From my limited experience I’ve found that people are often critical of fictional accounts of euthanasia — it is such a delicate topic. It delves into religious beliefs, our own fears of death and particularly the question: is a life ever not worth living?
The movie Blackbird, directed by Roger Michell, is based on an earlier Danish film (2014), Silent Death. I haven’t seen that movie. In this film we are in an environment of privilege where an upper middle class family comes together in The Hamptons, New York State. Lily (played by Susan Sarandon) has a degenerative terminal disease. Her husband (played by Sam Neill) is a doctor. He has been able to procure appropriate drugs for Lily to take to end her life — euthanasia is illegal. Lily has decided that her time has come and she wants to die before she becomes further disabled.
The family comes together: two daughters, one is extremely uptight, the other seems very unstable and has been the ‘black sheep’ of the family — their partners, a son, and Lily’s old friend who has been a part of the family for many years. They know that the purpose of the gathering is to farewell Lily.
But of course family members react in different ways. This must be the case in so many such highly-fraught situations. For a while it seems that one of the children will report her father. I was so worried that the loving Sam Neill character would end up before the courts. One of the daughters sees the father kissing Lily’s old friend in a more than friendly manner. She thinks this is unforgivable. But Lily knows about this. The two have had an affair and Lily seems contented to know that they will have each other for support after she has gone. Lily’s final wish is to celebrate with a Christmas dinner, even though it isn’t Christmas time. Ultimately everything is resolved and we know that Lily will go peacefully to sleep in the arms of her daughters.
Benjamin Lee, reviewing the movie at the time of the 2019 Toronoto Film Festival, finds the movie uninspiring and ‘boringly reheated’ — by this he suggests that there are excellent actors, somewhat miscast, working on a plot that we’ve all seen before. https://www.theguardian.com/film/2019/sep/07/blackbird-review-sarandon-and-winslets-lifeless-death-drama I disagree. I think that the question of euthanasia is of immense importance and possibly the most heart-wrenching decision some of us will ever have to make. To look at it from various perspectives and to revisit it seems worthwhile. I am in favour absolutely, in theory — but when confronted by a particular case — is this person’s life worth living? — the question is by no means straighforward, no matter how firmly one may hold one’s theoretical views. It is therefore interesting to have set this story in the heart of a privileged family — their wealth does not provide extra resources to bring to bear on an agonising situation.