WHERE DOES TRUTH LIE: Ridley Scott's "Blade Runner"

Blade Runner: The Final Cut 

Roger Ebert  • https://www.rogerebert.com/reviews/great-movie-blade-runner-the-final-cut-1982 

In an earlier review of "Blade Runner," I wrote; "It looks fabulous, it uses special effects to create a new world of its own, but it is thin in its human story." This seems a strange complaint, given that so much of the movie concerns who is, and is not, human, and what it means to be human anyway. Even one character we can safely assume is human, the reptilian Tyrell, czar of the corporation which manufactures replicants, strikes me as a possible replicant. And of the hero, Deckard (Harrison Ford), all we can say for sure is that director Ridley Scott has left clues in various versions of his film that can be used to prove that Deckard is a human -- or a replicant. 

Now study that paragraph again and notice I have committed a journalistic misdemeanor. I have referred to replicants without ever establishing what a replicant is. It is a tribute to the influence and reach of "Blade Runner" that 25 years after its release virtually everyone reading this knows about replicants. Reviews of "The Wizard of Oz" never define Munchkins, do they? This is a seminal film, building on older classics like "Metropolis" (1926) or "Things to Come," but establishing a pervasive view of the future that has influenced science fiction films ever since. Its key legacies are: Giant global corporations, environmental decay, overcrowding, technological progress at the top, poverty or slavery at the bottom -- and, curiously, almost always a film noir vision. Look at "Dark City," "Total Recall," "Brazil," "12 Monkeys" or "Gattaca" and you will see its progeny.

I have never quite embraced "Blade Runner," admiring it at arm's length, but now it is time to cave in and admit it to the canon. Ridley Scott has released a "definitive version" subtitled "Blade Runner: The Final Cut," which will go first to theaters and then be released Dec.18 in three DVD editions, including a "Five-Disc Ultimate Collector's Edition" that includes, according to a press release, "All 4 Previous Cuts, Including the Ultra-Rare 'Workprint' Version!" plus the usual deleted scenes, documentaries, bells and whistles.

The biggest change Scott made in earlier versions was to drop the voice-over narration from the 1982 original. Spoken by Ford, channeling Philip Marlowe, it explained things on behalf of a studio nervous that we wouldn't understand the film. Since much of the interest in the film has been generated by what we weren't sure we understood, that turned out to be no problem. The ending has been tweaked from bleak to romantic to existential to an assortment of the above, and shots have come and gone, but for me the most important change in the 2007 version is in the print itself.

Scott has resisted the temptation to go back and replace analog special effects with new GCI work (which disturbed many fans of George Lucas' "Star Wars") and has kept Douglas Turnbull's virtuoso original special effects, while enhancing, restoring, cleaning and scrubbing both visuals and sound so the film reflects a higher technical standard than ever before. It looks so great, you're tempted to say the hell with the story, let's just watch it.

But the story benefits, too, by seeming more to inhabit its world than be laid on top of it. The action follows Deckard, a "blade runner" who is assigned to track down and kill six rebel replicants who have returned illegally from off-worlds to earth, and are thought to be in Los Angeles. (The movie never actually deals with more than five replicants, however, unless, as the critic Tim Dirks speculates, Deckard might be the sixth). Replicants, as you know, are androids who are "more human than human," manufactured to perform skilled slave labor on earth colonies. They are born fully formed, supplied with artificial memories of their "pasts," and set to break down after four years, because after that point they are so smart they have a tendency to develop human emotions and feelings and have the audacity to think of themselves as human. Next thing you know, they'll want the vote, and civil rights. Much of this comes from the original Philip K. Dick story, Do Androids Dream of Electric Sheep?

Since replicants in general do not know they are replicants, there can be real poignancy in their lives. We feel sympathy for one in particular, Rachael (Sean Young), who finds herself involved in romance with Deckard. He loves her even though he has reason to believe she is a replicant, but a very good one, almost impossible to detect.

What I have always wondered is why the Tyrell Corporation made their androids so lifelike. Why not give them four arms and settle the matter, and get more work out of them? Is there a buried possibility that Tyrell's long-range plan is to replace humans altogether? Is the whole blade-running caper simply a cover for his scheme? But never mind. What matters to the viewer is that the ground rules seem to be in place, and apply in one of the most extraordinary worlds ever created in a film.

The skies are always dark with airborne filth in this Los Angeles of the future. It usually rains. The infrastructure looks a lot like now, except older and more crowded, and with the addition of vast floating zeppelins, individual flying cars, and towering buildings of unimaginable size. When I first saw the film I was impressed by the giant billboards with moving, speaking faces on them, touting Coca-Cola and other products. Now I walk over to Millennium Park and see giant faces looming above me, smiling, winking, and periodically spitting (but not Coke). As for the flying cars, these have been a staple of sci-fi magazine covers for decades, but remain wildly impractical and dangerous, unless locked into a control grid.

The "human story," as I think of it, involves practical tests to determine if an individual is a replicant or not, and impractical tests (such as love) to determine how much that matters to (a) people, if they are in love with a replicant, and (b) replicants, if they know they are replicants. This has always been a contrived problem, easily avoidable in practical ways, unless (as I suspect) the Tyrell Corporation has more up its sleeves than arms. But to stumble on plot logic seems absurd in a film that is more about vision. And I continue to find it fascinating how film noir, a genre born in the 1940s, has such a hammerlock on the future (look at "Dark City" again). I suspect film noir is so fruitful and suggestive that if you bring it on board, half your set and costume decisions have been made for you, and you know what your tone will be.

Ridley Scott is a considerable director who makes no small plans. His credits include "Alien," "Legend," the inexplicable "1492: Conquest Of Paradise," "Gladiator," "Black Hawk Down" and the brilliant "Matchstick Men," and his "American Gangster" opened Friday in theaters. He has the gift of making action on a vast scale seem comprehensible. I have been assured that my problems in the past with "Blade Runner" represent a failure of my own taste and imagination, but if the film was perfect, why has Sir Ridley continued to tinker with it, and now released his fifth version? I guess he's only... human.

The True Story of 'Hidden Figures' and the Women Who Crunched the Numbers for NASA

While telling the story of three unknown space heroes, Hidden Figures also reveals a greater truth about NASA.

By Matt Blitz

Feb 3, 2017
 (http://www.popularmechanics.com/space/rockets/a24429/hidden-figures-real-story-nasa-women-computers/)

There's a moment halfway into Hidden Figures when head NASA engineer Paul Stafford refuses the request of Katherine Johnson (Taraji P. Henson) to attend an editorial meeting about John Glenn's upcoming mission to become the first American to orbit the Earth. Stafford's response is dismissive—"There's no protocol for women attending." Johnson replies, "There's no protocol for a man circling Earth either, sir."

The quote underlines this based-on-a-true-story movie. For NASA to get John Glenn into space and home safely, institutions that supported prejudices and biases needed to start tumbling down. All hands (and brains) had to be on deck.

Adapted from Margot Lee Shetterly's book Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, the film focuses on three real-life African-American female pioneers: Katherine Johnson, Dorothy Vaughan, and Mary Jackson, who were part of NASA's team of human "computers." This was a group made up of mostly women who calculated by hand the complex equations that allowed space heroes like Neil Armstrong, Alan Shepard, and Glenn to travel safely to space. Through sheer tenacity, force of will, and intellect, they ensured their stamp on American history—even if their story has remained obscured from public view until now.

A Large Capacity for Tedium

Women working as so-called "human computers" dates back decades before space exploration. In the late 19th century, the Harvard College Observatory employed a group of women who collected, studied, and cataloged thousands of images of stars on glass plates. As chronicled in Dava Sobel's book The Glass Universe, these women were every bit as capable as men despite toiling under less-than-favorable conditions. Williamina Fleming, for instance, classified over 10,000 stars using a scheme she created and was the first to recognize the existence of white dwarfs. While working six-day weeks at a job demanding "a large capacity for tedium," they were still expected to uphold societal norms of being a good wife and mother.

In 1935, the NACA (National Advisory Committee for Aeronautics, a precursor to NASA) hired five women to be their first computer pool at the Langley campus. "The women were meticulous and accurate... and they didn't have to pay them very much," NASA's historian Bill Barry says, explaining the NACA's decision. In June 1941, with war raging in Europe, President Franklin Roosevelt looked to ensure the growth of the federal workforce. First he issued Executive Order 8802, which banned "discrimination in the employment of workers in defense industries or government because of race, creed, color, or national origin" (though it does not include gender). Six months later, after the attack on Pearl Harbor brought the U.S. into the throes of war, NACA and Langley began recruiting African-American women with college degrees to work as human computers.

While they did the same work as their white counterparts, African-American computers were paid less and relegated to the segregated west section of the Langley campus, where they had to use separate dining and bathroom facilities. They became known as the "West Computers." Despite having the same education, they had to retake college courses they had already passed and were often never considered for promotions or other jobs within NACA. Hidden Figures depicts this in a scene in which "computer" Mary Jackson is asked if she's want to be an engineer if she were a white man. Jackson responds, "I wouldn't have too. I would already be one."

Katherine Johnson, the movie's protagonist, was something of a child prodigy. Hailing from the small West Virginian town of White Sulphur Springs, she graduated from high school at 14 and the historically black West Virginia State University at 18. In 1938, as a graduate student, she became one of three students—and the only woman—to desegregate West Virginia's state college. In 1953, Johnson was hired by NACA and, five years later, NACA became NASA thanks to the Space Act of 1958.

The movie muddies the timeline a bit, but Johnson's first big NASA assignment was computing the trajectories for Alan Shepard's historic flight in 1961. Johnson and her team's job was to trace out in extreme detail Freedom 7's exact path from liftoff to splashdown. Since it was designed to be a ballistic flight—in that, it was like a bullet from a gun with a capsule going up and coming down in a big parabola—it was relatively simple in least in the context of what was to come. Nonetheless, it was a huge success and NASA immediately set their sights on America's first orbital mission.

The film primarily focuses on John Glenn's 1962 trip around the globe and does add dramatic flourishes that are, well, Hollywood. However, most of the events in the movie are historically accurate. Johnson's main job in the lead-up and during the mission was to double-check and reverse engineer the newly-installed IBM 7090s trajectory calculations. As it shows, there were very tense moments during the flight that forced the mission to end earlier than expected. And John Glenn did request that Johnson specifically check and confirm trajectories and entry points that the IBM spat out (albeit, perhaps, not at the exact moment that the movie depicts). As Shetterly wrote in her book and explained in a September NPR interview, Glenn did not completely trust the computer. So, he asked the head engineers to "get the girl to check the numbers... If she says the numbers are good... I'm ready to go."

While Johnson is the main character, Hidden Figures also follows the trajectories of Dorothy Vaughan and Mary Jackson as they work on the Friendship Seven blast-off. Vaughan (Octavia Spencer) was one of NACA's early computer hires during World War II. She became a leader and advocate for the "West Computers." In 1948, she became NACA's first black supervisor and, later, an expert FORTRAN programmer.

Despite these successes and her capability, she was constantly passed over for promotions herself. As Spencer tells Popular Mechanics, Vaughan struggled with the same things all female computers did while at NASA. "The conflict of working outside of the home to provide the best life for your children and, yet, not physically being there. But she knew she was changing the world."

While Mary Jackson (Janelle Monáe) is also considered a "hidden figure," she certainly stood out during her time at NASA. After graduating with dual degrees in math and physical science, she was hired to work at Langley in 1951. After several years as a computer, Jackson took an assignment in assisting senior aeronautical research engineer Kazimierz Czarnecki and he encouraged her to become an engineer herself. To do that, however, she needed to take after-work graduate courses held at segregated Hampton High School. Jackson petitioned the City of Hampton to be able to learn next to her white peers. She won, completed the courses, and was promoted to engineer in 1958, making her NASA's first African-American female engineer—and, perhaps, the only one for much of her career.

John Glenn

While these three women's stories remain front and center, John Glenn's recent death makes this film particularly timely. Featured prominently, Glenn is depicted as a goal-oriented, joke-making, tension-cutting, folksy, equal opportunist. According to Barry, that's pretty much exactly how he was.

"Everybody thinks of John Glenn as this iconic war hero... and astronaut, but what's missed a lot is his humanity," says Berry, "Glenn was in a, classic sense, a gentleman. He was always concerned about the people around him and it didn't matter what package they were in. He was a real people person."

Barry also notes that there's an "easter egg" in the film that most people who aren't deep into NASA history will not catch. There's a short scene where Glenn is talking to reporters, and beside him there's a woman—Cece Bibby—painting the Friendship Seven logo onto the spacecraft. The true story is that NASA officials originally did not allow Bibby access to the launch pad, but Glenn intervened and insisted that his artist be allowed to do her job.

Another Day's Work

There's no way a two-hour movie could tell the full story of these women; Shetterly's book paints a much fuller picture. But Hidden Figures highlights NASA's (relatively) progressive attitude for the time, driven in large part by necessity. This happens literally in the film, when the head of the Space Task Group, Al Harrison (Kevin Costner) destroys the "colored ladies room" bathroom sign. As Shetterly says to Popular Mechanics, the movie also focuses on Johnson, Jackson, and Vaughn's "transcendent sense of humanity" that allowed them to endure.

Johnson would go on to work on the Apollo program, too, including performing trajectory calculations that assisted the 1969 moon landing. She would retire from NASA in 1986. In 2015, President Obama gave Katherine Johnson the Presidential Medal of Freedom. Last May, a NASA computational research facility in her hometown of Hampton, Virginia was named in Johnson's honor. And yet, despite the accolades and getting the Hollywood treatment, she told the audience in May that she was just doing her job and "it was just another day's work."

Sometimes changing the world is just that.

Sidney Lumet's "DOG DAY AFTERNOON"

By Roger Ebert 
http://www.rogerebert.com/reviews/great-movie-dog-day-afternoon-1975

"Dog Day Afternoon" runs a little longer than the average feature, and you think maybe they could have cut an opening montage of life in New York. But no. These shots, stolen from reality, establish a bedrock for the film. It's "naturalistic," says the director, Sidney Lumet. I think he means it has the pace and feel of everyday life. When you begin with the story of a man who sticks up a bank to finance his lover's sex change, when you have a situation that has attracted hundreds of cops and millions of TV viewers, you run the risk of making a side show. "Dog Day Afternoon" never makes that mistake. The characters are all believable, sympathetic, convincing. We care for them. In a film about cops and robbers, there are no bad guys. Just people trying to get through a summer afternoon that has taken a strange turn.

It's an actor's picture. Lumet and his editor, Dede Allen, take the time to allow the actors to live within the characters; we forget we're watching performances. Although the movie contains tragedy and the potential for greater tragedy, it is also tremendously funny. But Frank Pierson's Oscar-winning screenplay never pauses for a laugh; the laughter grows organically out of people and situations. You can believe that even with hostages taken and firearms being waved around, such elements of human comedy would nevertheless arise.

One of the funny moments comes at the beginning, when three robbers enter a bank but one of them chickens out and says he can't go through with it. "Stevie," says his partner Sonny, "don't take the car." "But how am I gonna get home?" Stevie whines. Is that real? Yes, because you believe that Stevie would in fact have driven himself home and that Sonny (Al Pacino) would think of that.
Pacino has said the most memorable moment in the movie involves the delivery boy (Lionel Pina) who brings pizza to the robbers and their hostages. He's been watching the drama unfold on live TV, and when he's applauded by the crowd, he does a little skip and jump and says, "I'm a star!" 

Television turns the moment into what, at that time, was a fairly new event for live broadcasting. Sonny expands in the TV lights, strutting back and forth in front of the bank and unwisely exposing himself to rooftops lined with snipers. His remaining partner Sal (John Cazale), on the other hand, shrinks within himself. He can't believe he's a bank robber. He can't believe Sonny says he will kill people. He's offended that on TV, which has the facts a little confused, he's described as a homosexual. He can't believe he's expected to get on a jet with the others and fly to safety. He's never flown before. Asked to name a foreign country they can fly to, he says "Wyoming." The line was improvised on the spot by Cazale.

The movie take place almost entirely within a bank branch and the barbershop across the street, which becomes the police and FBI "command center." Back and forth Lumet's camera moves, on a shuttle of negotiations. The side view down the street in either direction shows their escape route, until it's blocked by a crowd that quickly forms and becomes a character in itself. At one point, making threats on the sidewalk, Pacino shouts "Attica," referring to the infamous massacre of prisoners in an upstate prison. "Attica!" the crowd shouts back, without prompting. They never see Sal, who is trembling, pale, sweaty, frightened. They respond to Sonny, first as a hero and then (when they find out he's gay) with jeers.

Sonny is gay, along with many other things. He is also a son whose mother mercilessly criticizes him, a husband and father whose wife (Judith Malina) won't let him get a word in edgewise. Asked why she didn't come to the bank when he asked for her, she explains on the phone, "I couldn't get a baby-sitter." She and her husband speak the same New York dialect. Denying that her husband could possibly have robbed a bank, she says: "He mighta done it, his body functions mighta done it, but he, himself, he didn't do it."

Sonny is many things and wants to be all things. The writer Pierson, unable to interview the robber in the real-life story, says he found the key for the character after being told Sonny was the kind of man "who would take care of you." He walks into the bank, waving the rifle but also saying, "I'm a Catholic and I don't want to hurt anyone, understand?" He listens when a teller has to use the toilet and is worried about the bank guard with asthma. He often says, "I'm dyin' here," because the problems of the tellers become his problems.

The most colorful of the tellers is their head, Sylvia (Penelope Allen), who cares for her "girls." Outside the bank and free to escape, she goes back inside: She's staying because she enjoys being the center of attention. "He don't have a plan," she says of Sonny. "It's all a whim." She may be right. Sal certainly has no idea what Sonny is capable of. In an interview on the disc of extras, I learned that Sonny met Sal in a Greenwich Village bar and didn't even really know him very well. We sense that when Sal starts trembling when he learns they'll leave the country by air. "You said if it went wrong, we'd kill ourselves!" he protests. He'd rather die than fly.

More than halfway through the picture, the other key character appears. This is Leon (Chris Sarandon), Sonny's lover. He is adamant: He certainly never asked Sonny to rob a bank to pay for his sex change. Brought into the barbershop and put on the phone with Sonny, he indirectly reveals his emotional inner life. He was in a mental institution. He and Sonny are drifting apart. He can't keep up with Sonny's emotional needs. He sits in the barbershop and talks to Sonny on the phone. This conversation was written as two monologues, Pierson says, and intercut into an exchange that essentially won Sarandon his supporting actor Oscar nomination. Throughout the film, neither man exhibits gay stereotypes. Leon is vulnerable and easily wounded, but not a drama queen. Pacino is matter of fact; in a scene when he dictates his last will to the bank manager (Sully Boyar), he says he loves Leon "more than any man ever loved any other man." He states this as a matter of fact; there's not a whisper of gay spin to it, and indeed even his wife and mother tacitly accept his bisexuality as simply the way he is.

The cops and FBI agents are instrumental to the film, but less fully developed than the people in the bank. Charles Durning plays the NYPD officer in charge, and James Broderick is the chief FBI agent. Neither one is given the kinds of plot elements that usually come with cops in hostage movies. They're unburdened by standard subplots (trouble at home, a conflict with a superior) and just do their jobs; afraid that a bloodbath will erupt, Durning actually runs at cops who won't holster their weapons. Both are matter of fact, direct, playing their roles right down the center. Many of Broderick's most essential moments come in reaction shots. They help demonstrate Lumet's naturalistic approach.

 Sidney Lumet is a master filmmaker. His book on directing joins David Mamet's as two contrasting approaches to the subject, both written with clarity and conviction. Starting young by directing live TV, Lumet launched his big screen career with "12 Angry Men," based on one of his TV productions. His subjects have ranged widely; he clearly cares for the story above all else and doesn't specialize in genres or themes. If he's known for one aspect of his broad creative career, it is films about New York, including "The Pawnbroker," "Bye Bye Braverman," "Serpico" (also starring Pacino), "Network" and the suburban "Before the Devil Knows You're Dead." Here he has created a film made brilliant by its deeply seen characters, in a plot that could have obviously been cheapened and exploited but is always human and true.

THE SEVENTH SEAL

As the product of a stern religious upbringing by a Lutheran minister father, the great Swedish director Ingmar Bergman has had a preoccupation with life's greater questions as a thematic constant throughout his prolific and distinguished body of work. By the late '50s to early '60s, his films were consistently steeped in queries regarding the existence of God and man's place in the universe. His most profoundly realized work of the period, The Seventh Seal (1957), became a global art house favorite and staked his claim amongst the giants of world cinema.

Throughout his life, Bergman had never forgotten the images of Death that he had seen rendered in the frescoes of the ancient churches he had visited as a boy. Indeed, what would become the scenario for The Seventh Seal sprung from a 1955 one-act play he had authored and produced entitled Wood Painting. Bergman had his doubts that he could ever have such a personal project financed, but he was enjoying the clout of his recent jury prize award at Cannes for Smiles of a Summer Night (1955). Bergman's producer Carl Anders Dymling agreed to back the shoot under the proviso that it would conclude in thirty-five days - a condition that Bergman, amazingly, fulfilled.

The narrative opens on the shores of medieval Sweden, where the noble knight Antonius Block (Max von Sydow) and his earthy squire Jons (Gunnar Bjornstrand) are slowly making their way home after an ultimately futile decade spent away at the Crusades. The dispirited travelers have returned to find the populace of the country becoming decimated by the Black Plague. Having stopped for a respite, Block is confronted by a cloaked, sallowfaced figure (Bengt Ekerot) personifying Death. The knight swiftly barters with the reaper for a delay of the inevitable, challenging him to a game of chess with his reprieve as the prize.

As they play, Block unsuccessfully tries to wheedle the truth regarding ultimate destiny from his opponent, with no success. The game becomes temporarily tabled, and Block and Jons continue on to the knight's castle keep. The story's focus then shifts to a trio of traveling entertainers who are finding declining interest in their services; the impish juggler Jof (Nils Poppe), his gently loving wife Mia (Bibi Andersson), and the undependable rake Skat (Erik Strandmark). Ultimately, circumstances bind their travels to those of the knight and squire, as they encounter ever more disquieting evidence of the physical and moral blight sweeping the land.

Despite the foreboding narrative of The Seventh Seal, Bergman is still able to leaven it with comic touches, as shown in the consequences of Skat's cuckolding of a blustering blacksmith (Ake Fridell), and the moving serenity of the sequence when Block gratefully responds to the entertainers' gracious sharing of their simple fare. Throughout the journey, Death sporadically appears to Block, continuing their play until he has him in check. Block implores Jof and Mia to depart, and his final acceptance brings The Seventh Seal to its now-familiar closing image.

Amazingly enough, this most famous of sequences was devised completely off the cuff in the span of ten minutes. The unit was setting up another shot when the skies shifted so dramatically as to inspire Bergman and cinematographer Gunnar Fischer to shoot the "Dance of Death" sequence. Fridell, who had injured himself the night before, was unable to go on, and a member of the crew doubled for him in silhouette.

According to the biography, Ingmar Bergman by Peter Cowie, "The opening scene by the seashore and a few other hillside sequences were shot at Hovs Hallar, on the southwest coast of Sweden. Lennart Olsson had spent two weeks searching for the right spot. Hovs Hallar, with its sense of mountains coming literally down into the sea, struck Bergman as being exactly right. He also liked filming in the province of Skane because the light was so much softer than in the northern parts of the country."

The Seventh Seal boasts multiple strong performances by the cast, many of whom would be regarded as Bergman's repertory company. Von Sydow, only 27 at the filming and projecting a gravity years beyond, became an international star due to his portrayal of the warrior struggling with his faith. The pragmatic Bjornstrand provides the perfect counterpoint. The stage comedian Poppe strikes the right notes as the near-childlike Jof, and Andersson (Bergman dedicated the script to her) is luminous in portraying the devoted spouse. Fischer, who would lens over a dozen of Bergman's efforts from the late '40s through the early '60s, proved masterful in shifting from the stark to the serene as the story demanded.

By his own admission, Bergman utilized the spectre of the plague as a metaphor for the anxiety of nuclear war, and it should come as no surprise that the highbrows of the duck-and-cover generation were so quick to embrace The Seventh Seal. "Essentially intellectual, yet emotionally stimulating, too, it is as tough-and rewarding-a screen challenge as the moviegoer has had to face this year," Bosley Crowther declared in the New York Times' review of the day; this assessment has continued to hold true over the generations since.

Producer: Allan Ekelund
Director: Ingmar Bergman
Screenplay: Ingmar Bergman
Cinematography: Gunnar Fischer
Film Editing: Lennart Wallen
Art Direction: P.A. Lundgren
Music: Erik Nordgren
Cast: Gunnar Bjornstrand (Jons), Bengt Ekerot (Death), Nils Poppe (Jof), Max von Sydow (Antonius Block), Bibi
Andersson (Mia), Inga Gill (Lisa), Maud Hansson (Witch), Erik Strandmark (Jonas).
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