Chris, Bart, and Jory: the Saddest Theme in the Flowers of the Attic Film Series
I swear to you, all morality leaves my body when it comes to the Dollanganger siblings. (We're speaking the VC Andrews screen adaptions, as the books are wayyyy too messy for me to make excuses for the utter sexual exploitation of Cathy and her rejection of consent) Cathy and Chris had to fight through hell with tooth and nail, and where I absolutely am disgusted by the incestuous content presented in these films, its purely because they have been clouded in so much darkness that I just want them to be happy.
Which makes the judgment (not that those who judge don't deserve to judge, it is fucking gross under any other circumstance), so much harsher, because the characters that judge them through the duration of the series didn't experience the endless trauma Chris and Cathy did. They bonded through the things only they fought through together, and Chris was more than what he was to Cathy, which was why it was seamless for him to father Cathy's children. Though it hurt him to see her love other men and bed other men, Chris was there from the second both Jory and Bart were born, raising them, providing for them, and most of all, loving them. It is something in the film series that Chris doesn't get enough recognition, because Chris sure as hell didn't have to do this much for Cathy, but because he loved her, he loved Jory and Bart, too.
Which leads to my most hated part of the film series. How Bart completely throws all of Chris' love in his face, and I know it's a driving plot point, but it's so unfair to Chris with all he's fought through to also be betrayed by one of his sons. It's bonkers to me. Chris will never not deserve better. He deserved to live happily with Cathy, and embrace his sons lovingly, and create more of a home that was warm and comfortable. Chris Dollanganger bore a majority of the hurt for his siblings, and still was walked all over for providing, loving and protecting his family. This is the man that gives in to Jory's grandmother's blackmail so he wouldn't lose him, and would rather die than refer to Bart as his "stepson."
Christopher Dollanganger in the films >>>>
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2 years ago I decided I should watch at least two movies I’d never seen before a week. That year I managed 278 films. This year I have 346 first-watch-films, and so many more still to see. These are ones that stood out, in no particular order other than the order in which I saw them. Movies are magic, history and humanity, and how lucky are we to have them.
2022 FIRST WATCHES – STANDOUTS
January
Career Girls (dir. Mike Leigh, 1997), 4 January
Titane (dir. Julia Ducournau, 2021), 8 January at Prince Charles Cinema
La Chienne (dir. Jean Renoir, 1931), 18 January
Panique (dir. Julien Duvivier, 1946), 20 January
Undine (dir. Christian Petzold, 2020), 21 January
An Angel at my Table (dir. Jane Campion, 1990), 23 January
Drive My Car (dir. Ryusuke Hamaguchi, 2021), 29 January at Prince Charles Cinema
February
Parallel Mothers (dir. Pedro Almodóvar, 2021), 7 February at Rich Mix
Life is Sweet (dir. Mike Leigh, 1990), 18 February
March
Accattone (dir. Pier Paolo Pasolini, 1961), 5 March
In the Cut (dir. Jane Campion, 2003), 6 March
Phoenix (dir. Christian Petzold, 2014), 10 March
Outer Space (dir. Peter Tscherkassky, 1999), 16 March
Cleopatra (dir. Joseph L. Mankiewicz, 1963), 20 March
Inside (dir. Bo Burnham, 2020), 31 March
April
Scenes with Beans (dir. Ottó Foky, 1975), 5 April
High and Low (dir. Akira Kurosawa, 1963), 9 April
Una Mujer Fantastica (dir. Sebastian Leilo, 2017), 13 April
Women on the Verge of a Nervous Breakdown (dir. Pedro Almodóvar, 1988), 19 April
May
Chungking Express (dir. Wong Kar Wai, 1994), 2 May
Zazie dans le metro (dir. Louis Malle, 1960), 5 May
Three Colours: Blue (dir. Krzysztov Kieślowski, 1993), 11 May
La 317e Section (dir. Pierre Schoendoerffer, 1965), 28 May at Christine 21
La Collectionneuse (dir. Eric Rohmer, 1967), 30 May
June
Remorques (dir. Jean Grémillon, 1941), 1 June
Orphée (dir. Jean Cocteau, 1950), 17 June
Les plages d’Agnès (dir. Agnès Varda, 2008), 20 June
La belle et la bête (dir. Jean Cocteau, 1946), 21 June
Moonage Daydream (dir. Brett Morgen, 2022), 25 June at Showroom, Sheffield
July
Endless Summer (dir. Bruce Brown, 1966), 2 July
L’une chante, l’autre pas (dir. Agnès Varda, 1977), 12 July
Junior (dir. Julia Ducournau, 2011), 17 July
The Big City (dir. Satyajit Ray, 1963), 23 July at BFI Southbank
Andrei Rublev (dir. Andrei Tarkovsky, 1966), 24 July at Prince Charles Cinema 35mm
Flee (dir. Jonas Poher Rasmussen, 2021), 24 July
Salò, or the 120 Days of Sodom (dir. Pier Paolo Pasolini, 1975), 30 July at Prince Charles Cinema 35mm
August
Blood and Black Lace (dir. Mario Bava, 1964), 4 August
Happening (dir. Audrey Diwan, 2021), 9 August
Nope (dir. Jordan Peele, 2022), 15 August at Castle Cinema, 29 August at Vue Islington
Brute Force (dir. Jules Dassin, 1947), 16 August
Naked City (dir. Jules Dassin, 1948), 30 August
September
Gaslight (dir. George Cukor, 1944), 1 September
The Red Balloon (dir. Albert Lamorisse, 1956), 5 September
A Valparaíso (dir. Joris Ivens, 1963), 8 September
Raw Deal (dir. Anthony Mann, 1948), 10 September
Little Dieter Needs to Fly (dir. Werner Herzog, 1997), 25 September
October
The Killers (dir. Robert Siodmak, 1946), 8 October
Foolish Wives (dir. Erich von Stroheim, 1922), 9 October at BFI Southbank (London Film Festival)
One Fine Morning (dir. Mia Hansen Løve, 2022) at Odeon Luxe West End (London Film Festival), 14 October
Orlando (dir. Sally Potter, 1992), 19 October
7 Days in May (dir. John Schlesinger, 1964), 22 October
Seconds (dir. John Schlesinger, 1966), 28 October
November
The Rider (dir. Chloe Zhao, 2017), 1 November
Los Huesos (dir. Cristóbal León, Joaquin Cociña, 2021), 10 November
Fire of Love (dir. Sara Dosa, 2022), 13 November
Aftersun (dir. Charlotte Wells, 2022) 19 November at Castle Cinema
The Draughtsman’s Contract (dir. Peter Greenaway, 1982) 26 November at BFI Southbank
December
Sullivan’s Travels (dir. Preston Sturges, 1941), 3 December
Victim (dir. Basil Dearden, 1961), 8 December
Le Pupille (dir. Alice Rohrwacher, 2022), 16 December
The Queen of Spades (dir. Thorold Dickinson, 1949) at BFI Southbank, 30 December
Honourable mentions
Barry Lyndon (dir. Stanley Kubrick, 1975) at la Filmotheque du Quartier Latin, 8 May. I don’t like Kubrick but I think I liked this. Titane at the Cinematheque Francaise in Paris with Ducournau Q&A, 16 May. Top Gun Maverick at the Vue Leicester Square, 6 June, with my best friends. Jane (2017) at Sheffield DocFest, introduced by Brett Morgen. I had literally had 10 minutes sleep the night before. 26 June at Showroom, Sheffield
Moonage Daydream at BFI IMAX, while the Queue was ongoing. 17 September. Mrs Harris Goes to Paris (Anthony Fabian, 2022) at 11am on a Sunday at the Vue Islington. 29 October. Glass Onion (Rian Johnson, 2022) at the Rio Cinema in Dalston on a very uncomfortable date. 25 November
And rewatching The Third Man (Carol Reed, 1949) for the first time since I wrote my dissertation on it, six years ago.
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Cathy Dollenganger for A Year of Theme Posts
Cathy Dollenganger from Flowers in the Attic (1979), Petals on the Wind (1980), If There Be Thorns (1981) and Seeds of Yesterday (1984) by V.C. Andrews for May 4, 2017 May, 2017 Heroine Theme.
First appearing in the Flowers in the Attic, Cathy Dollenganger is the first daughter and second oldest child in her family and is helping her Mother and siblings prepare for her Father’s birthday party who was killed in a car accident before he could return home. Desperate for money and help Cathy goes with her Mother Corrine, older brother Christopher, and younger twin siblings Cory and Carrie to their Grandmother’s home Foxworth Hall.
Shortly after arriving at Foxworth Hall Cathy, Chris, Cory, and Carrie are locked in the attic where they will stay for three years. The longer she stays in the attic the more Cathy wonders if her Mother is being truthful for her reason of locking her children in the attic and starts to join Chris on expeditions outside the attic. This is how they discover that there is a new man in Corrine’s life and she plans to marry him.
When they are in the attic though Cathy starts to replace Corrine as Cory and Carrie’s Mother and starts to fall in love with her brother Chris and eventually she and Chris have sex. This is something that Chris regrets and apologizes to Cathy for since he believes that he raped her. Cathy is unable to save her younger brother Cory from dying and strengthens her resolve to save herself as well as Chris and Carrie. Shortly after their Mother’s second marriage Cathy discovers that they have been fed poisoned doughnuts and that the powdered sugar on the doughnuts has been laced with arsenic. The three surviving Dollanganger children escape a short time after this.
In Petals on the Wind Cathy, Chris, and Carrie are adopted by a doctor named Paul Sheffield who Cathy begins to develop feelings for. Paul puts all three children in school and it’s at her ballet classes that Cathy meets Julian Marquet who she eventually becomes dancing partners with and later marries and has his son shortly after he is killed in a car accident which eerily similar to how her Father died. Carrie also becomes engaged to Alex Rockingham a minister in training, but she commits suicide by putting arsenic on powdered doughnuts after being unable to tell him that she was molested by Julian.
Following the death of her husband Cathy begins again to plot revenge against her Mother by seducing her second husband Bart Winslow and announcing her pregnancy at the annual Christmas Party at Foxworth Hall shortly before the house is burned down which kills Bart and the Grandmother in the process.
If There Be Thorns and Seeds of Yesterday focus more on Cathy’s sons Jory (Julian’s son) and Bart (Bart Winslow’s son) after she has married her older brother Chris who took Paul Sheffield’s name before the doctor’s death. Cathy is no longer able to dance after a knee injury, but teaches classes instead. She is also reunited with her Mother Corrine for a short time before her death in a fire started by John Amos who had continued on as a Foxworth butler.
Cathy eventually returns a newly rebuilt Foxworth Hall that was constructed by her younger son Bart and only plans to stay until his twenty-fifth birthday where he will gain his inheritance. Instead she ends up staying until Jory heals from an injury sustained at Bart’s birthday party, then until the birth of Jory’s twin children, then until a subtitle care giver for the children can be found after Jory’s wife deserts him, and only leaves after Chris is killed in a car accident after looking for a new house for him and Cathy to live in with Jory and the children. And she doesn’t walk out the front door, but instead goes up to the attic and dies of a broken heart so she can finally be reunited with Cory, Carrie, and Chris.
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