going to England, darling..."

"The Loveliest Night of the Year." Or, the Last Waltz, perhaps. "We are both stark raving mad!"

"The Most Hideous Man Alive." A dangerous run-in with the diabolical Orson Welles as Harry Lime. "I have never before seen anything in the same category of hideousness - but I adore him!"

"A Night With The Saints." Acting out "how the Saints would make love" - and providing us all a source of endless discussion, analysis and debate. "We have now known the peace of the thing called Bliss... the joy of the thing called Sin!"

"The Pursuit of Happiness." Juliet & Pauline seal their pact over a sacrifice of Mario Lanza records as unicorns graze peacefully on the Ilam grounds...

"Juliet's Aria." ...as sung with great beauty from the Hulmes' balcony. We also see one more vision of The Ship, at this point still sailing out with all safely on board. And then, there is that kiss...

"The Humming Chorus." In which Honora is in grave danger, but so is the audience - the unbearable dread and suspense may well kill us too!

"You'll Never Walk Alone." We are cruelly plunged into the cold darkness of the credit roll.

"Pauline & Juliet." As played by composer Peter Dasent on an old piano (you can hear the pedal creaking if you listen closely). It's quite lovely - but doesn't appear in the film.

** At what stage of production was the music introduced? [lfr]

A working draft of the script builds a number of critical scenes around the use of specific Mario Lanza recordings. The later use of opera, however, with the exception of the aria from "Tosca," is not as well developed at this stage. As it happens, Pauline Parker actually mentioned in her diary the specific piece of opera used in "Heavenly Creatures," though not at that corresponding point of the story. So Pauline Parker actually chose the music for this part of the film, forty years ago. Jackson and Walsh would have known from the start of the project about the girls' fixation on and fascination with Mario Lanza, from the published trial proceedings. ref: Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA. [Hereafter HC Draft #5, AMPAS]

** Is there only prerecorded music in the score? [lfr]

No. Peter Dasent wrote the mesmerizing original score. In the second half of the film, particularly, Dasent's score builds tension and a tremendous sense of momentum. Jackson and Dasent augmented the score with a shrewd choice of prerecorded music, the importance of which is emphasized by reference in the script. (ref. HC Draft #5, AMPAS).

** What is the opening choral piece? [lfr,dj,kr]

In the initial musical motif, the framing reference of the divine is established under the opening titles, with the traditional hymn "Just a Closer Walk with Thee," crisply elocuted by a girls choir. The hymn's lyric foreshadows Pauline and Juliet's association, emphasizing a strong element of longing:

Quoted from: "Baptist Hymnal" (1975 Edition), Convention Press, Nashville, Tennesee. [dj]

The arrangement of "Just A Closer Walk With Thee" used in "Heavenly Creatures" is: Chorus, verse 1, verse 2, chorus. Verse 3 is not used. Also, the first line of verse 1 was changed to:

** What is the origin of "Closer Walk?" [sh,lw,dj,es,gb,wh,cs,dw]

"Just A Closer Walk With Thee" is an American traditional hymn with origins in the American South and whose author is unknown. It is a favorite funeral hymn in the American South; Dixieland funeral processions often feature this hymn and are traditionally led by an opened black umbrella. There were many popular recordings of the hymn made in the 50s and 60s, by country music artists in particular. Some of the more popular recorded covers of this hymn are by:

It can be found in the following hymnals and song collections:

** What is unusual about the use of "Closer Walk?" [jp,a,mc,maw]

Clearly the filmmakers chose "Just A Closer Walk With Thee" because it introduced into the film several key themes which would reappear throughout the narrative. However, the hymn is not part of the body of hymns which would have been sung by the students of Christchurch Girls' High School in 1952. The girls' school was set up according to a very slightly- modified English school system. It has been established elsewhere (see 5.4.4) that the whole Christchurch community maintained very strong cultural ties with England. This means that the school would have been tied in religious/cultural matters predominantly to the Anglican Church, i.e. the Church of England. Consequently, during morning assembly, the girls would have sung hymns selected and adapted from "Prayers and Hymns for Use in Schools," the 'official' hymnal approved by most school Education Authorities in Britain and used throughout the British Commonwealth for many years prior to 1952, or "Hymns Ancient and Modern (revised)." [a] Both "Prayers and Hymns for Use in Schools" and "Hymns Ancient and Modern (revised)" contain a set of hymns deemed "most suitable for Young People" abstracted from the following source:

According to the book's Introduction, these hymns were chosen specifically for their cultural relevance to England. "Just A Closer Walk With Thee" did not arise from English cultural roots and it is not contained in "Songs of Praise." Hence it would not have been contained in "Prayers and Hymns for Use in Schools" in 1952, and this has been confirmed [mc,maw]. The school's song was Blake's "Jerusalem"... "And did those feet in ancient times walk upon England's mountains green?..." [note: A more English hymn than "Jerusalem" could not be found. It was and still is absolutely standard fare at morning chapel in English Public Schools. For another first-rate film which also opens very pointedly to a school chorus of a hymn--"Jerusalem," in fact--see Tony Richardson's extraordinary adaptation of Alan Sillitoe's "The Loneliness of the Long Distance Runner." jp] The most commonly-sung hymn at CGHS in the early 60s would have been "The Lord's my shepherd, I'll not want..." though plenty of others were sung, too. We also went in for the "Gaudiamus Igatur..." hymn which used to be sung at Oxford University, I believe. I liked "Morning has broken..." by Christina Rossetti. I never sang the hymn used in the film. The hymnbook I used was the same one that had been used for years and years at CGHS. [maw] It is conceivable that the filmmakers were familiar with popular recordings of "Closer Walk" and recognized that a wide audience would also be familiar with this piece. They may have chosen to use it over some other more 'authentic' hymn because of "Closer Walk's" familiarity, or because they were unable to find an 'authentic' hymn which fit as well with the film's motifs. However, all of this evidence of deliberate choice on the part of the filmmakers definitely makes "Closer Walk" worth examining in more detail (see 3.1.5).

** What are some of its foreshadowing and allusions? [jp,lfr]

The opening and closing pieces to the film form a symmetric pair. Both mention 'walking together,' as a literal image of a spiritual concept, in their lyrics. "Closer Walk" is a supplication made by a sinner to a higher authority. The chorus, as mentioned above, is a longing plea for closer association with an object of reverence, and the emotional tone of the piece supports this overall feeling. It is easy for us to imagine Pauline singing this plea to the object of her reverence, Juliet and not Jesus, sometime in the future. But look at the words. The first verse, is full of irony in the context of "Heavenly Creatures." Her knitted, sceptical brow makes the confession of weakness and the plea "keep me from all wrong" into more of a challenge than a request, and turns "I'll be satisfied as long as..." into something of a veiled threat. The second and third verses (third not used in the film) are also full of ironic significance to the story. In the second verse, she sings there is noone else who cares, noone who can relieve her burden in "this world of toil and snares." Juliet is the only one who can save her from a life of drudgery and persecution. And to where can she look for peace, for this better life? Why, "to thy Kingdom's shore." To Juliet's world, to the bright and gentle paradise of the Fourth World. Pauline rejoins the singing in the final chorus after being rebuked by the headmistress and she sings "Let it be." At the end of the film, we are reminded of all these things, painfully and bitterly, through the supremely ironic closing song. Consistent with the circular 'wraparound' timeline of the film, listening to the closing piece we can't help but think back to Pauline's opening hymn, pleading for a "Closer Walk." The closing piece chosen by Dasent and Jackson would have been such a wonderful, perfect response from Juliet. A prayer made, and a prayer answered. The crushing of Pauline's dream is emotionally wrenching for the viewer--the dashing of dreams always is--and this feeling is amplified by the diabolical pairing of the opening and closing pieces. Together, they say "if only..."

** How are Mario Lanza's popular tunes used in the film? [lfr]

A distinctive musical motif is established with the boisterous popular tunes of Mario Lanza, who is revealed in the opening scenes to be Juliet's idol. Lanza's singing comes across as antiseptic but rousing "pop opera," particularly in contrast with the later use of Puccini arias. Pauline enthusiastically adopts Juliet's perspective of Lanza as "the world's greatest tenor" and she sees this shared love of his music to be a kind of confirmation that Pauline and Juliet are spiritual sisters. Lanza's tunes are used as a barometer of Pauline's emotions, in her initial captivation with Juliet (prophetically, with "Be My Love"), in her wavering uncertainty and giddy acceptance of Juliet's flights of fancy ("The Donkey Serenade" from the 1940's musical "Firefly"), in Pauline's dawning awareness of her desire for Juliet through her misguided night with John-the-idiot- boarder (in the faint dementia behind "Finiculi, Finicula") and in Pauline and Juliet's eventual delerious, romantic consummation ("The Loveliest Night of the Year").

** Is Mario Lanza's popular music used as a "Red Herring?" [jp]

Mario Lanza's popular music may be another "red herring" from Jackson regarding Pauline and Juliet's relationship (see 3.1.11.4). Lanza's popular music paints an emotional tone with very broad strokes indeed, so the romantic target may be obscured. All of Lanza's lush, popular tunes are used in connection with Pauline's visits with Juliet at Ilam. Hence the emotional connection being illustrated may be Pauline's growing friendship with Juliet, or it may be her true romantic love for Juliet, or it may be her captivation with the freedom, culture and refinement represented by Ilam and Juliet. "Finiculi, Finicula," which accompanies Pauline's night with John-the-lodger, stands in contrast to this theme, but it is not a love song. Maybe Jackson intended Lanza's songs to be "red herrings" but I must admit they got under my skin and set me up for the emotionally devastating music in the second half of the film.

** What song does Mario Lanza sing over the end credits? [lfr,jp]

Lanza's return over the end credits with "You'll Never Walk Alone" provides a powerful backdrop (its spiritual tone concluding the reverential thread) that elicits a particularly ironic pathos after the desolation of the final scenes. And it forms a symmetric counterpart to the film's opening hymn. This recursive symmetry at the film's beginning and end is also reflected in the key 'ship' scenes (see 3.1.16.13). The silent epilogue preceeding the final song informs the viewer of the girls' sentence: incarceration in separate institutions and eventual release on the condition that they never have contact with each other again. And there is a haunting residue that lingers after the film: what if Mario Lanza is singing on behalf of Honora? What if this is her promise to the girls?

** What is the origin of "You'll Never Walk Alone?" [lfr]

"You'll Never Walk Alone" is from Oscar Hammerstein and Richard Roger's "Carousel"(1945). The song is sung by the ghost of Billy Bigelow when he finally accepts that his beloved wife, Julie [nice parallel with Pauline's name for Juliet], has managed to rebuild her life without him. Although Julie reveres his memory, she is, in fact, better off without his disruptive presence. This acceptance of her independence allows him to move on and assume his place in the afterlife.

** Where and how is opera used in the film? [lfr]

The musical shift to opera in the second half of the film makes reference to dramatic predetermination. The lighthearted or melodramatic romance of Lanza's "pop opera" gives way to a more sombre, powerful and genuine emotional tone in the second half of the film. And the clues from the filmmakers contained in the music become more subtle and possibly more significant because of their disguise.

** How is opera used to show Pauline's growing despair? [lfr]

When Honora threatens to keep Pauline from Juliet, in despair, Pauline contemplates suicide. During these key scenes, Cavaradossi laments his own imprisonment and impending death, on Pauline's phonograph, from Puccini's opera TOSCA: ("my dream of love is now destroyed forever, my hour is fleeting and I must die despairing!"). This exact piece was mentioned by the real Pauline in a diary entry (see 7.4.3). In a striking spiritual parallel with the film, the opera TOSCA ends with Cavaradossi lingering in prison as his lover Tosca murders Scarpia to set him free, only to have her plan backfire when Cavradossi is nevertheless executed. This prompts Tosca's own suicide.

"E lucevan le stelle "And the stars shone brightly E olezzava la terra And the air mild and fragrant Stridea l'uscio dell 'orto- The garden gate was opened, E un passo sfiorava la rena And footsteps approached so lightly Entrava ella, fragrante, She stood before me, radiant- Mi cadea fra le baccia. In my arms I held her. O! dolce braci, Oh fond embrace, o languide carezze oh languorous caress Mentr'io fremente My heart was trembling La belle forme Enraptured by the wonder disciogliea dai veli! of her glorious beauty! Svani per sempre My dream of love il sogno mio d'amore, is now destroyed forever, L'ora e fuggita, My hour is fleeting, E muoio disperato! And I must die despairing! E muoio disperato! And I must die despairing! E non ho amato! How cruel is Death! Mai tanto la vita, Ah, life was never sweeter, tanto la vita!" never sweeter!"

[TOSCA, Giacomo Puccini, English Translation - Joseph Machlis]

Taking the association between Cavaradossi and Pauline literally, this piece is a strong clue in favor of a desperate romantic attachment between Pauline and Juliet, the tragic object of her desire. It is particularly affecting to know that Pauline Parker really did turn to this piece in her bedroom when she was alone, in moments of despair.

** What does Juliet sing from the balcony of Ilam? [lfr]

The headlong rush of the film's narrative is ruptured at a critical point by Juliet's poignant a capella rendering of Puccini's "Sono andati?" from LA BOHEME, sung by Kate Winslet. At this point Juliet has agreed to help Pauline murder Honora and there is at last a calm sense of complete inevitability introduced by this piece. It is as if the girls have finally given up all thoughts of fighting their destiny, and once again there is a strong sense of predetermination, which continues in a quiet, chilling way for the rest of the film. Juliet's singing begins off-screen with a close-up of Pauline, which fades into a split-screen image with Juliet, followed by a very slow dissolve of Pauline. This sustains the dynamic that the narrative remains from Pauline's point-of-view, and that she is imagining Juliet as a tragic-romantic heroine, singing to her. Also, significantly, the second ship scene, so key to understanding Jackson's view of the girls' relationship, is interleaved with this piece. In the opera LA BOHEME, the declaration of love is sung by the consumptive, tuberculin Mimi (another striking parallel with Juliet, see 3.1.8) to Rodolpho, knowing she is near the brink of death:

"Sono andati? "Have they gone? Fingevo di dormire I pretended to be asleep Percho volli Because I wanted con te sola restare to be alone with you Ho tante cose I've so many things che ti voglio dire to tell you O una sola Or one thing, ma grande como il mare as huge as the sea Como il mare, Deep and infinite profunda ed infinita as the sea Sei il mio amor I love you - e tutta la mia vita." - you're all my life."

[Giacomo Puccini, LA BOHEME, English translation - William Weaver]

Taken literally, this striking image and these beautiful, tender and tremendously sad words form a strong statement in support of Pauline being deeply, romantically and desperately in love with Juliet.

** What is the haunting piece used in the final scene? [lfr]

For the final scene, Jackson and Walsh use Puccini's serene "The Humming Chorus" from MADAME BUTTERFLY. The tone of the piece is an extrapolation of the calm, peaceful resignation conveyed prior to this scene by Juliet's aria. Coupling "The Humming Chorus" with the premonition of the violent and bloody murder is ironic in the extreme; the effect is an almost intolerable heightening of anticipation, dread and suspense in the viewer. The piece begins quietly, as the girls pause for a "last supper" with Honora in the Victoria Park teashop, and continues as they accompany her down the muddy path in extreme slow motion, almost floating, serene and dreamlike. The piece finally ends and there is a brief silence. Then the girls tearfully bludgeon Honora to her death. In a shocked stupor after the real-life murder, the girls stated to witnesses at the tearoom that everything seemed like a dream, and they would soon be waking up. "The Humming Chorus" occurs late in the third act of MADAM BUTTERFLY, as Butterfly waits up thorugh the night, alone, anticipating the next day to bring romantic fulfillment. Instead it brings her only bitterness, and death.

** Is Jackson using opera as another "red herring?" [jp]

Probably not. Although the chosen pieces are charged with emotion, there is nothing light or 'camp' about them. In every case, there are enormous parallels between the original context of the pieces and their context in "Heavenly Creatures." And the lyrics are not used ironically or in any way with tongue in cheek. These pieces paint a consistent picture, both in emotional tone and in explicit lyrics, namely that of a deep, romantic and tragic passion experienced by Pauline for Juliet. These pieces say that Pauline was desperately in love with Juliet.

3.1.19.1Mario Lanza#

Peter Gammond. "The Oxford Companion to Popular Music." Oxford University Press, Oxford, 1993. ISBN 0-19-28004-3 p. 330.

** How did Mario Lanza die? [nm]

Mario Lanza committed suicide in Rome, about two months before the real-life Heavenly Creatures were released from incarceration in New Zealand.

** What was Bert Rieper's name for Mario Lanza? [jp]

Bert enquired if Pauline was listening to the famous Irish singer 'Murray O'Lanza.' Then he lip-synched into a mackerel. That Bert was a real kidder...

** How did Pauline rebuke her father? [jp]

"He's Italian, Dad!" Of course we know, from the info above, that Pauline was wrong: Mario Lanza was really an American who traded on his Italian ancestry.

3.1.20References to books, films, TV and Hollywood#

** Were the girls keen on films? [jp]

Absolutely. All the Saints mentioned by name had a connection with films. There were film magazines in Pauline's bedrooms (both), in Juliet's bedroom, in Juliet's room in the sanatorium and the pictures of the Saints used at the Ilam shrine came from film magazines. In real life, the girls didn't burn records on their last night together at Ilam, but all their film books. See 7.4.3.

** Who was the recording artist Steve admired? [jp]

** Did James Mason ever make a religious picture? [MDB,jp]

Pauline wished James Mason would make a religious picture because "He'd be perfect as Jesus!" But was he ever in one? Well, James Mason was in two 'religious pictures'--but not until late in his career: "Jesus of Nazareth" (1977, TV) [Joseph of Arimathea] "Anno Domini" (1985, TV miniseries) [Tiberius]. He never did play Jesus, though he was a Roman in a couple of late 50s historical epics. In real life, James Mason was actually the girls' principal Saint and the object of most of their fantasies and much of their writing.

** Who was Biggles? [jp,u,hb,csh,hu,das,e]

'Biggles' was the fictional British flying ace, Major James Bigglesworth, DSO (his rank in "Biggles Goes to War"). He was featured in a prolific series of books written by Captain W.E. Johns (William Earl Johns). Peter Berred Ellis wrote a biography of Johns, "By Jove, Biggles" published in 1981. The "Biggles" books had names like "Biggles of the Camel Squadron," "Biggles Goes South" etc. We actually see the girls reading "Biggles of the Camel Squadron" and "Biggles of 266" in "Heavenly Creatures." Biggles joined the Royal Flying Corps, or R.F.C. (later the Royal Air Force, R.A.F.) at the age of 17 in 1916. The adventures spanned both world wars and on into the Cold War, and Biggles flew everything from Grumman Goslings and Catalinas to SE 2's and the latest experimental aircraft. The Biggles books were immensely popular among schoolboys in Britain and throughout the more British parts of the Commonwealth. In fact, Biggles was virtually a British cultural icon, representing all things decent, upstanding, and Imperial, and Biggles is used in "Heavenly Creatures" as yet another clue to the close cultural ties between England and Christchurch. Biggles' faithful sidekick was Algy, the Right Honorable Algernon Lacy, and red-haired Ginger was the 'kid' who tagged along and completed the trio in their ripping tales of adventure and danger. The lads' nemesis was the evil Erich von Stahlhein, who they were eventually forced to liberate from Sakhalin after the Soviet expansion in the 50s. According to "The Maniac's Guide to the Biggles Books" by Rowland Smith (1993), there were no Biggles stories set in New Zealand, but several were set in other parts of Australasia. At least 21 titles were exported to New Zealand over the years and the famous Australian 'Biggles' radio series was broadcast in New Zealand. I was told of a copy of "Biggles in Australia" printed in 1955. So, Biggles is culturally correct, not an anachronism, and may well have been encountered by the girls. Biggles is probably also a little inside joke from Jackson, a known "Monty Python's Flying Circus" devotee. One famous and popular episode of that British TV series was a spoof of 'The Adventures of Biggles.' Biggles (John Cleese) was adamant--rabid, even--about not tolerating 'pooftas' since there was no place for 'nancy-boys' in the R.A.F. Algy was played very gung-ho, cheery and straight down the line by Michael Palin, while Ginger was played by the late Graham Chapman (we miss ya, Graham) as a mincing, flaming drag queen dressed in pink. My favorite line of the episode is Biggles' belated discovery, after many adventurous years together, of Algy's sexual orientation: "I say, Algy, are you a poof?" "'Fraid so, old chap." "Right then. I suppose I'll have to shoot you." Python logic at its most sublime, and a closed circle back to Biggles being an oblique reference to homosexuality in "Heavenly Creatures" (see 3.1.11.4). I don't know if Peter Jackson is a Jethro Tull fan or not-- he is approximately the right vintage to be--but Ian Anderson and the band also made a prominent pop-culture reference to Biggles as a redoubtable British cultural icon in what is perhaps their best-known 'concept' album from the mid-70s, about adolescence, growing up, school, and cultural identity: "Thick as a Brick."

** Where was the reference to Busby Berkeley musicals? [jp]

What??? Oh, that's an easy one. The overhead shot of the schoolgirls lying on the pavement outside, doing synchronized leg-lifts. They were arranged very neatly in a radial star pattern. A star with six-fold symmetry, not that it matters. Or does it? See 3.1.14.

** What movie starring Mario Lanza was seen by the girls? [jp]

"The Great Caruso" (1951). Note that the girls saw the movie two years after its North American release. Despite the delay, it looked as if the film was on its first run in Christchurch. Jackson is using pop culture as a clock, and is saying it took a while for things to get to Christchurch.

** What was the poster for the next film in the lobby? [jp]

** Where were the girls going to run away to and why? [jp]

Jackson has Juliet come up with the germ of the idea in the second "bathtub" scene: "It's soooo obvious!" They would run off the Hollywood. They would become film stars. According to Juliet to her mother and Mr Perry: "They're desperately keen to sign us up!" Desperate was probably the right word, it's just the rest that was all mixed up.

** Who was Juliet trying mimic in her 'bathroom photos?' [jp]

When Henry Hulme (and we) eavesdropped on the girls' photo session in the bathroom, Juliet said she was going to arrange her hair and show a bit more cleavage. Then she would look just like Veronica Lake.

** Who was Veronica Lake? [jp]

She was a diminutive film star with an hourglass figure, very popular in the forties and especially as a 'film noir' leading lady. Some of her best work was opposite Alan Ladd. Veronica Lake had a very sexy voice, an extremely dangerous and irresistable attitude in most of her films and a trademark hairstyle--she wore her blonde hair brushed to a sheen, parted on the side and swept down and across her face, hiding one of her eyes. Sometimes this was referred to as a "peek-a-boo" hair style but she made it her own. Ms Lake had a rather tragic life. She died not long ago.

** What movie starring Orson Welles was seen by the girls? [jp]

"The Third Man," commissioned by Alexander Korda, and directed by Carol Reed (winner of the Grand Prix at Cannes, 1949) from the story and screenplay by Graham Greene. The film is a moody, dark classic and a milestone in British cinema (the first British film to be shot predominantly on foreign location) [and also my favorite film. jp]. It is set in divided, post-war Vienna and tells the story of a gullible writer of pulp fiction (Joseph Cotten [Holly Martins]) who tries to solve a mystery surrounding the death of his shady friend (Orson Welles [Harry Lime]). Martins falls in love with Harry's girlfriend (Alida Valli [Anna]--"Holly. What a silly name." And what an incredible, world-weary performance.) and crosses paths with a sharp, jaded and cynical military policeman (Trevor Howard [Col. Calloway]). "The Third Man" is full of oft-quoted dialog, famous scenes and plot twists, wonderful cinematography and famous shots, and it has an unforgettable soundtrack, written and performed by one artist, Anton Karas, on a zither. Note that "The Third Man" also made a belated debut in Christchurch. Jackson is, again, using popular culture as a clock to tell the audience that this community was isolated from the mainstream.

** What was unusual about the clips from "The Third Man?" [jp]

The audience for "Heavenly Creatures" is also treated to clips from "The Third Man" as we join Pauline and Juliet in the cinema. But, in the famous clips of the chase scene in the Vienna sewers, all shots of Harry Lime have been replaced by "Heavenly Creatures'" own 'most hideous man alive'... played by E. Jean Gu�rin.

** What references were made to "The Third Man?" [jp]

Jackson has real fun with "The Third Man" in "Heavenly Creatures." The soundtrack after the girls leave the cinema mimics Anton Karas' famous zither music. Harry Lime (still in black & white, of course) appears as startling visions in several recreations of famous shots in "The Third Man," particularly the sublime 'first view of Harry by the light of a window' shot in which Orson Welles smiles slyly under the brim of his hat, only to disappear into the night, and Harry's famous "Boo!" shot, of course. Harry Lime appears in several places at once in "Heavenly Creatures," a reference to Harry's ability to pop into and out of a scene almost at will in "The Third Man." And the unforgetable projected images of Harry Lime running in nightime Vienna are parodied mercilessly by 'the most hideous man alive' when the girls duck into the Ilam front hallway. Peter Jackson obviously loves "The Third Man" as much as I do...

** Why did Jackson use "The Third Man?" [jp]

In real life, Pauline never referred to Orson Welles in her diary quotations about "It," but to "Harry Lime," his character name in "The Third Man." See 7.4.3 for diary quotes and 4.4 for more about this intriguing aspect of "Heavenly Creatures."

3.1.21Settings and locations#

** Which location was not authentic? [jp]

Only one--the Rieper's home at 31 Gloucester St. behind CGHS no longer stood, so it was recreated on a sound stage.

3.1.22Making the film#

** Who made all those plasticine models? [aa,wb]

The model makers were volunteers. Many devoted long hours to the task. Most of the members of the modelmakers' workshop were given nicknames by their co-workers, hence some of the crazy names in the credits.

3.1.23Technical aspects and special effects#

** What computer effects were used? [sb]

"Peter Jackson is vitally interested in being at the forefront of technology. While not being, as he says, especially computer literate, he has sought out and bought (with others) the latest hardware and software so that he can use the most up-to- date computer-generated special effects. At WingNut Productions in Wellington, Jackson has installed the only complete system in the Southern Hemisphere for going (at maximum quality) from film to video, and back to film, having manipulated the video image on the computer. The film is transferred to video at a staggeringly slow three minutes per frame (that's 12 hours for a ten-second shot!) on an Oxberry Cinescan 6300. The frame is uniformly lit by a mass of fibre optics. The video image is sent to a Silicon Graphics computer running Renderman, Soft Image and Matador software. Here, George Port, who works with Jackson, does what manipulation is required- -be it matting in a different fragment of image, correcting a flaw (a television aerial in a period image), or morphing from a rock to a statue. Once finished, the video image is projected onto a cathode- ray tube and filmed (by a MGI Solitaire with an Oxberry movie back) at the much faster rate of three seconds a frame. Having gone so precisely from film and back again, it has little to no video 'look', except in some areas of retouching. That in itself is not necessarily a defect for the slight artificiality can be used to noticeable effect (as in the very obviously painted lighthouse in "The Age of Innocence") or inconspicuously, as when fantastic edge blend imperceptibly with the fantasy of the film itself (as appears the case in "Heavenly Creatures")." Cinema Papers, April 1994, 97/8, pp. 20-30.

** What effect was used in the second bathtub scene? [jp,lfr]

To heighten the accelerating sense of 'otherworldliness,' the second bathtub scene was shot under blue lighting with additional ultraviolet lighting, (UV light) commonly referred to as 'black lighting.' There is also a link with death--under blue lights, the girls look cold and dead, especially their dark lips (probably heightened by having red-toned lipstick, which would just appear black). Was there another reason for using blue light? Maybe modesty--blue light is scattered much more strongly by colloidal (milky) solutions than is green or red light, so the girls' soapy bath water was much more opaque under blue light.

** Were the tracks of Juliet's tears fake? [jp]

Juliet had the tracks of her tears visible on her face in the second bathtub scene. It almost looked like there were dark streaks and glowing regions. Is that fake? Or a special effect? No. There are small peptides in tears whose function is to kill bacteria; many of these molecules absorb UV light and can be fluorescent to different degrees under ultraviolet light. Many molecules present in skin, hair, nails and, especially, teeth fluoresce quite brightly under UV light. And there are fluorescent molecules added to many soaps. Hence, it's easy to see the tracks of tears under extreme blue/ultraviolet light, even long after the tears have dried. So, we surmise, Ms. Winslet really had been crying in that scene and quite a lot by the looks of things. Glycerine tears don't absorb UV light, and they aren't fluorescent.

** Juliet's aria. [sb]

Jackson: "We were shooting in a house [Ilam] that was part of the real story in the 1950s, but in the meantime its large open balcony had been glassed in. There was no way the owner was going to let us rip the balcony out, so we shot a separate balcony that we built in a studio and matted the two together on the computer." Cinema Papers, April 1994, 97/8, pp. 20-30.

3.1.24Favorite things and highlights#

[jp] My favorite moment in Melanie Lynskey's performance comes when Pauline is having her hair combed by Hilda Hulme at Port Levy. Many important things are communicated in very few gestures and looks. I also very much liked the fights between Pauline and Honora--the tone and dynamics were very true to life. And Pauline's joy and her affection towards Juliet was very convincing in the earlier scenes. Finally, Ms Lynskey's darkness, her raw edges and impatience in the final scenes were also excellent. It almost appeared as if she had gone for weeks without sleep, like the real Pauline.

My favorite moment in Kate Winslet's performance is the scene in Pauline's bedroom the morning of the murder. "Oooh, I feel all sweaty. Do you feel sweaty? I feel all sweaty." Again, lots of important things are said around those words. Ms Winslet gave a very believable portrait of Juliet trying to convince herself, unsuccessfully, that what she was about to do was right. And I also liked the way Juliet was shown to change, very convincingly, over the two-year period of the film, her need growing progressively as her confidence crumbled. I believed Juliet's half of the relationship, too, thanks to Ms Winslet's performance.

And Sarah Peirse did a superb job of painting a sympathetic, well-rounded portrait of Honora. I particularly liked her weary dignity and her fluster when things became too complex to handle and, as I have mentioned elsewhere, the way Ms Peirse used her voice. Ms Peirse's performance in the entire last scene is superb. I imagine it was hard to film, especially in the tearooms.

My favorite technical aspect is the instant in which the sound of Juliet grabbing the branch breaks through Puccini's "Humming Chorus" in the final scene, and then is lost to the music.

My favourite camera shot is the dialog-free, meandering camera shot over Honora's face in the upstairs hall as she gives Pauline a tongue-lashing. Dasent's music and Lynskey's voiceover ("how I loathed Mother...") are absolutely chilling the way they add to Bollinger's camera work. The way the viewer is led to focus on little pieces of Honora, then move on, not according to the pace of her words, not even listening to her words, in fact, but just as a study of something--this makes a very powerful impact. This may have been the moment when Honora ceased being a whole human being to Pauline, becoming just fragments and objects to be despised, and it is an eerie and extremely unsettling scene.

[aa] In the scene where Dr Hulme is meeting with the Riepers in their home, there is a wonderfully theatrical pause, along with a dramatic tracking-in of the camera, or lightening, or a burst of thunder, directly before each of his carefully-chosen key words: "an...unhealthy...attachment" "behaving in a rather...disturbed...manner" "wayward..." "unwholesome..."

[dp] In the scene where the girls were on the phone, crying, and Juliet's mother takes the phone and hangs it up, I was almost physically affected by their emotion--it was as if, for each of them, the other had died, and they were wailing and keening like mourners. Absolutely amazing performances, especially considering that Melanie Lynskey had never acted professionally before. [note: I received many comments about this scene and anecdotes of similar events in people's lives. It was a scene which really struck a chord in many viewers. jp]

3.1.25Release information#

** Where was the premiere of "Heavenly Creatures?" [lfr]

** How many versions exist? [lfr]

The running time for "Heavenly Creatures" in its Wellington Premiere version was 108 minutes. The running time for "Heavenly Creatures" in its North American release version was 98 minutes. At present, there is no information about the content of the ten minutes cut before the North American release, or whose idea the cuts were. An early draft script of "Heavenly Creatures" contains reference to several scenes that did not appear in the North American release version. These were concerned primarily with the girls' reaction to Hilda Hulme's relationship with Bill Perry, and scenes with Henry Hulme being told to resign because "he was not working out" and the "threesome" living arrangement was unacceptable. ref: Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA.

** When was "Heavenly Creatures" released? [MDB,jp,se]

** Has "Heavenly Creatures" been released on video? [lfr,aa]

Yes, the NAm video release occurred May 23, 1995. It is not a letterbox version, unfortunately. The laserdisc version has also been released. Unfortunately, it is not a letterbox version, either, nor does it contain any extra material, interviews etc. This is an enormous pity because the filmmaker used every square inch of the screen and the soundtrack, especially, to tremendous effect. This film is meant to be huge, larger than real life, and it is meant to sweep the viewer away in a sensual overload. Lobby Miramax or Criterion for a letterbox version. And bug the manager of your local rep theatre to bring "Heavenly Creatures" around to the big screen, where it needs to be seen for its genius to be fully appreciated, so to speak.

** What scenes were cut for the NAm version? [lfr,mk,sb]

The following scenes not appearing in the NAm version of the film are from Heavenly Creatures, Draft #5, February 7, 1993, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA. [lfr] To date, the existence of these scenes on film can only be partially confirmed. There is a still photo of Kate Winslet in a spaghetti-strapped party dress in "Cinema Papers" 97/8 April '94, p. 29, which confirms that the "Bennett's Party" scene was filmed. [sb]

1. (scene between Juliet and Hilda, both dressing for a party at Dr Bennett's. J. is borrowing a dress of Hilda's - described as a bit "freakish" as it's obviously too sophisticated for J.) [aside: this wouldn't have worked as Kate Winslet could make almost anything look good. lfr].

J: Pauline ought to be going.

H: She wasn't invited.

J: Its unfair! She's being held prisoner in her own house!

(Hilda demures and along with J. we realize she isn't going to the Bennett's either)

J: What's more important... me or your stupid bloody clients?... Is it Mr. Perry again?

(Hilda, rising and heading out from her room continues to evade. J. follows getting more and more excited)

J: (contd) It *is* Mr. Perry!

(As Hilda continues down the stairs, J. follows and then feigns a fall. Hilda is momentarily startled, calls for Henry, then realizes J. is faking. Hilda leaves Henry to attend J. and sweeps out, indeed on her way to Mr Perry. Henry tries to buck up the enraged J., only to have her erupt into a full blown temper tantrum, screaming non-stop and hurling objects all about.)

(Cut to Bennett's. Dr B. is prompting his son Colin (whose 16th birthday this is) to ask Juliet to dance.)

Dr B: ...She's having problems with her... orientation. [aside: unlikely that terminolgy would've been used at that time in that place if anywhere. lfr]

Colin: Maybe she should get a compass. [aside: chuckle and reason for term. lfr]

Dr B: This is bloody serious Colin! This girl could be lost to the opposite sex forever!

(A reluctant Colin drags himself over to Juliet, who everyone has to this point studiously ignored, sitting in her far too glamorous, adult dress.)

Dr B: Relax Henry... She's on her way to healthy womanhood!

(C. gets J. to dance and she begins assailing him, first subtley, then bitingly. Colin is startled when one of J's spaghetti straps suddenly slides down her arm. In a moment the other follows... C. is disturbed and J. wickedly says:)

J: Oh God! I think my breasts are about to pop out!

(C. flees. Henry is dismayed and comes out to finish dancing with Juliet who quickly becomes despondent. Henry is annoyed and impatient. In the background Dr B. is railing at the unfortunate Colin)

Henry: What is it now? What do you want? Do you want to stop dancing?

J: (near tears) I want Paul...

(fade out)

2. (next scene is the 'bridge scene' of "why could not mother die?" that I think I mentioned to you would've been really good and helped out in making Pauline's leap from hysteria to murder. lfr).

3. (Another party, this time at the Hulmes. Pauline and Juliet are hiding in the woods, chucking rocks at the pond as Dr B goes by, splashing his legs. They stroll nonchalantly out of the woods eating grapes and drinking sherry from a decanter [aside: !!! completely the wrong mood, come off like juvenile delinquents here - but has this some basis in fact? lfr. [Yes. It was an anecdote also heard and used by M Forster in "Daughters of Heaven." jp]]. Dr B joins Hilda who is watching Henry and Bill Perry play tennis. Henry is being thrashed and he knows it. The girls walk around the entire scene chatting).

J: Bloody Bill's sniffing around Mummy something chronic.

P: I thought he was terribly ill.

J:(sarcastic) That was the theory.

(J. then tells how Hilda offered Perry the guest flat upon finding out he was ill. J. imagines - we see - Perry so ill he is brought to Ilam in a speeding ambulance, siren and lights going full blast. Perry is wane and near death. Then we jump to what really happened, Perry hoping out of a cab, coming up the front walk making some "jolly good digs" comment.) [note: This is actually a 'dig' at WAB Perry's testimony at the trial where he explains why Hilda Hulme was in his bedroom... she heard him coughing and brought him a cup of tea. WAB Perry then claimed he had been admitted to hospital the following week. Apparently, he was, according to an entry in Pauline's diary. Also, apparently, the girls really did refer to him as "Mr Bloody Perry." jp]

P: Do you think Bloody Bill's trying to get into her drawers?

J: ...Fat chance! Daddy is the only one Mummy lets in her drawers...

(Henry is being anihilated by Perry, who finishes him off then collects Hilda and strolls away as Henry collects the balls, then looks after them in despair)

J: (contd) ...they're absolutely besotted with one another!

4. (this is followed by Henry's being told by the head of CUC that he's "not working out" and has three months to find another position). [note: This is taken from real-life letter, paraphrased by Glamuzina & Laurie in their book. jp]

5. (one last scene at Ilam between Hilda and Henry).

Henry: Its getting out of hand. She's now insisting we adopt Pauline! Its preposterous!...

Hilda: If you want to be the one to tell Juliet, good luck to you.

(they walk by Juliet's room, from which audible sobs are heard)

Hilda (cont): I don't intend to pick and choose my daughter's friends. Pauline makes Juliet happy and that's good enough for me.

Henry: But Hilda -

(Henry is cut off by Hilda who, downstairs by this time, is off to meet with Perry. Henry is dismayed and sitting on the steps, begins to cry.[!])

6. Furious with her mother for not allowing her to visit the Hulmes, Pauline imagines Honora abruptly choking to death during dinner as the rest of the family sits around implacably. Herbert also dies, stabbed fatally by a fork while reaching for the salt. Pauline snaps back to reality as her grandmother, Nana Parker, asks her to break a wishbone with her and make a wish. [lfr]

7. I've checked, and the version of HC was indeed 108 minutes long when I saw it first in NZ. But I still swear that I have never seen the Bennett's party scene. The differences I *have* noticed have been very slight (and intuitive - I only have two viewings 8 months ago to compare the US film to). For example, in the US version, the scene where PYP and the Hulmes are off to Port Levy starts with a soundtrack version of "How much is that Doggy in the Window." In the NZ version, it was longer, and was sung by the actors - J&P singing with great gusto, and Mrs Hulme encouraging her husband to go 'woof' in the appropriate place. It was gloriously funny - I wonder why they cut it. I have also noticed missing shots - stuff that served no great purpose, but that I could swear was there last time I saw the film.

I'm more and more puzzled about the missing Coronation footage. Apart from anything else, it would have been highly and suitably symbolic - i.e., in order for Liz to be Queen, her father had to die. The parallels between P&J and the Queen are quite obvious, and surely worth playing up by Jackson. [mk]

3.1.26Miscelaneous questions#

** Who was the bum kissed by the girls outside the cinema? [as]

** Who is 'The Thorinmeister'? [aa,wb]

He is one of the volunteer modelmakers who crafted all the plasticine figures. The nickname came from his fellow modelmakers. Whatever it means, the name apparently suited him so well it made it into the end credits.

3.1.27Errors#

** Are there many? [jp]

There are some errors of substance, mostly to do with the time line and the order of events, and there are a few errors of omission and some small continuity errors and anachronisms.

** "Just A Closer Walk With Thee." [jp,mc]

The hymn used in the opening sequences, "Just A Closer Walk With Thee," would probably not have been among the hymns sung by Christchurch Girls' High School pupils in 1952. [jp] The choral piece was not in the blue hymnals used in CGHS in the late 40s. [mc]

** The Riepers' home. [jp,G&L]

The external shot of the Riepers' home, ostensibly 31 Gloucester Street, showed a house that was probably similar to the Riepers' home, but the neighbourhood was not quite right. The Riepers' home was located right downtown in an area that had mixed residential and small-business buildings and was probably slightly less clean and residential and a bit more gritty than depicted. More to the point, Christchurch Girls' High School was on the property at the rear of the Riepers' home and would have been clearly visible from the street in front of 31 Gloucester.

** Steve-the-boarder's Doris Day record... [jp]

...was just a jacket--there was no lp inside. It is bent and crushed when Steve gets out his board money for Honora.

** Mario Lanza's "Be My Love" and "The Student Prince." [aa,jp]

This is a very important anachronism. "Be My Love" was not on the album "The Student Prince" with the bright red cover shown in several scenes, both at the Riepers and at Ilam. In fact, it was one of the big 'hits' from Mario Lanza's first hugely successful film, "The Great Caruso" and, indeed, "Be My Love" figures prominently in the poster shown outside the cinema when Pauline and Juliet go to see the film in the giddy days of mid- '52. Since "The Great Caruso" was released in '51, this is OK. However, "The Student Prince" was not released until '54, hence it couldn't have been in Pauline or Juliet's record collections at any time during the story. It was an enormously successful film and record, however, worldwide, perhaps Lanza's biggest hit album. Maybe that's why it is featured, because it was easy to obtain and because it would have been so familiar.

** "He's Italian, Dad!" [jp]

Bert Rieper asked if that was the famous Irish singer Murray O'Lanza. Pauline replied scorfully that he was Italian. Actually, Mario Lanza was an American who traded on his Italian ancestry. I presume this isn't really an error on Jackson's part, but a statement about how deeply, or not, the girls investigated their Saints. I don't have any real-life writings of Pauline's on the matter of Mario Lanza's citizenship.

** "I'm almost ten!" [jp]

Jonathon states "I'm almost ten!" at Port Levy at Easter, on Good Friday, April 3, 1953 in real life, to be precise. Jonathon's ninth birthday was March 22, 1953, a couple of weeks prior. Kate Winslet's reply of "No your not! You're only eight and a half, and incredibly stupid!" is not correct, therefore. This was probably just a little goof that Jackson let stand.

** "Go away! This is a private function!" [jp]

The 'Meet the Riepers' scene was inspired by Pauline's real- life diary entry of March 11, 1953, the first to mention Juliet at the Riepers' home. However, that entry specifically mentions that two boarders were also present, Ross and John (and one gets the impression that Pauline was pleased to show off Juliet to them).

** "No, let's talk about your feelings...Bill." [jp]

During the 'Meet the Riepers' scene in which Juliet mentions that her mother was active in the Marriage Guidance Council, we cut to a montage of interviews ("she should really be working for the U.N....") which ends in the first interview between Hilda Hulme and Mr Perry ("deep therapy" "Call me Bill."). This is incorrect. The 'Meet the Riepers' scene is ostensibly in the early new year of 1953, before the trip to Port Levy. Walter AB "Bill" Perry did not arrive in New Zealand until July 2, 1953, during the period when Juliet was confined in the TB sanatorium and her parents were on their trip abroad. Hilda Hulme and Bill Perry could not have met until after Hilda returned from abroad, at the end of August, 1953. Theirs was to be a truly whirlwind romance, but that is a topic for another section.

** Juliet starts coughing up blood in Mrs Stevens' class. [jp]

Mrs Stevens had assigned the class an essay, "The Role of the Royal Family Today," and the due date was written on the blackboard: May 11, 1953. After mischieviously reading out her piece about Diello, Juliet returns to her desk and starts coughing up blood. This is the wrong date, probably the result of a transcription error made by Walsh and/or Jackson. In fact, Monday May 11, 1953 was during the May Holidays and there would have been no school on that day. In real life, Juliet was diagnosed with TB on May 15, according to Pauline's diary, which would have been during holidays, and she was admitted to the TB sanatorium on Thursday May 21, 1953, a few days after the resumption of classes following the May Holidays, on Monday May 18th.

** "You're only fourteen!" [jp]

After John-the-boarder is caught in Pauline's bed, Honora proceeds to lecture Pauline and argue with her in the kitchen the next day in a memorable and important scene. Honora tells her "You're only fourteen!" This is wrong. Pauline's fifteenth birthday would have been on May 26, 1953, just a few days after Juliet was confined to the TB sanatorium. In real life, this scene (or one very much like it) had to take place in July, 1953, when Pauline was fifteen.

** "However, there is no doubt whatsoever that I have now!" [jp]

Lost her virginity. Pauline, that is. In "Heavenly Creatures" Pauline's voiceover makes it appear as if she thought that John-the-boarder getting into bed with her was sufficient for her to have lost her virginity, which paints a picture of an extraordinarily naive girl. In fact, this quote was taken out of context and placed in wrong chronological order in the film. In real life, Pauline's relationship with "Nicholas" (he was never identified by his real name in court testimony) was more protracted and much more complicated than the way it was shown in "Heavenly Creatures." What is clear from the real-life diary record, though, is that Pauline and Nicholas went to bed several times, though they only completed intercourse once, according to Pauline's statements to consulting psychiatrists and entered into trial testimony. The diary quotation used as the voiceover in "Heavenly Creatures," when Pauline sneaks off to see Nicholas in his rooms, actually refers to the the real-life first time they went to bed in Nicholas' rooms, a scene not depicted in "Heavenly Creatures." Nicholas and Pauline tried to have sex that first time but it was painful for Pauline and so Nicholas stopped (alluded to by John/Nicholas' "I didn't hurt you, did I?"). This makes Pauline's hesitation, in the diary quote used in "Heavenly Creatures," about deciding whether or not she had lost her virginity, a much more subtle and complex and sophisticated issue and one which only she and Nicholas could decide, in real life.

** "Now everyone smile..." Click. [jp]

The re-creation of the school photo was a nice touch because, in real life, the photo was reproduced widely in newspapers and in popular accounts of the case. This is one of those excellent details attended to so carefully by Jackson: the location is identical (exactly the same spot on the lawn and the same background!), the arrangement of the girls is identical, even the appearances of the girls around Pauline are very similar, Pauline's expression and her posture were identical. The only problem is that the photo was not taken at the beginning of Fifth form, in February 1954. Traditionally, class photos are taken at the end of the school year and that was the case here, as well. The famous school photo of Pauline Parker was actually taken at the end of Fourth Form, in late October or early November, 1953, much closer to the time when Juliet returned from the Sanatorium, never to return to school and, in fact, very close to the time of Juliet's fifteenth birthday. There are several dairy entries around this time in which Pauline states she was very depressed and was considering committing suicide. At the very beginning of Fifth form, Pauline had a period of intense elation, according to her diary entries, for reasons that will be clear upon reading the time line (see 7.4.3).

** "The balloon has gone up." [jp]

According to "Heavenly Creatures" Juliet walked in on Hilda Hulme and Bill Perry in bed on April 23, 1954. According to Pauline's diary entry for April 23rd, written in the evening as was her usual habit, Juliet told her the incident had taken place at 2 a.m. April 23rd, so that is correct. However, in the NAm version of the film, Bill Perry's presence at Ilam was all very mysterious and was never explained in a satisfactory way. In part, this was due to the trimming of several scenes from the initial New Zealand version (see 3.1.25). In fact, Bill Perry had been living at Ilam in a semi-private 'flat' since Christmas, 1953. His presence in the Hulme household was actually a far more important and significant factor in the real-life chain of events than was depicted in "Heavenly Creatures."

** "We are all M-A-D!" [jp]

"Heavenly Creatures" has Pauline declare this on "The Loveliest Night of the Year," which Peter Jackson has decided was the night of Friday, June 11, 1954. Jackson has this night be a dizzy, passionate, ever-accelerating crescendo to the girls' relationship. In real life, the events building up to the murder were compressed in time, but not quite as compressed as Jackson has portrayed them. Pauline's "M-A-D" diary entry was actually from Sunday, June 6, 1954. The two girls did go to see Orson Welles at the cinema on the night of Friday, June 11, and there was that all-important "enact(ing) how each Saint would make love in bed" but the decision to let Pauline come and stay at Ilam was made on the Saturday, June 12th, eleven days before the murder.

** When was the murder of Honora planned? [jp]

Obviously, the issue of exactly when Pauline and Juliet planned Honora's murder was an extremely important one in the real-life trial. In the NAm version of "Heavenly Creatures," Jackson takes some rather severe liberties with the time line with respect to this very important point. In his defense, this is still a partly unresolved and extremely contentious topic. Jackson leaves the most important and damning (according to the trial) statements made by Pauline to the final, brief 'bathtub' scene at Ilam. The exact date of this scene is not given in the film, but it is approximately the night of June 18th by inference from the real time line, because the diary entry for that night states "We planned our moiders...". In this scene, Pauline's line, "some sort of accident" was a quote from her diary entry of April 29th, and "people die every day" was a quote from her diary entry of February 13th. According to the NAm "Heavenly Creatures," death was a vague wish in the "Letter from Old Stew" scene and murder was not contemplated at all by Pauline until near the end of that final, intense ten days in June, 1954 with Juliet at Ilam. Pauline's increasing resentment and "loathing" of Honora was documented well in the film, though. Jackson's time line is seriously at odds with the diary record, though it is actually qualitatively consistent with Pauline's statements made to the police after her arrest and, curiously enough (given that Walsh has accused Perry of undertaking a "revisionist" approach to the case), with Anne Perry's statements made recently. Jackson's time line is also similar to the interpretation of Glamuzina and Laurie (see 7.7.6), who tend to discount the importance of the earlier diary entries that mention death and murder as possibly being just fantasies. G&L contend that the importance of those statements was over-emphasized by the police and prosecution, who were determined to show longstanding, cold and callous premeditation in order to extract the most severe punishment possible. From the last bathtub scene on, the diary voiceovers are reasonably accurate and largely in agreement with the time line, up to the day of the murder, although they were edited for dramatic effect and to leave out what might have been inconvenient or 'inconsistent' elements (see 7.4.3).

** The "Ice Cream" sign at Victoria Park. [jp]

In the final reel, Honora, Juliet and Pauline are shown walking up from the bus terminus near Victoria Park and Honora elects to have a cup of tea before going into the park. When they pass the entrance to the Park, the camera follows them as they turn to enter the Victoria Park Tea Rooms, to their right. They pass a small sign standing on the ground, advertising "Ice Cream," as they start up the stairs to the Tea Rooms. In the first reel, at the close of the Prologue, Mrs Ritchie is shown running down the steps leading to the Tea Rooms. When she reaches the bottom of the steps there is no "Ice Cream" sign. Agnes Ritchie testified she was serving ice cream to a customer when the girls ran up, screaming.

** The high voltage power lines in Victoria Park. [aa]

As Honora and the girls turn to go down the path in Victoria Park, there are clearly visible in the distance, on the hill opposite, modern steel high tension towers and lines. It is unlikely that such towers would have been present in 1954.

3.2About the real people#

** Who is profiled in this section? [jp]

This section contains information about the real people involved most directly with the real-life "Parker Hulme" case and who were portrayed in the film "Heavenly Creatures." Other biographical information can be found in section 7.1, including sketches of people not portrayed in the film.

3.2.1Names#

** What is the naming convention used in this section? [jp]

All names used in this section are legal names of actual persons connected with the "Parker Hulme" murder case. Legal names of several people were changed over the years, as noted.

3.2.2Hulme, Henry Rainsford. [jp,sb,jb,ap,G&L,mk,ad]#

Detailed biographic material for Henry Hulme is presented and discussed in 7.10.1. Henry Hulme was 45 at the time of the "Parker Hulme" murder. He was a Mathematical Physicist by training, and was recognized to be quite brilliant. Not much has been written about Dr Hulme's character and personality, but he has been described by his peers as a reserved, modest and cultured man, though informal in some of his personal habits. It was said he had a ready wit, a great sense of humour and he was a gifted and knowledgeable conversationalist, direct in his words but not abrupt. He was said to be an effective and generous mentor for younger scientists, pleasant and sympathetic in his dealings with them. From some of his actions, it would seem that Dr Hulme had large reserves of intellectual honesty, and he was a reasonable man, but he was somewhat lacking in cutthroat political savvy. On the negative side, it has been implied that Dr Hulme may have been impatient and even arrogant, at times, with his intellectual inferiors, perhaps expressing frustration with and even contempt for them in private remarks. His daughter described him to me (see 7.10.2.1) as a man with a deep appreciation of precise language and a profound love of mathematics, a man who saw the underlying beauty of mathematics and physics in their connection with Nature. Henry Rainsford Hulme was born on August 9, 1908 in Southport, England to James Rainsford Hulme and Alice Jane Smith. These were modest beginnings, and Henry Hulme's family was not part of the social elite. His quite ordinary start in life may have left an indellible impression on Henry Hulme and may have driven him during much of his adult life. Henry Hulme was admitted to Manchester Grammar School, a highly regarded 'magnet' Public School (private high school in the English system) for the best and brightest. He was sufficiently proud of his career at Manchester Grammar to list it in his official biography material, and being admitted to Manchester Grammar was probably Henry Hulme's first big career break, at the age of twelve. Reading between the lines of his Curriculum Vitae, Henry Hulme was a very determined and ambitious man, as well as being a very intelligent and able one, and he made several career moves during his life which appear to have been designed to effect quick advancement and generate recognition and respect. Obviously in the top academic track, Henry Hulme went from Manchester Grammar on to Gonville and Caius College at Cambridge University, where he was to study at both the undergraduate and graduate levels. After being awarded his BA (Math Tripos) in 1929, at the age of 20, Henry Hulme went on to do graduate work in the early 30s, an exciting time for physics, and at Cambridge, an exciting place to be if you were a physicist. Lord Rutherford was an icon at Cambridge, then. Henry Hulme was Smith's Prizeman in 1931. After being awarded his doctorate in 1932, at 23, Dr Hulme spent time in Germany (possibly on a post-doctoral fellowship), studying at the University of Leipzig. Henry Hulme was in Germany at the same time as the prominent diarist Christopher Isherwood, whose "Berlin Stories" chronicled, through the eyes of an Englishman, the tremendous social unrest and upheaval that would come to sweep the Nazis to power. Dr Hulme returned to England and was a Lecturer in Mathematics at Liverpool University between 1936 and 1938. Dr Hulme met Hilda Marion Reavley, possibly in Liverpool, and they married in June, 1937. He was almost 29 and she was 25, the daughter of a socially-prominent Anglican clergyman. In 1938, at age 30, Dr Hulme assumed the position of Chief Assistant at the Royal Observatory, and the Hulmes moved to Greenwich, a green and tranquil suburb of London, south and east of the central City, on the south bank of the Thames. The Royal Observatory is located in parkland, on a hill overlooking the Thames river valley. This is the location of the Greenwich Meridian, reference 'zero' for all lines of longitude, and time standards of the day. The Naval Academy is nearby, downhill, on the Thames. Dr Hulme's firstborn was a daughter, Juliet Marion, born in Greenwich October 28, 1938, as the stormclouds of war were gathering. 'On loan' to Whitehall and the Admiralty for the duration of World War II, and a rapidly-rising scientific advisor and administrator, Dr Hulme continued to live in Greenwich with his family, with serious consequences for the health and well-being of his wife and his daughter. A son, Jonathon, was born on March 22, 1944. In August 1944, Dr Hulme travelled to America on war work. At the time, his wife was hospitalized with complications from the birth of their son, and his daughter was sent to the north of England to live. By the War's end, Dr Hulme was Director of Naval Operational Research. After WW II, Dr Hulme became Scientific Advisor to the British Air Ministry from 1946 to 1948. On May 30, 1947, Lord Rutherford's alma mater, Canterbury University College, placed an advertisement for the newly-created position of full-time Rector, the top administrative position. Dr Hulme applied and, on November 18, the Universities Bureau of the British Empire forwarded their recommendation to the University of New Zealand for approval: Dr Henry Rainsford Hulme. A week later, around November 23, Dr Hulme was offered the position of Rector, Canterbury University College. He accepted and began to make plans for relocating himself, his wife and his son to New Zealand. His daughter was already out of the country, for the good of her health, and would be sent on ahead to New Zealand. In mid-1948, before taking up his new post as head of Canterbury College, Dr Hulme was honoured by his own alma mater, Cambridge University, with the award of the D.Sc. degree. Dr Hulme and his family arrived in Christchurch, NZ, on Saturday, October 16, 1948 and Dr Hulme became the first full- time Rector of Canterbury University College. This was the position held by Dr Hulme during the period of time featured in "Heavenly Creatures." As Rector, which was the top administrative post at the College, Dr Hulme became a prominent member and a leader of Christchurch Society. The Hulmes moved into the Rector's official residence, Ilam, in early 1950. It was a spectacular colonial homestead and the site of many social functions attended by community leaders, such as the Anglican Bishop of Christchurch, politicians and even nationally- and internationally-prominent people, such as Lady Rutherford and the British actor Anthony Quayle. However, Dr Hulme's career as Rector did not begin well. Soon after his arrival, Dr Hulme alienated many of his colleagues on the faculty by voting against his own College Council "regarding the site of a proposed School of Forestry. ... His relationship with the College deteriorated steadily as other issues arose until finally, in mid March 1954, he was asked by his colleagues to resign" according to G&L, paraphrasing official University of Canterbury history [G&L, p. 45. Actually, Dr Hulme submitted his resignation on March 4. At that point in the time line of the case, individual days are very important to get right. See 7.3. jp]. There is a whole career's worth of events inbetween that beginning and that end, and a huge set of complicated forces and factors which defined the course of events. For more detail, see section 7.10.1.1. There may also have been other factors contributing to Dr Hulme's forced resignation. Dr Hulme's family situation essentially self-destructed while he was Rector of Canterbury College. There have been published rumours that Dr Hulme may have had extra-marital dalliances during this time. Around the beginning of 1954, he eventually became party to an unusual living arrangement with Walter (Bill) Perry, his wife's lover, moving into Ilam. This was probably the final straw for his exasperated colleagues and a further incentive for them to demand Dr Hulme's resignation as Rector. It is clear that Dr Hulme also became preoccupied with his daughter's relationship with Pauline Parker in this same period, though just how 'serious' an issue it was to him isn't known. This is a truly complicated set of conditions and circumstances, explored more fully in the time line of the FAQ, section 7.3. Dr Hulme's tremendous and very public fall from exalted grace, not to mention the extreme personal humiliation 'inflicted' upon him by people he trusted--his colleagues and his family--affected Dr Hulme greatly. It now seems clear that Dr Hulme eventually planned a bitter retreat from New Zealand with his children in tow, leaving his wife and her lover to their own devices. Apparently unwilling to parent his daughter and, it seems, loathe to leave her in his wife's custody, Dr Hulme planned to deposit Juliet in South Africa, on his way home to Britain with his son. In a critical and complex sequence of events (see the time line, 7.3) Dr Hulme tendered his resignation, discussed divorce with his wife, collected his essential possessions and made plans to steam home to England. Then, just 12 days before the planned departure date, Dr Hulme's daughter, Juliet, helped her friend murder Honora Parker. Dr Hulme played an important role in the extraordinary events immediately after the murder, but it appears that he had reached the limit of what he would endure on behalf of his disintegrating family. The legal handling of Pauline and Juliet following the murder was very ill-conceived, bungled even, and it would seem that Dr Hulme adopted a completely 'hands off' attitude. Mere days after his daughter's arraignment, Dr Hulme said good-bye to his daughter, took his son, boarded the liner "Himalaya" bound for England and never looked back. He gave one press conference on board denouncing his daughter, the last public statement he was ever to make about the case. He did not provide significant evidence to the police, or testify at any legal proceeding or provide a deposition on behalf of either girl. He did not attend the hearing, the inquest or his daughter's trial for murder. In many ways, it is incredible that he was permitted to leave the country when he did. When Dr Hulme hit landfall in Marseilles, he disembarked and disappeared from public view, without comment. In 1955 Dr Henry Hulme made two brilliant career moves. First, he accepted a job at the Atomic Weapons Research Establishment at Aldermaston in the United Kingdom, Britain's 'Los Alamos.' Second, he divorced his first wife and then married Margery Alice Ducker, daughter of Lady Cooper and her husband, a Peer of the Realm, Sir James A Cooper, KBE. Dr Hulme devoted himself to physics once again and, three years later, in 1958, he became a proud father of Britain's thermonuclear Hydrogen Bomb, his third brilliant career move after leaving New Zealand. Dr Hulme made an extremely valuable contribution to Britain's becoming an independent nuclear power, restoring much of its faltering international prestige and clout. Remember, this was the height of the Cold War, the era of Sputnik and Soviet expansionism and the Suez Crisis. Britain had paid dearly for 'winning' the War with the Allies, by losing the last vestiges of the Empire, Palestine and much respect. In 1959 Dr Hulme was appointed head of Nuclear Physics Research at Aldermaston and he remained in this important and politically-influential post through the 60s, the Cuban Missile Crisis, the Test Ban Treaty (he was an important advisor on space-based detection schemes for verification), the Space Race, the global upheaval of 1968 and on into the era of D�tente. He retired in 1973, at the age of 65. It is conceivable that Henry Hulme may have had the clout, in late 1959, to influence events in New Zealand, at least to the extent of having his daughter's case reviewed at her twenty-first birthday, but there is no evidence that he interfered in any way. In 1974 Henry Hulme was recognized by an invitation to join the socially elite ranks of the original "Who's Who." His biography is analyzed in section 7.10.1. The inescapable conclusion of that analysis is that Henry Hulme chose to completely obliterate all record of Hilda Marion Reavley from every official account of his life. In so doing, he also discarded his children and heirs from his biography. His second wife, Margery, died in 1990 and Dr Hulme himself died within the year, on January 8, 1991, at the age of 82. There is evidence that Dr Hulme reconciled with his daughter in the years before his death. See 7.11. He did not change his official biography, however.

3.2.3Hulme, Hilda Marion. [jp,jb,G&L]#

Hilda Hulme was 41 in 1954. Hilda Marion Reavley was born in 1912 in England to a socially-prominent Anglican clergyman, the Rev J Reavley. She met and then married Henry Hulme in 1937, when she was 25, the year before Dr Hulme took up his post at Greenwich. Soon after moving to the green and pleasant London suburbs, Hilda bore Henry Hulme a daughter, Juliet, in late 1938. Hilda was 26. War broke out, and her husband was seconded by the Admiralty for war duty. Hilda and Juliet stayed with Dr Hulme, remaining an intact family, in London. Hilda Hulme testified in court that she was caught out in an air raid with Juliet when her daughter was two, and the harrowing experience had been extremely traumatic for Juliet, resulting in "bomb shock" and screaming nightmares which lasted many weeks. Hilda Hulme bore her husband a son, Jonathon, on March 22, 1944, when Juliet was 5. Hilda Hulme testified that she had severe post-partum complications and had to be readmitted to hospital soon after returning home. The experience of waking to find her mother taken away in the night was said to have been very traumatic to Juliet, and was said to have coloured her attitude towards her brother and to have affected her later relationship with him. Hilda testified she was confined for some period in hospital, her illness too great to permit visitors, including her daughter. This would have been an unusual condition, though not if Hilda Hulme had also been suffering from severe post-partum depression, certainly common enough and even more understandable than under normal circumstances, given the uncertainty and violence of the war. In August, 1944, Dr Hulme had to go to America on war work and Hilda Hulme chose to send her daughter to the North of England, "because of her illness and the war conditions." War relocation of children and families from London to the countryside, or up north, was not uncommon, but it was always difficult. Hilda Hulme chose to stay with her husband and young son when it became necessary to send her daughter away, alone, for the good of her health, first to the Bahamas and, later, to New Zealand. Almost a year after Dr Hulme was offered, and accepted, the post of Rector of Canterbury College, Hilda Hulme moved to New Zealand with Dr Hulme and Jonathon, arriving in Christchurch on October 16, 1948. She was reunited with her daughter around the time of Juliet's tenth birthday after a separation, this time, of about two years. In her trial testimony, Hilda Hulme said Juliet was demanding, very clinging and dependent and very difficult to discipline, at their reunion. In Christchurch, Hilda Hulme became the pillar of the University community she was expected to be as the Rector's wife, and more. The couple became prominent in Christchurch Society, thanks to Henry's position but also thanks, in good measure, to Hilda Hulme's considerable work in the community. Hilda Hulme seems to have tackled her new duties body and soul. In 1949, Hilda and Henry Hulme again sent Juliet Hulme away, for the good of her health, to a private boarding school in the North Island of New Zealand. Juliet would return within the year. Also in 1949, Hilda Hulme joined the Christchurch Marriage Guidance Council, which had been formed the previous year, seen to be a "daring and progressive organization" [G&L] modelled after the British Marriage Guidance Council. The general principles of the Council stated [G&L] that the family unit was the basis of society, with permanent monogamous marriage the foundation of the family; everything possible should be done to prevent the tragedy of the broken home, and the train of evils which follow in its wake. Fertile unions should be promoted, and it was a firm belief that sexual intercourse should not take place outside of marriage. Hilda Hulme's work on the Marriage Guidance Council brought her into social contact with prominent members of Christchurch religious and professional establishment, with the Bishop of Christchurch, with psychiatrists and doctors (including Dr Bennett and Dr Bevan-Brown, who would later write on the case), Rex Abernethy (the magistrate who would preside over the arraignment of Pauline Parker) and even ST Barnett, who would become Minister of Justice and oversee the sentencing, incarceration, rehabilitation and eventual release of Pauline Parker and Juliet Hulme. Soon after Hilda Hulme joined the Christchurch Marriage Guidance Council, she organized a series of lectures giving advice to engaged couples. She was elected the Council's representative on the Canterbury Council of Social Services in 1950, the year the Hulme family relocated to Ilam. Hilda Hulme was also an active and popular marriage counsellor, highly regarded by her peers. She attended a training course for social workers in Wellington in 1952, the same year she was elected one of the Vice-Presidents of the Council. Hilda Hulme was re-elected a Guidance Council Vice-President in April 1953 and again in March 1954 and she remained a very active member until her resignation from the Council in May, 1954. The need for Hilda Hulme to resign from the Council was precipitated by her increasingly-public relationship with Walter Perry and the whole business stunned Council members. By then, Hilda Hulme had managed to break nearly every fundamental, founding principal of the Council, and add a few more serious conflicts of interest for good measure, over the space of six months. In 1951 Hilda Hulme was a regular panel member of the Women's Session program on "3YA," one of the local radio stations. The panels discussed topics of the day, including religious instruction in schools, whether or not compulsory school uniforms were necessary, raising children etc and recordings of the discussions were exchanged with other stations. Hilda Hulme was also elected to the Board of Christchurch Girls' High School, which her daughter Juliet and Pauline Parker would attend--additional pressure on the girls to keep up appearances as model pupils, and additional pressure on the Hulme family when the girls blithely went their own way, according to G&L. Hilda Hulme tried to intervene, as a Board member, when Pauline Parker left school at her mother's insistence. According to Pauline Parker's diary entries, it appears as if Hilda Hulme grew quite fond of Pauline, but there may have been more to their relationship than the elements chronicled by Pauline on paper. For example, Hilda Hulme testified that she was led to believe that Pauline Parker was often subjected to severe corporal punishment at home, that Pauline was very unhappy at home and that her mother did not understand or love her. Indeed, Glamuzina and Laurie believe that the relationship between Hilda Hulme and Pauline Parker, and especially Hilda's actions and words to Pauline, are key to understanding the murder. In mid 1953, Hilda Hulme traveled back to Britain with her husband while her daughter was confined with TB in Christchurch Sanatorium. Soon after the Hulmes' return to New Zealand in late August, 1953, Hilda Hulme met Walter Perry, through her work as a counsellor with the Marriage Guidance Council; Perry was a client who came for counselling. Within a very few months, around Christmas 1953, Walter Perry would move into Ilam to live "as a threesome" with Henry and Hilda Hulme. Hilda Hulme's whirlwind relationship with Walter Perry apparently sealed the breakdown of her marriage and set into final motion a number of important events, including the generation of public pressure on both herself and Henry Hulme. Pauline Parker's diaries indicated that Pauline was initially shocked and distressed by this set of developments, but not hostile towards Hilda Hulme. Divorce was discussed and, after a complicated sequence of events, it appears as if Hilda Hulme was not going to get custody of either of the two children, despite the fact that Henry Hulme was obviously not prepared to be a parent to his daughter, Juliet. Henry and Hilda Hulme made plans to divorce and Hilda Hulme and Walter Perry made plans to start a new life together, alone. Then, 12 days before the Hulme family was to be scattered to the winds, Hilda Hulme's daughter, Juliet, helped Pauline Parker murder Honora Parker, Pauline's mother. Hilda Hulme appears to have been in reasonable control of the situation on the evening following the murder, but she appears to have gone into a kind of shock, for all intents and purposes, soon after that. With her husband apparently abrogating all parental and spousal responsibility, Hilda assumed the lion's share of responsibility for her daughter's legal defense and many mistakes were apparently made. Hilda Hulme stood by her daughter in the face of extraordinary legal proceedings and in the searing glare of a publicity that few people have ever experienced. Although her actions would seem to be to her considerable credit, the real situation may be more complex than it appears, with credit and blame being more difficult to define and assign. There was no lack of tragedy, though. Hilda Hulme was evicted from Ilam when her husband departed New Zealand with her son, at the beginning of July. She auctioned their possessions in July 1954 to raise money for trial expenses and lived with Walter Perry in the Hulmes' Port Levy house throughout the trial and for a brief period following it. Hilda Hulme testified at all stages of the legal proceedings on behalf of her daughter, though tabloid (and even broadsheet) news accounts from the time make it clear that she was very close to complete nervous collapse many times during the proceedings. Hilda Hulme testified under subpoena. She was obliged to inform the world of her most intimate personal affairs, as well as those of her daughter, in a largely-pointless trial whose outcome could have been predicted ahead of time. Glamuzina and Laurie contend that Hilda Hulme may not have remained in the country for the legal proceedings had she not been forced to remain and give testimony, by law. A few days after her daughter was convicted of murder and then sentenced to be detained During Her Majesty's Pleasure, Hilda Marion Hulme changed her name, legally, by deed poll in Christchurch, to H Marion Perry. She would be referred to as Mrs H Marion Perry from that point on. Less than a week later, she left New Zealand with Walter Perry, by steamer, never to return. As there had been with Henry Hulme, there was also a final press conference shipboard for Walter and H Marion Perry, denouncing Juliet. It was reported that H Marion Perry refused to discuss any aspect of the whole affair for many years. She never made another public statement about the case. H Marion Perry and Henry Hulme were divorced and H Marion and Walter Perry were married, taking up residence in England but settling far from Henry Hulme. The couple appears to have remained together, taking in Juliet upon her release from prison. H Marion Perry is still alive (she is 83 in 1995) and she now lives near her daughter on the north-east coast of Scotland.

3.2.4Hulme, Juliet Marion. [jp]#

Juliet Hulme was aged 15 years and eight months when she helped murder Honora Parker in June, 1954. Juliet Marion Hulme was the firstborn child of Henry and Hilda Hulme, born on October 28, 1938 in Greenwich, on the South Bank of the River Thames, south-east of the City of London. At the time of her birth, her father had recently assumed the post of Chief Assistant at the Royal Observatory. Juliet was an extremely bright and, by her own description, a mischievious and precocious child, but she was also a sickly one, suffering from several different, serious, respiratory ailments when young. In addition, she suffered severe psychological trauma during the London Blitz, when she was two. It was reported that she suffered from debilitating screaming nightmares for several weeks after this episode, perhaps for months, and on and off during her childhood. The birth of her brother Jonathon in March 1944, when she was five, was also a traumatic experience for Juliet because of her mother's serious post-partum complications and hospitalization. First, her mother was spirited away from home in the night, then hospitalized for an extended period with no visitors, then her father left her to go to America and she was sent away, alone, to the North of England (probably Liverpool). This was to be the first of many sudden and lengthy separations from her family, and there is considerable evidence that the accumulation of all her childhood separations from her family, and from her Mother in particular, had a profound effect on Juliet Hulme. In the winter of 1944, when Juliet was six, she contracted bronchitis, which became severe pneumonia, and Juliet came close to death. It was reported that the physician called to the house to see Juliet told her mother he would be back the next morning to sign her death certificate. Juliet survived, but the episode had an extreme effect on Juliet and her family. She was withdrawn from school and remained sickly and largely sheltered and housebound for the next two years. In the mean time, the War ended and her father was promoted within the Admiralty to Director of Naval Operational Research, then becoming Scientific Advisor to the Air Ministry in 1946. When she was eight, in late 1946, Juliet again contracted another serious case of pneumonia. After she had recovered, on the advice of a physician, Juliet was sent to the Bahamas to live with another family. She remained with them for 13 months, from the age of eight, until she was nine. In late 1947, Dr Hulme was offered and accepted the position of Rector of Canterbury College in Christchurch, New Zealand. Juliet's parents then decided to send her to the Bay of Islands in the northern tip of the North Island of New Zealand, for the sake of her health. When she was about ten, Juliet apparently suffered another health crisis, and she was confined to a sanatorium. This crisis either precipitated or approximately coincided with the emigration of her family to New Zealand in mid October 1948. Pictures of Juliet from this time, just after the arrival of her family, show her to be a bright, serious and very pretty child, with a round face and a very direct gaze. Hilda Hulme testified that Juliet was clinging and hard to discipline when the family was reunited. Juliet's reunion with her family in Christchurch was to be short-lived. Hilda Hulme testified that she and her husband soon became concerned with the state of Juliet's health and, in early 1949, Juliet was sent away to a private boarding school (possibly Queenswood) in Hastings, on the eastern coast of the North Island, on Hawke's Bay. Hilda Hulme also testified that Juliet was very unhappy there, and she returned to her family within the year. It is likely that Juliet was tutored privately for the remainder of the 1949 school year. Early in 1950, Dr Hulme moved his family into the Ilam homestead, the official residence of the Rector, located on the grounds of the proposed new 'Ilam' site for Canterbury University College. The homestead was a grand colonial house, with spectacular gardens, built near a meandering confluence of the river Avon on the western outskirts of Christchurch. Nearby were horse paddocks, open grazing farmland, and the CUC's School of Fine Art, the only department to have moved to the Ilam site. Most students of the School were young women. Ilam was to become a busy centre of College social functions and, of a December, Dr Hulme would throw open the grounds to students studying for finals, bringing them lemonade on the lawns. Young Juliet was enrolled at Ilam School, an elementary and junior school virtually across the road from the homestead, and she apparently spent two happy years there. These two years spent close to her family were probably close to idyllic for Juliet, but they were a nightmare for Canterbury College and for Juliet's father. See 7.10.1.1. When it came time for Juliet to enter high school, in February 1952, she was apparently enrolled briefly at St Margaret's, a private Anglican girls' school north of Hagley Park in Christchurch. Hilda Hulme testified that Juliet was given intelligence tests at this time, scoring very high (actually, Juliet Hulme's IQ was measured, then, to be 170). On the basis of these tests, it was decided to place Juliet into a larger, public High School, Christchurch Girls' High School, since Juliet would be stimulated, intellectually, in a larger, busier environment. St Margaret's was 3 km from Ilam. CGHS was two blocks north of Dr Hulme's office at CUC, and Hilda Hulme was on the Board of Governors of CGHS. These may have also been factors in the decision. Juliet met Pauline Parker at CGHS. This is the beginning of the time period covered in "Heavenly Creatures." Photos of Juliet taken in the gardens of Ilam at the age of twelve or thirteen (e.g. the "daffodils" photo) show her to be a 'sophisticated,' serious and slightly self-conscious girl, but happier than she appeared in her earlier photos, and apparently in good health. Her hair is short and sunbleached at the tips, so she must have spent a lot of active time, outdoors. Two years later, after contracting tuberculosis and being subjected to a period of quarantine and isolation in Cashmere Sanatorium, an experience which had a profound effect on her, Juliet helped Pauline Parker kill Honora Parker. Initially, Juliet denied involvement in the crime, probably according to prearrangement with Pauline. However, she changed her mind and made full, detailed statements to police, which were entered into evidence during the trial. See 7.5.7. It is Juliet's statements which have provided most information about the murder itself. Juliet was subjected to a battery of physical and psychological testing in the six weeks between the murder and the trial. Photographs of Juliet at the time of her trial show her to have grown into a slim, poised and very attractive young woman, now with shoulder-length, darker hair. Press reports commented extensively on her striking appearance and her bearing and her behaviour during the hearing and the first days of her trial; some called it arrogant, others refined, others remorseless. During the final day of her trial, however, during the summing up and sentencing, Juliet Hulme sat with her fingers plugging her ears and her gaze downcast. She was convicted of murder and sentenced to an indefinite period of incarceration, During Her Majesty's Pleasure. The sentencing of Juliet Hulme, the events which occurred during her incarceration and the terms and conditions of her eventual release are all quite complex issues, dealt with at some length in Glamuzina and Laurie's book. Only a brief outline will be presented here. Many factors went into the sentencing and decisions were made all the way up to the level of Secretary of Justice and the Minister of Justice. Juliet benefitted from a recent change in the law which forbade capital punishment for persons under 18 years of age convicted of capital crimes (this was the first case, though the law was 3 years old), and incarceration "During Her Majesty's Pleasure" for an indefinite duration was automatically prescribed. This sentence ensured that periodic review would be made of her "progress toward rehabilitation" and it also allowed for highly conditional terms of release. This was an era of quite sweeping reform and change in the NZ system of justice and there was an official emphasis on rehabilitation and re-integration into society, especially where young offenders were concerned. The public, however, was outraged by the crime and, perhaps to an even greater degree, by what was perceived to be unrepentent attitudes and callous behaviour on the part of the two girls in the time between their arrest and their conviction. The public was demanding harsh and vengeful punishment and sentencing became very much a political issue in this climate. Juliet and Pauline were sentenced to separate terms of incarceration specifically because it was perceived that absolute separation would be the most severe punishment for them, not because of psychiatric arguments voiced during the trial. They were not permitted any form of communication whatsoever, again to maximize their punishment. Juliet Hulme was perceived by the public to have been the dominant and willful 'ringleader' and it was decided to give her the harshest treatment possible, at least on paper--largely, it would seem, to appease the public's thirst for vengeance. Juliet was transferred to Mount Eden prison, a tough, primitive, high-security facility described as medieval in construction and atmosphere, containing both male and female inmates in separate wings and the site of capital punishment in New Zealand. She served out the bulk of her sentence at Mt Eden and there were several hangings in the central yard while she was there. She was placed in solitary confinement for the first three months of her sentence, emerging "remorseful" according to newspaper reports. During her time in prison, she was not visited by any family member and their correspondence with her was described as very infrequent. In a very real sense, Juliet Hulme faced her punishment for her crime almost completely alone. It appears to have been a galvanizing experience for her. Although conditions for Juliet Hulme in prison were grim and harsh, she was nonetheless afforded special privileges and her conditions also improved greatly as time went by and the public attended to other things. The Howard League for Penal Reform intervened on Juliet's behalf early in her incarceration and this kindness seems to have made a lasting impression on her (see 7.11). During her sentence she continued her studies at the Advanced level, taking Italian, English and Mathematics, her father's specialty, and she passed University Entrance. Juliet was also tutored on occasion by academics and former colleagues of her father's. She was permitted to correspond with people outside the prison, though all mail was screened and censored and recorded. She was permitted visitors if they had legitimate ties and they obtained the special permission required for each visit, and there were some visits by former classmates and family friends, for example. Apparently she was also permitted to take some meals with the Warden and his family. Overall, both Juliet and Pauline were treated during their incarceration in a "strongly paternalistic way" according to Glamuzina and Laurie. The Minister of Justice received regular reports on their progress. Juliet was eventually transferred to Arohata Borstal, Wellington, near the end of her sentence. Late in 1959, soon after her twenty-first birthday, Juliet Hulme was released secretly from prison (a public announcement was made two weeks later) and given an anonymous new identity. The terms of her release were that she would leave the country and she would have no contact with Pauline Parker, though these conditions were not made public at the time of her release, for some reason, and the public was led to believe that Juliet's release was final and unconditional. In fact, if she had broken any of the conditions of her release, Juliet would have been subject to re-imprisonment according to the terms of release "During Her Majesty's Pleasure." Juliet Hulme ceased to exist at that time.

3.2.5Parker, Honora Mary. [jp,sb,G&L,maw]#

Honora Mary Parker was born in 1909 to Robert William Parker, a chartered accountant, and Amy Lilian Parker, in Birmingham, England. Birmingham is in the industrial Midlands of England, traditionally an economically depressed region of the country during this century, but Robert Parker's profession would have placed his family on the lower end of the working middle classes. In an interesting and, I think, very significant twist of fate, Honora Parker and Henry Hulme were born less than a year apart, not all that far from each other in the geography of their birthplaces and quite close in terms of the social stations of their families. It would have been inconceivable for Honora Parker not to be aware of these things even if she and Dr Hulme never broached the subjects and they may have been extremely important factors in determining Honora Parker's attitudes toward the Hulmes. It is hard to believe that Honora would not have dwelt upon the similarities in their beginnings in life and the huge disparities between her lot in life and Henry Hulme's. It is equally hard to believe, given her background, that Honora would not have taken considerable satisfaction in Dr Hulme's fall from grace and from the revelation of his 'tainted' family situation. At the age of 18, in 1927, Honora Parker emigrated to New Zealand with her mother, Amy. The fate or circumstances of Honora's father aren't known. Honora settled in Raetihi, NZ, where she eventually met Herbert Rieper, fifteen years her senior and an accountant in the firm where Honora worked. This description of him makes Herbert Rieper sound like a reasonable approximation to Honora's father, of course. Something to ponder. According to trial testimony, some time between 1929, when Honora was about 20 and under the age of majority, and 1931, Honora Parker and Herbert Rieper began their relationship and began living together as husband and wife. They were never married, a fact eventually known only to themselves and adults in their immediate families. See the section on Herbert Rieper (3.2.9) for more on this part of their lives. By 1936, Honora Parker and Herbert Rieper had moved to Christchurch, NZ, living as husband and wife on Mathesons Road in the Phillipstown area of the city, described as "industrial" by Glamuzina and Laurie, but in many respects it seems to have become Honora and Herbert's 'neighbourhood'. Mathesons Road lies outside the eastern border of the old town, a couple of blocks north of Lancaster Park and the railway tracks. Hereford St, where Herbert Rieper managed Dennis Brothers' Fish Supply, was two blocks to the north. There was a Methodist Church one block north, on Cashel St and Bromley Methodist Cemetery lay a short distance farther east, across Linwood Park and Linwood Ave. Honora's first child with Herbert was a boy, born a 'blue baby', in 1936, with cardio-pulmonary defects and he died almost immediately after birth. Their second child, Wendy Patricia Parker, was born in March 1937, when Honora was 28 and Herbert 42. Pauline Yvonne Parker was Honora's third child, born May 26, 1938, when Honora was 29. During WW II, Pauline had severe health problems which would have placed serious financial strain on the family. Nevertheless, in 1946, Honora Parker and Herbert Rieper purchased a house on 31 Gloucester St, about 3 km west of Mathesons Road, near Hagley Park in the old town and sited between Canterbury College and CGHS. The house was registered in Honora Parker's name as "the wife of Herbert Rieper." There may have been compelling legal reasons not to register the house in Herbert's name. The Riepers apparently had a family lawyer, Dr A Haslam. He would eventually defend Pauline Parker for the murder of her mother. Honora and Herbert had a fourth child, Rosemary Parker, in March 1949, when Honora was 40 and Herbert was 54. Rosemary was born with Downs' Syndrome and her disability was severe enough for her to be institutionalized at the age of two or three by her parents. Rosemary was sent to Templeton Farm outside Christchurch, where she was visited regularly by her family and brought home for occasional visits, according to testimony. Pauline Parker was said to have been very fond of Rosemary. For more on Rosemary Parker and Templeton, see section 3.2.10 on people missing from the film. Honora's mother, Amy, was a frequent guest at the Rieper house, though she apparently lived elsewhere in Christchurch. Herbert might have called her 'Mother Parker'. Pauline called her Nana Parker; 'Nan' or 'Nana' was and is a common term for grandmother in parts of England, especially among working- or lower-middle class people. The Hulmes probably would have used the term 'Gran' or 'Granny'. Honora took in boarders at 31 Gloucester St and ran the house as a boarding house. Unfortunately, it isn't clear when Honora began taking in boarders, but it is actually possible that she began as late as January 1953, judging by some of Pauline Parker's diary entries. Pauline stated that her mother was going to take in 'Training School' boarders; these would have been Teachers' Training School pupils [maw] so Pauline may have had role models and an environment that was reasonably stimulating, intellectually, with these boarders. These are extremely important points, overlooked in all accounts I have seen. With their home so close to Canterbury College, it would also have been natural for the Riepers to take in College students, although College students did have the reputation of being rowdy. Honora, Wendy and Herbert were contributing financially to the family during the time period seen in "Heavenly Creatures." Pauline was not, though there were apparently plans in the air for her to start pulling her weight in the family; Pauline was apparently due to start work the week of Juliet Hulme's planned departure. Glamuzina and Laurie conclude, on the basis of diary entries largely referred to but not quoted, that there was considerable friction and conflict between Honora and Pauline Parker and that it was quite longstanding. They conclude that Honora may have slapped Pauline several times in one episode, but that Honora apparently did not indulge in "excessive corporal punishment" when it came to disciplining her daughter. Glamuzina and Laurie conclude that the mother-daughter dynamics and relationships in both the Rieper and the Hulme households were the most important co-factors in the "Parker Hulme" murder, the ones responsible for defining who was murderer and who was victim. The primary aggravating factors, they claim, were the circumstances and stresses brought about by the disintegration of the Hulme household. Honora Mary Parker was 45 when she was murdered by her daughter, Pauline, and by her daughter's friend, Juliet Hulme, on Tuesday June 22, 1954. At the time of her murder, Honora Parker was described as a quite ordinary, greying, middle-aged woman with dentures, much like anyone's mother. Really, though, very little is known of Honora Parker; she died very much a plain, invisible woman who was transformed, almost immediately upon her tragic death, into things she probably had not been in life. These new and re-worked fragments of the real woman were trotted out and displayed and used by people with vested interests in the case, which makes re-constructing the real person difficult. On Thursday, June 24, 1954, Honora Parker's body was cremated, after funeral services were held at Bromley Methodist Cemetery, back in the old neighbourhood.

3.2.6Parker, Pauline Yvonne. [jp,sb,jb,G&L]#

Pauline Yvonne Parker was born on May 26, 1938, in Christchurch, New Zealand, the third-born child of Honora Mary Parker, 29, and Herbert Detlev Rieper, 43. As a young child of five, Pauline contracted osteomyelitis and was hospitalized for nine months. She was near death at one point, and the illness and treatment were extremely painful for her. Little Pauline was reported to have borne the pain bravely and quietly. Two years later, at the age of seven, she was forced to undergo a second painful operation to drain infection from her leg. Pauline's illness left her with a permanent, though not crippling, handicap which would excuse her from physical education and sports throughout childhood. Pauline had chronic, recurring pain in her leg throughout her childhood and youth and she took pain killers quite frequently throughout this time. Otherwise, her childhood was described by her father as "uneventful." She attended a local primary school but had to be in a class by herself for nearly two years following her discharge from hospital because of the school's organization. Pauline was eight when her family moved to 31 Gloucester St. Throughout much of her later childhood, Pauline attended East Belt Methodist Church regularly with her sister, Wendy, though her parents were not regular parishoners. She and her sister went on outings and vacations in the country sponsored by the Church. Pauline was described as a serious, mature, bright girl and an imaginitive, gifted writer. She became interested in creative modelling in plasticine and wood and became quite accomplished. Upon entering Christchurch Girls High School in February 1952, at the age of 12, Pauline was placed into the top stream. Note that Pauline entered High School at the normal age, despite having been hospitalized for the better part of a year. Soon after Juliet Hulme began attending Girls' High, Pauline Parker began a friendship with Juliet that would come to distance Pauline from her family. The friendship between the two girls was also to push the bounds of local social norms in many ways; their physical closeness at school was disapproved of and commented upon as early as mid-1952. Glamuzina and Laurie paint Pauline's family, in particular, as becoming progressively more concerned at the growing friendship between Pauline and Juliet, disapproving of the changes they saw in Pauline and in her behaviour and her attitudes as the friendship grew. The two girls were separated for the first time by Juliet's quarantine in the TB sanatorium. Pauline Parker was a loyal, loving and extremely important friend to Juliet during this very difficult time in Juliet's life. In later years, Juliet Hulme would comment that she would come to feel an extreme debt of gratitude and obligation to Pauline Parker because of Pauline's unwavering support and companionship during this "dark and lonely time." Juliet would refer to Pauline's friendship as a "lifeline" during her confinement at the sanatorium. Pauline wrote extensively during this time, in the form of letters to Juliet, stories and in personal diaries beginning in January, 1953. Pauline's diaries would eventually provide most of the physical evidence for premeditation of Honora Parker's murder. They would also be used extensively by the army of psychiatrists in their testimony during the trial. Glamuzina and Laurie claim that much of Pauline's diaries have been sensationalized and mis-interpreted. Pauline also had several other important friendships and relationships throughout her adolescence, most notably with the boarder 'Nicholas' and with a group of Ceylonese University students. Indeed, Glamuzina and Laurie emphasize that Pauline and Juliet both had many other friends and G&L downplay the 'intense exclusivity' of their relationship, because that aspect was seized upon by the psychiatric profession as a symptom of the girls' 'madness.' Pauline's school picture from October 1953 shows her to be a serious, rather short, dark-haired girl with an oval face and full, dark brows. At "seven stone" (98 lbs) she appears slim compared to her classmates and rather more sad than brooding, with arms held quite stiffly behind her and her face downcast. Her hair is dark and had been curled and pinned on either side of her head, a little untidily. All the girls around her have short hair styles, their hair just a little flyaway, so there was a slight breeze that day. Pauline's uniform is well-fitting, neat and pressed, her collar starched, and her tie is loosely but correctly knotted and placed. For some reason, my eye is drawn by the creases at the elbow of her white cotton shirt--they are sharp, as if the shirt were new and the day had been a little hot and sticky. The sun is not high and, coming as it does from the north-west, it says that the girls of Form IVA were photographed rather late in the afternoon, that October Spring day. The public would read much into the fact that all other girls in the photograph except Pauline were looking into the camera, and smiling. At the urging of Dr Hulme, Honora Parker took her daughter to be examined by Dr Bennett in December 1953 and Pauline was apparently 'diagnosed' to be a homosexual. It isn't clear whether or not Pauline was informed of this diagnosis; according to her diary, it would appear that Honora Parker made vague references to the poor state of Pauline's health, and that her condition was the result of her association with Juliet Hulme. Honora at first threatened to separate Pauline from her friend and then she forbade Pauline from seeing Juliet over the summer holidays. It was during this time, when the two girls were separated, that the Hulme household went into convulsion with the arrival of Walter Perry. The crumbling of the Hulme household accelerated with the coming of the New Year and things reached a head in both homes around Easter, 1954. When the Hulme family started disintegrating, Pauline became concerned and upset at first, according to her diary. Pauline had formed a close relationship with Hilda Hulme before this upheaval, or perhaps a close attachment would be a more correct description, according to her diaries. Pauline had apparently believed that Hilda and Henry Hulme would support her in her desire to leave her family for thiers. The Hulme family upheaval changed all that, and it seems that Pauline and Juliet came up with several alternative 'escape' schemes. When the Hulme household started to crumble, Honora Parker was apparently pleased that the relationship between the girls would be broken up and she became very pleased when she learned that Dr Hulme was to leave the country, with Juliet, according to evidence presented during the trial. Around this time Honora removed her daughter from school and enrolled her at Digby's Commercial College. According to Glamuzina and Laurie, "Suggestions were made that she had fallen behind in her schoolwork [when she left the High School]. The school record shows no indication of this." This is also a very important point which needs to be clarified. Pauline Parker's diary records a tremendous rush of events and an increase in tension and friction through May and June, 1954, as the physical breakup of the Hulme's household drew closer. The time line is complicated. See 7.3. Just 12 days before the Hulme household was due to disintegrate completely, Pauline Parker murdered her mother, with Juliet Hulme's assistance, on Tuesday June 22, 1954. At first, both girls maintained that Honora Parker's death had been an accident, but Pauline confessed to the crime later that evening when she was interrogated, alone, at Ilam. See 7.5.6. She apparently planned to exonerate Juliet, hoping that Juliet would escape punishment. After making her brief, rather uninformative confession, Pauline Parker offered little more concrete information about the murder in the weeks and months ahead, or her reason for committing it, and she has kept her silence on these matters to this day. She admitted, during questioning, that she was aware of her crime and that it went against the moral standards of the community--sufficient evidence to find her legally sane. During the arraignment and trial, pictures of Pauline show her to be slightly heavier-set than she was before Christmas, and a dowdy dresser in her 'civilian' clothes. In several pictures, it appears as if she had a bandage or some prosthetic device on her chin, although this was often retouched in newspaper accounts. The contrast between Juliet, who always appeared fashionably smart and well-tailored, and Pauline, who looked much older and more tired than her years, was striking in pictures from that time. Most of Pauline's pictures showed that she walked with her fists tightly clenched by her side. After being convicted of the murder of her mother, Pauline was sentenced to indefinite incarceration, Pauline was removed to a Borstal (roughly equivalent to lower-security Juvenile Detention) near Wellington, Arohata Women's Reformatory, where she served out most of her sentence. This more lenient environment, compared to Mt Eden, was partly the result of lack of prison facilities in New Zealand and also because Pauline was viewed by the public, after the trial, to be slightly the dupe or victim of Juliet Hulme's intense persuasion. The public perceived the murder, for reasons best known to itself, to have been something of a 'thrill killing' in some respects, possibly at Juliet's instigation. There may have also been a little racism and English backlash involved in these sentiments, too. Pauline and Juliet were not allowed to communicate in any way or meet during their incarceration. It was reported that Pauline was extremely distraut by these circumstances in the early stages of her prison term. Pauline Parker's relationship with her family members was extremely strained after the murder, as might be expected. Her father was not present at her conviction or sentencing and he made brief and bitter statements to the Press after the trial and upon his daughter's release from prison. Pauline was visited once by her father in prison and it would appear that this was their last contact. Pauline was moved to Christchurch Womens' Prison, Paparua before Juliet was moved to Arohata in the later stages of her incarceration. She was visited by other family and friends when she was moved back to Christchurch. Early in her incarceration Pauline converted to Roman Catholicism and apparently became a devout Catholic. Pauline enrolled in courses in English, French, Latin, Mathematics, Drawing and Design and, later, Maori. She completed University Entrance and made considerable progress towards her Bachelor of Arts degree, eventually completing it soon after her release from prison. In late 1959, Pauline Parker was furnished with a new identity and released on parole after Juliet Hulme had been released and had left the country. During her parole, Pauline was subject to controls in terms of her movements and her employment and she was closely monitored. Department of Justice officials noted their concern over Pauline's association with lesbians during her probation period, a good indication of the scrutiny under which she was placed. It also illustrates the type of official labelling, discrimination and repercussions mentioned previously in 3.1.11. Pauline Parker remained on parole until 1965. Apparently, upon her release from parole, Pauline Parker moved from New Zealand. Pauline Parker became an anonymous private citizen after her release from prison and she has continued to maintain her anonymity. Ms Parker has not identified herself, and she has made no public statements about any of the matters covered in this FAQ. Recent press reports place her back in New Zealand, in Auckland, still leading her life in the private sphere and working in a Christian book shop. She would have celebrated her 57th birthday at the end of May, 1995.

Stevan Eldred-Griggs (NZ social historian): "Pauline clearly longed to escape the shabbiness and domestic work of the boardinghouse her mother ran. She fantasized about Italian opera singers, literature, rising to the upper class--common enough escape fantasies."

Jackson: Deplores the continuing media hunt for Pauline Parker. "It's horrible. It's not that these girls are Nazi war criminals." Jackson frequently makes this comparison. It is actually a reference to Medlicott's article. See 7.8.1.

3.2.7Perry, Anne. [jp]#

After leaving New Zealand in 1959, first for a stopover in Sydney, Australia and then for her destination in the UK, Juliet Hulme became Anne Perry, a fact revealed in 1994. Her new surname was taken from her mother, H Marion Perry and her stepfather, Walter (Bill) Perry. Ms Perry lived with Walter and H Marion Perry for several years on her return to England. A detailed 'official' biography of Anne Perry is given in section 7.10.2. Anne Perry held a variety of jobs in England in the early 60s. She was a flight attendant on domestic UK flights and lived and worked in Newcastle, in the north-east corner of England, for a time. Then, in 1967, Anne Perry was at last granted a visa to live and work in the United States. She made a complete admission of her past to US Immigration authorities, who reviewed the transcript of her trial before granting her a visa. It is not known if her father, Henry Hulme, played any role in securing his daughter's visa, though it is almost certain that he would have been consulted because of the sensitive nature of his high- security position at the time. So, finally, thirteen years after dreaming about escaping to California with Pauline Parker, Anne Perry came to San Fransisco in the Summer of Love. She was 29 in 1967. While living in San Francisco, Anne Perry was introduced to the Church of Jesus Christ of Latter Day Saints by an acquaintance, and she became a Mormon. She made a complete disclosure of her identity and her past to the Church, which welcomed her warmly. Ms Perry has written on the history of the Mormon Church in the UK. Anne Perry eventually moved to Los Angeles and worked, among other jobs, as an Underwriter by day, while writing at night. She was not able to sell any of her writing. She stuck it out for several years in LA, in a variety of jobs, until she decided she had had enough. She eventually moved back to the UK in the early 1970s. Back in the UK Anne Perry continued writing for several very lean years with no commercial success. During that time, it appears as if Anne Perry and her father, Henry Hulme, finally reconciled (see 7.10.2.1). Anne Perry's first novel, "The Cater Street Hangman," was accepted for publication and then published in 1979. Prior to this, she had written several works of historical fiction but had never managed to sell them. By moving into the Victorian era, and the genre of the murder mystery, Ms Perry had at last hit upon a commercial product. Since that time she has worked at a furious pace to build up her reputation, and her readership, to its present level of success. Ms Perry just published her twentieth novel, "Traitors Gate," and has just completed (March '95) a book tour of North America. Anne Perry now lives a mile from her mother on the eastern coast of Scotland, in a huge renovated stone barn overlooking the sea. She has three dogs and two cats and a neighbour who raises pigs. Her community is a small, close-knit one. Ms Perry never married, though she says she came close to it, a couple of times.

** Who made the connection between Anne Perry and Juliet Hulme?

Investigative reporter Lin Ferguson of Sunday News (NZ) revealed in July 1994, when "Heavenly Creatures" was playing in film festivals, that Juliet Hulme's present identity was Anne Perry. Although filmmakers Walsh and Jackson were aware of the rumours surrounding Juliet Hulme's identity and whereabouts, and their extensive research and attention to known detail actually put many clues to Juliet's new identity into the film, the film was careful not to include the new rumors or explicit statements which would have identified Ms Perry, or Pauline Parker. After apparently overhearing a comment made by a New Zealand friend of Anne Perry, Ferguson took up Juliet's trail with "Mr Walter Perry," the engineer/lodger/lover featured in "Heavenly Creatures," and the knowledge that the girls had had a burning desire to become published authors. Searching "Contemporary Authors" (see 7.10.2), Ferguson quickly found an author who listed Walter Perry, an engineer, as her father, and Juliet Hulme's birth date as her own. Phone calls to Meg Davis, Ms Perry's literary agent in London, led to Perry's acknowledgement that she was Juliet Hulme (see 7.8).

3.2.8Perry, Walter Andrew Bowman. [jp,G&L]#

• Walter (Bill) Perry was born in Winnipeg, Canada. He was an engineer by training and profession. Walter Perry moved to New Zealand in July 1953, while the Hulmes were abroad in England, at the direction of Associated Industrial Consultants, a British Company based in London. When Walter Perry's marriage broke up, he became a client of the Christchurch Marriage Guidance Coucil, where he met Hilda Hulme, some time after her return to Christchurch at the end of August, 1953. The two fell in love, in what must have been something of a whirlwind romance. Even disregarding Hilda Hulme's defiance of her 'scandalous' professional conflict of interest, the social disparity between Walter Perry and Hilda Hulme, mentioned previously in the FAQ, and the time line surrounding their relationship are very important points to consider. Hilda Hulme had an enormous amount of social standing to lose by undertaking a relationship with Walter Perry. Throwing away a lifetime's worth of respect and social standing is not something undertaken lightly or on the spur of the moment and, to me, the velocity of Walter and Hilda's relationship is highly suggestive of serious and longstanding domestic problems between Henry and Hilda Hulme. In effect, Walter Perry was probably more a catalyst of the upheaval to come than its cause, more a trigger than the reason. As things would turn out, this was not to be a casual and temporary fling for either Walter Perry or Hilda Hulme. In fact, their relationship would be tested to limits experienced by few people, and it would survive. To me, this indicates a genuine and rather deep emotional need in Hilda Hulme part which Walter Perry was apparently able to fulfill. Around Christmas, 1953, Walter Perry moved into a semi- private flat at Ilam to live with the Hulmes. He had a private housekeeper, but she would be dismissed before Easter, 1954. Walter Perry's relationship with Hilda Hulme was apparently known to Henry Hulme and even accepted by Dr Hulme, according to testimony. The unusual living arrangement at Ilam generated significant gossip and social pressure, however, and it would precipitate the final breakup of Hilda and Henry Hulme's marriage. It also probably contributed to the forced resignation of Henry Hulme from his post as Rector of Canterbury College. While at Ilam, Walter Perry was discovered in flagrante delicto with Hilda Hulme by Juliet Hulme around Easter, 1954. This event crystallized a family crisis with very wide-reaching repercussions because it occurred at a critical moment amidst several other key events:
• it was a few weeks after Dr Hulme received the letter asking for his resignation, so the three adults had already planned the breakup of the family,
• it was less than two weeks after Pauline's removal from school by her mother, and Pauline had been frustrated by her inability to get a job,
• it was just one day after Pauline's first day at Digby's Commercial College,
• it was just three days before Dr Hulme informed the girls of the plans for divorce but not the specific plans to remove Juliet from New Zealand. The Easter event and ensuing crisis were well-documented by Pauline Parker and were entered into testimony during the trial, though Pauline's account was disputed by both Walter Perry and Hilda Hulme. There is no doubt that Walter Perry had become a significant presence and influence at Ilam by this time. Significantly, Walter Perry was also very well-informed about the girls' activities and writings. Ilam was apparently a house with enormous numbers of poorly-guarded secrets. At the trial, he claimed that Juliet had shown and discussed with him some of her work; if true, it would indicate a more intimate relationship between the two than has generally been painted. Although it was claimed in the trial that he had been blackmailed by the girls, it seems pretty clear that there were no secrets between the three adults by this stage, so his giving money to Juliet was probably just an attempt to win her affection, the step-parent trap or, perhaps, it was a genuine attempt to soothe an obviously-troubled girl. Within a month, Hilda Hulme was forced to resign her positions because of Walter Perry and Pauline Parker mentioned despair and suicide and the word murder for the first time. One diary entry after Easter quoted in the open press mentions Walter Perry, and it is an important one. Walter Perry was still living at Ilam when Pauline and Juliet murdered Honora Parker on June 22, 1954. On the evening following Honora's murder, Walter Perry was involved in several absolutely key events. First, at Hilda Hulme's request, Walter Perry took the girls' bloody clothing to a commercial dry cleaners before the arrival of the police. There have also been persistent rumours that Walter Perry was also involved in the destruction of other damning evidence that night, including Juliet Hulme's diaries and writings. Walter Perry also sedated both girls the evening of the murder, before they were interrogated by police. He was present at all but one critical interrogation session. In addition, Walter Perry apparently advised both Pauline Parker and Juliet Hulme to simply "tell the truth," without benefit of counsel, apparently with the blessing of Henry and Hilda Hulme. In a very real sense, then, it was Walter Perry who defined the defense strategy, because it was the girls' damning confessions which left the defense with few options. When Henry Hulme left New Zealand a couple of weeks later, Hilda Hulme and Walter Perry were evicted from Ilam. They auctioned the Hulmes' private possessions to raise money for the defense and their expenses and they took up residence at the Hulmes' holiday home at Port Levy. Walter Perry testified on behalf of Juliet Hulme at both the inquest and the trial, though his testimony was not much assistance to the defense. To his considerable credit, Walter Perry stood by Hilda Hulme emotionally and even physically throughout this period, apparently unconcerned about being photographed with Hilda Hulme after their relationship had been made public through testimony. After the trial, Walter Perry left New Zealand for the UK with H Marion Perry. He made a statement to the press during the sea voyage which was disparaging to Juliet Hulme but which also expressed his concern for Hilda Hulme. That was his last public statement about the case. Walter Perry married H Marion Perry after her divorce from Henry Hulme. The couple settled in the UK. After Juliet Hulme was released from prison, she moved back to the UK and lived with Walter and H Marion Perry for a time. Juliet Hulme adopted the surname Perry (revealed in 1994) and, as Anne Perry, she listed Walter Perry as her father in her official biographies written before 1994. Ms Perry now refers to "Bill" Perry, in public, as her stepfather. [This was how she referred to him during her comments in Corte Madera, 95/03/29. jp]. Walter Perry is now deceased. [sb]

3.2.9Rieper, Herbert Detlev. [jp,sb,G&L,maw]#

Herbert Detlev Rieper was born on October 22, 1894 in Strahan, Tasmania to Katie Thurza Stubbings and Claude Detlev Rieper, a shop assistant of German origin. He came to New Zealand in 1910, at the age of sixteen. At the outbreak of World War I, Herbert Rieper enlisted in the Army and was eventually stationed in Cairo, Egypt. [For an account of similar wartime experiences and travels and for excellent background information on New Zealand society, school system etc., see "Volume One: To the Is- Land" of Janet Frame's "Autobiography" where Ms Frame describes her father's service. jp] While stationed in Cairo, Herbert Rieper met and married Louise McArthur (n�e Mackrie) in 1915, when he was 21 and she was 34. Louise Rieper had been born in India of English parentage and had been married previously. By the standards and conventions of the day, Louise Rieper sounds to have been an independent, unconventional woman and, perhaps, something of an adventurer. The couple returned to New Zealand at the end of the War, settling in Napier on the Hawke's Bay, on the eastern shore of the North Island. The Riepers' first child was born in Napier in 1919 when Herbert was 25 and Louise was 37. They moved to Raetihi in 1922 and their second was born there in 1924, when Herbert was 29 and Louise was 43. Herbert was working as a bookkeeper when he met Honora Parker in Raetihi, around 1928. He was probably about 35 when he left his family and took up with Honora. Louise was about 47 at the time and their children were about 10 and 6. Honora was about 20. However, Herbert Rieper testified in the trial that these things happened two years later; Herbert probably calculated at some point before the trial that Honora was under the age of majority (21) when they took up together, so came to claim they had been together for 23 years, not 25, as he had previously said in interviews. Note the symmetry in age differences; Louise was to Herbert as Herbert was to Honora. For more on Raetihi, see below. Herbert and Louise Rieper were never divorced, which was the reason why he and Honora Parker were never married. Herbert Rieper apparently paid some maintenance to his first family but had little contact with them. By 1936, Herbert Rieper and Honora Parker had moved to Christchurch. The fact that Herbert and Louise Rieper were never divorced is probably the reason why the house at 31 Gloucester St was put in Honora Parker's name; this would ensure that Honora and her children would retain the house if Herbert were to die. Glamuzina and Laurie describe Herbert Rieper as a quiet, polite and dapper little man. In 1954, Herbert Rieper was the manager of Dennis Brothers' fish shop on Hereford St in Christchurch. He was 61 years old, so would have been close to retirement under better economic circumstances. Perhaps Herbert Rieper's impending retirement and the loss of income that would come with it was one of the financial pressures on the Rieper household which drove Honora to take in boarders. Perhaps the family wanted to pay off the house before Herbert retired. Money worries were obviously an extremely important factor in the equation, contributing greatly to the atmosphere in the Rieper home. I tend to think that they were more prominent and important than has been emphasized in treatments to date. The public was, obviously and justifiably, extremely sympathetic to Herbert Rieper after the murder of his wife, and all people associated with the case appear to have been extremely reluctant to offer any criticism of him. This has continued in the discussion and analysis of the case since then, including, to a large degree, Glamuzina and Laurie's book. However, and no matter how much he may have loved them, it seems apparent to me from his statements and his testimony that Herbert Rieper probably had very little to do with the actual rearing of his children or with disciplining them. He may not have been an 'absent' parent, but he was probably very much of the 'hands-off' variety, preferring to leave such things to his wife. For example, Medlicott was obviously frustrated by the extremely vague and limited information about Pauline's medical history which he could glean from Herbert Rieper (see 7.8.1). Herbert Rieper's sketchy information to Medlicott about his daughter, conisting mostly of information about how she helped him with his hobbies and bare-bones facts about her illness, should be contrasted with Hilda Hulme's detailed information to Medlicott about her daughter. Herbert Rieper testified in the Hearing and Inquest that he himself played a critical role in the events from Easter, 1954, up to Honora's murder but, by the time of the trial, his name was mostly absent and it was clear that Honora Parker initiated and carried through with many of the actions and decisions concerning Pauline. Unfortunately, this 'hands off' approach of his made Herbert a very unreliable witness when it came to details of dates and even the sequence of key events. He said that Honora finally approached Henry Hulme some time after Easter, 1954, determined to secure Henry's cooperation to break up the friendship of Pauline and Juliet. Around that time, the Riepers learned of Henry Hulme's plan to take Juliet to South Africa. It isn't clear what Herbert Rieper learned about the Hulmes' personal situation at that time. This is a crucial time period in the case, with few entries available from Pauline's diaries. Herbert Rieper's experiences on the day of his wife's murder were truly heart-wrenching and tragic. He was out of the shop and missed the message that his wife had been "hurt," so didn't show up to Victoria Park until after work, two hours after his wife's death, driven by a colleague. He was the prime suspect, briefly, and was kept in the dark about what had happened to Honora for several hours while being interrogated quite aggressively by police officers at the scene. Officers secured his permission to interrogate his daughter without legal counsel, and to search his house and her room under the same conditions, thereby having him sow the legal seeds of the extraordinary trial. He was obliged to divulge his marital status and that of Honora Parker and the legal status of his children, all dutifully recorded and then reported worldwide the following day. And, the following day, Herbert Rieper was required to identify his wife's body--which must have been a particularly unpleasant and traumatic experience because of the nature of Honora's injuries. He held the funeral for his wife the very next day, on Thursday June 24, 1954. Herbert Rieper was apparently affected greatly by Honora Parker's murder. He provided rather sketchy background information about Pauline to police and psychiatrists after his daughter's arrest. He testified at both the inquest and trial, but did not bother to attend the trial after his testimony was over. His testimony was not particularly informative and it is quite painful to read; it must have been unbearable to listen to him give it. Herbert Rieper refused to attend court on the day his daughter was convicted of murder, and stated from his home that he "had nothing to say" at the close of the trial. Reading between the lines, Herbert Rieper became terribly bitter and hostile toward the Hulmes and his daughter. The trial placed an extreme financial burden on Herbert Rieper. He was still paying legal fees many years later; these were reduced when the legal firm became aware of his hardship. Herbert Rieper apparently had little to do with his daughter after the murder. He visited Pauline once in prison, but found the process "depressing." It is doubtful that father and daughter ever reconciled, and there is no record that they had any contact after Pauline's release on parole. When his daughter was released from prison in 1959, Herbert Rieper was quoted as saying about the sentence served by Pauline and Juliet: "It still doesn't make up for robbing a person of their life. It was evil between them that did it. Pure evil." Herbert Rieper died in Christchurch in 1981, at the age of 92, after a long battle against pneumonia, a disease which figures prominently in this story. His sister died in Christchurch in 1973.

** Where is Raetihi and what was it like? [jl,lw,maw]

Raetihi is in the North Island, about 39 deg 20 min S, 175 deg 20 min E. Or, if you can find Lake Taupo in the middle of the North Island (biggest lake), then find Wanganui on the coast to the southwest; Raetihi is halfway between them. Nearest town is Ohakune. [jl] Raetihi is in the central North Island, just SW of Mt Ruapehu. Raetihi, and the nearby town of Ohakune are places where skiers on Mt Ruapehu stay overnight. They are also the centre of a large market-gardening district (carrots, potatoes, etc.) [lw] I used to stay in Raetihi with my grandparents every Christmas holidays. It was a very sleepy little town--such a small town that there was just one main street with a few shops. I suspect that its two major 'industries' were its dairy factory and the stock sales yard. As a kid, I used to go fishing with my grandfather and have very many happy memories of the area. The trout were GOOD. Absolutely the best breakfast, poached trout... mmmmm... Raetihi is at the top of the parapara (the local name for a road which connects, ultimately, with Wanganui, on the coast to the SW). It is a very winding road but it is the main connection between Wanganui and the centre of the North Island. I used to get there by bus from Wanganui, or by train from Wellington. I think Herbert Rieper and Honora Parker probably ended up there by chance. The trip from the King country through to Napier is still pretty rough even today, worse than the trip from Raetihi to Wanganui. [maw]

3.2.10Real people missing from the film. [jp]#

The most important real person missing from the film would be Pauline's younger sister, Rosemary Parker. She did not live at the Rieper home during the time period of "Heavenly Creatures" but she would have been a significant and important part of Pauline's life; Pauline was reported to have been very fond of her.

3.2.10.1Parker, Rosemary and Templeton Farm. [jp,lw,maw]#

Rosemary Parker was born in March 1949 with Downs' Syndrome or, as she was described by Dr Medlicott during trial testimony, Rosemary was born a "Mongolian imbecile." Honora Parker was 40, Herbert Rieper was 54, Wendy was 12 and Pauline was almost 11 when Rosemary was born. There was a small school for children with cerebral palsy across the street from the Riepers' home, so they may have benefitted from that close proximity in some way. When Rosemary was two [1951, G&L] or three [1952, Medlicott] she was institutionalized in Templeton Farm, a facility for the mentally ill or disabled (but not the criminally insane) outside Christchurch, about 15 km west of the city centre. There was a bus, the #25, which went all the way out to Templeton from Cathedral Square. Glamuzina & Laurie comment on the public perception of the mentally ill and handicapped at the time, and paint a rather hostile and negative picture. There seemed to be an inordinate emphasis on health, fitness and the participation in sport, and team sports especially, as being indicative of 'normal' child development at the time, in NZ. By inference from trial accounts and G&L's discussion, at the time she was born, Rosemary would have been a financial, emotional and social burden and a handicap to all the Riepers, in many ways. During trial testimony, Dr Medlicott referred to Rosemary Parker and to Pauline's older brother who had died at birth (see 7.1) and commented: "These things raise a query as to the stock from which she comes." He was a professional; no doubt the common folk thought the same. Herbert Rieper testified that Rosemary was visited regularly at Templeton Farm and was taken home occasionally, and G&L comment that there is evidence for visits and home visits in Pauline's diaries (only one entry is quoted by them), but G&L don't give numbers, which is very unfortunate. It is quite possible, of course, that Herbert Rieper may have given testimony about Rosemary which was either ill-informed or deliberately 'rosy,' putting the family in as positive a light as he could. That would only be human nature. Naturally, Herbert Rieper was not aggressively cross-examined over any of his statements made during the trial. Most went completely unchallenged. Apart from the impact of Rosemary on the day-to-day life of the Rieper home, she is very, crucially, important for another reason: In real life, the Riepers collected Pauline from Ilam on Sunday, June 20, 1954, at the conclusion of Pauline's last visit before Juliet's scheduled departure. From Ilam they proceded to Templeton Farm, to visit Rosemary. How should this visit be seen, especially given its timing? As an object lesson to Pauline about her responsibilities to her family? Or, perhaps, as a treat and a kindness because seeing Rosemary would take Pauline's mind off Juliet and her leaving? How would Pauline have been affected by a trip to Templeton Farm? Was visiting Rosemary really a welcomed, happy, regular event, to be looked forward to? Or, was it a painful, maybe depressing, once-in-a-blue-moon thing? What was it like, going to Templeton Farm, and how would Pauline have seen such a trip, coming straight from Ilam? [jp]

Templeton Farm is attached to the Templeton Hospital and is near Paparua Women's Prison. Templeton Hospital is a residential institution for mental patients who cannot live in the community, such as the mentally retarded and brain-damaged, not the psychotic. There is a sort of a farm attached to give the inmates something to do, and some work training for those who might someday be able to be released. [lw] Templeton Farm is a reasonable drive outside Christchurch; I would guess about 1/2 hour. It is about 5 miles down the road from Paparua Prison. Putting Rosemary Parker into Templeton Farm would have been a financial relief to her family because this was something the state actually paid for. If they were a typical family, I suspect the visits would have been once-in-a-blue-moon. I have a sister who contracted meningitis as a baby, and she is still in Templeton Farm. When I was young, people would be pretty gross to families with handicapped kids, if they knew. My sister didn't go into Templeton Farm until her early teens and I remember with sorrow how some others treated us because of our sister. I remember someone hitting both my sister and me with an umbrella at the bus stop because I couldn't keep her either still or quiet. We loved my sister, but you certainly would not have told strangers you had a handicapped sibling in those days. One would have thought it was catching. The bus still runs past Templeton. It takes my mother about 1 1/2 hours to travel into town from the suburbs then out to Templeton Farm by bus. We used to take my sister out regularly for drives etc, as did most families who remembered their handicapped kids. However, lots of people just dumped their handicapped kids and forgot them, probably the majority. It was very rare to see other visitors at Templeton. Visits there were never pleasant and I was always glad to get out of the place. I doubt whether anyone would have enjoyed them. The place looked awful and smelt awful and the staff were VERY brusque. Paparua Prison, just down the road, was not particularly secure; my sister used to run away to the prison, as she was fed lollies by the prisoners. She was a fantastic runner but this ultimately led to her being drugged on a regular basis so she would not cause trouble. She was so heavily drugged for several years, until my father complained, that she became epileptic, which is really sad, to add another burden to one already so burdened--totally deaf and severely mentally retarded. Some families made a special effort for their child. The girl in the bed next to my sister's was such a case. Her family would take her camping fairly regularly. One tragic weekend they took her to Castle Hill, which lies between Porters Pass and Cass on the way to Arthurs Pass. She ran away and couldn't be found by nightfall, inspite of searching for several hours. They found her the next day--she had frozen to death in the frost overnight. She had done exactly what they had managed to teach her in the home; she had taken off all her clothes and neatly folded them, and laid down to sleep. They built a little stone gate, from nowhere to nowhere, at the spot where she died. [maw]

** Where can I read more about the NZ mental health system? [jp]

The second volume of Janet Frame's Autobiography, "An Angel At My Table," has anecdotal information about the New Zealand mental health system in the period after WW II. There are other references in section 7.7.

** How else does Templeton figure into the case? [jp,maw]

As will be clear after reading the background material in section 7, the prosecution contended that PYP and JMH harboured fantasies and schemes about being committed together in a mental institution, after the murder. The prosecution argued that the two girls supposedly thought conditions there would be 'softer' than prison, and they would be released sooner than they would be released from prison, once they were declared 'cured.' These speculations were used to strengthen the portrait of the girls as callous, scheming and coldly calculating. One prosecution psychiarist from Sunnyside Hospital testified he tried to convince the girls that the opposite was more likely to be true. Because PYP had intimate, personal knowledge of the mental health system, through her sister Rosemary, this scenario seems quite unlikely, to me. [jp]

I very much doubt this story. Every kid growing up at the time in Christchurch was afraid of the "loonybin" and being taken there was a threat used against kids to keep them in line. This was the Christchurch equivalent of the ghoulie getting you. It was "known" by kids that they would electrocute you there if they caught you. I lived in Hoon Hay, a Christchurch suburb near the Cashemere Hills, and Sunnyside Hospital was just down the road. When I biked past it I went extra fast. My sister was eventually put into Templeton because the family doctor presented my father with an ultimatum: either commit his daughter to Templeton, or his wife to Sunnyside. If you ever saw some of the poor, sad patients wandering in the grounds, you certainly did not get the impression that they were particularly well looked-after, or particularly well cared-for, or that it was a place that might be at all desirable. [maw]