The film adaptation of The Changeover premiered in Christchurch a few weeks ago, and is now screening in cinemas across the country. If you haven’t yet encountered this melting pot of red-zone Christchurch, subtle romance and sinister magic, I highly recommend watching the movie and reading the novel it was loosely based on.
It’s a measure of how well-loved the book is within the libraries that there have been several reviews written by different staff members over the last few years.
23 July marks the 5th anniversary of the passing of one of Christchurch’s most famous locals, Margaret Mahy.
One of New Zealand’s most prolific writers for children and young adults, Margaret’s writing has touched lives over many generations. Her stories and poems are full of magic and fun with a moral tale in the weaving.
Many of her tales have been brought to the the screen.The Changeover, filmed locally, will be released on film on 28 September 2017.
Margaret Mahy has been an inspiration to writers. She established a retreat for authors in Governor’s Bay, and in her video A Tall Long Faced Tale she tells how publishers would often ask her to rewrite a story up to eleven times! Take note.
I was lucky enough to meet Margaret at the 100th anniversary of the New Zealand School Journal. There she was, in her famous rainbow wig, for all the world holding court at the National Library of Wellington. She signed my journal. I’ll never forget it.
Laura Chant lives with her Mum and beloved little brother Jacko and she has ‘warnings’. Odd sensations overcome her. She’s had them before, when their Dad left the family home and when she met Sorry (Sorenson) a prefect at her high school. And now she’s had another one.
Warily she continues through her day at school, picks up Jacko and walks home, everything as normal. Except on the way they pass a shop that was never there before and the strange, rather sinister old bloke inside bothers her enormously…
Jacko’s health starts to deteriorate, his life hanging in the balance, and Laura is convinced it’s because of the man in the shop. Her Mum is struggling to make ends meet, keep her job and be a loving Mum, there for her children. It’s tough going and Laura’s mad ideas are just not going anywhere. Laura feels herself to be alone.
So she turns to Sorry for help, knowing, believing he is a witch.
The Changeover is classed as a teenage story with supernatural elements. I first heard it as an adult, as it was read on a children’s holiday programme. I missed the last few episodes and headed to the library. I had to know what happened. There appears to be more going on with Sorry and Laura than meets the eye and what happened to Jacko? Are Laura’s bizarre theories correct? I was so pleased I tracked the book down.
Whilst I have read sci-fi and Fantasy, The Changeover avoids both genres. It’s a darn good story with witches and a bit of magic thrown in and it works. I was caught up in a great story and characters. Jacko is a small boy I wanted to live, not die and I found myself driven to read on, to urge Laura to put some of her thoughts into action, to save him if she could.
As a young woman New Zealand author Elizabeth Knox met Margaret Mahy and got to know her well. In her introduction to the latest edition she writes of the her hero Margaret Mahy:
“I’m thinking of her laugh, her hats, her dogs and cats, her winter coughs, her knitted coats, her rainbow wig, and very imposing penguin suit. I’m thinking of her long sentences and pithy quips; of the rose window of the top bedroom of her flat in Cranmer Square; of her empty refrigerator, of her very model of a modern Major General and, in the same vein, her virtuoso “Bubble Trouble”, and the loving rapture in her grandson Harry’s eyes when he watched her perform it at the launch of Tessa Duder’s book”.
A recent reread of The Changeover as a middle aged adult and I still loved every minute of it AND there’s a movie coming in September AND its filmed in Christchurch, New Zealand, Margaret Mahy’s home town. Will watching a favoured book turned into a movie be iffy? Possibly (watch the trailer below and judge for yourself). But I will go and pay homage to a wonderful writer.
by Margaret Mahy
Published by Hachette New Zealand
Margaret Mahy’s young adult novel, The Changeover was already several years old when I first picked up a worn copy in my high school library at the age of 15.
I was so taken with it that even before I had finished reading it I was re-imagining it in my head as a movie.
In that peculiarly obsessive way that teenage girls sometimes are about their favourite things my mania lead me to imagined locations and camera angles, and I had a very long list of songs to be included in the soundtrack. Most of which, upon reflection, were terrible.
When Margaret Mahy died in 2012, I felt moved to write a heartfelt blog post about how important her writing, and this book in particular, had been to me.
A couple of years later at a WORD Christchurch panel discussion on The Changeover, I learned that a film of the book was in development and felt conflicted in that way that book fans often do. Because how could that film ever live up to the book, or indeed my own imaginary movie of it?
Stuart McKenzie is, with his wife Miranda Harcourt, co-director of that film which recently finished shooting here in Christchurch.
Perhaps not fully understanding the degree of my fangirl obsession, he agreed to answer some questions about what their version of Mahy’s story will look like.
Margaret Mahy wrote a number of terrific books for young adults – what made you want to film The Changeover particularly?
We felt The Changeover was really cinematic. It’s a supernatural thriller about a troubled teenager who’s got to change over and become a witch in order to save her little brother from an evil spirit. So, it’s got a great central conflict! And its genre is very clear — yet at the same time it puts this compelling twist on it by feeling very naturalistic.
Its themes of love, loss, sacrifice and change are primal. Laura Chant feels like a real person — she struggles with herself and her kind of dispossessed place in the world, but she’s got big dreams. In other words, she’s a complex and powerful heroine who our audience can really identify with!
Another thing that made the book feel so cinematic for us was Christchurch. We updated Margaret’s story to contemporary, post-earthquake Christchurch. For us, the brokenness and reconstruction of Christchurch is like a visual metaphor for Laura’s own damage and subsequent transformation.
The book (and Margaret Mahy herself) are very beloved, by me and many others. Does that place extra pressure on you to do a good job with the film?
All along we’ve wanted to make something Margaret would love: raw and lyrical, tender and tough and true. We wanted to keep the story feeling very contemporary, as the book itself was when it was first published in 1984. Like Margaret, we wanted to find the magic in the real world, not drift away into fantasy.
We were lucky to have Margaret’s blessing from the start. Before she died, she read and loved an early draft of the screenplay. So that was a great feeling to carry through the development of the project and into the shoot itself. She really encouraged us to find the spirit of the story and not be bound by the literal form of the book. We had this quote in mind by the great French film director Jean Renoir, “What interests me in adaptation isn’t the possibility of revealing the original in a film version, but the reaction of the film maker to the original work.”
I guess you could think of the book and the film as two reflecting worlds — much in the same way that Laura herself discovers the connectedness between two powerful realities — magic and the everyday — and finding in fact that they’re really one and the same.
Margaret was always clear that Laura’s changeover into a witch is a metaphor for her becoming a young woman, an active journey to embrace her own creative power. And Laura’s story itself is a metaphor for the challenges we all face in our lives and the changeovers we all have to go on in order to grow.
Oh yeah, back to the question about doing a good job… Yes, we really feel that! And we’ve still got a lot of work to do in post-production. Helps to have great people to work with, which we have.
On the one hand The Changeover, if you’re familiar with Christchurch, is very recognisably placed here, on the other hand it’s also very vague about where it’s set. The name of the city is never mentioned. The suburbs and street names in it are all made up. Christchurch is certainly its spiritual home, but you could make a very good argument that it’s not a story that needs to be specifically told here, and yet you are telling it here. What made you want to shoot here rather than in Auckland or “Wellywood”?
As you say, Christchurch is the “spiritual home” of The Changeover and we always wanted to make it here. I was born and bred in Christchurch and spent my early teenage years in Bishopdale which Margaret calls Gardendale in the book.
The Changeover was welcomed to Christchurch by Ngai Tahu in a moving whakatau — as a production we felt hugely embraced by Christchurch, the people, the Council, the environment itself.
Miranda and I were determined to film in Christchurch because its flat vistas give the film a unique look. Cinematographer Andrew Stroud and Production Designer Iain Aitken helped us reflect the everyday and often unexpected beauty of the place.
Christchurch also allowed us to explore the division between social worlds which is a key feature of The Changeover. Laura comes from a solo-parent family struggling to make ends meet. By contrast, Sorensen Carlisle lives in an architect-designed home with fine art on the walls and a sense of history and sophistication. The developing romance between Laura and Sorensen means first differentiating and then bridging these two worlds.
Mahy herself described The Changeover as having a lot of folk tale elements – there are “evil” step-parents and an enchanted brother, for instance – but also that “the city is simultaneously a mythological forest”. Will your film retain those suggestions of a modern day fairy tale?
Yes it does and that is in the very DNA of the story. At heart The Changeover is an emotionally powerful female rite-of-passage keyed into a primal fairy tale tradition. It’s true that those fairy tale elements are more overt in Margaret’s novel.
We wanted the film to feel very contemporary and naturalistic so in our story the fairy tale nature is felt rather than seen. We often thought about Bruno Bettelheim’s groundbreaking study on fairy tale called The Uses of Enchantment. He says, “This is exactly the message that fairy tales get across to the child in manifold form: that a struggle against severe difficulties in life is unavoidable, is an intrinsic part of human existence — but that if one does not shy away, but steadfastly meets unexpected and often unjust hardships, one masters all obstacles and at the end emerges victorious.” That is something we experience through Laura in The Changeover.
In terms of characters, it strikes me that Sorensen Carlisle, at least how he’s written in the book, is something of a contradictory figure – dangerous yet vulnerable, jovial yet dark, aloof yet intense – that must present some challenges when it comes to casting. How difficult was it to find someone who can be all those things in a convincing way?
We had great casting agents in NZ and in the UK. We looked long and hard to cast this film. When we auditioned young UK actor Nick Galitzine we knew we had found our mysterious and compelling Sorensen Carlisle. And Nick and Erana James who plays Laura Chant have a powerful chemistry together. We have always said that this intensity is our special effect!
Reading the book as a teenager it was incredibly important to me that Laura was of mixed racial heritage both in a personal sense, as it was quite unusual to read about someone like me as the heroine of a novel, but also in that it marks her as being different and something of an outsider, which I think adds to her story. I’m really pleased that you’ve cast a part-Māori actress in the role. Was that always the plan?
This was totally important to us too. We love how in the book Laura is part-Maori but Margaret Mahy doesn’t make a big thing about that, it’s simply part of the unique world of the story which in fact helps make it feel universal. It’s true that Laura being part-Maori means that by her very nature she finds herself between two worlds. That’s the journey Laura is on — to open herself to new worlds, new experience.
We looked for many years for our Laura Chant — and we kept coming back to Erana James who we had met early on in our process. Of course, financiers want to cast someone in a central role like this who already has a profile. Erana hadn’t acted in a film before so she was unknown in NZ let alone internationally. But with the support of the NZ Film Commission we made a “tone reel” last year with Erana playing Laura. She was fantastic in it — and the international people involved in the project — like our sales agent and even Tim Spall or Melanie Lynskey — could immediately see that this young woman had something special.
Could you hope for a better villain than Timothy Spall?
You are so right! But what drew us to Tim in the first place is that he could reveal the humanity in Carmody Braque. It’s this which makes him such a powerful adversary for Laura — because there is something of Braque in Laura herself. A desire to live more fully and expand her horizons.
We are so lucky to have Timothy Spall in The Changeover. He is mesmerising. I think Margaret Mahy would have been thrilled!
It’s clear from his answers that Stuart McKenzie is as much a fan of The Changeover as I am, so I feel much more relaxed about the movie adaptation now.
In addition to the film coming out late next year, McKenzie says there will also be a movie tie-in reprint of the (currently out of print) book. So roll on 2017!
There’s a painting of a lady on the wall at my work. She’s sitting in an armchair, with a big black dog at her side and a black cat on her lap. Behind her is a bookcase full of books and to her right side a window, opening up to a garden and a sea on the horizon. There is a lot on the painting I can relate to. Books, a dog, a lazy cat. But the woman in the painting remains a mystery. All I know is her name: Margaret Mahy.
I am most likely the last person who should be writing a blog about Margaret Mahy. First time I heard of her was three years ago when I realized I might be moving to Christchurch. The only New Zealand author who I had found on the bookshelves of my school library at home was Witi Ihimaera. So I did a bit of homework before I set out for Aotearoa. To my surprise I realized I was moving to a city that used to be a home to the greatest New Zealand children’s author, someone who won the Hans Christian Andersen award – the most prestigious and highest recognition in the world of children’s fiction.
After I landed, further revelations followed. Everyone I talked to seemed to know Margaret Mahy’s work or at least know about her. Even more: I was very lucky to make an acquaintance with a lovely lady who used to be her neighbour and a close friend. I ended up working at the same library as Margaret did. A lot of my colleagues still remember her. Her eccentric personality and masterful storytelling. Her fiery wig and starry cloak. Sue, who used to work with her, recalls her immensely generous and extremely modest nature:
She was very hospitable and often entertained colleagues and hosted parties for the local Children’s Literature Association at her home and was a wonderful friend and a colleague. She was also immensely interested in EVERYTHING – she learnt to fly, she studied astronomy. She was also a keen gardener.
Even though I have heard so much about her as a writer, a storyteller, a librarian, a person and a friend, she still remains a mystery to me. I have a strange notion the reason for this might be in the absence of her books in my childhood. It feels like she has never become a part of my imaginative landscape. She never entered my literary homeland because I never got a chance to read her books as a child. When I read them now, I still feel like I missed that initial, formative reading – experienced through child’s eyes, mind and imagination.
The irreversibility of time is unavoidable and cruel. I am reminded of that every time I talk to a person who read a certain book or author as a child, which I haven’t. I find myself swallowed by the feeling of missing out. It is similar to regret, that comes along when a favourite music star passes away and you realize you will never ever be able to see them again.
This points to the importance of reading in childhood, creating an imaginative mental space mutual to all – every reader, no matter their origin and background, can enter it. With reading, authors and books become a part of our collective memory, collective culture and make us feel at home, connect us together. With every new reader, this memory gets stronger.
Reading and nurturing readers is not the only way of strengthening this memory. There are other ways as well. Every morning on the way to my work I am reminded of that: Margaret Mahy’s name greets me from the stone wall of the new exciting playground on the Cambridge Terrace. When I visit my colleagues at Fendalton Library or go to library’s storage facilities, I can’t resist not to browse through Margaret Mahy’s collection: a treasury of old children’s books that (most likely) your grandparents used to read as kids. Some of them never made it to my shelves. But they maybe did to yours.
I am inviting you, to help me figure out the mystery of the lady on the painting and create another little piece of collective memory of Margaret Mahy. Have you read her books as a child? What was it like? Which one was your favourite? Did you read them to your children? Grandchildren? Do you remember her? Have you been to any of her storytelling sessions in the library? What was she like? I can’t wait to hear your stories about her – please post them as comments below!
As for myself I will persevere. Reading her books, listening to stories about her. I hope one day I might be granted a visa to enter that world of collective culture, of bountiful legacy, that Margaret so generously laid in front of her readers. Until then, I will salute that lady on the painting every morning I come to work: in my name, yours and most importantly – in the name of those to come.
Do what Margaret enjoyed – read, walk around the garden and have a sleep (apparently she could do this quite easily). Don’t walk down Cambridge Terrace though, or at least make sure your trousers stay up when you do.
Have a MM lunch – a salad sandwich made with wholemeal bread and cheese and tomato and lettuce and spring onions, and avocado and hard-boiled egg and anything else handy.
I’m going to remember Margaret by driving over the winding hill to Governors Bay and then wandering along the wiggly track at the bottom of the road. I won’t be alone. I’m taking a dashing dog, a bubble trouble baby, a gaggle of geese, a couple of mixed-up pirates, a librarian, a three legged cat, a boy with two shadows, a tin can band, a dragon, a lion and of course a witch.
Karen Healey‘s first experience with Margaret Mahy came early, as a toddler.
There’s a photo of me — I must have been about 4 — reading A Lion in the Meadow, sitting on the toilet, wearing a raincoat and wellies. I’d obviously rushed in without bothering to take them off, but had made enough time to grab a book to read.
In contrast Elizabeth Knox first picked up The Changeover while working in a museum shop in her twenties. She had only recently started reading books for young adults again after a self-imposed diet of 19th century poets. (“I think Mahy would have got on very well with William Blake,” Knox adds.) The strong sense of family present in Mahy’s works, similar to those by Diana Wynne Jones, have made both writers firm favourites of hers.
I first read The Changeover when I was about 13 and it just blew my BRAINS out. I was so excited by this book, because Laura literally writes herself into being a heroine.
Laura’s strong, flawed character will be the core of the forthcoming Changeover movie, filmmaker Stuart McKenzie confirms. While some aspects of the book have necessarily been trimmed (including Sorry’s backstory and, much to my regret, librarian Chris Holly), McKenzie assures us that they have been pruned to allow better visibility of Laura and her story.
The film is set in post-earthquake Christchurch, updated from 1984. The transformation of the city echoes the various changeovers present in the book, from Laura’s physical change from child to adolescent to the changeover of the title.
Another strong character in the movie will be Carmody Braque, whose malevolent presence seeps through the book like the smell of peppermints — yet in the end the reader almost feels sorry for him. We get a glimpse of the person he might have been once, possibly someone quite similar to Laura. Healey admits to stealing the amoral nature of Carmody Braque, a character who decides his need to live overrides your freedom, for her first novel.
Braque is terrifying because you get the sense that he sees himself as quite reasonable. He turns up everywhere in various guises, whether as the patupaiarehe in Guardian of the Dead, or Laurel in Fire and Hemlock. In some ways they are utterly alien, yet there is the possibility in all of us to become another Braque. This role-reversal and exploration of the slipperiness of our sense of self is a theme throughout The Changeover, asking: When do we stop being ourselves?
It seems appropriate that Elizabeth Knox‘s inaugural Margaret Mahy Memorial Lecture took place on a Sunday morning. Despite an audience so packed there were barely enough seats, we all sat still and quiet. We were so spellbound by her memories, funny and sad in equal measures, that when at the end Kate de Goldi tentatively opened the floor for questions there was only the collective held breath of a room full of people. I hardly know how to describe it — Elizabeth Heritage likened it to a religious experience, which is probably as close as I can get to conveying the atmosphere that a matter-of-fact writer created in a small, stuffy room.
This year has been the raven on my shoulder.
A refrain, repeated three times over the course of an hour. How to untangle the references to Odin and God, twined together with anecdotes of chemical-green glowing farts and a family of ghosts who lived among the convulvulus?
Knox discovered Mahy late, stumbling across The Changeover in her early twenties and describing her writing as “opening up a room in New Zealand literature I wanted to hang out in.” With so many books to her credit, ranging over several genres…
I write with genre, hand in hand with it, rather than within genre.
…I think we can safely say Knox has found her place in this unreal room filled with storms.
While the lecture won’t be published in the immediate future, it should be available soon on National Radio. Look out for it.
Let’s talk about that much-maligned beast, the supernatural teen romance. No, not sparkly vampires and werewolves and love triangles. I’m talking about romances that pretend to be something else, self-aware and awkward and occasionally grumpy. Love where there’s no romantic comedy Big Understanding, just characters growing together over the course of the book, facing their own hardships and taking it out on each other. Characters who help each other but still work for their own solutions, and who change without changing into a Romantic Entity. My favourite romances occur in the margins of the plot, so it’s no surprise that Margaret Mahy’s The Changeover hits all the right notes for me.
Laura Chant knows the morning the book begins that something’s going to happen — she’s had a Warning, just like the morning before her dad left — but her Warning is brushed aside in the chaos of breakfast and getting her little brother Jacko ready for the day. Laura’s mother Kate needs to leave for work and has no time for feelings of doom, and Laura herself half forgets once out the door. You’ll be shocked to learn that there is an incident with the superbly creepy Carmody Braque later that day, and that Jacko’s health starts deteriorating with supernatural rapidity. Obviously it’s up to Laura to stop Jacko being leeched away, and who else can she turn to but teen witch Sorensen/Sorry Carlisle? Sorry tries hard to be Tall, Dark and Mysterious, but let’s pass over the Twilight comparisons please because in trying he’s funny, which is not an adjective I would ever apply to Edward Cullen.
I’ve described The Changeover as a romance — well, that’s what it says on the cover — and while I do enjoy Laura and Sorry’s confused romantic tension, to leave it at that is to do the book a disservice. Yes, Laura and Sorry’s fledgling friendship makes me laugh, but Laura’s relationship with her mother, Kate, is also warm and real and occasionally laugh-out-loud funny; Laura’s reaction to her mother’s new boyfriend is predictably conflicted; and her feelings for little brother Jacko are key to the whole plot. His sudden magical illness is frightening and inexplicable the way illnesses at that age usually are, and while Laura is determined to fix it, the solution is by no means guaranteed.
Do you, too, like humorous quirky fantasy with awkward romance? Maybe you will be interested in listening to others discuss The Changeover! Join Stuart McKenzie, co-writer and producer of the forthcoming Changeover movie, and young adult writers Elizabeth Knox and Karen Healey, as they discuss with children’s literature specialist Bill Nagelkerke the importance of this great teen novel and its ongoing relevance.
Two years ago, we lost “word witch” Margaret Mahy – a famous Canterbury local and a much loved children’s author.
What better way to remember her legacy than with words. There is a session The Changeover: 30 Years On at the WORD Christchurch Writers & Readers Festival on Saturday 30 August 2014. Join Stuart McKenzie, co-writer and producer of the forthcoming Changeover movie, and young adult writers Elizabeth Knox and Karen Healey, as they discuss with children’s literature specialist Bill Nagelkerke the importance of this great teen novel and its ongoing relevance.
Margaret used to be a children’s librarian at Christchurch City Libraries and our Margaret Mahy pages are full of ideas about writing as well as info on Margaret and her stories:
If the ideas don’t come I go for a walk, listen to music, do a bit of gardening, but I have so much work, it is always easy to go onto something else for a while. If it is urgent I make something happen, even if I am not particularly satisfied with the level of invention, because I think as long as the story is moving something is going to happen, and so far I have been lucky.
We are also lucky to have online the poem Down the back of the chair, and The word-eater written by Margaret Mahy, and illustrated by Bob Kerr. You might recognise the setting of the Central Library in Gloucester Street.