As a seasoned journalist who has witnessed the evolution of storytelling through various mediums, I must say that the creation and execution of “Disclaimer” was nothing short of a masterpiece. The collaboration between Carlos Contreras and Cate Blanchett was truly remarkable, and their collective vision brought to life a narrative that resonated deeply with viewers.
[This story contains major spoilers from the Disclaimer season finale.]
By the end of Disclaimer, viewers realize they were wrong.
In the Apple TV+ series starring Cate Blanchett, written and directed by Alfonso Cuarón in his debut venture into television, a complex, multi-layered story is being unfolded. The seven-episode series features four distinct narratives woven together. Kevin Kline serves as the first-person narrator, Cate Blanchett assumes the role of the second-person narrator, while Sacha Baron Cohen and Kodi Smit-McPhee portray characters closely associated with Blanchett’s character. Lastly, the contents of the book The Perfect Stranger are integrated into the series. It isn’t until the final episode that viewers understand they have been exposed to various perspectives, except for Cate Blanchett’s own, resulting in an account that may not be entirely trustworthy.
Following six episodes where renowned journalist Catherine Ravenscroft, portrayed by Blanchett, was depicted as a neglectful mother and wife, the climax of Cuarón’s adaptation of Renée Knight’s 2015 novel unveils a shocking truth: The teenager whom a younger Catherine (Leila George) was believed to have had an affair with during their Italian vacation, was in fact her rapist.
The narrative spun by Nancy Manville, author of “Perfect Stranger” and mother of Jonathan (Kline’s character), about her son’s final days as presented to Robert Cohen (Catherine’s husband), Nicholas Smit-McPhee (their son), Catherine herself, her colleagues, and viewers, was revealed to be a completely fabricated version based on Nancy’s own interpretation. In actuality, when Catherine finally breaks her silence and is no longer silenced or vilified, she shares a heart-wrenching monologue with Stephen Kline, detailing the horrifying night before Jonathan’s death during which he brutally raped her for over three hours. This traumatic event was followed by Catherine discovering she was pregnant as a result of the rape and choosing to terminate the pregnancy with her attacker.
The next day in Italy, as Jonathan was hailed a hero for bravely diving into the turbulent sea to rescue young Nicholas from drowning, only to perish himself, Catherine chose not to intervene when her attacker was in distress. Later, she confided in Stephen, and to the audience, that his demise spared her from having to recount that fateful night again. She had been shielded from revisiting her trauma through speech until now, when compelled by Stephen’s unyielding and misdirected quest for retribution, she was forced to disclose the truth.
According to Cuaron, almost everyone has formed an opinion about Catherine that contrasts significantly with the unexpected twist in the ending. He explains this to The Hollywood Reporter as a method for viewers to grapple with their own biases and perceptions.
In the following comments, Cuarón discusses the powerful finale twist, expresses concerns about unchecked stories, and shares one particular aspect that Blanchett, also an executive producer, strongly emphasized. Additionally, he invites viewers to rewatch the limited series: “You notice a woman struggling to speak, yet no one allows her. Instead, everyone makes assumptions about her without giving her a chance to express herself.
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Why did Disclaimer work better as a series than a film?
Since the narrative in my mind demanded a more extensive unfolding of the story, I initially explored whether it could work as a standalone film, but it just didn’t fit. Later on, I decided to develop it into a television series instead.
When did you first try to approach it?
As a devoted reader, the author graciously shared an unpublished manuscript with me, and my mind was blown when I attempted to visualize it in traditional film format. However, that proved to be challenging. It wasn’t until later, post-release of Roma, that the opportunity presented itself for this captivating story to unfold as a series instead.
The show delves into various stories and questions who has power over these tales. As you were correctly forewarned, the narrators in this case might not be entirely trustworthy. Could you explain why Catherine’s perspective was presented as a second-person voiceover commentary throughout the series?
In this film, there are three distinct narrators: one in the first person (Stephen), another that represents Catherine who isn’t voiced by Blanchett, and a third that portrays Catherine’s world, including her office, family, son, and husband. I found the second-person voice intriguing because it is not commonly used in movies or literature. This voice is similar to the accusative tense in French and Spanish, where ‘you’ is referred to, but it can have a confrontational tone. I was curious about how the blend of these voices would impact the audience’s perspective, as we tend to trust the “I” and question the “you.
I heard that you filmed most of it as a continuous sequence. How difficult was it to develop the visual style for each viewpoint you employed?
From the beginning, we had that discussion in mind. I initially talked it over with Emmanuel Lubezki (Chivo), suggesting the addition of a second cinematographer, Bruno Delbonnel, to create a stronger visual distinction between the narratives as each has its distinct cinematic style. Everything else evolved naturally afterward. The first and second perspectives became clearer with Stephen and Catherine. The challenge then was figuring out how to shoot the third perspective, which occurs only when neither Catherine nor Steven are present among those characters, and that came later in the process.
However, another storyline within the book is depicted differently, with a distinctly romantic cinematic style. This narrative stands apart due to its exaggerated visuals, color palette, acting, and music – all of which are much more expressive than the rest of the series’ score that maintains a more subdued tone.
Are you anticipating that any viewers will suspect the finale plot twist?
From our observations during various festival showings and screenings, it appears that most viewers have formed opinions about Catherine that differ significantly from the ending we present. It seems that we’ve grown accustomed to making certain assumptions, especially regarding women and mothers, which might influence these judgments.
How did you decide when to reveal it: Why does it pack the biggest punch in this way?
The four narrations – the first, second, third, Nancy’s, and the book’s – were significant, but there is another narrative that holds even greater importance: the story that viewers construct as they watch the show. What truly mattered was the clash of these narratives; viewers are shaping this narrative through their opinions. Therefore, it was crucial to incorporate all these narratives and challenge them with the reality we presented at the end – a way for viewers to confront their own perspectives.
Could you share your intended difference in portrayal between the two characters played by Louis Partridge, named Jonathan, that you envisioned?
In simpler terms,
In an interview, actor Louis Partridge revealed that he portrayed Jonathan, the character, as having traits bordering on borderline personality disorder and narcissism, which he suggests were passed down from his mother Nancy (played by Lesley Manville). He referred to her as the true antagonist in the story.
An intriguing aspect, firmly emphasized by Cate Blanchett, is that viewers should have the opportunity to rewatch the entire performance, as they’ll perceive an entirely different show on second viewing. This is because, without the influence of their own judgments, audiences can discern the genuine interplay dynamics at play. For instance, in Stephen’s family, Nancy is portrayed as a manipulative woman who consistently undermines Stephen and protects her son. It’s also evident that the son often challenges his father. In this light, one could argue that there exists a potentially pathological relationship between Nancy and her son.
What thoughts or emotions might the audience have towards the decision made by Catherine (portrayed by Leila George in a flashback), when it comes to light that her actions were related to Jonathan’s (Partridge) drowning?
It’s evident that Catherine expresses herself forcefully when facing Stephen. She’d just emerged from a harrowing experience where a man had viciously attacked her, almost to the point of drowning. The mental turmoil she must have experienced is hard to fathom. In such a situation, it would be unlikely for her initial thought to be, “I wish to help him.” Contrarily, when this individual perishes, she admits feeling relieved. With that tormentor eliminated, the atrocities he inflicted didn’t cease to haunt her, impacting her and her relationship with her son. The only defense mechanism she had was to maintain a facade of being a highly successful woman.
Did you film chronologically?
To the best of our ability, everything was accurate. We’d occasionally leap. At times, we’d launch Catherine to a specific height, followed by launches with Stephen to the same height, then returning to Catherine and finally to Stephen.
Had they already recorded the romantic/erotic scenes before filming the distressing rape scene?
Indeed, we had previously filmed the Italian scenes. We captured the sensual moments and this proved to be quite informative. After that, we filmed the bedroom scenes, with approximately a week’s gap between one and the other, starting first with the romantic scene. By this time, they had grown quite fond of each other and were excellent friends.
During our chat, Louis shared that he intensified his physique prior to shooting to achieve a primal mentality. How many days did it take you to capture those sequences, and what kind of assistance was provided to the performers during filming?
The scenes we filmed required several days to complete, often a full week per scene. An intimacy coordinator was always on set, ensuring everyone felt comfortable and protected throughout the process. She provided valuable input, allowing us creative freedom while also being vigilant for any concerns that might arise. Lydia Cacho, a journalist and trauma specialist, also offered guidance. Her expertise helped ensure our portrayal was truthful yet responsible, avoiding exploitation while accurately depicting acts of violence.
The show provokes a lot of contemplation, especially on the topic of how individuals can accept beliefs without questioning or verifying facts. By the end, Sacha Baron Cohen’s character, Robert, recognizes this dilemma when Stephen (Kline) queries him about his failure to question his own judgment regarding his wife. Why was it significant that we don’t hear Catherine speak until the conclusion?
It’s quite likely that this situation will unfold in such a way. Many people, after enduring traumatic events, tend to conceal their experiences. When they attempt to express their trauma, it becomes challenging for them. This difficulty intensifies when they are compelled to speak about it. In this scenario, Stephen appears to be making her talk and encouraging her to articulate. If you watch the show again, you’ll notice a different perspective – one that portrays a woman struggling to express herself while others around her pass judgment without giving her the chance to speak.
In the end, Catherine chooses to part ways with Robert (Cohen), implying that he seemed more concerned about her being raped, compared to her infidelity, which suggests a troubling disregard for her integrity and consent. This underscores…?
Essentially, the discussion between Catherine and Robert was what Cate and I were anticipating. It held great significance. It served as the crux or main idea because if not addressed, it might appear that you are penalizing Catherine for being raped, implying that you’d only accept her because of this traumatic event, rather than if she had a consensual encounter. This could easily have been the case, and it’s unfair to judge Catherine based on such assumptions.
After the recent U.S. elections, do you think the response from the audience might be more significant since they are currently processing the election outcomes?
It seems to me that the root cause of these outcomes is nothing less than the manipulation of stories or narratives. Living in a world where narratives abound can be dangerous as we’ve become so engrossed, even addicted, to them. Nowadays, narratives have devolved into mere snippets of information instead of thorough analyses and contemplations. This addiction leaves us confused because we’re constantly barraged by conflicting narratives. The ones that tap into our emotions are the most powerful. As journalist Christiane Amanpour mentions in her show Disclaimer, these narratives don’t create behaviors; rather, they awaken existing ones that lay dormant within us.
Do you anticipate any viewers will question Catherine’s version of events in the end?
Indeed, it seems quite likely that situation will unfold. There’ll undoubtedly be individuals who fit the description. Truly, if that were to occur, it would be most unfortunate and disheartening.
As a dedicated fan of your work, I’m curious: When it came to the role written especially for Cate Blanchett in our project, and given that you were also an executive producer working closely with her, what significant insights or impactful contributions did she bring to the table?
Her most impactful contribution is called Disclaimer. This is kind of like a two-hander. We did it together from the beginning and to the very, very end she was involved in every single… From the moment she read the script, she was so involved in the rewrites that we did later on, and then she was involved in every single casting decision we made. And, of course, she was very respectful with the other actors; we worked so closely in each one of the scenes involving Catherine, and then with the ending as well.
In your mental picture of Catherine’s future, do you foresee her and Nicky (Smit-McPhee) mending or maintaining their relationship?
As a gamer immersed in the game’s world, I can’t help but notice the family dynamics at play here. It’s almost like we have two interconnected families: there’s Catherine and her crew, and then there’s Stephen and his team. One family seems entangled in manipulative relationships, while the other appears emotionally restrained. After navigating this tumultuous storyline filled with judgments and complexities – a world of conflicting narratives if ever there was one – I think the cure is love. And that’s exactly what Catherine and Nicholas rediscovered. Their future? Uncertain, but brimming with possibilities. I don’t subscribe to ‘happily ever after’ because it doesn’t exist in real life. But I do believe in the potential of what’s to come for both Catherine and Nicholas.
Is this the end of Disclaimer?
It seems to me that we’ve reached the end of the tale called “Disclaimer“. There’s no need to carry on the story any longer. In my opinion, that’s where it ends – whether it be for better or for worse. That’s what “Disclaimer” represents.
Do you want to do more television?
I’m quite keen on working for television, but not just yet. The process is quite extensive, and I believe I need to switch gears by focusing on a film project that requires less time for shooting, editing, and completion. However, you never know! Life has its own surprises. We can’t predict the future, but in principle, I don’t plan to take up another project of similar length anytime soon due to how long it takes to film. But who knows?
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Disclaimer is now streaming on Apple TV+. Read THR‘s post-finale interview with Louis Partridge.
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2024-11-11 22:27