I came across a very inadequate (i.e. not scathing enough) review of an adaptation of Ibsen’s Dollhouse I saw a few weeks ago. Since this clearly doesn’t bring to justice the travesty to Ibsen’s work, I felt morally obliged to put some things straight, even though only to my small, but faithful (I love you all
) audience. My initial reaction was to go find the playwright, strangle her, profusely apologize to the friends I had dragged there with me, and go rant to anyone who would listen (and some who wouldn’t).
Why the strong reaction, you ask? Well, let’s skip the inane portrayal of Nora, complete with bunny hops (he said squirrel, not rabbit, you imbecile), the way too obvious plugs of the innumerable local sponsors, and the too cheesy references to Chicago events, locations, snobbishness. The ultimate travesty, that the idiot reviewer calls an ‘intriguing epilogue’ - NORA CAME BACK!!!
Now you know why I’m pained. Essentially, this ending makes their situation no different from most provider/housewife marriages we see around us. The little contrast is just that most women know what they’re in for up front and accept it as the price to pay for financial support, security, etc., while here, Nora just took a while to figure it out and it hit her pretty bad.
So since I can’t realistically go murder the playwright (if bad writing was a crime, there would be many more on that hit list), I tried to figure out whether she could have had a deeper, ‘intriguing’ reason for having Nora come back (if you need facts - she slammed the door, Terry (Helmer) sat looking on the couch looking very despondent, then she came back 90 seconds later and said something to the effect - I’ll stay if you say sorry, and thank you for saving your life).
Anyway, so why would she come back, and what would their lives be like after that?
- The first argument, giving the most credit to Nora, is that her realising her inadequacies and weaknesses is ‘education’ enough. Once she knows what she needs to do to become a human being in her own right, she can go ahead and act on it while living with Helmer. In this scenario, leaving wouldn’t serve any purpose, except hurting herself and the children further. So, by staying on, she does what is best for herself, and Helmer has to accept the changed power equation since she isn’t necessarily staying on because she has to, but because she wants to. And she can change her mind when she feels that’s what would be advantageous. This would in fact tilt the power equation the other way, since Helmer has shown he needs her to preserve appearances in society, while Nora is comfortable making decisions that are best for herself, irrespective of society’s views on them.
- The second, and far more realistic argument, is that Nora realises they’re both in the same boat, and need each other equally, and for similar reasons. Nora needs him for financial support and social acceptance, and Helmer needs her for social acceptance and housekeeping. This would be a pretty rational decision, where Nora would have realised that she didn’t have the education, college degrees, etc. to make a decent living, and it was far better to be transactional about the marriage and get what she needed while giving Helmer what he did. This, I think, is the premise of most marriages I have seen.
- The third argument, most damaging to Nora, is that she walks out, thinks - Who am I kidding, I can’t handle this. Sure, Helmer has treated me like a plaything, but it’s true, that’s what I am, so why don’t I accept it and just go back. I think this is very unlikely though, because I believe one is not born a helpless idiot, and once one realises it, there is no way one can be willing to not change it. If this did happen though, it would bring things back to the way they were, but with an undercurrent of bitterness and tension. The marriage would probably still continue, unless Helmer lost interest in her and decided to trade her in.
So this is my justification for sparing the playwright’s life - though somehow I doubt she thought this through too much…