11/12/2022 0 Comments The miracle worker (1962)Scenes such as the centrepiece fight scene between Keller and Sullivan (where the tutor attempts to get her to fold her napkin), or the final climactic moments when the titular character finally breaks through with her young learner, are astonishing, towering moments that blend narrative impact, beautiful acting and incredibly poignant emotion. Gibson, in adapting his own play, is quite right in refusing to shift focus away from Keller and more to the family (as would’ve been done in the hands of a lesser director), but instead place it squarely on the central relationship – this results in some of the most stunning moments of 1960s cinema. It required the director to deconstruct some of the most notable aspects of the biographical drama and replace it instead with something more attuned to the nuances of the story. However, there’s also something quite challenging about this story – this isn’t a dialogue-driven film in the traditional sense, especially since so much of it takes place non-verbally, so despite being an adaptation of the stage play, Penn had to do something slightly more complex with this story when bringing it to the screen. When presented with the story of Sullivan and her relationship with Keller, there’s a certain contradiction that comes into play – logically, this isn’t a particularly difficult story, as it has all the makings of a great film, consisting of a plot that inherently lends itself to the form, granted it is able to be shepherded by someone who could handle the challenges and numerous opportunities for the actors to give great performances since these characters do lend themselves to some very effective situations that can be portrayed on screen without too much trouble. It’s a film that tests the boundaries, being a genre-blurring human odyssey that is both towering and intimate – and for that reason alone, its difficult to have any hesitation in proclaiming this film one of the finest achievements of the 1960s, and one of the most inspiring films ever put on screen. In no uncertain terms, The Miracle Worker is something of a masterpiece – not only does Penn pay incredible tribute to the two central figures of the story, but he does so in a way that feels profoundly cinematic, but also deeply authentic. In between all of this fascination, I had yet to make time for one of the most widely-known portrayals of her life, Arthur Penn’s adaptation of William Gibson’s The Miracle Worker, a daring and heartfelt film that dramatizes the early life of Keller, from the perspective of her governess and teacher, Annie Sullivan, whose admirable efforts to teach the rebellious young girl to communicate is absolutely astonishing, and one of the most incredible examples of overcoming an insurmountable challenge. Helen Keller has always been a historical figure that I’ve been profoundly fascinated by – from the early days of elementary school where we were told about her valiant efforts in overcoming both deafness and blindness, making her one of the most inspiring historical figures, to my in-depth exploration of her life at the postgraduate level (where she was investigated alongside Genie and Victor of Aveyron as three of the most exceptional cases of child-language acquisition), she has been an omnipotent presence whose story continues to be a source of great inspiration and insights into both the role she played in how we look at disability from a linguistic point of view and as an individual who overcomes dreadful circumstances to become a true stalwart of tenacity and resilience.
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