On Film and Digital Media Rick J. Scheidt, PhD, and Jim Vanden Bosch, MA, Associate Editors, Helen Q. Kivnick, PhD, Editor: Humanities & Arts The Gerontologist Cite journal as: The Gerontologist Vol. 53, No. 6, 1056–1059
© The Author 2013. Published by Oxford University Press on behalf of The Gerontological Society of America. All rights reserved. For permissions, please e-mail:
[email protected].
“ONE LITTLE GLITCH”
The Genius of Marian does not focus on the disease of Alzheimer’s. Rather, it illustrates the suffering that accompanies the disease, illustrating the power of a loving family to engage in mutual efforts to ease the sense of pain and loss they share with Pam White, not with Alzheimer’s itself. It celebrates her life and who she is as well as who she was. There are other videos that will describe for viewers the disease features of Alzheimer’s. For example, those interested in the genetics of inheritance of early-onset Alzheimer’s disease or its detailed symptomatic features are better advised to visit The Alzheimer’s Project (www.hbo. com/alzheimers/), which deals effectively with the objective facts and on-going research. Although its original website is now retired, the video A Question of Genes (A Chedd-Angier Production/Oregon Public Broadcasting, 1997) documents the story of Janet Walsh, who pursued genetic testing to identity whether or not she carried a “predisposing” gene for late-life Alzheimer’s disease. Many university libraries possess this video. The burden of caregiving is well illustrated by Deborah Hoffman’s wonderful 1994 film, Complaints of a Dutiful Daughter (www. wmm.com), as well as in The Alzheimer’s Project. On the other hand, The Genius of Marian illustrates antibody-like attempts of loved ones to deal with the pain, the fear, and the threat posed by a disease that is taking an inexorable toll on Pam White and, by virtue of her central role, on the family itself. It depicts the unconditional support and love that friends and family provide for Pam and for one another. Though the film acknowledges Marian in its title—and explores Pam’s relationship with her mother—it focuses almost entirely on Pam White. It is easy to see why. She has a natural attractiveness, displays an easy-going personality, a ready smile, a gentle and approachable manner. At her core, she is family-oriented and, ultimately, highly protective of her relation with her family and
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Video: The Genius of Marian (84 min) Produced by Banker White, Anna Fitch, & Shaleece Haas Directed by Banker White Released: April 2013 The Genius of Marian focuses on a family affected by Alzheimer’s disease. Marian Williams Steele (1912–2001) was a noted watercolor artist who died of Alzheimer’s disease at age 89. Pam White, her daughter, at age 61 began to compose a book, The Genius of Marian, as a tribute to her mother. Videographer Banker White—Pam’s son— believes now that “. . . it was a way to process what she knew was starting to happen to her”; she was beginning to struggle with the mental tasks required not only by the project, but by daily life as well. Banker began filming his conversations with Pam in 2009 primarily to help Pam continue her book project. Not long afterward, Pam was diagnosed with early-onset Alzheimer’s disease. Banker widened the scope of his lens, documenting the meaning of the disease for members of the family and, most particularly, for Pam. A better understanding and appreciation of the meanings and uses of this film is gained by distinguishing between what this film is from what it is not. Years ago, Harvard anthropologist and psychiatrist Arthur Kleinman, usefully distinguished “illness” from “disease”. In his terms, disease denotes the disease entity itself—the biological processes and manifestations targeted by medical treatment; illness represents the “private inner world of experiences” of the afflicted, so often ignored when treating the disease, that is, the personal, cultural, and social significance of the disease that can contribute to major suffering (Kleinman, 1989). The challenge for practitioners of modern medicine, according to Kleinman, is to narrow the gap between medical treatment and the healing of suffering in its fullest sense.
Pam White introduces herself to the camera. Her words reflect her character and courage: “Hello. I am Pam White. I am a mother of three children. I will tell you a little bit about me. I grew up in a hotel. My father owned a hotel. It was a lovely way to grow up. I was an actress and did modeling. I live for my family and my children. And One Little Glitch is that I have developed Alzheimer’s. And initially I was quite distressed and upset about it but it doesn’t really matter. It doesn’t really change anything. And I don’t feel sad and I don’t feel regret. I feel blessed that I have this wonderful family and a husband who is extraordinarily wonderful. I just feel like the way my mother did before she was dying. It is just the way it was . . . and remembering, keeping, cherishing all the times I had with friends and family. So it’s all good. No regrets.” In what must have been a difficult directorial and personal act, Banker White ends the film with a still picture of his mother that blurs slowly and fades ultimately to white. References Kleinman, A. (1989). The illness narratives: Suffering, healing, and the human condition. New York: Basic Books.
Rick J. Scheidt, PhD School of Family Studies and Human Services Kansas State University Manhattan, KS 66502 E-mail:
[email protected] doi:10.1093/geront/gnt120 Advance Access publication October 8, 2013
An Unlikely Friendship
Film: Starlet (103 min) Music Box Films, Distributor Produced by Blake Ashman, Sean Baker, Kevin Chinoy, Patrick Cunningham, Chris Maybach, Francesca Silvestri Released: 2012 (USA) Starlet is a rich and insightful film that traces the development of an unlikely friendship between two women separated by 64 years of life. Jane (Dree Hemingway), a 21 year old who is adrift and Vol. 53, No. 6, 2013
newly finding her way in Los Angeles, first meets Sadie (Besedka Johnson), an 85 year old crustytempered widow, at Sadie’s yard sale where Jane buys an old but decorative thermos to use as a flower vase. When Jane gets home and cleans out the thermos, she discovers $10,000 in rolled up $100 bills inside. This event starts us down a long and rocky road of ethical questions mixed with a gradually developing relationship between the two women.
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her husband. Pam resists the need for “strangers in the house” to provide aid: “Daddy and I have been in the house forever; I don’t want anybody to mess with it.” With clarity in an honest moment, she admits to her doctor that “the problem is my . . . pride.” Her husband, Ed White, provides everyday care for Pam as much as possible: “I like to be with her. I don’t mind doing it.” As her condition worsens, he admits to feeling “caged” and needing outside help. He absolves Pam from blame in his struggle to target his feelings of frustration: “It’s nothing she did, darnit!” He expresses his anger in more explicit terms at another point in the film when Pam refuses to get into a boat. The film is somewhat unique among others in this genre. The White family is relatively affluent. Resources seem readily available, if needed. One is reminded that Alzheimer’s visits kings and paupers. The struggles and grieving depicted in the film are contrasted with fun and funny moments that Pam shares with her friends and family. In a living room songfest, one of her friends pretends Pam is a bass fiddle and strums her invisible strings while Pam sings along with the group. Marian Williams Steel’s coastal water color scenes brighten the film. Her portraits of Pam as a child and young woman reflect her deep artistic talent and maternal devotion. In addition, Banker White uses home videos throughout to convey the context of family life in earlier, more joyous times. One sees what has been lost to the disease. In its essence, The Genius of Marian documents the spirit of the White family and, in particular, Pam White herself. At the conclusion of the video,
