Brimstone and Treacle

From the pained words of Dennis Potter comes 1982's BRIMSTONE and TREACLE, an adaptation of his  television play.  The original production was controversial enough to prevent its airing on the BBC for a decade.  Understandable.  Such an ugly, grim tale, most certainly an allegory.  It is in fact a hugely symbolic tale of faith struggle, familial discord, sexual deviancy, and a myriad other things.  I have not seen the TV version but how director Richard Loncraine's film handles the religious elements is most intriguing, if a bit campy in moments.

A young man who calls himself Martin Taylor (Sting) stalks the streets of London as if waiting for prey.  He contrives a bump into a middle aged man called Tom Bates (Denholm Elliott).  The crafty young man is quick on his feet, convincing the elder he is a long lost friend of his daughter, who now lies helpless and incoherent at home after being hit by a truck some years earlier.  Tom attempts to ditch Martin but leaves his wallet behind.  That evening Martin finds his way to the Bates' home, instantly charming the Mrs. Norma (Joan Plowright).  Especially since the interloper seems to have an immediate connection with the bedridden Patti (Suzanna Hamilton).

Martin convinces the Bates to let him stay the night, offering to clear the coffee cups.  The next day he makes the beds and offers to watch and feed Patti while Norma goes for a much needed trip out of the house.   We are now alone with the Devil.  Is that who he is supposed to be? There are many clues to that effect.  Is he just doing the Devil's business, causing trouble, brewing evil deeds? Or he is just a freeloader who has carnal designs on Patti?

BRIMSTONE AND TREACLE is foreboding from its first moments, and unfolds like some twisted fairy tale.  Intercutting the domestic unpleasantness are weird dream sequences scored to the music of The Police.  You know, Sting's day gig.  They're quite disturbing and borderline nauseating, but so goes the entire film.  I can sit through such horror if there are points to be made.  They are there, but the climax is a bit, to steal a word used in this film, overwrought.  

Surprisingly, Mr. Sumner holds court fairly well with his more distinguished co-stars, who of course are excellent.  Loncraine does make the film seem stagy at times but always visually interesting.  And I have to come back to the crisis of faith, seen mainly in Mr. Bates, who writes hymns and poems of assurance for the grieving.  He has come to damn his god, one who could allow his daughter to be mangled so.  His story arc gets some mileage but I would've liked more.  He recognizes Martin to be cunning from the get go, but could've never imagined how his actions would perhaps irrevocably change his life.