{"id":3634,"date":"2023-04-11T10:00:34","date_gmt":"2023-04-11T09:00:34","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3634"},"modified":"2023-04-14T15:14:27","modified_gmt":"2023-04-14T14:14:27","slug":"find-where-light-in-darkness-lies-loves-labours-lost-william-shakespeare","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2023\/04\/11\/find-where-light-in-darkness-lies-loves-labours-lost-william-shakespeare\/","title":{"rendered":"Find Where Light in Darkness Lies (\u201cLove\u2019s Labour\u2019s Lost\u201d, William Shakespeare)"},"content":{"rendered":"<p><strong>Film Review by Franco Ferrarini, gastroenterologist, and film reviewer<\/strong><br \/>\n<strong><em>\u2018Empire of Light\u2019,<\/em> Sam Mendes, UK, 2022<\/strong><\/p>\n<p>Set in the early 80\u2019s, Hilary (Olivia Colman) is a middle-aged woman working as a duty-manager at the \u201cEmpire\u201d, a movie theatre in Margate, Kent. \u2018\u2019Find where light in darkness lies\u2019\u2019 is the caption from Shakespeare\u2019s \u2018Love\u2019s Labour\u2019s Lost\u2019 engraved on the \u2018Empire\u2019 front. Hilary\u2019s life is not a happy one: she lives alone, had a troubled relationship with her mother, submits to occasional sex encounters with her boss Donald Ellis (Colin Firth) and is probably affected by bipolar disorder. The darkness in her life is broken by two beams of light; the first, metaphorical, is the arrival of a new usher, Stephen (Micheal Ward), a black young man with whom she becomes friends at first, and later their relationship turns into a sexual one. Due to the age difference and their different backgrounds, their love story does not last long. Consequently, Hilary\u2019s desperation worsens, and after a manic episode, during which she openly discloses her sexual encounters with Donald, she is admitted to a psychiatric unit for compulsory treatment. The second ray of light is a true one: after discharge from hospital, she returns to work at the Empire, where Norman the cinema projectionist (Toby Jones), and Stephen, both encourage her to explore the films showing at the cinema. \u00a0To alleviate her depression, Norman tells her to watch\u201d Being<em> there\u201d <\/em>(Hal Ashby, 1979) film in the empty theatre. As soon as the light beam of the projector dissipates the darkness of the cinema theatre, and the film begins, Hilary starts crying and laughing at the same time, empathizing with the film characters, and feeling emotionally released for the first time.<\/p>\n<style type=\"text\/css\">\r\n       .errordiv { padding:10px; margin:10px; border: 1px solid #555555;color: #000000;background-color: #f8f8f8; width:500px; }#advanced_iframe {visibility:visible;opacity:1;}#ai-layer-div-advanced_iframe p {height:100%;margin:0;padding:0}<\/style><script type=\"text\/javascript\">  var ai_iframe_width_advanced_iframe = 0;  var ai_iframe_height_advanced_iframe = 0;var aiIsIe8=false;var aiOnloadScrollTop=\"true\";\r\nif (typeof aiReadyCallbacks === 'undefined') {\r\n    var aiReadyCallbacks = [];  \r\n} else if (!(aiReadyCallbacks instanceof Array)) {\r\n    var aiReadyCallbacks = [];\r\n}    function aiShowIframeId(id_iframe) { jQuery(\"#\"+id_iframe).css(\"visibility\", \"visible\");    }    function aiResizeIframeHeight(height) { aiResizeIframeHeight(height,advanced_iframe); }    function aiResizeIframeHeightId(height,width,id) {aiResizeIframeHeightById(id,height);}<\/script><iframe loading=\"lazy\" id=\"advanced_iframe\"  name=\"advanced_iframe\"  src=\"https:\/\/www.youtube.com\/embed\/3JA3bD5xs-Q\"  width=\"560\"  height=\"315\"  frameborder=\"0\"  border=\"0\"  allowtransparency=\"true\"  allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\"  style=\";width:560;height:315;\" ><\/iframe><script type=\"text\/javascript\">var ifrm_advanced_iframe = document.getElementById(\"advanced_iframe\");var hiddenTabsDoneadvanced_iframe = false;\r\nfunction resizeCallbackadvanced_iframe() {}function aiChangeUrl(loc) {}<\/script>\n<p>&nbsp;<\/p>\n<p>Several manifestations of psychological distress <em>\u00a0<\/em>are fully addressed in this film; in particular, the difficulty of tracing a line between extremes of mood and what is labelled as \u201cmental disease\u201d.<\/p>\n<p>Forced admission to mental asylum units, as seen in Michel Foucault\u2019s seminal work<a href=\"#_ftn1\" name=\"_ftnref1\"><sup>1<\/sup><\/a> and \u201cOne flew over the cuckoo\u2019 nest\u201d (Milo\u0161 Forman, USA, 1975), was often not a cure but a mechanism to \u201csweep the dust under the rug\u201d so as not to disturb the quiet life of the upper classes. It is likely that if Hilary was spared the childhood trauma due to her mother\u2019s behaviour (she was jealous of Hilary\u2019s relation with her father) and being used as a sexual object by her boss, her mental deterioration might have been prevented. Instead, she is prescribed Lithium and is locked up when she disturbs her neighbors and exposes Donald to his wife; forced admission becomes an option when danger of \u201charm to self and others\u201d is clear and present. Moreover, the narration clearly hints at the role of art, specifically cinematic art, in the treatment of mental distress. The role of Cinematherapy in the treatment of mental disorders such as anxiety, depression, and its supportive role have been recently addressed.<a href=\"#_ftn2\" name=\"_ftnref2\"><sup>2<\/sup><\/a><sup>,<\/sup><a href=\"#_ftn3\" name=\"_ftnref3\"><sup>3<\/sup><\/a> However, cinema\u2019s benefit is not limited to disease states because every kind of art, be it visual, literary, or musical, is a powerful medium to relieve the tragic circumstances of social isolation and loneliness experienced by people like Hilary.<\/p>\n<p>The film\u2019s message around the fact of the inescapable reality that life must come to an end may cast a shadow even on the happiest life, thus art becomes a healing mechanism in psychologically stable individuals as well. Hilary hints at this theme when she publicly reads D.H. Auden\u2019s \u201cDeath\u2019s Echo\u201d, a poem in which Death reminds us of the futility of life. The poem ends by the words \u201cDance, dance, dance till you drop\u201d, a metaphor for turning to arts to make life more enjoyable.<\/p>\n<p>Other issues are efficaciously addressed in the film. For example, Stephen experiences ugly racism when he is verbally and physically assaulted by ultranationalist bullies. This sub-plot reminds the viewer of similar societal attitudes to mentally ill people. Being different as in having a different colour or suffering mentally are not tolerated and even violently punished.<\/p>\n<p>But nature\u2019s life is cyclical and Stephen, after these violent experiences, fulfills his lifelong dream of studying architecture. Hilary alludes to life\u2019s ups and downs at the film\u2019s final scenes, while looking at the horizon, she cites a line from \u201cThe Trees\u201d, a poem by Philip Larkin: <em>Last year is dead, they [the trees] seem to say, begin afresh, afresh, afresh. <\/em>Her quiet smile is a further reminder of the healing power of Art.<\/p>\n<p><em>\u201cEmpire of light\u201d<\/em> is a remarkable film for several reasons from the director\u2019s brilliant skill in his sensitive handling of mental health and challenging marginalization of \u2018the other\u2019 to the excellent performance of Olivia Colman and the wonderful cinematography by Roger Deakins (just one example: the picture-in-picture effect portraying Hilary and Stephen while watching the fireworks). The film is a must-see for its life-affirming message that Cinema, literature, and poetry are all sources of \u2018finding one\u2019s solace\u2019.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"text-decoration: underline\"><strong>References<\/strong><\/span><\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> Foucault M. \u201cMadness and Civilization: A History of Insanity in the Age of Reason\u201d 1961, New York, Pantheon Books.<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Sacilotto E et al. \u201cThrough the Looking Glass: a Scoping Review of Cinema and Video Therapy\u201d. <em>Front. Psychol.<\/em> 2022; 12:732246. doi: 10.3389\/fpsyg.2021.732246.<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Chieffo, DPR et al. \u201cMedi-Cinema: A Pilot Study on Cinematherapy and Cancer as A New Psychological Approach on 30 Gynecological Oncological Patients&#8221;. Cancers 2022; 14, 3067. https:\/\/ doi.org\/10.3390\/cancers14133067.<!--TrendMD v2.4.8--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Film Review by Franco Ferrarini, gastroenterologist, and film reviewer \u2018Empire of Light\u2019, Sam Mendes, UK, 2022 Set in the early 80\u2019s, Hilary (Olivia Colman) is a middle-aged woman working as a duty-manager at the \u201cEmpire\u201d, a movie theatre in Margate, Kent. \u2018\u2019Find where light in darkness lies\u2019\u2019 is the caption from Shakespeare\u2019s \u2018Love\u2019s Labour\u2019s Lost\u2019 [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2023\/04\/11\/find-where-light-in-darkness-lies-loves-labours-lost-william-shakespeare\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[206],"tags":[15099],"class_list":["post-3634","post","type-post","status-publish","format-standard","hentry","category-film","tag-film-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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