NEW NEW NEW : **Good Essays for Heavenly Creatures**
1. Screenplay - extremely useful as it contains information about shots.

2.Scene List
3. Introduction and Cast and Crew
4. Themes
5.lesbians? and Pauline's diary notes
6. The Plot Thinking about the plot
7. The Narrative and how it was structuredQuestions and Answers about the Narrative
8. Film Making Techniques
9. Glossary of Film Terms
10.Film Terminology
11. The use of music
12. The use of Special Effects
13. The use of Motives, Symbols & Allusions
15. Why is the ending so effective?

16. Examing Scene One Stills:Stills of Opening Scene after pictorial tour of ChCh
17. The Characters
18.The Settings
a)Choice of Filming Locations
19. Scene by Scene breakdowns
a) Opening and Closing Scenes:The Opening Scene in heaps of detail
c) Bathroom Scene:Bathroom Scene

7) You have this whole God, truth, knowledge and “white” Anglo Saxon Protestant image going on in the hall.
Everyone else is singing, blond, blue-eyed. Cuts to Pauline with her head down not singing, not conforming. After being “told”
with a look to sing, she conforms.

8) Cuts to Juliet arriving by car…

Comments and analysis
Immediate contrast between working class Pauline and Juliet’s academic high-class background.

Chapter 2: The New Girl
9) Cut to French lesson, 3A; the principal brings Juliet in and introduces her.

Sound of children in other classes or the hallway.

3A is a top stream all classes are streamed academically in those days. These are bright girls. Juliet is supercilious (smarty pants), even smug.

This scene summarises the social attitudes of ChCh in the 1950’s. That professors at the University were part of Christchurch’s High Society.

Juliet is self-confident, superior and patronising; the teacher is embarrassed.
Marie Antoinette was the executed Queen of France.

10) Same day or later
Art class:

Juliet seems at home. We see that she is entirely disconnected from the real object of the lesson and sees no reason to conform. “pokes out her tongue”
The art teacher is the only one with a NZ accent – that may be why Juliet ignores her instructions. She is just a mere colonial! She is from England
and very well educated and travelled.

We see the first connection that Pauline and Juliet have: “I think your drawing’s fantastic!” Pauline is really saying “I think you’re fantastic”.

What would Pauline see in Juliet at this point?

Chapter 3: Enduring Ailments
11) cut to Reiper home. Interior shot. This was the only set that wasn’t the original building.

Mario Lanza “Be My Love”.

Pauline “loves” Mario Lanza, if not before then definitely now having been swept off her feet in admiration for Juliet who says that Lanza
is the world’s best tenor.
The song signifies Pauline’s fascination with Juliet: “Be my love”. Subconsciously wishing that Juliet would become her friend.
This scene quickly establishes Pauline’s home-life situation and introduces her parents.
Pauline is doing well in English.
Pauline’s dad’s humour is not appreciated by Pauline. She is outraged. So that we see that Pauline doesn’t fit in at home or at school.
12. Cut to exterior shot of CGHS
P.E lesson – all girls except Pauline and Juliet are involved. Juliet wants to see Pauline’s scar – she rolls down her stocking to show it.
This is the scene where we see Juliet and Pauline drawn together through their shared childhood of illness.
Aural bridge to the P.E lesson.
Introduces the health problems that link the girls.
“All the best people have bone and chest diseases….it’s terribly romantic!”
Motif = the stocking, we saw this before, just before Pauline climbed over the fence to school.

13. Flashbacks
Cut to scenes of Juliet as a child in bed with respiratory problems and Pauline as a child with osteomylitis.
Comments and Analysis
This scene is a signpost for the future TB that Juliet has. We see that both children really suffered badly
from childhood illness. Pauline’s loving and caring parents sitting by her bedside are contrasted with
Juliet’s upper-class English upbringing with ‘absentee’ parents. Juliet, an intelligent and inventive child,
was left on her own in the Bahamas for 5 Years! This would make a child emotionally insecure and
desperate to be with her parents. It would also make a child turn inward to a secure and predictable
world of imagination. We see “mummy” promising that they [parents] will never leave her alone
again….[setting up of future cause for emotional problems caused by being let down by parents].

Chapter 4: Playful Girls
14. Exterior Shot of Ilam
Pauline is cycling to J’s home at Ilam, J dressed as a ‘princess’ on bridge over stream – looking
oh so romantic! Brother Jonathan chases around with wooden sword. The girls run through the shrubbery,
Pauline’s LP is broken

“Bugger off” – Juliet can “rough it”.

Commentary and Analysis
This scene is of fun and high spirits. A strong contrast to the Rieper home where the constant presence of
boarders makes a relaxed atmosphere impossible.
Juliet calls Pauline Paul. She is a firm friend if she has been given a nick name.

Running through the shrubbery [just as they were at the beginning of the movie. Running through the
shrubbery is symbolism for the desire for rebirth into a world that they want to be living in.
The shrubbery closing around them down the long path in this scene and the first scene, represents
a birth-canal. But one that Juliet and Pauline never find the opening to.]

15. Interior Shot of Dr Hulme pulling squashed sandwiches out of his pocket
Mrs Hulme is slim, elegant and dressed in white. Juliet puts on music and ignores parental protests,
they dance. Pauline follows Juliet’s cue and becomes completely uninhibited. Mrs Hulme looks Pauline
up and down.

Mario Lanza: “The Donkey Serenade You’re the one for me…” This becomes an aural bridge into
a school and playing together montage.

Academic absentmindedness. Strong contrast with Honora Rieper in her apron and practical
“feet-on-the-ground” dark colours.

16. Montage
School:- reading Biggles,
Ilam playing aeroplanes,eating,making clay models,dressing up, coming out
of movie and kissing ML’s poster/;/cycling – laughter, highspirits, all a bit manic. Forced off the road on
their bikes, Paul pretends to be dying; they undress to their underwear, lie in flowers, kiss chastely.
Sound – they take over the song and sing with Mario.
Comment and Analysis
Montage is used as a quick and useful way to show the passage of time and the developing friendship.
They are imaginative and creative in their games. Like pre-school to 8-year-olds. There is a
POINT OF VIEW SHOT used to show the eye of the person: Pauline POV of Juliet. Juliet is really
upset: first indication of Juliet’s fear of abandonment.

17. Pauline cycles to Ilam at night
Chapter 5: Saints of the Fourth World
Exterior shot of The Shrine, Ilam – evening. Surrounded by candles, on stream bank, they are cutting
out photos – James Mason is “him” Mario “He” Mel Ferrer “This” Jussi Bjoerling “That” Orsen
Welles “It”. Juliet does not like Orson Welles. Juliet talks of her “Fourth World” which is better than heaven (no Christians) and in which, James and Mario will be saints. “We give praise to the saints.”

Eerie music accompanying Pauline’s approach to the house, mixed with the sound of cicadas.
This scene uses horror film techniques: Colours, shadows, tracking shot from the point of view of Pauline
as she cycles. Motif – cycling.
This scene has religious and superstitious themes. The girls use mystery and ceremony to ad
validation to making saints out of their male objects of desire.. [this works just the same as
people choosing to have a wedding in a church, they think things might have a better chance
of working if “the God/s” are called in to bless the union].
Juliet may not believe in the bible “bumkin” but she is quick to see one of the actors would make
a “great Jesus” at Pauline’s suggestion. Orson Welles is not allowed in the pantheon of saints.
“the most hideous man alive” but his dark character as Citizen Kane, has the last laugh. The exit
shot is a close up of his picture tossed away by Juliet. Forshadowing? Pauline follows Juliet’s rules.
Ferrer was an actor
Bjoerling an opera singer
Orson Welles as “the most hideous man alive.”
Juliet is the clear leader throughout this ceremony; Pauline just follows her every lead like any devout
follower of a religious cult.

18. Internal shot of the Reiper home.They are opening presents at Xmas. Pauline has a diary for 1953, and stockings.
Pauline gives Mario Lanza LP to Wendy.

Music box. Voice Over of diary

From now we hear what Pauline is thinking through her diary entries as voice over.
19. Cut to Rieper Home

Interior shot RH. Juliet is coming to “tea”. She is socially more assured and adept than Honora
Reiper, who seems somewhat cowered by this confident child. Juliet dominates the tea party,
telling stories of her imaginary world.

When the doorbell rings Honora rushes to take off her apron so that she is suitably dressed.
There are pikelets and scones.

Sound cheerful “gay” music to match the atmosphere of a “tea party”


note the frocks the two girls are wearing: Pauline's has a Peter Pan collar which is still a "little girl dress" style. Juliet's dress is in a much more sophisticated adult style.

Lancelot Trelawney = one of Pauline's characters.
Juliet is very polite and open when she meets Mrs Reiper. Very different to how her mum
Pauline is embarrassed by her parents. She is called Yvonne (her middle name) by her family.
Her dad comments that the Marriage Guidance Council “sound like a queer mob”
There is tragic irony and foreshadowing when Honora comments that she “wouldn’t like my private business discussed by a complete stranger.”

scenes of Hilda’s work as a marriage guidance counsellor. Juliet says that she is awfully good at it. We see her meeting
Bill Perry as a client. We see her move forward in her seat showing “I’m interested” body language. The camera moves
in close up to her expression of personal interest in Bill. “Tell me about your feelings, …Bill” there is a suggestive exchange of eye contact.

Juliet’s running commentary is all very ironic considering her mother's own marriage is about to run aground as she falls for Bill Perry. The comment that Juliet makes about “Mummy’s got a special technique called ‘deep therapy’” matches the close up of Hilda’s expression of “deep interest” in Bill. It is very ironic and humorous in retrospect, but Juliet’s simple adoration of her mother’s talents also shines through. Her innocence and belief in her mother shows. Again Jackson uses humorous irony when has the character of Mr Reiper ask what deep therapy is and Juliet replies “I’m not sure, but it’s proving to be very popular!” Just after we have been shown just how deep Hilda’s therapy may become with Mr Perry.

Juliet adores anything to do with the arts.

John or [Nicholas] arrives to be a boarder at the Reiper house. He eyes up Pauline. Pauline is very embarrassed that Juliet has to see and here the routines of her household. “Breakfast is at…the bedrooms are small but very clean and comfortable…”

Juliet puts Mr Reiper on track about the importance of her story.”Actually Mr Reiper, it’s a novel and we shall be sending it to New York.”

Sound of Pauline speaking provides a sound bridge to the next scene as they drive to Port Levey.
The inner workings of Pauline’s mind continues from the pages of her diary. There is a close up of Juliet which then switches to Pauline as they smile with secret satisfaction. “We have decided how sad it is for other people that they cannot appreciate our genius……. But we hope the book will do so a little. Though no one could fully appreciate us.” How right Pauline turns out to be!

21. In the Car on the way to Port Levy: all singing, how much is that doggy in the window. Dr Hulme is the reluctant "woof woof" Is he really just Mrs Hulme's doggy in the window? A show-piece by this stage?

Voice- over by Pauline of her diary entry carries over from the previous scene [aural bridge].

cut to the wharf at Port Levy. Girls in swimsuits run out and jump in the water.
There is another sound bridge with the use of the "doggy in the window" song continuing as a music hall piano piece. Something that would accompany the silent movies being shown in the 1920's when there was a particularly light, playfull and "gay" scene playing.
Comments and Analysis
Juliet's swimsuit is much more adult and sophisticated than Pauline's who still has the school "rompers" look in hers.

22. MONTAGE: of black and white snapshots of holiday scenes at Port Levy.
The Piano music continues but leaves the light, playful tone to become increasingly more dramatic as it follows down the scale and becomes a music bridge to the drama of the Borovnian sandcastle scene. This is then taken over by the girls narrating the action of their Borovnian story. Jackson adds the sound of horses hooves and winneying to strengthen the scenes believability for the viewer and to show how much the girls are living out their make-believe game.

Comment and Analysis
The music transition from "Doggy in the Window" through music hall gaiety down to dramatic piano forms a music bridge that links these scenes and reflects the change of mood from innocent family fun to Pauline and Juliet's sexual fantasising through the make-believe actions of the characters of the Borovnian world they have created.

23. Sandcastle - The camera work takes us inside it as if it were real. It takes us up the staircase and into a bed chamber.

Jackson adds the sound of horses hooves galloping and whinneying to strengthen the scenes believability for the viewer and to show how much the girls are living out their make-believe game.
Comments and Analysis
The Saga of Borovnia is introduced to the viewer through their narration. Juliet and Pauline alternate narrating their make-believe game and the story that shapes it or alternatively, that they write from it.
Most girls have finished making Barbie kiss Ken by the time they are eight or ten these days.

Jonathan comes along and smashes the sandcastle = this symbolises and forshadows the way their dreams will be smashed at a later date.

24. Outside thd Bach: Juliet is writing, Hilda is brushing Pauline's hair. Hilda calls Pauline her "foster daughter". There is a zoom in on Juliet upset - her parents are going to England and leaving her behind.

Comment and Analysis
Honora wouldn't have the time or the money to go off to a bach at Port Levy. Pauline is in a heaven of daughterly acceptance into the Hulme family and their life style.
Juxtaposition: Hilda's behaviour towards the girls, brushing hair, singing with them, calling Pauline her "foster daughter" and calling them princesses of Borovnia and showing interest in their story writing. Then being callously willing to leave Juliet alone in New Zealand under the pretext of her having "just settled into her new school" when she had promised Juliet never to leave her alone again. We see that fear of abandonment is a powerful force in Juliet's life.

Abandonment and its consequences is a theme in this movie.