JUNIPER

New Zealand, 2021, 94 minutes, Colour.

Charlotte Rampling, George Ferrier, Marton Csokas, Edith Poor.

Directed by Matthew J.Saville.

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, a small-budget film from New Zealand, with attractive photography of the Hills and countryside, but 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 preparation for death.

We are introduced to a father and son, Robbie and Sam, veteran Marton chokers and newcomer George Ferrier. Sam’s mother is not long dead and he is still grieving, sent to boarding school, religious, Anglican, Rugby playing, 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, have anything to do with her.

While we know where this is eventually 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 grandmother, a war photographer, self-confident, absolutely demanding at will and whim. And, who better to portray this kind of character than Charlotte Rampling, after 45 years of top lining such 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, touches of lemon). Yet, she seems to be in control, demanding in her requests, ousting a well-meaning visiting Anglican minister, making demands on her longtime nurse, Sarah (Edith 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 does build 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.

1. A small film, New Zealand, cast, themes, Charlotte Rampling?
2. The title, the juniper berries, gin and Ruth and her love for gin, drinking throughout, inviting Sam to share?
3. The New Zealand countryside, the hills, the weather, sunrise and sunset? The house, the interiors, the surrounding grounds? The school, the interiors, the rugby field, the haka? The musical score? The songs and their being sung at the dance, the ending?
4. The situation, Robbie, not knowing his father, strange relationship with his mother, her absence and successful career, his marriage, he and his wife moving to New Zealand, her illness and death, Sam? Robbie having to bring his mother to New Zealand for convalescence?
5. The home situation, Ruth going into Sam’s mother’s room, her nurse, her son dealing with her, Sam and his refusal? Robbie having to go to England, the phone calls? Sam and his suspicions of his father?
6. Ruth, ensconced in the room, the gin and water, lemon, continued drinking? Ringing the bell, demanding? Sara, long time with Ruth, religious perspective, the Anglican minister, talking about death and hell, her ousting him? Sara upset? Sara demanding that Sam look after his grandmother?
7. Sam, 17, relationship with his father, going to boarding school, still grieving his mother (and not visiting her grave)? His mother’s room? Trying to ignore Ruth? Playing computer games? Having to make up the gin, the wrong percentage, her throwing the glass at him, his standing and her throwing and hitting him? His resentful dealing with Ruth?
8. His bike, in the countryside, the noose, his head in the noose, his mother’s horse, coming back? The issue of the party and his being drunk, crashing the car and Ruth later asking him whether he did it on purpose? Behaviour at school, trashing the principal’s room, expelled? The background of the school, proper, the communion ceremony, the rugby matches, the hiker?
9. His adjusting to Ruth, the gin, Sarah showing him the book of war photos, conversations, her probing him, the friends and their cleaning the yard for alcohol, the throwing the party, Sam carrying Ruth and the dancing? An open attitude towards everything?
10. His father’s return, Sam cleaning the grounds, Ruth and her going to hospital, prognosis, refusal of the catheter?
11. The decision for her to come home, the group looking after her, her agreeing to see the priest, communion? Her love of sunrises instead of sunsets? The scenes at home, the dancing, with her son and with her grandson?
12. The final decision, palliative care, going up the hill, watching the sunrise, her taking the medication, her death?
13. The return home, funeral, ceremony, father and son, nurse? And the memories of Ruth, a future?