"Dream Maker and Heart Breaker" - Engendering Epic in Kings

and Queen
Corinne Pache, Trinity University

Lepass,cenestpascequiadisparu,cestaucontrairecequinousappartient.
Thepastisnotwhathasdisappeared,itisonthecontrarywhatbelongstous.
KingsandQueen1

ArnaudDesplechins2004KingsandQueentellsthestoryoftwoformerlovers,Nora
andIsmael,astheyremembertheirpastandstartnewlives.Alternatingbetweenafirst
personconfessionalperspectiveandamoreimpersonalstyle,thestorylinecombines
tragedyandcomedy.Thetwoperspectivesmeet,intertwine,andcollidewithoneanother
muchastherelationshipbetweenNoraandIsmaelevolvesthroughtime.Whileostensibly
aboutordinarypeoplefacingeverydayjoysanddisappointments,thefilmbeginswithan
arpeggioplayedonaharpandavoiceoverdescribinghowZeuslovedthebeautifulLeda
andcametoherasaswan,anopeninggesturethatplacesthenarrativefirmlyintherealm
ofepic.LikeYeats,authorofthefamouspoemLedaandtheSwan,Desplechinseesmyth
asasourceofinspirationandselfunderstanding.Criticshavenotedtheimportantplace
giventomodernpoetryandpsychoanalysisinDesplechinsfilm,butitisGreekmyththatis
atthecoreofandprovidesakeytounderstandingKingsandQueen.Inthefollowingpages,
ItracethevisualandpoeticmotifsthatlinkKingsandQueentoGreekmythingeneral,and
moreparticularlytotheOdyssey,andshowhowDesplechinusestheclassicaltraditionto
"engender"touseYeats'wordamodernepicofhomecomingthattransformsand
transcendsitsancientmodels.
ThestoryofKingsandQueenisasstraightforwardasthestructureofthefilmis
complex:weencountertwoformerlovers,NoraandIsmael,aftertheirrelationshiphas

1
IwanttothankMarianneHopmanandJustinIsenhartforreadingthisessayandfortheirinsightful
questionsandsuggestions.Andmostofall,IthankGregNagyforshowingme,alongtimeago,howthepast,
thenandnow,illuminatesthepresent.
 2

ended.Norafacestheillnessanddeathofherfatherandpreparesforherimminent
wedding,whileIsmaeliscommittedtoapsychiatrichospitalfordepressionanderratic
behaviorattherequestofanunknownthirdparty.Throughentwinedflashbacks,wealso
learnoftheirpasttogether.Overthecourseofthefilm,bothcharactersemergefromtheir
trialstransformed,andthefilmconcludeswithabittersweetepilogueinwhichIsmaelsays
goodbyetoNorasyoungsonElias.Throughtheordealsofitstwomaincharacters,thefilm
exploresthequestionsofmemory,filiation,heritage,andidentitythosepivotal
preoccupationsofancientepicinathoroughlyoriginalmanner.
AsIhavementionedabove,thefilmstartswiththesoundofaharpandavoiceover
describinghowZeusapproachedLedaintheformofaswan;thisopeningcreatesa
mythologicalframeforthecharactersweareabouttoencounterthatplacesthemina
magicalandepicrealm.ThemotifofLedaandtheswanisalsokeptalivevisuallyinthe
formofanengravingthatNorabuysearlyinthefilmasagiftforherfather,LouisJenssens,
aretiredprofessorofGreekwholivesintheprovincialtownofGrenoble.Theartdealer
explainstoNorathatthe18thcenturyengravingwasmodeledonanancientRoman
paintingandsubsequentlycoloredbyanotherartistinthe19thcentury.Theengraving
providesanaptsymbolofDesplechin'smultilayeredallusivestyle,inwhicheveryallusion
hidesanother.
ThetitleKingsandQueensuggestsmultipleimages:inchess,aboardwithonlytwo
kingsandaqueensuggestsalethalsituationforthewidowerking;oronemaythinkofthe
Odysseanconflictinwhichseveralkingsvieforonequeen;and,withinthecontextofthe
film,thetitleconjuresNoraandherlovers.Desplechinssourceforthetitleisashortpoem
byMichelLeiris:

Roisanarroi,
reinesansarne,
tourtroue,
foulier,
cavalierseul.

Kingwithoutaretinue
 3

Queenwithoutacourt
Castlebreached
Bishopbetrayed
Knightallalone.2

Leirispoemplaysonthemetaphorofchessaslife.Thelinesdescribeisolatedfiguresona
chessboard,butthecombinationoftheseparticularpiecessuddenlycomestolife.Leiris
drawsattentiontothenarrativepoweroftraditionalchesselements,andtothewaysin
whichtheartistcanweavetheseelementsintoahumanstory.
Desplechinhascommentedonthepoemanditsroleasaninspirationforhisfilm:

Thefilmtriestodrawsomethinglargerthanlife,soitwouldbeaboutkings
andqueens.(...)Allkidsknowthattheirfathersarekingsandthattheyare
princes,butwhenwegrowupweforget.That'swhywewatchfilmsto
remindusoftheobvioustruth,thatourlivesarethoseofkingsandqueens.3

Desplechinalsocomments,inthefilmedinterviewaccompanyingtheDVD,onhisextensive
useofquotations,explaininghowthefilmmustworkregardlessofwhetherpeople
recognizeparticularallusions.Whilethestorydoesmakesenseregardlessofones
knowledgeofYeats,ApollinaireorHomer,theconstantreferencestoliteraturecollectively
makeamoreinterestingpointaboutthenatureoftheliterarytraditionanditsroleinour
lives.Likepoetry,filmtransformstherawmaterialofdailylifeintothemythicaland
magical.WelearnlateinthefilmthatthetitleofLouisJenssenslastbookisCavalierSeul,
anotherallusiontoLeirispoem,butwecannottellatwhatleveltheallusionworks:is
LouisquotingLeiris,orisDesplechinplayingwiththemetaphoroflifeasagameofchess
byhavinghischaractersobliviouslyreenactagamethathasbeenplayedcountlesstimes.
Thetwopossibilitiesarenotincompatiblesince,alongsidemoreselfconsciousallusions,
Desplechinalsohighlightsrepetitionasathemethatallowsforaccidentalresemblances.
Whetherparallelsareplannedorunintentional,theeffectisthesameincreating,and
stressingtheimportanceof,connectionstotheliterarytradition.

2
ThepoemwasoriginallypublishedinMichelLeiris1981LerubanaucoudOlympia,83.Thetranslationis
quotedinaninterviewwithDesplechininFilmComment41(May2005).
3
FilmComment41(May2005).
 4

AnotherconnectionbetweenKingsandQueenandancientepicistheemphasisonthe
artofmemory.WhenIsmaeltellsNorasyoungson,Elias,Lepass,cenestpascequia
disparu,cestaucontrairecequinousappartient,hepointstomemoryastherepositoryof
ourstories,photographs,buildings,paintings,andmusic.Thepastbelongstousthrough
theartofthepast,andartmakesusall,evenifonlyforamoment,intokingsandqueens.
BeforeIturntotheparallelsbetweenthefilmandancientepic,Idliketogiveonemore
exampleofatypicalDesplechinallusion.ThesongMoonRiverbookendsthefilmina
lyriclessjazzversion,whichmakesthemusicsoundbothfamiliarandopenended.The
songsunsunglyrics,fromwhichItookmytitle,evokeslifeasajourney:

MoonRiver,widerthanamile,
I'mcrossingyouinstylesomeday.
Oh,dreammaker,youheartbreaker,
whereveryou'regoingI'mgoingyourway.
Twodriftersofftoseetheworld.
There'ssuchalotofworldtosee.
We'reafterthesamerainbow'send
waiting'roundthebend,
myhuckleberryfriend,
MoonRiverandme.4

Thesongwascomposedforthe1961filmBreakfastatTiffanys.Inamemorablescene
HollyGolightly(playedbyAudreyHepburn),perchedonthefireescapeofherNewYork
apartment,singsthesongwhileaccompanyingherselfontheguitar.Themusicthusevokes
theearlierfilmsheroine,awomanwho,likeNora,refusestodefineherselfbythetragic
eventsofherlifeandwhofashionsherselfasaqueenwhowill,someday,crosstheriver
instyle.5Thelyricsalsoindirectlyevoketwofamousliterarywanderers,HuckandJim
fromMarkTwainsHuckleberryFinn.TheriveritselfrepresentsHollyGolightlyshopesand

4
MusicbyHenryMancini,withlyricsbyJohnnyMercer.
5
DesplechintalksaboutthelinkbetweentheAudreyHepburncharacterandNorainFilmComment:WhatI
findsostrikinginHepburn'sperformanceistheideathatwhenyou'reindeepshit,theonlymoralposition
youcanadoptisdignity,tobehavelikeaqueen.FilmComment41(May2005).
 5

dreamsforherlife,butalsoherawarenessofitsrisks,andthepotentialfordisappointment
andloss.Dreamsleadtoheartbreak,buttogethertheycanprovidetheinspirationto
transformtheeverydayintosong.
LiketheOdyssey,whichstartswithPenelopeandTelemachosonIthakabeforemoving
ontoOdysseusandhisnostos,thenarrativestartswithafemaleprotagonistandherson,
andthenmovestotheordealsofthemalehero.Thefilmshiftsbackandforthbetweenpast
andpresent,andbetweenthetwomainprotagonistswhosharethescreenonlyforafew
minutesintwoscenes.Thetoneofthefilmchangesdramaticallydependingonwhetherwe
arefollowingNoraorIsmael.Noraslifeistoldasamelodrama,whileIsmaelsstoryistold
asafarce.Inbothcases,thetonecontrastswiththeprotagonistsviewsofthemselveswith
NorafavoringalighttouchdespitethetragiceventsthatsurroundherandIsmaelfancying
himselfasatragicheroicfigureeventhoughhisordealsarecomparativelylesser.
Desplechinconnectshistwomaincharacterstoancientmythicfiguresthroughboth
literaryallusionsandvisualmotifs.KingsandQueenstartsandendswithNora:atitle
identifiesthebeginningofthemovieasPartI,Noraand,assheexitsataxi,wehearher
introducingherself.Hernameisimmenselyevocative:itsuggeststheheroineofHenrik
IbsensTheDollHouse,butalsoNoraBarnacle,JamesJoyceswife,whowasthemodelfor
MollyBloom,thePenelopefigureofJoycesUlysses.Thesemodernassociationspoint
backwardstotheheroineoftheOdysseyandgiveamythicdimensiontohercharacter.
Whenthemoviecutstoanothersceneinsideahouse,whereNorasitsonachairinfrontof
awindowtalkingaboutherlife,thesceneacquiresthefeelofadocumentaryshe
addressesthecameradirectlyorperhapsapsychoanalysissessionwiththeaudienceput
intheroleoftheanalyst(againwemayberemindedofMollyBloomsstreamof
consciousnessinthelastepisodeofJoycesUlysses).Towardstheendofthefilm,the
camerawillcutbacktoNoraspeakingagaindirectlytothecamera,whichtemptsustosee
theentirestoryasfilteredthroughhereyes.ButwegettoseetheworldbothasNora
wantstounderstanditandfromthemorecomprehensiveperspectiveoftheexternal
narrative.
Noratellsusthatshehasason,Elias,bornfromafirstmarriage,andthatsheisaboutto
marryagain,forthethirdtime.Asthemovieprogresses,Norarevealsherselftobeas
unreliableanarratorassheisbeguiling,andnothingisquiteasshepresentsit.Eventually
 6

shecomestoembodythefigureofLedaaswellasbothaspectsofthetwinsbornofthe
unionofLedaandtheswan,HelenandKlytemnestra.AmodernHelen,sheisanambivalent
figurewhoisrenderedbothirresistibleandisolatedbyherbeauty.Thestoriesshetells
aboutherpast,likethoseofHeleninOdyssey4,contradictthememoriesofother
characters.Helenhastoadministertoherhusbandandguestsadrug(pharmakon)that
eradicatesgriefbeforesheandMenelaoscantalkabouttheTrojanWar.Norasvery
presencesimilarlyisoftenthecauseofsuffering,which,inthecaseofIsmael,canbe
alleviatedonlybythedrugsforceduponhimwhenheisadmittedatthepsychiatric
hospital.NoraisalsoaKlytemnestrafigure.Towardstheendofthefilm,sheletsslip
matteroffactlythatshehaskilledtwoofthefourmenshehasloved:PierreCotterelle,
whowasEliasfather,andherown.HerroleinPierresdeathremainsambiguous,butwe
seeheradministerthemorphinethathastensherfathersdeathfromadvancedcancer.
Norasfather,whomayalsohavebeenherlover,shockinglyrevealsinaposthumousletter
toherthatheseesherasamurderousmonsterfullofangerandbitterness.AlthoughNora
hasnotbeenentirelyloyaltoeitherEliasbiologicalfatherortoIsmael,sheneverthelessis
alsoaPenelopefigure.SheislinkedtothefemaleprotagonistoftheOdysseythroughher
name,which,asIhavealreadypointedout,obliquelyevokesJoycesUlysses,butalso
thematicallyasamotherandwifewhopatientlywaitsandweaveshersonsfuture.
Ismael'sstorycentersonhisdepressionafterhisseparationfromNoraandhis
subsequentforcedstayinapsychiatrichospital.Hisname,likeNoras,linkshimtothe
WesternepictraditionviaHermanMelvillesMobyDickaswellastheBiblicaltradition.In
theHebrewBible,Ismael(orIshmael)isthesonofAbrahamandhisservant
Hagar.AccordingtotheHebrewBible,anangeltellsHagartogivetheunbornchildthe
nameIsmael,whichmeansmayGodhear,fortheLordhasheardofyourmisery.6The
nameacquiresitsfullmeaninglateronwhenthegrownupIsmaelandhismotherare
exiledbyAbrahamand,onceagain,placedunderGodsprotection.
WhileKingsandQueenchroniclesthemodernIsmaelsdescentintomadnessand
recoveryinaslapstickstylethatcontrastswiththedepressingsettingoftheclinic,visual
cluesevokeIsmael'sroleasanoutcast.Besidesthebiblicalandliteraryreverberationsof

6
TheKingJamesBible,Genesis16.11.
 7

hisname,Ismaelisalsorepresentedasaselfcastheroicfigurethroughthevisualleitmotif
ofHerakleslaborsthataccompanyhimthroughoutthefilm.Thefirstimageweseewhen
thefilmturnstoIsmaelisasmallengravingonthewallofhisapartmentdepictingHerakles
fightingtheriverAcheloos.Inonerevealingmoment,Ismaelputsupthesameengravingon
thewallofhisroomattheclinic.Later,Ismaelwearsahoodedsweatshirtwithalionshead
onitsback.WhileIsmaelclearlyconsidershimselfatragicandheroicfigure,the
juxtapositionbetweenhisactualordealandthelaborsofHeraklesironicallyrevealsthe
differencesbetweenhisandtheancientherosagones.
ThetrialsofIsmaelultimatelyhavemoretodowithOdysseusadventures.Forour
hero,thehospitalbecomesthecaveoftheKyklops,thelandoftheLotusEaters,theislands
ofKirkeandKalypso,andthelandofthePhaiakians.Ismaelisbroughttothehospital
againsthiswill,andduringhisfirstnightthereheengagesinaviolentfightagainstavery
strongmalenursewhoalmostlosesaneye.Withhisdrugcrazedlawyer,MaitreMamanne,
IsmaeldiscoversthedelightsofoblivionproducedbyprescriptiondrugssuchasSubutex
(prescribedforopiatedependentpatients),Solian(anantipsychoticdrug),andthe
philosophicallynamedAtarax(anantihistamineprescribedtorelieveanxiety).TheCircean
temptationofabeautifulyoungnursetemporarilyallaysIsmaelsdespair,butalsodelays
thedeeperconnectionhestartstoformwithayoungpatient,AriellePhnix,who,asher
nameindicates,isboththesymbolandmeansofhisrenewalandeventualhomecoming.
ThelinkbetweenIsmaelandOdysseusisfurthersolidifiedthroughsong.OntheDVD
commentary,Desplechinmentionsthathewantedtoincludeasceneinthemiddleofthe
moviewhereIsmaelsingsanddancesinthetraditionoftheMarxBrothersmovies,which
wouldfitinwiththevaudevilliantoneofIsmaelsstayinthehospital,butwhichwouldalso
beabitwilderasDesplechinputsit.Aboutmidwaythroughthefilm,Ismaeldecidesto
dancetoarecordedsongduringagrouptherapysession.JustasOdysseustakesontherole
ofthepoetintheOdysseybyrelatinghisadventuresinthefirstpersontothePhaiakians,
Ismael'sperformanceisaturningpointforthenarrativeandbecomesIsmaelsfirststep
towardsescapingtheworldofthehospital.Forthefirsttime,Ismaeldisplayspleasureand
amomentaryhappiness,bybecomingaperformerwhodelightsboththeinternaland
externalaudiences.
 8

Justashedoeswithliteraryreferences,Desplechinusesmusicalmotifsfromabroad
culturalspectrumfromclassicalmusictocontemporaryhiphop.Ismaelisinfacta
professionalviolaplayer,who,whenaskedwhatitishelikesabouthisinstrument,
respondsthathelovesitbecauseitisvaried.ItisthusnosurprisethatIsmaelstastein
musicisinclusiveandthesonghechoosesforhisdanceisinturnwonderfullysuggestive.
TheonlywordsinthishiphopsongbyMarleyMarlaredouremember.Therestofthe
trackconsistsofquotationsofvarioustunesbyotherwellknownrappersofthe1980s,
whichwerepresumablyhappiertimesforIsmael.Thedanceisthusacondensedwayfor
ourherototellofhispastadventures.
AsthefilmcontinuouslyshiftsbetweenIsmaelsandNorasperspectives,theirdifferent
pathsconvergeonlytwice,onceinthehospitalandagainattheendofthefilm.Noragoes
tovisitIsmaelinthehospitalbecauseshewantshimtoofficiallyadoptElias.Therequestis
strange,comingfromthewomanwholefthimandisabouttoremarry.Ononelevel,its
onlypaperworktobesigned,asNoratellshim,butIsmaelknowsthatthereismuchmore
atstakeintheprocessofadoptionandafterconsideringit,heeventuallyrejectsNoras
request,andexplainshisreasonstoEliasattheendofthefilm.Eliasinawayisthelast
remainingconnectionbetweenNoraandIsmael,butthefilmworkstowardsaresolution
thatleadstoaseparationratherthanareunion.NorasandIsmaelsstoriesfollowparallel
narrativearcs,inwhichtheyfacesimilarthoughseparatetrials,andbothsuffermostinthe
secondhalfofthefilm,LibrationsTerribles(CruelReleases),whentheydiscoverthe
discrepancybetweentheirselfimageandwhatothersthinkofthem.
WhenIsmaelleavesthehospital,hegoestomeethiscousin,theleadviolinistoftheir
stringquartet.AsIsmaelthanksChristianforworryingabouthimandcallinghissister,he
learnsthatChristianactuallywasthepersonwhostartedtheprocesstohavehim
committedtothepsychiatrichospital.Insteadofaworriedcousin,hediscoversamanwho
confessestohavehatedhimforovertenyears.Whilethecontentofthedialogueis
momentous,ChristiansdemeanoriscalmandhesmilesashelistsIsmaelsfaults,his
arrogance,scorn,andnegligence.
InthecaseofNora,afinalconfrontationwithherfatherhappensafterhisdeath,when
shefindsaletterLouiswrotetoherhiddeninthemanuscriptofhislastbook.Intheletter,
Louisaccusesherofbeingabitterandresentfulmonster,andtellsherthathefearsand
 9

hatesher.Insteadofusingthevoiceovertraditionallyusedinfilmtorevealthecontentsof
writtentexts,DesplechinshowsLouisdressedinblackinfrontofadarkgreybackground,
speakingthewordsofhisletter.Theflickeringimagerecallsearlymotionpictures,and
Norasfatherineffectbecomesaghostcursinghisdaughter.Theshockingrevelationofhis
hatredcould,andareprobablymeantto,destroyher,butNoraburnstheletter,andkeeps
theengravingofLedaandtheSwan.Theonlyremainingtraceofherfathersletterisared
markonNorasabdomen,whereshebrieflyhidtheletterfromhersistersgazeaphysical
markerofthepainexperiencedbyNoraandasymbolofhercapacityforrecovery.
AsIsmaelandNorarealizehowothersseethem,we,theviewersexperienceasimilar
shock.ChristiansandLouissanimositymakesusrealizethatthewayNoraandIsmael
understandtheirownstoriesisonlypartial,butthosesameemotionsalsomakeus
ultimatelydoubttheaccountsoftheiraccusers.Weareleftwithmorequestionsthan
answers.YetbothIsmaelandNoraemergefromtheencountersnotonlyunscathed,but
somehowstronger.
Desplechinarguesthatthereisnodifferencebetweenthepeoplewhohavethe
knowledgeandthepeoplewhohavenone.Forhim,thereisanessentialdistinctiontobe
madebetweentheproudlyelitisttendenciesofhighartandfilmconceivedasamediumof
popularculturethatcanexplorelifeandallitscomplexitieswithdepthyetremain
accessibletoall,regardlessofbackground.7YetthefactremainsthatmanyofDesplechins
allusionsbelongtotheworldofhighculture.Strikingly,theendcreditsincludean
acknowledgementofsomeofthefilmsliteraryallusions:GeorgeDevereuxs
PsychothrapiedunIndiendesPlaines,PhilipRothsSabbathsTheater,JohnGardners
MickelssonsGhosts,GeorgeApollinaire,andEmilyDickinson.Butthelistisconfusinginits
partiality:whycitetheseworks,andnot,forexample,W.B.Yeats,MichelLeiris,whomI
havealreadydiscussed,orBlaiseCendrars,whoisquotedatlengthinthefilmwithout
acknowledgment?KingsandQueensjuxtapositionofhighandlowcultureultimately
reaffirmsthevalidityoftheverydistinctionDesplechinclaimsnottocountenance.Thereis
apleasureindisentanglingthelayersofreferencestotheliterarytraditionthatisdeniedto

7
Bright Lights Film Journal 49 (August 2005) http://www.brightlightsfilm.com/49/despiv.htm

 10

thosewhodonotrecognizethem.Thefilmthusbecomesitselfbecomesastrongstatement
forthevalueandthedelightsofbeingconnectedtotheliterarytradition.
ThecharactersofKingsandQueenhavethekindofknowledgethatallowsthemtouse
andunderstandliteraryallusions,andtheirallusionsbecomethemselvesaformof
teachingandtransmittingatradition.Duringameetingwithhispsychoanalyst,Dr.
Devereux,animposingAfricanAmericanwoman(whosenameisinspiredbythereallife
psychoethnologistGeorgeDevereux),Ismaeldescribeshowhewokeuphappythat
morningbecausehefinallyhadarealdream,whichhewaslookingforwardtodescribeto
her.Thedreamincludesachurch,aceremony,andagreatcrowdofhappycitizens
celebratingsomekindofceremonyatthefootoftwoladders(onetallceremonialladder
andanother,shorterone);halfwayuponeoftheladdersisthequeenofEngland,whileon
theshorterladderisIsmaelsthirdgrandmother.Ismaelhimselfisinthedreamasa
twelveyearold,standinginthemiddleofthecrowd.Inthedream,IsmaelexplainstoDr.
Devereux,thecitizensbelievethateachrungoftheladderssymbolizesafurtherdegreeof
knowledge.IsmaelsdreamiscomplicatedbyDesplechinsinsertionofvisualclipsthatare
onlypartiallyrelatedtotheverbaldescription.Weseeblackandwhitepicturesofarmies,
crowds,tribaldances,andacoronationceremonyrenderedindocumentaryfootagefrom
differentcountriesandtimeperiods.
Ismaelgoesontodescribehow,onhiswaytothepsychiatrist,hesuddenlyrealized
thatthedreammeantnothingatallandthatitwasjustanallusiontoapoembyYeats,
TheCircusAnimalsDesertion,withhissubconsciousmakingsomecheappunsonan
Irishpoem!Ismaelclaimsnottorememberthelineswell,butthenproceedstocitethem
perfectlyinEnglish:Nowthatmyladdersgone,/Imustliedownwherealltheladders
start.Ismaelsharesthreeinterpretationsofthedream:itmaybeadreamofimpotence
thatdepictsIsmaelsinabilitytoclimbtheladder(heisfinishedasaman);itmaybea
symbolofIsmaelssubversivedesiretolookundertheskirtoftheQueenofEngland,who
representsthepsychiatrist;and,finally,itmaybeasolutiontotheproblemoftranslating
Yeatsverse.ThelatterinterpretationisthemostdisappointingtoIsmael(whofindsit
tragicdreamingabouttranslationproblemsandwonderswhyhecanthavenormal
dreamslikepatientsinFreudsbooks),butthemostinterestingtous.Theproblem
revolvesaroundhowtotranslateYeatsliedown.MostFrenchtranslators,accordingto
 11

Ismael,interprettoliedownastodie(jagonise),whilehepreferstotakeitasto
rest(jemerepose).IsmaelgoesontoexplainthatYeatshaslosthisimaginations
ladderbutnevermind.Nowheisrestingthere,attheveryspotwherealltheladdersofthe
mindoriginate.Therefore,itsanoptimisticpoem.InIsmaelshopefulinterpretation,the
laddersrepresenthumanknowledge,anditistheladdersexistencethatprovidesthekey
tothepoem,whetherweclimbthemorliedownatthebottom.
IsmaelsdreamofYeatsladdersisanotheraptsymbolofDesplechinsmultilayered
allusions.InYeatsTheCircusAnimalsDesertion,thepoetrealizesthattheoriginal
inspirationforhisartwasinthedistressinglyrawmaterialoflife(thefoulragandbone
shopoftheheart),whileDesplechinhighlightsthewaysinwhichartshapescharacter.Not
onlydohisprotagonistsconstantlyquoteandrefertomusicandpoetry,butmanyframes
ofthefilmincludevisualreferencestotheliteraryandartistictraditionintheformof
books,music,andpaintings.Ismaelisdistressedatrealizingthathisdreammerelyreflects
anattemptonthepartofhissubconscioustointerpretapoemratherthanadirectconduit
tohisowninnermostbeing,butheoverlooks,orunderestimates,theconnectionbetween
artandexperience.ForYeats,wherealltheladdersstartisaplaceofabjection,butalsoa
placefromwhichtoaspiretoartasameansofliberation.InIsmaelsinterpretationofthe
poem,theladdersarestrictlyabouttheacquisitionofknowledge,butforYeats,andby
extensionforDesplechin,theladdersleadnotonlytoknowledgebuttothemyths,poetry,
andstoriesthatgiveshapetoourfeelingsandlives.
WhilethereisnoreunionforNoraandIsmael,liketheOdyssey,KingsandQueenends
withanimageoffathersandsonsintheformofafamilytreedrawnbyNorasyoungson,
Elias.ToElias,whatmattersmostisasenseofconnection,andheincludesbothhisblood
andadoptedrelativesashepastesphotographsonthetree.AsIsmaelsgrandmotherputs
itearlier,whetherchildrenandparentsareconnectedbybloodtiesorthroughadoption
ultimatelymatterslittle,itisthefactoftheconnectionthatmatters.Thequestionsof
filiationandpaternitythataresocentraltothefilmarealsoreflectedinthewaysinwhich
ancientepicthemesarefilteredthroughalongseriesofpoetsandartists.Theconnection
withtheclassicaltraditioncanbeeitherorganicorexplicit:theconnectioncanbeobscure
andunacknowledged,aswhentheexpressionofanunknownancestorsuddenlyflasheson
anunawaredescendantsfeatures,whileHomericepicisexplicitlypresentthroughYeats,
 12

ApollinaireandJoyce.ThefocusonfiliationisreminiscentofHaroldBlooms
psychoanalyticalapproachtotheliterarytradition,althoughtheanxietyandantagonismso
centraltoBloomstheoryarestrikinglyabsentfromKingsandQueen.8
KingsandQueenhasmuchtosayaboutthecentralityofmythinourlives.Byopening
hisnarrativewiththeunionofLedaandtheSwan,Desplechininvokesafoundationalevent
inGreekmyththatultimatelyleadsbothtotheTrojanWarandtotheadventuresof
Odysseus,andthereforetotheIliadandtheOdyssey,thetwogreatepicsthatstandatthe
beginningoftheWesternliterarytradition.Yet,whileDesplechinusesmythasasourceof
inspirationforhisnarrative,healsotransformsit,and,likethe19thcenturyartistwho
transformswithcolortheengravingofLedaandtheSwan,intheprocesscreatesafresh
storyaboutancientthemes.Thepastiswhatbelongstous,asIsmaeltellsElias,and
Desplechinbothacknowledgesthesourcesofhisinspirationandtransformsthem.Greek
mythisthusattheforefrontandinthebackgroundofKingsandQueen,buttheepicthat
resultsisresoundinglymodernandaclassicinitsownright.

8
Bloom,H.TheAnxietyofInfluence:ATheoryofPoetry.SecondEdition.Oxford:OxfordUniversityPress1997.