There was a point, relatively early on in my courtship of Wife that we were watching “Roman Holiday”, the story of how a Princess visiting Rome (Audrey Hepburn at her most transcendent) is able to go incognito and enjoy life as it is lived by the passionate, animated and cliched folks of Rome’s lower orders, guided by journalist Gregory Peck. In the end, she turns her back on a life of selfish pleasure and freedom in order to return to the duties she was born to.
“NO!” bellowed Wife, when she realised that the photogenic pair would not end up together living in Gregory’s picturesque (but undeniably non-palatial) attic rooms.
She was furious, and quite deeply upset – her sense of cinematic justice had been wronged and she was spitting – to the extent that she demanded that I re-wrote (and draw key frames for) an alternative, “correct” ending in which the Princess turns her back on duty in order to live a life of pleasure. I obliged, and she professed herself happy: content that justice had been done, and that good had triumphed over evil.
So it was with a sense of deja vu that I witnessed Daughter’s reaction to the ending of “Bridge to Terabithia”. I don’t want to ruin it for you – but I’m going to (so look away now): one of the characters (a child) dies. Her role within the plot is to bring the concept of imagination and escapism through creativity to the attention of the hero (and ultimately, to bond him closer to his adoring, but snubbed, younger sister) – and once she’d done that, she goes to the big artist’s studio in the sky.
Daughter (not yet five years old) didn’t blink at that bit: she had seen films like this before and she knew what was coming.
Or she thought she did. As the final sequence began, with her brother-bestowed crown of twigs and wildflowers transforming into a (much nastier) silver crown and the wooden bridge over the stream transforming via the glory of CGI into a cross between one of those Art Nouveau Parisian Metro entrances and the hideous Queen Mother’s Gates in Hyde Park, a crowd of fabulous creatures emerged from behind the trees and came forward to meet their new Princess. BUT the dead child did not return from beyond the grave, with a laughing smile and unnaturally shiny hair to gambol once again with her play-mates – and that is where Daughter went ballistic. She HOWLED: “No! No! No! No! No!” and was inconsolable, with tears streaming down her face as she came to realise that this film had not ended right.
Of course, Wife and I assured her that the little girl HAD been there – she had been hiding behind a tree in order to play a game, but WE had seen her – but she was having none of it, and took a long time and, to be honest, bribery, in order to cool down.
So: two different films, two females with twenty five years’ age difference between them at the time of the critical “incidents” – but one reaction. And what lessons can we draw from this, gentle reader? Don’t let your young children watch “Bridge to Terabithia” (at least not if they are sensitive souls, Daughter’s twin brother reviewed the whole thing without so much as a furrowed brow…), and don’t let your wives watch “Roman Holiday”, unless you’ve got a flip book and a black marker pen – and your imagination – handy.
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