Jane Arden's Cinematic Legacy: A Grief-Art Masterpiece Endures
In a recent letter, Sean Kaye-Smith of Bristol draws attention to the enduring power of Jane Arden's 1973 film, The Other Side of the Underneath, sparked by Zoe Williams' article on grief-art and grief-porn in contemporary cinema. This reflection highlights how the tensions between these concepts have deep roots in British film history, with Arden's work standing as a pivotal example.
A Unique Voice in 1970s British Cinema
Remarkably, The Other Side of the Underneath holds the distinction of being the only British feature film directed by a woman throughout the entire 1970s. This powerful and harrowing production boldly declared its central theme to be "women's pain," a subject it explores with unflinching honesty. Viewers who have experienced the film often attest that it fully delivers on this promise, immersing audiences in its raw emotional landscape.
Kaye-Smith emphasises that there is still nothing quite like it in cinema today, thanks to its intense emotional rawness and the haunting, visually striking quality of its imagery. The film's ability to evoke such profound feelings sets it apart as a singular artistic achievement.
Resurrection from the Archives
For years, the film was locked away in the British Film Institute's vaults, reportedly due to the actions of Arden's creative associate, Jack Bond, who was apparently traumatised by her sudden death in 1982. In a bold move, the BFI reissued the film in 2009, allowing a new generation to discover its impact. This revival underscores the film's lasting relevance and the courage required to bring such a challenging work back into the public eye.
Unlike more recent productions like Hamnet and H is for Hawk, which have garnered mainstream attention and awards, Arden's film was never intended to chase Oscars, Baftas, or other conventional prizes. Its focus remained firmly on artistic expression rather than commercial success.
Grief-Art Versus Grief-Porn: A Clear Distinction
The debate over whether the film constitutes grief-porn or grief-art is addressed head-on by Kaye-Smith, who firmly asserts it is the latter. He describes it as the art of "that other Britain," where emotional restraint is cast aside, and voices are heard without suppression. This perspective reinforces the film's role as a genuine exploration of human suffering, free from sensationalism.
In summary, Jane Arden's The Other Side of the Underneath remains a landmark in British cinema, celebrated for its fearless depiction of women's pain and its unique artistic vision. Its recent rediscovery continues to inspire discussions about grief, art, and the boundaries of cinematic expression.
