Review
Ageing
Assisted dying
Culture
5 min read

For love there is no charge

Out of mind old people are at the centre of Allelujah! Sian Brookes reviews the film adaptation of Alan Bennett’s play.

Sian Brookes is studying for a Doctorate at Aberdeen University. Her research focuses on developing a theological understanding of old age. She studied English and Theology at Cambridge University.

In a hall decorated for a celebration a person stands in front of a seated group, all have their arms raised in celebration.
Jazz hands at the hospital.
BBC Films.

Spoiler alert – this film review reveals significant elements of the plot. 

Allelujah! is not a film that shies away from the big issues. In fact, you would be hard pressed to find a big issue this comedy/political commentary/drama/part-thriller doesn’t at least make reference to (and yes, it spreads itself across all of these genres too). With such an eclectic approach it is difficult at times to keep up with the narrative, and the deeper meaning of the film. Based on the Alan Bennett play, the plot centres around The Bethlehem, a small northern hospital for geriatric patients, which is facing closure due to the Tory government’s efficiency drive. It focuses on two members of staff, Alma Gilpin, a stoic and matter-of-fact but seemingly excellent nurse who has served the hospital her entire career, and a younger Dr Valentine. Other protagonists include an ex-miner patient and his son, a management consultant who has “made it” to London and is currently advising the Health Secretary to close hospitals such as the one in question for the sake of government finances. 

Whether it’s politics or the personal, this film has it all. It deals with levelling up, the cultural and economic gap between the north and south, the challenges of budget cuts in the NHS, the problems of a national health service claiming to 'care' but with managers more preoccupied by Westminster’s economic priorities. It depicts families waiting for older relatives to die in order to grab their inheritance, the broken relationship between an ageing man and his son, and those all-important stories of the older patients’ lives well-lived. And yet as the story line develops, a plot twist emerges which comes to overshadow the entire film, and in the process speaks to what is perhaps the most poignant of the many discussions it raises. Nurse Gilpin, who, until now has appeared consistently caring and committed to her patients, has been quietly administering fatal beakers of milk and morphine to those who she deems to be on “her list” of those who most need relief from their situation. When confronted by the doctor she justifies her actions with a multifaceted answer based on the requirement to provide more beds to a broken healthcare system, but also insisting “I had ended someone’s suffering”.  

When Dr Valentine remarks, “I like old people” a visitor responds “not even old people like old people”.

The manner in which Nurse Gilpin goes about what is effectively enforced euthanasia, is deeply chilling. And yet her reasoning is not entirely foreign to us – to end suffering could be deemed a noble cause. In fact, the need to simply delete the reality of suffering, particularly the suffering of the old is one that perhaps is not so uncommon. Throughout Allelujah!,we are reminded of our tendency to run from, to detest, to reject the suffering of the elderly in our society. When Dr Valentine remarks, “I like old people” a visitor responds “not even old people like old people”. A teenage intern declares to a patient “I hope I never live to be your age”. At the same time, characters look back on the days “when the elderly weren’t farmed out”, and questions are asked of families “if they love them, why do they put them away?”. A very good question. Of course, care needs are often too great for families to endure, yet it is still important to ask why the suffering of the old has become a professionalised service, which most of us avoid at all costs. Perhaps the answer to this is that we don’t like to watch the old suffer, we don’t like to watch them die, because their suffering and their death remind us of our future selves, our future suffering, our future death. In our sanitised, anything-is-possible-with-medicine-and-science society, death and the suffering that comes with it, is something from which we flee at all costs. Instead of acknowledging and working with it, we would rather pretend it wasn’t there at all.  

And yet, even as we try to avoid it, suffering and death are both certain parts of all our futures. 100% of us will die. For Nurse Gilpin, the solution to this is to bring on death prematurely, to erase the pain, overcome the misery by offering a false hope – that it doesn’t need to exist at all. In direct contrast to this, in a film which is littered with Christian references (Allelujah, The Bethlehem), there is a different approach taken by a messiah-type figure who seems to get everything right. Dr Valentine is compassionate and understanding. He not only challenges the political systems which undermine those most at the margins of society, but also has the kind of bedside manner we would all hope for in a doctor. In a closing monologue Dr Valentine utters the words of the doctors in the NHS, “We will be here when you are old, and we would die for you, we are love itself and for love there is no charge”.  

It is this suffering with which is so compelling, this suffering with which is truly sacrificial.

Nurse Gilpin and Dr Valentine offer two fundamentally different approaches to end of life care. One hastens the end quickly, deletes the suffering as efficiently as possible in order to make way for those in less pain. The other sits with those who suffer, holds their hand, gently cares for the human person that is in front of them. Even more, and perhaps most significantly Dr Valentine does not only watch from afar, but is willing to suffer himself for the sake of those in pain - working tirelessly, giving himself over day after day, fighting on with little sleep for limited pay just to make things a little less painful. It is this suffering with which is so compelling, this suffering with which is truly sacrificial, this suffering with which speaks of something much greater than politics, efficiency or inheritance, this suffering with which is indeed “love itself”, completely free of charge.  This is the logic that Christians see in the ancient notion of the incarnation, celebrated every Christmas, of God with us. This is what our older people need, this is what we will all need when we grow old. Let us only hope that when we get there, we find the one who is willing to offer it.

Article
Character
Culture
Idolatry
Psychology
6 min read

Jacob Elordi wants more shame, Zadie Smith says it’s useful—what if they’re both wrong?

Shame may be necessary, but only if it can be defeated

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Frankstein stares our from his covered face.
Jacob Elordi plays Frankenstein's monster
Netflix.

I’ve been thinking about the nature of shame a lot recently. Both professionally and personally, it’s a topic that is demanding my attention. It’s following me around, insisting that I look it in the eye, shoving and nudging me – taunting and tempting me to finally snap and wrestle it to the ground. I guess that is the very nature of shame, isn’t it? It’s always so stubbornly there.  

I’ve also noticed that it seems to have elbowed its way into cultural conversations; it’s been putting a real PR shift in, seeking rehabilitation in public discourse.  

The actor, Jacob Elordi, was recently interviewed by the Wall Street Journal. Kind of interesting, kind of not. The sliver of it that really caught my attention was when the interviewer asked Jacob,  

‘What’s one lost art that you wish would come back in style?’  

To which Elordi replied,  

‘The art of shame. I wish people could experience shame a little heavier’.  

Gosh.  

It makes sense that this was Jacob’s answer; the interview was conducted to promote Frankenstein, Guillermo Del Toro’s new movie in which Jacob Elordi plays Frankenstein’s monster. So, I get it. He’s been consumed with what components make up a monster, endeavouring to literally turn himself into one. He’s been ruminating on the recipe of evil, and perhaps he’s found one key ingredient – shamelessness. Maybe Jacob, having dwelt on such, has subsequently looked out at the not-so-fictional ‘monsters’ wreaking havoc and has diagnosed the same thing, a distinct lack of shame.  

It's a solid thesis.  

It reminded me of another recent interview, this one with the acclaimed author, Zadie Smith. She said,  

‘Shame gets a bad rap these days. I think it’s quite a useful emotion, corrective on certain kinds of behaviour… I assume people – including myself – are just deeply, deeply flawed. And so, shame is usually quite appropriate on a day-to-day level… shame is a kind of productive thing to create change. I guess I do believe that. I know it’s definitely a Christian emotion, that’s why it’s so out of fashion. But I always thought it quite productive in the gospels, that idea that you assume that you are entirely in sin. I always assume that.’  

I half agree with both Jacob and Zadie. In a way, I’d be a fool not to. Not to mention, proof of their thesis. 

I cannot deny that I am, as Zadie points out, deeply, deeply flawed. There is a crack in everything I do, a fracture in all my best intentions. And yours, too, I’m afraid (but I have a feeling you know that). There is a brokenness to us, a breaking-things-ness. To each and every one of us, ‘hurt’ is both an adjective and a verb – something we feel and something we do. The things I want to do, I never manage. The things I don’t want to do, I seem to manage every day. I am falling short, missing the mark – I am so fallibly human.  

To acknowledge such is not only obvious, nor is it simply ‘useful’, as Zadie suggests. It’s inherently spiritual, it’s paradigmatic. 

Last summer, I hosted an event at which Francis Spufford, one of my most cherished wordsmiths, playfully quipped, ‘I’ve heard original sin (the notion that we are, as Zadie notes ‘entirely in sin’) described as one of the few theological propositions which you can actually confirm with the naked eye’. ‘Sin’, Tyler Staton similarly writes, ‘is simultaneously the most controversial idea in Christianity and the one most universally agreed upon’.  

There’s something deeply wrong with the world. We all know that.  

Which, presumably, is what Jacob Elordi is getting at – he’s observing bad people not feeling bad enough about the bad that they do, or worse still, the bad that they are. A healthy dose of shame is the medicine that this world needs, he suggests. 

Oh Jacob, I sympathise with that. The thing is, I have a hunch that the presence of shame makes as many monsters as the absence of it.  

And Zadie, I wonder if shame births as much destruction as it does ‘correction’.  

While I agree with you both that, in a world as broken as ours, shame needs to exist in some form or another, it also needs an antidote. It’s a dangerous substance; toxic and destructive. Don’t let it fool you, don’t be over-generous to it – shame may (in its most moderate and appropriate forms) be an acknowledgment of the disease, but it is not the medicine. It could only ever be ‘useful’ if it is, ultimately, defeatable.  

At least, that’s my – admittedly very Christian – conviction. That’s my take. I can’t pretend that it’s not as theological as it is sociological in its underpinnings. 

I’m relatively new to the liturgical aspects of my own faith tradition (that is, the formalised scripts, actions and rituals that have long fuelled religious experience) , so I have the pleasure of not being numb to them. When I read the ancient words of ancient prayers, they shoot right through me, particularly these ones:  

‘Almighty God, our heavenly Father, we have sinned against you and against our neighbour in thought and word and deed, through negligence, through weakness, through our own deliberate fault...’ 

Ouch.  

As I read those words, week in and week out, my brain creates a helpful montage for me – whirring through the countless ways in which I have failed – in what I think, what I say, what I do. I’m confronted with the ways that my breaking-things-ness has leaked out of me through my negligence, it’s spilled out of my weakness, the force of it directed at others through my own deliberate fault.  

Oh yes, I’m well acquainted with the emotion of shame.  

But the only thing productive/appropriate/corrective about falling on my face in shame, is that there is a mercy that can scoop me up. It’s not hopeless, you see? There’s a mend-ability. There’s an antidote to shame; there’s a balm for its burn. There’s a bewildering love that banishes shame from within me – there’s a rescue route from its toxic spiral.  

The moment that shame is acknowledged, its presence verbalised, its power felt – is the very moment it needs to be neutralised. It cannot fester, it cannot be afforded the loudest, nor the last, say.  

And so, to Jacob Elordi’s interesting wish – that ‘people could experience shame a little heavier’, and to Zadie Smith’s fascinating thesis that ‘shame is a kind of productive thing to create change’- I hear you. I see what you’re getting at. But I can only ever wish people to experience the heaviness of shame if it means that they are more sensitive to the feeling of it being undeservedly lifted off them. That’s where change happens. That’s the medicine.  

So, Jacob and Zadie, let’s agree to half-agree on this one, shall we?  

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief