-.. ~ .~. HEROINE , OUT OF ,,; FOCus: media images of . '. Florence ',Nightingale :::~r:-T II: RADIO, ~ lIl.V\JLvU\TIZA nONS BEATRICE J, KAUSCH and PHIUP A, KAUSCH ilm, radio, and television dramatizations of Florence myth. This process is the· result of both conscious FNightingale's life are particularly important in pro­ design on the part of actors, directors, and producers jecting a leading nurse's image to the public because and their unconscious integration and rep roduction of they dramatize her actions within he r social world and cultural paradigms. Through representations of Miss provide a role modeling effect that can be very useful in Nightingale, these productions have conveyed implicit acquiring support fo r the nursing profession. Such pro­ theories, beliefs, criticisms, and legitimations of the ductions do not "mirror" reality, but create an impres­ nursing profession's founder. Ideas about Nightingale sion of reality. like other forms of artistic and cultural arising in one generation are thus transformed and, in expression, they blend fact and fiction, history and turn, exert an influence on public perceptions within a changed historical setting. These forms of cultural ex­ pression provide resources of meaning about nursing Beatrice J. Kalisch. RN, EdD, FAAN, is Titus Professor of nursing and chairpe~n. parent·child nursing: Philip A. KlIlisch, PhD, is professor of that should be reinterpreted and adapted to new cir­ h;51ory, politics. lind economics of nursing. both at the University of cumstances. Michigan, Ann Arbor. This study was supPOrtlld by a research grllnt Florence Nightingale has inspired three feature fil m from the U.S. Public He~lth Service, Health Resources Administra· tion. Division 01 Nursing, as part 01 an overall study 01 the image of 'versions of her life - a remarkable record for a medium the nurse in the mass media. that rarely delves into full-scale biography. Given the 2701Nursing & /-/ea/ln CHe ability of filmmakers to create re alistic, powerful, and .....- lasting images, it is not surprising that, of all the dramatizations of Nightingale's life, the motion picture versions offer the best and most complete narratives. The first cinematic biography, entitled Florence Nightingale, appeared in 1915, just five years after Miss Nightingale's death, making it the first dramatization in any form [11. This four-reel, silent feature was produced in England and starred Elizabeth Risdon in the title role; promotional material declared it "biographical rather than dramatic" in nature[2J. Based on Sir Edward Cook's recently published biography, the film presented Nightingale's life in a series of scenes, beginning with her birth in Italy in 1820 and ending with Florence as an Elizabeth Risdon plilyed Florence Mghlmgale m the first dramauza­ old lady. This film,·· unfortunately lost to modern tion: a silen! film verSIOn. 1915. enmled flOl ence Nightingale. In this viewers, remains the only dramatic effort to have at­ still. Florence postures as a mor«1 crus«der. warning soldiers and C8mp fOllowers to cease their re\ff!/s. A caption $ubritfed rhe him. tempted such a comprehensive review of Nightingale's "Founder of rna Red Cross;" a/though Nightingale did not found the life. Yet, though the filmmaker emphasized the educa­ Red Cros.s, in popular imagination she was closely associated WIth It. tional rather than entertainment aspect of the work, we must hesitate over considering it a true documentary, as the film industry - contributed to a realistically por­ all the scenes were necessarily recreations of episodes trayed story. The medium of film, by its ability to pre­ suggested by Cook. Fu rthermore, those assigned the sent broad vistas and facial close-ups, and to rely on job of selling the film capitalized upon Nightingale's clever editing, can often suggest much more than wartime activities and her role as inspiration for the Red dialogue confined to the restrictions of a proscenium Cross in order to increase the film's relevance in the arch. 80th Reid and Berkeley cited the disrepute of early years of World War I. In fact, the film may have nurses in England at the time that Florence took up her served to encourage young women to volunteer their work, but Dieterle could show the contrast between the services to the British Red Cross. The film emphasized drunken, dirty, undisciplined women who worked in the the development of Florence's charitable nature and hospital and the dean hospital world envisioned by presented only highlights of her life of concern for Nightingale - without a spoken word. So too, the others. A still photograph from the film shows scenes of hundreds of men, realistically bandaged and Nightingale raising her hand, warning a group of scattered about the huge sets, conveyed more of dissolute soldiers and women to cease their revels. In Nightingale's challenge at the barracks hospital than all, the film clea rly kept intact the Nightingale lege nd; playwrights could ever attempt. The visual power of Risdon's Florence, whose rem arks had to be confined film in such efforts as The White Angel overcame many to periodic titles, necessarily emerged as a two­ flaws in other respects. One critic noted that the film dimensional, legendary character, despite the reliance was rather episodic in nature and not truly compeUing . on Cook for narrative detail. The most serious flaw in the film appeared to be the In 1936, Hollywood produced its version of Florence casting selection of Kay Francis. Nightingale's life, The White Angel, and legend, Kay Francis' popularity - at its height in 1936 - embellished by cinematic technique, dominated the ap­ rested upon her portrayal of well-dressed, big-city proach to Nightingale's life [3]. Full-scale film sophisticates. The role of Florence Nightingale called biographies have been rare in American film history, but for grea ter range and more nuance than Miss Francis during the 1930s, Warner Brothers enjoyed success possessed. She did her best to demonstrate righteous with the depiction of such famous men as Louis Pasteur indignation at needless suffering and to affect a noble, and Emile Zola, both produced and directed by William tranquil mien at other times. An unfortunate lisp and Dieterle. Dieterle's approach was, above all, inspira­ American accent did not help. The fact that the film tional: the deeds of great men and women would be re­ ends at Miss Nightingale's return from the Crimea did counted in exultation of the human spirit. Despite this aid Miss Francis' interpretation, as the demands of por­ frankly hagiographic approach, Dieterle insisted upon traying a middle-aged invalid might have destroyed all historic veracity. For The Whire Angel, somewhat credibility. As it was, Miss Francis appeared as a pretty, ironically, Dieterle's scena rist drew upon Strachey's enthusiastic, and likeable Florence Nightingale; if she essay, literally following it line for line in search of did not do justice to the role, she did not disgrace episodes to film. However, none of Strachey's herself. "demonic frenzy" touched Kay Francis' interpretation As noted earlier, Dieterle paid dose attention to the of the role of Florence Nightingale. historic record; nevertheless, certain deviations from it Set design, costuming. lighting - all the artifice of and the structure of the film itself did affect the au- MolY 19M) 271 dience's perceptions of Miss Nightingale's efforts. For The personal virtues and qualities exhibited by example, in The White Angel, Florence profits from an Dieterle·s Nightingale included the standard treasu re­ alliance with her father, who is depicted as a reform­ trove of womanly virtues as well as the not-sa-common minded, active man who supports his daughter's eHorts attributes of a determined reformer. As the title implies, to free herself from her mother's social world. Although Florence has no earthly faults, and others respond to the real William Nightingale did not offer the resistance her goodness with acts of devotion: soldiers kiss her that his wife did, he also did not help Florence to shadow as she passes by with her lantern; crowds in achieve her goals; he simply retired from the fight into a London cry during her sickness and cheer her recovery; world of books and hobbies. Thus, Dieterle downplayed good-hearted men and women all recognize her value the family conflict, letting Florence remain a good and and follow her lead. Florence also acts the surrogate appreciated daughter to at least one of her parents and mother for thousands of soldiers, She writes their dist· at the same time diminishing the struggle that she put ant mothers to tell of dying moments, She visits their up to achieve her independence. In addition, the film graves. She comforts their last hours, and she nurses ends with Florence's return from the Crimea, when she them with gentle touches and a soothing voice, Of receives the gratitude of both the common people and course, the energy and hard work required to turn a her sovereign, Victoria. 'The finale, where Florence fi1thy barracks into a clean hospital are shown, but recites her oath (a blatant anach ronism, since the oath Florence remains ever soft, gentle. and modest. She was written by an America n many years after Florence's can lead her nurses to storm the supply office for need­ meeting with Victoria} and is overheard by Victoria and ed blankets, and she can put her case to the military Albert, suggests that, as elJsily as the Queen and Prince authorities in noble words, but she never seems less Consort were won to Nightingale's cause, so, too, than womanly and never abuses her moral authority. would be others. Thus, the fil m ends on an unrealistic Dieterle's Florence exerts enormous self-descipline over note of triumph, failing 10 recognize that Nightingale's her own emotions and a tight control over her own life work really began only after her return from the chosen nurses.