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Synopsis:
During a wild thunderstorm, Tommy Jarvis (Thom Mathews) and his friend
Allen Hawes (Ron Palillo) drive towards the cemetery that holds the body
of Jason Voorhees (C.J. Graham). Still traumatised by the events of his
childhood, Tommy intends to exhume and utterly destroy all that is left
of Jason, thereby putting an end to the nightmares and hallucinations
that still plague him. Finding Jason’s grave, Tommy and the reluctant
Allen open it – and the coffin. Inside lies a maggot-riddled corpse.
Staring down at it, Tommy relives his childhood encounter with Jason –
and then snaps, tearing a spike-topped iron fence-post free and driving
it again and again into the body. At length calming down, Tommy wearily
tosses Jason’s hockey mask, which has been in his possession since that
terrible night, into the grave, and turns to collect his can of
gasoline. Suddenly, a bolt of lightning violently strikes the
fence-post, which is still embedded in Jason’s body. His eyes open…. Not
noticing, Tommy approaches to remove the post. Two hands reach up to
grab him. Tommy desperately struggles free – only to see the undead
killer rise from the grave. Tommy succeeds in dousing Jason with
gasoline, but before he can strike a match it starts to rain. As Tommy
stands helplessly before Jason’s advance, Allen attacks from behind with
a shovel. Jason turns – and slams his arm through Allen’s body, which
falls into the open grave; the coffin lid drops down on it. Tommy bolts
for his truck and speeds away as Jason picks up the fence-post and
carefully re-dons his hockey-mask…. Tommy bursts into the Forest Green
County Sheriff’s Department, startling Sheriff Michael Garris (David
Kagen) who sits dozing at his desk. Tommy pours out his incredible
story, and for his trouble lands in a jail cell. Garris tells him
angrily that the people of Forest Green – formally known as Crystal Lake
– do not want to be reminded of what happened there all those years ago.
Meanwhile, on their way to Camp Forest Green, the two head counsellors
have managed to get themselves lost. As Darren (Tony Goldwyn) tries to
read a map, Lizabeth (Nancy McLoughlin) suddenly brakes: a masked figure
stands before them in the road. They try to scare the figure away by
driving at it. This failing, Darren produces a gun and, over Lizabeth’s
protests, gets out of the car. His warnings ignored, Darren fires.
Unperturbed, Jason impales him with the fence-post, then turns his
attention to Lizabeth…. The next morning, Tommy wakes to find the
sheriff’s office invaded by a group of young people, among them Garris’s
daughter, Megan (Jennifer Cooke), and Lizabeth’s sister, Paula (Kerry
Noonan), who have come to report the non-appearance of two of their
number. Tommy shouts out a warning about Jason, angering the sheriff but
attracting the attention of Megan. Later, ignoring her friends’ teasing
over her interest in Tommy, Megan ponders whether Jason could really be
more than a legend. Meanwhile, out in the woods surrounding the camp,
the executives of an insurance company are beginning to wish they’d
picked some other time and place to play paintball….
Comments:
My references to
Friday The 13th: A New Beginning in my review of
April Fool’s
Day reminded me that – ulp! – it had been more than a year since
I dealt with that particular cinematic masterpiece, and that
consequently – double ulp! – it was high time that I tackled Jason
Lives. Actually – I went into this task more curious than
apprehensive, since of all the series this is the one that is most often
spoken kindly of….which is either an encouraging sign or a major warning
flare, depending upon how you interpret it. Coming as it does on the
heels of the moronic A New Beginning, Jason Lives is a
breath of fresh air; so much so, that it is initially possible to
overlook not just how different it is from the previous instalments of
the series, but the implications of those differences.
Last week I called
April Fool’s Day a polite slasher film. Jason Lives, for all
that it is a Friday The 13th film, for all that it
stars an officially undead Jason Voorhees, is really not much better.
The film was rated ‘R’ here (a much more restrictive rating than the
American ‘R’), which is patently absurd: the thing is at worst a hard
‘M’. As usual, the film-makers shot plenty of explicit violence for
Jason Lives; also as usual, precious little of it made it past the
MPAA. Blood and body parts abound, but that’s all. While you can blame
the censors for that, you can’t blame them for the lightish tone of what
does remain. I’m usually fairly wimpy when it comes to screen violence,
but there isn’t a single moment in Jason Lives that makes me
flinch or look away. This is not merely because of the actual content,
or lack thereof, but because a considerable portion of the violence is
played for laughs. Jason Lives is famous – notorious? – for its
degree of intentional humour. While it is this that endears the film to
many viewers, to my mind it is at this point that the series jumps the
shark. Don’t get me wrong: in and of itself, I think the humour works
fairly well. I grin pretty much everywhere I was intended to grin, while
the joke embedded in the opening credits always gets a laugh out of me.
But this is a slasher film, people! – and if the yucks are what
we remember, rather than the kills, then the genre is in deep trouble.
Equally unnerving is the fact that Jason Lives is the first entry
of the franchise to feature no nudity whatsoever: no showers, no
skinny-dipping, no sex in the woods. There is a sex scene, but it
is pointless, annoying – and clothed. Even April Fool’s Day had
the---well, grace isn’t exactly the right word, I guess, but you
know what I mean---the grace to tease its audience with the
possibility of boobs. I suppose if we wanted to put a positive spin
on this, we could say that at least this film finally discards the old
“have sex and die” mentality (although those that do, do); but in
truth, Jason Lives barely even qualifies as exploitation.
It is a revealing
exercise to make comparisons between Jason Lives and its
predecessors, and the Nightmare On Elm Street sequels and the
original film. Produced almost contemporaneously, both series suffer
from an increasing disinclination on the part of their makers to keep
their material dark and disturbing – or perhaps to take on an
increasingly disapproving society. That isn’t just a storm during the
opening scene of Jason Lives: it’s the wind of change. As the
1980s wore on, truly violent, truly confronting films became rara
aves. Jokey genre films flourished instead; films that reassured
people that, hey, nothing bad is really going to happen. It was,
in fact, the era of the kinder, gentler horror film.
Yeccchhh.
Apart from anything
else, Jason Lives is the point at which Jason Voorhees begins to
resemble Godzilla. Now, before you kaiju fans out there leap up
and beat me to death – or before I do it to myself – let me explain what
I mean. It is from Jason Lives that the viewer has to stop and
decide which time-line, which particular version of Jason’s
history, we are being asked to accept this time around. First off,
Jason Lives simply pretends that A New Beginning never
happened. Well, I can’t blame it for that. I often try to pretend that
too. This selective blindness means that this Tommy Jarvis isn’t
that Tommy Jarvis; and that, much more importantly, Jason
Voorhees was never cremated – as is unambiguously declared in the
previous film. Secondly, we here have Tommy insisting that the undead
Jason can only be defeated by being returned to his “original resting
place”, the bottom of Crystal Lake. This, of course, argues that Jason
did in fact drown as a child, rather than, say, surviving and living on
in the woods, as is suggested if never stated in
F13:2;
and this in turn means that Jason was already undead when Tommy
“killed” him in F13:4
– and that the infamous machete pounding shouldn’t have done a darn
thing to him – certainly not left him quietly mouldering in the grave
for ten or fifteen years.
If we ever needed proof
that the viewers of these films think about them far more than their
makers, this, I think, is it.
Still – I guess this
would explain why Jason was able to shrug off those machete and axe
blows dealt to him by Ginny and Chrissie; although on the other hand, it
means that opening up ol’ Jason’s grave is probably A Very Bad Idea.
But that’s what we find
Tommy Jarvis about to do when Jason Lives begins: our third
incarnation of Tommy, which is pretty impressive considering that Jason
himself is only up to his fourth, or fifth. Plagued by hallucinations of
Jason, just like Bizarro-World Tommy, Real-World Tommy is intent upon (i)
digging up Jason to see for himself that he’s dead; and (ii) burning
what’s left of the body. In this mission, Tommy is accompanied by Allen
Hawes, an acquaintance from his time in “the institution”, who is played
by Ron Palillo.
Reacting to that piece
of casting does nothing but reveal your age; so I won’t.
Entering the “Eternal
Peace Cemetery” – which is decidedly not the ratty and run-down stretch
of ground in which Pamela Voorhees’s remains were discovered in
F13:3
– Tommy and Allen dig up Jason’s grave. Tommy pries open the coffin lid,
revealing a maggot-covered corpse. As Tommy stares down, mentally
re-living his bloody encounter with Jason way back when (I wonder if
Corey Feldman and Kimberley Beck get voice residuals for this?), I can
only marvel at the slack-arse breed of maggot that inhabits this
cemetery, unable to polish off a corpse with a decade to do it in. Hell,
they haven’t even – as we shall shortly discover – eaten its eyes.
Tommy then does what he does best: he goes berko, grabbing a spikey pole
from the fence and reprising the Jarvis Jive. When he finally tires of
that, Tommy climbs out of the grave and---wait, did I mention that Tommy
has had Jason’s hockey-mask in his possession all these years? I didn’t?
Well, he has; because it wasn’t, like, evidence, or anything.
Tommy now tosses the mask into the grave and goes to get his can of
gasoline. Jason Lives does make various attempts to invert the
usual slasher formula (apart from just leaving out the good stuff), and
one of the things it does is to have the obligatory thunderstorm at the
beginning of the film; which allows the spikey metal pole still embedded
in Jason’s chest to attract a couple of violent bolts of lightning.
Seconds later, undead Jason opens his eyes.
It’s just that easy!
Tommy, for reasons best
known to himself, decides that he has to pull the melted metal pole back
out of Jason. So he hops back into the grave, puts his gloves on, tugs
the pole out, takes his sweet time in taking his gloves off again, hops
out of the grave – and then gets grabbed. Tommy fights himself
free and douses his undead adversary with the gasoline, but as he tries
to strike a match….it starts to rain.
The sight of Our Hero,
his face a living study in the expression, “Oh, shit!”,
helplessly striking soggy match after soggy match from one of those
stupid little cardboard matchbooks as Jason advances on him, is one of
this film’s genuine Oh, my heart! moments.
Foolishly, however,
Allen Hawes chooses to intervene, attacking Jason from behind with a
shovel. In response, Jason slams his arm through Allen’s torso, ripping
out (I think) his heart. Allen’s dead body tumbles down into the open
grave and lands in the coffin, the lid of which drops. Tommy then
commits his first and only reasonable act, and beats feet. Incredibly,
his truck starts the first time (actually, the soundtrack suggests he
left the engine running, which is just a little too sensible),
and Tommy makes his escape. Meanwhile, Jason reclaims and carefully dons
his mask, picks up the discarded fence-post – and turns dramatically
towards the camera.
The name’s Voorhees.
Jason Voorhees.
Tommy then does
something else you never see in a film of this kind: he goes to the
police. Of course, given the reception he gets, you kind of
understand why people don’t generally bother. In this scene, we learn
that the township of Crystal Lake has made an unavailing attempt to
shake its grisly past by changing its name to “Forest Green”. We also
learn that all those years in therapy have really done wonders for
Tommy. You could hardly consider him even bothered any more by
the events of his own past, given this classic exchange of dialogue:
Sheriff
Garris: “Aren’t you the kid whose mother and friends were killed by
that
maniac?”
Tommy Jarvis: “Yeah, yeah, yeah.”
Hmm…. Actually, come to think of it, isn’t it a bit
odd that the sheriff knows that Tommy’s mother was killed by Jason, but
doesn’t know that Jason was killed by Tommy? Anyway, Tommy gives a
ranting account of the events in the cemetery, then tries to grab a
shotgun (which he of all people ought to know will be no use) and, one
thing leading to another, ends up in a cell.
Allrighty. Time for
Jason to do what he does best: kill a bunch of people he’s never seen
before for no reason. His first two victims are – hoo, nelly! –
the prospective head counsellors of “Camp Forest Green”. Man, oh, man:
the people in this region just beg for it, don’t they? And can
you believe, not just that they keep building camps here, but that
parents actually send their kids!? Anyway, tootling along in a VW Beetle
(which bears more than a passing resemblance to Ginny’s car from
F13:2), Darren and Lizabeth suddenly find the road blocked by an
ominous figure in a mask in front, and by a deep muddy ditch that
definitely wasn’t there a moment ago when they drove over that stretch
of road behind. Jason makes good use of that fence-post (giving us a
lunge-at-the-camera moment better than anything in F13:3), and
the scene ends on a mysteriously protracted shot of Lizabeth’s American
Express card floating in muddy water. Perhaps it should be interpreted
in light of the fact that Lizabeth is played by Mrs Tom McLoughlin….
Cut to Tommy jerking
awake in his jail cell the following morning (just as he kept “coming
to” in F13:5; careful, people), to find the sheriff’s office
invaded by four more counsellors who have come to report the
non-appearance of Darren and Lizabeth. (We get the old “horror movie
homage” routine here, with a reference to “Cunningham Road” and a town
called “Carpenter”. Later on we will encounter “Karloff’s General Store”
which, frankly, guys, is pushing your luck a little too far.) One
of them is Megan Garris, the sheriff’s daughter, who would be this
film’s Final Girl, if in fact it had a Final Girl. It doesn’t,
which is another of its attempts to buck the system; but unfortunately
Megan turns out to be something much more annoying. From his cell, Tommy
yells out his ideas about where Darren and Lizabeth might be –
and Megan instantly and completely inexplicably develops an intense
attraction towards him. (Honestly, this whole thing would have worked
much better if Megan had just been trying to piss off her father by
faking an interest in Tommy.) The sheriff chases Megan and her friends –
who react to her fascination with Tommy with lots of Fox-ish WHOOOOO-ing,
thus ensuring that we can’t wait for them to die – out of the
office. The sheriff then announces his intention of escorting Tommy out
of his jurisdiction. Meanwhile, at the cemetery, we are introduced to
this film’s Crazy Ralph stand-in, Martin the caretaker (who puts me
rather in mind of the old dude whose precious antique cans Marge Simpson
blasted to oblivion). Muttering and grumbling, Martin starts to fill in
Jason’s grave, pausing only to direct a stern look directly at the
camera and observe, “Some folks have got a strange idea of
entertainment!”
Oh, yeah? Well, you’re
the one who chooses to pass your life swilling cheap hooch in a
cemetery; so @#$% you, Martin.
At the camp, Megan
ponders the “legend” of Jason Voorhees – although how someone who’s been
lying in the Eternal Peace Cemetery for the past ten years can possibly
be “just a legend” remains unexplained. (Bad writing here. I think
the suggestion is that the living-on-the-lakebed Jason is the “legend”,
while the living-in-the-woods Jason is the “real” one; but once again,
I’m putting much more effort into this than Tom McLoughlin did.) Then we
do get a milestone moment in the Friday The 13th
franchise, as a bus pulls up and disgorges a load of actual campers.
Yike!
Time for some more
pointless deaths! This time we meet a quintet of paintball contestants.
Three of them are two defeated males and a triumphant female, who get
what should have been the film’s most spectacular set-piece, a
triple decapitation, but which in the most commonly available version of
Jason Lives is barely in the film at all. Prior to this we meet
another defeated and disgruntled male, who mutters about how women
should stay in the kitchen (given her druthers at this point, Annette
would probably agree) and who takes out his humiliation on the
surrounding undergrowth by slashing at it with, yes, you guessed
it! – a machete! Enter Jason, who promptly relieves Burt of that
machete – and his arm – and proceeds to put it to good use. The
machete, that is, not the arm. Our final piece of meat---I mean,
character, is an annoying little nerd called Roy who is the closest
thing this film has to an Odious Comic Relief, and who has the temerity
to fire his paintball gun at Jason. Words are hardly adequate to convey
the air of mingled indignation and disdain with which Jason reacts to
this affront – yet astonishingly, the committer of it is allowed to die
off-camera. Various portions of him will, however, turn up in due
course.
Meanwhile, as he is
being escorted out of town, Tommy takes one more detour through the
cemetery in an attempt to prove his story, only to find that Martin has
been very busy indeed. The irate sheriff hauls Tommy’s butt to the
county line. We then waste some time at the camp, including suffering
through a piece of “Indian lore” from token male counsellor Cort that I
wouldn’t pain either you or myself by transcribing. We can only console
ourselves with the thought that Cort will certainly die. Then – oh, boy!
– it’s time for more pointless killings, first of Martin
(actually, thank you for that one, Jason!), then of a couple who have
just that moment become engaged – because nothing says “romance”
like the surrounds of Camp Crys---that is, Camp Forest Green.
Some unapologetic camp-related time-wasting follows: shots of the kids
curled up asleep, clutching their stuffed toys, their pictures of their
families, or their copies of Jean-Paul Satre’s “No Exit”, as the case
may be. (Good heavens! I do believe it’s me!) Counsellors Paula
and Sissy’s card-game is – eventually – interrupted by screams from one
of the cabins. These emanate from disgustingly cute little Nancy, who
insists that there are “monsters” about. Paula and Sissy do their best
to comfort her, and during this scene you cannot help but notice that,
good lord, Kerry Noonan has incredibly creepy eyes! Meg
Foster-type eyes, if you know what I mean, only much, much more so.
Brr! The pain continues with the entirely untitillating sex scene [sic.]
between Cort and his girlfriend, who like 87% of all sexually active
female movie characters of the eighties is called Nikki. This sequence
drags on endlessly in that way that you just know is intended to
make you pray for hideous bloody deaths. When they do come, though,
bloody they ain’t. Nikki gets her face shoved almost through the
bathroom wall of her stepfather’s Winnebago, in which all this plays
out; Cort gets a knife through the head. Oh, well. At least they’re
dead.
Evidence of Jason’s
handiwork finally begins to surface. Here we get an incredibly confusing
exchange of dialogue. Deputy Rick describes the bodies by saying that
someone is using “Jason’s old M.O.” The sheriff interprets this as Tommy
wanting people “to believe that Jason has returned”. “I thought Jason
was just a legend?” observes Megan snottily. “That’s right – only Tommy
wants to prove that the legend is true,” insists her father, who earlier
inquired of Tommy Jarvis whether he wasn’t the one “whose mother and
friends were killed by that maniac”. The hell - ? Tommy, as it
happens, has been book shopping, picking up copies of “10 Years Among
The Dead”, “The Dead Are Alive”, and “A Manual Of Occultism”. We can
only assume that the book chain at which Jennifer Tilly got her copy of
“Voodoo For Dummies” has a branch nearby. Having digested the volumes’
contents, Tommy then rings – the sheriff’s office!? Megan, there alone,
answers. “Oh, hi!” she says cheerily to the guy her father is out
hunting for mass murder. Tommy blathers on about his belief that Jason
will return to the camp and his plan for dealing with him, until Megan
gets his whereabouts out of him (“Karloff’s General….something.”) and
insists on picking him up.
And then it’s time to
off another counsellor! Sissy gets it here, being yanked through a
window so abruptly, she leaves her cute little bunny-feet slippers
behind. She then gets her head ripped off. Discreetly. Off-camera. Sigh.
One of those incredibly rare moments in which we actually see a
body being moved follows, as Jason helpfully carts the lower portion of
Sissy past the windows of the girls’ cabin, just to give little Miss
I-Told-You-There-Were-Monsters! a good eyeful. Megan and Tommy,
meanwhile, are speeding to the camp in her car. Encountering a
roadblock, Megan shoves Tommy’s head down into her lap – to hide
him – and makes a run for it. This is about the only truly sleazy moment
of the film, as we get a couple of POV shots of Tommy’s scenic
surrounds. As if he could be looking anywhere else. Megan evades
the first roadblock, only to run right into her father’s outside the
camp – and so Tommy ends up back in custody. At the camp, we get a false
scare as a bloody machete looms close to Paula – only to be revealed in
the custody of Little Miss ITYTWM who “found it outside”. Paula decides
that this is “a joke”, courtesy of Cort or Sissy, and lugs Nancy back to
bed.
There is a brief
interlude at the sheriff’s office, during which Cort and Nikki’s murders
are reported, and Megan throws a spanner into her father’s works by
insisting that she was with Tommy at the pertinent time; and then it’s
Paula’s turn to cop it. This dragged-out sequence starts with Paula
advising Nancy to use prayer to ward off monsters, but failing to employ
the same technique herself, with the result that her cabin ends up
entirely redecorated. Who would have thought the young girl to have
had so much blood in her? Back at the sheriff’s, Deputy Rick
squashes a bug. Ewwww!! Look, I don’t mind human guts being waved
at the camera, but that I find offensive! Megan and Tommy put
their heads together, and come up with a plan for outsmarting Deputy
Rick. No offence to our protagonists, but I rather suspect that a pair
of retarded baboons could outsmart Deputy Rick. Leaving him incarcerated
in his own jail, the two head for the camp. There, Jason has invaded the
girls’ cabin for no readily apparent reason, giving Nancy the
opportunity to put Paula’s advice to the test. Surprise – it works; and
finding her nightmare banished from obvious sight, Nancy goes on to
prove she’s got more guts than I have by – ulp! – checking
under her bed….
(The use of the kids in
Jason Lives is aggravatingly toothless, a classic American
“pretend to endanger them but don’t really” subplot. We know
they’re in no real danger from the moment we meet the two smart-mouth
wise-cracking boys in their midst. The problem I have with this, apart
from the obvious, is that with a little effort they could have really
done something with this scenario – since Jason would certainly
identify with the kids…. Oh, well.)
We learn that Jason’s
departure from the cabin was prompted by the arrival of the sheriff and
a few of his men. (One of the more unusual aspects of this film is the
number of actual adults it features. Not that they fare any
better than their juniors.) Garris goes to break various bad tidings to
the remaining counsellors, only to find that he’s a little bit late.
Jason starts picking off the deputies. One gets a spike through the
forehead down by the lake; another – after a false scare involving the
ubiquitous Nancy – gets his head crushed. Garris finds himself with the
whole swarm of kids on his hands, and after encouraging them to hide
themselves under their beds, grabs his shotgun and ventures out to
discover that---well, that Tommy isn’t quite so much of a whack-job as
he thought. A thorough man, Garris spends about ten minutes proving to
himself that Jason is impervious to bullets. He then runs away.
Meanwhile, Megan and Tommy have arrived, and Megan gets herself a good
look at the main cabin’s new internal décor. She pays a brief visit to
the kids’ cabin, assuring them most unconvincingly that
everything’s just fine, then tries to call for help on the radio
in one of the police cars – only to find Sissy’s head occupying the
front seat. Megan’s hysterical screaming reaches the ears of the kids,
leading to the moment that almost redeems the two smart-mouths, one of
whom turns to the other and inquires in a resigned voice, “So – what
were you going to be when you grew up?” Megan’s screaming also
reaches Jason, who turns in her direction, leading her father to make an
attack on him and – wouldn’t you know it? – to do all those sensible
things that no-one ever thought to do when Jason was mortal
(you know – assuming): slamming him with a chunk of wood, pounding his
skull with a rock. All to no avail, of course; and Sheriff Garris gets
what should have been the film’s other fondly remembered
set-piece, as he is disposed of by being bent in half backwards.
Owie!
Tommy, all this while,
has been messing around in a boat, locking chains around a honking big
rock. Setting out, he orders Megan to go to the kids’ cabin. At that
moment, as it happens, and again for no readily apparent reason, Jason
bursts into that cabin – smashing through the door instead of just
opening it, as he did on his previous visit. Turnabout being fair
play, the kids’ hysterical screaming reaches Megan’s ears, and
she immediately sets off in that direction, leaving Tommy yelling,
“Megan, NO!!” Jeez, make up your mind, you whack-job. Jason then
comes smashing out of the cabin – through a window, the door
having been previously demolished – and puts the old head squeeze on
Megan, until Tommy’s bellowing prompts him to let her go. “I’m the
one you want!” Tommy howls, adding – get this –
“Maggot-head!” Ooooh – them’s fighting words, Jarvis! Jason
strides towards the lake – into it – under it – back home, in
fact. Oops! Didn’t think of that, did you, Tommy? Naturally, at length
we get the traditional Voorhees family lunge from under the water, and a
wholly uninspiring tussle follows between Jason and our, uh, Final Boy.
At length Tommy succeeds in looping the chain around Jason, who is
dragged down by the sinking rock. However, the lake – and just look
at that sparkly clean water! – is not quite deep enough, and Jason is
able to get hold of Tommy’s ankle….
The sight of Tommy’s
drifting body has Megan plunging into the water in an effort to save his
life; so her ankles are soon under attack. However – we’ll be
generous, and say it’s due to the “magic” qualities of Crystal Lake –
the undead killing machine who has been crushing heads and bending
bodies all through this film is suddenly not strong enough to drag a
girl underwater. Megan grabs the remains of Tommy’s boat and manages to
start the outboard motor. Then – and don’t ask me how – she further
contrives to manoeuvre the propeller until it is taking bloody chunks
out of Jason’s head – without disturbing the hockey-mask, naturally.
Megan hauls Tommy out of the water and revives him; and we end with the
two of them clutching at each other and gazing out fearfully at the
waters of the lake, beneath the surface of which Jason drifts gently in
the grip of his chains. There we leave him, people, and there we will no
doubt find him again in the future.
That is, next
year. |
Director: