THE STAGE 32 LOGLINES
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HOLDING THE LINE
By Simon O'Corra
The collapse of the Berlin Wall in 1989 evokes deep seated emotions in the minds of two aged women locked in a co-dependent relationship stretching back to before the Second World War. After so many decades both hold their own opinions and truths.
SYNOPSIS:
Christina and Sister Caritas, are brought together after Christina has had a stroke, Sister Caritas is now her carer.
Caritas talks of the collapse of the Berlin Wall in the context of what had happened to them both during WW2. The story then becomes a series of flashbacks with memories from both of them about their early life before Caritas had taken the veil, her subsequent noviate and career as a nun, and also details Christina's life when she had started a family with her husband Anthonius.
During the war she and he, had had their different ways of resisting the Nazis. These ways from the outside might have been thought of as stupid and dangerous, especially by Caritas who as a nun experienced the life of an arch fence sitter, a notoriously difficult position for others to countenance. Caritas is bitter and afraid as frail health and death closes in on her. But she knows that whatever she has done in her life will go unpunished, and is arrogantly content.
A further flashback involves Caritas who had also been a serial sexual abuser of children in her charge in the 1970s, something Christina knew about and had attempted to get her prosecuted for.
As the piece draws to a close a great reckoning is coming..
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I'm for anything against the Nazis. As is, it feels like.. dark and grey sky's.. and there is not alot of joy to the film. ? I think it needs a new slant. Its a great story spot in history, and worth making. I remember when the wall came down. I remember everyone just like.. so surprised. So just like.. holy cow. I remember there was people that would use hot air balloons to get across it and all kinds of policing issues there. Everyone hated that Wall. Something like How they are elated the wall has come down, would be good for the commercial. Then if i went to see it.. i want to see something happier and more stabbing at the bad, rather than flowing with it. I wanna See People Hammering On the Wall. I wanna See people taking pieces home to keep them. What if the Stories they tell, have some of the people around them, they are telling it about, as well as pointing out the window, at houses where others lived, with their story. And Like a older person does, telling you all about them, sometimes like.. too much information about them. Also telling stories about what happened to their kids would be material to add. I would think a hot headed 20's child of hers might namely make some bad choices that make a good story. Maybe change how their childhood wasnt as bad, and instead maybe an issue in their teens, instead of a long term problem as a kid.. That character if they were more happy all the time, and then it happened, i'd feel more connected to them. I was thinkin how could the flashbacks, be done different than to do many of them, i know too many flashbacks screw up a flow ? I do like the film idea. Maybe the stroke victim has the stroke during?? It could show a audience what to look for during a stroke. Did you know they proved most strokes are dehydration caused? It could be the one is trying to get the other to drink more water, while telling story.. and we see the stroke happen, and the story continues, and the audience has to recognize the issue, and then the person does, and then calls it in??
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