Atonement
When asked about his 2013 film, Ida, Pawel Pawlikowski stated, “' I wanted to make a film […] which was moral, but which had no lessons to offer. I wanted to tell a story where “everyone has their reasons”,'” (Rydzewska, Anna, Ida and Wanda in Poland (Ida by Pawel Pawlikowski)). On the other hand, the 1987 film Babette's Feast, directed by Gabriel Axel, is characterized by being told entirely for a lesson (Sullivan 72). Although these two films may seem fundamentally different, they share the common theme of atonement. Ida (2013) and Babette's Feast (1987) both deal with the concept of atonement. Specifically, with the question of what allows someone to successfully atone. However, these films approach the theme in different ways, which leads to drastically different end results.
Before a discussion about the films' adherence to this theme, a clear definition on what atonement is must be made. Both Ida and Babette's Feast contain heavy religious overtones, so the Christian definition of atonement will be used in the examination of both films. Atonement is defined as “the exemplifying of human oneness with God,” (“Atonement”). Even though this definition does not define atonement in a broad or everyday sense, this definition has important significance for both films, and it incorporates with their influence from religious themes.
Ida
A facet in the idea of atonement can be seen in Ida's nights experimenting with a looser lifestyle. She literally and symbolically dons her late aunt's attire as she goes and experiences parts of life she never had the opportunity to feel before. This is an important step for Ida because it shows her taking some of Wanda's earlier critiques to heart. Specifically, the critiques about how easy it is to choose a certain life when that life is all Ida knows (Ida 2013).
Ida's outings are one example of how atonement is an important foundational element of this film. Her nights of inconsistency allow her to fully realize her faith and her identity as a Christian. Ida is experimenting with her relationship with God, and by doing so, she firmly cements her beliefs. Whether this is a happy ending or a tragedy is up to interpretation. Joanna Rydzewska states in her article, “The Transnational Cinema of Pawel Pawlikowski, Postsecularism and The Enigma of Guilt in Ida (2013),” that, “Ida's persistent refusal to firmly condemn perpetrators resorts to the Christian understanding of the original sin and its transference, and St. Augustine's understanding of the original sin as unknowable.” (Rydzewska, Transnarodowosc, Postsekularyzm I Tajemnica Winy W Idzie Pawla Pawlikowskiego 11). This means that wheter or not Ida successfully atones is unknowable. She either truly atones by accepting her life as a nun or by embracing her family history and living her life outside the convent. At its core, Ida is a film about identity, and it uses faith to explore that concept (Rydzewska, Anna, Ida and Wanda in Poland (Ida by Pawel Pawlikowski)). Even though Ida spent almost all her life devoted to God in her convent, she does not see what it might mean to her until after she experiences life outside the convent. Ida making the decision to return to her old life after experimenting with a secular lifestyle shows her unanimity with God, which is the defining characteristic of the Christian sense of atonement. Since it is a film without morals, as Pawlikowski previously stated, it is unclear whether that oneness with God is through her possibly Jewish life or her Christian one.
In addition, Wanda's relation to atonement in the film comes in the form of her contrast to Ida as a character. Wanda represents everything Ida tries to remove herself from. From her faith to her lifestyle to her family history. In her article, “Anna, Ida Et Wanda En Pologne (Ida De Pawel Pawlikowski) [translated to “Anna, Ida and Wanda in Poland (Ida by Pawel Pawlikowski)”],” Joanna Rydzewska states, “Ida plays on this juxtaposition between two women, while historical events provide the background to explore these questions of identity. “(Rydzewska, Anna, Ida and Wanda in Poland (Ida by Pawel Pawlikowski)). Wanda's character plays into the theme of atonement because she is anything but one with God. She is incorporated in the film's theme of atonement because she represents the exact opposite.
Babette's Feast
Babette's Feast (1987) also uses the theme of atonement to tell its story. One way it accomplishes this is in Babette's actual feast. Specifically, how it impacts all the characters in the end. Before the feast, everyone fears the meal will cause them to sin, or that eating it will be unholy. Martine and Philippa's father, The Pastor, lays out very specific groundworks for what is right and wrong to be close to God and to avoid sin.
The community try to follow these teachings, even after he passes on, but their bickering and squabbling show that they don't necessarily know how to. The community, including Martine and Philippa, struggle to truly live by The Pastor's word. That is, until the feast.
Babette shows the town the importance of kindness and community, and thus brings everyone closer together and to atonement. Rebecca Sullivan states in her article, “Bearing Witness to a Knowledge of Encounter in Babette's Feast,” that, “At Babette's table, it becomes immediately, viscerally, and joyfully apparent to each guest that true charity fully flourishes within a world of encounter. The Pastor's lessons in one sense become unintelligible, and, at the same time, they take on their full meaning.” (Sullivan 82). The Paster's teachings highlight a simple life entirely devoted to God to truly connect with him. Babette turns this idea on its head with her lavish feast. She presents the idea that showing kindness and loving those around you are the pieces needed to atone. She brings them closer together, and thus, closer to God.
Another way Babette's Feast incorporates the theme of atonement is in Martine and Philippa's missed opportunities. Both have the chance to go out and leave the lifestyle they know, but they make the decision to stay because of their devotion to God and their father. They make this decision because they believe it will keep them closer to God, but once the movie concludes it is clear the opposite is true. This is shown in the looks of regret in Philippa's eyes when she reads the letter from Papin, who incorrectly speculates she lives a life surrounded by family. It can also be shown by Martine's regret of turning down Lorens, the cavalry officer, when they say goodbye at the end of the film (Babette's Feast 1987).
These regrets once again play into the idea that for these characters to truly atone, they must all be brought together. Even though Martine and Philippa stay in the village to try to bring themselves closer to God, the parts they tried to stay away from are what allowed them to achieve their religious goals and get closer to their father's teachings.
Together
Even though both Ida and Babette's Feast take advantage of religious atonement as a theme, they use the concept in different ways that cause vastly different end results. Ida uses atonement to explore ideas of identity, while Babette's Feast uses it on order to push the idea of the importance of togetherness. This leads to the films' endings to have wildly different tones and messages. This goes to show that even though these two films have similar groundworks, the twists in their foundations allow Ida and Babette's Feast to build themselves up as unique and individual films with vastly different perspectives. Both films ask the question of what it means to be successful in religious faith, and they both answer this question in their own way while still maintaining similar themes. This bonds films like Ida and Babette's Feast at the heart of each respective story, and it allows for unique perspectives on the theme of atonement throughout both.