Starring: Charlotte Rampling, George Ferrier, Marton Csokas, Edith Poor
Distributor: Transmission Films
Runtime: 94 mins. Reviewed in Aug 2022
Reviewer: Fr Peter Malone msc
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Ruth, a retired war photographer comes to New Zealand to convalesce with her estranged son and resentful grandson.
In case any viewer was wondering why they should see a film entitled Juniper, here is some reassurance so that they won’t be wondering all the way through what the title means: ‘The juniper berries that dot the landscape happen to be the primary ingredient in gin, Ruth’s drink of choice.’
This is a small film – small in budget, small in cast, small in settings – from New Zealand. Despite the attractive photography of the hills and countryside, it is set mainly in the house and the grounds around it.
It is also a film about age, memories of the past and careers, injury and illness, death and its preparation.
We are introduced to father and son, Robbie (Csokas) and Sam (Ferrier). Sam’s mother is not long dead and he is still grieving, sent to an Anglican boarding school, with its emphasis on religion and rugby, with Maori and white students. But Sam resents it. And it is even more resentful with the news that his father’s mother, Ruth, from England, is suffering from a broken leg and is coming to stay with them, even in Sam’s mother’s room. He refuses to speak to her or have anything to do with her.
While we know where this is going, it is the drama of looking at Sam, his ill feelings, even suicidal thoughts, and seeing how he is eventually going to be drawn into the ambit of this tough, demanding grandmother, who has been a war photographer and is always self-confident. And, who better to portray this kind of character than Rampling, after 45 years of toplining a variety of British, American and international films? Obviously, the film is worth seeing just to watch her performance.
Ruth sits in her chair, imbibing quantities of gin (mixed with 50% water, touch of lemon). Yet, she seems to be in control, demanding in her requests, ousting a well-meaning visiting Anglican minister, making demands on her long-time nurse, Sarah (Poor), ringing her bell haughtily, making more and more requests of her grandson. While at times he is at the end of his tether, misbehaving at school and being expelled, even thinking of hanging himself until he encounters the affection of his mother’s horse, Sam is eventually drawn into Ruth’s ambit.
In the meantime, Sam’s father is in England working on business matters. Gradually, the relationship builds between Ruth and Sam, especially when she bribes some of his schoolfriends with alcohol to clean up the gardens and surroundings. And then urges Sam to throw a party.
However, we realise that Ruth not only has a broken leg, but she is ill, and the film moves towards an ending where Ruth wants to make, if not peace with herself and God, peace with her son and grandson, even to a last rites ceremony and communion. With the doctors giving opinions and Ruth resolutely, even insultingly, refusing to listen to opinion and advice, the film moves towards a picture of family palliative care, assisting Ruth at the end, everybody going up the hill to view the sunset. It is a picture of a family ritual of love and death.
Small film. Brief running time. Significant themes. Strong performances.
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