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Bennett allows both Lesley, in Her Big Chance, and Irene, in A Lady of Letters to inform the audience of their inadequacies and situation, however this information is not blatantly confessioned. In the monologue format the slight comments and innocent detail betray the character and provide evidence of the lonely and unrewarding lives of the two women. Bennett depicts the women very differently, yet in many ways they are similar in their refusal to accept their problems.
Bennett shows both women desperately searching for a role. Lesley is portayed as forever trying to build a part. Capital letters are given to a previous unimportant part, in order to make Lesley feel more significant than she really is
Woman in a Musquash Coat.
Lesley tries to completely involve herself with all the action regarding the film. Bennett shows her insistence on adding her suggestions
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I just wanted to make it crystal clear that when I said briefcase I didnt mean the old-fashioned type ones...
Rather than admiring her persistence, we just begin to feel extremely irritated.
In A Lady of Letters Bennett stirs up irritation with Irene, in her persistent letter writing. Bennett capitalises on our initial irritation, he uses a crescendo effect continually telling us of the occasions on which Irene has felt it necessary to express herself in letters
I wrote to the crematorium...dashed off an answer forwith... I wrote to the council...
We are not told that Irene has nothing else to, although this is quite apparent. Bennett in allowing Irene to take it upon herself to produce these letters is letting her feel more important, as he does with Lesley.
The language Bennett uses for Irene indicates that perhaps she is pretentious. Irenes natural colloquial language is cleverly juxtaposed which phrases of learned speech by Bennett
..grief-stricken people do not expect to emerge from the Chapel of Rest to find grown men skulking in the rhododendrons with tab-ends in their mouths.
Bennett does not present Lesley as a pretentious character, but instead her strive to appear intellectual and cultured. This is apparent in the usage of foreign borrowings, in the Italian Ciao and the French Croissant. Technical jargon is used as part of Lesleys pretence of performance
..theres what they call a hair in the gate. Its film parlance for all clear.
Yet we are aware of Lesleys inability to act, not because she tells us, but because she is restricted to just one word in the film
..we tried it once or twice only Gunther then thought it would be more convincing if my headache was so bad I couldnt actually speak..
However, it does not seem that Lesley is actually neglecting to tell us that her line was cut here because she is such a bad actress, but that she does not tell us because she does not realise herself. Similarly in the clich
I didnt fall off the Christmas tree yesterday.
Lesley is shown pretending to be more clued up than she really is, if she knew what was happening she would not have slept with Spud.
Bennett presents Irene also believing she knows more than she really does. She believes that there is cruelty and neglect going on because there is No kiddy still and she has heard it crying. From this we learn of the way her judging things on appearances, without looking any deeper. Bennett shows this quite humorously in the fascination Irene holds for the lack of a table cover No cloth on.
Despite Irenes superficiality there is a certain degree of pathos in the situation. Bennett informs us that her so-called participation is because of she is lonely. We are told of her pen Its been a real friend, the indication here is that Irene does not infact have any friends or family that she can turn to for support. We know also that Mother bought it - there is a tone of reminiscence here that is particularly apparent on the video. The actress is almost fondling the pen. Her voice is slow and calm, with definite touch of humanity. The insinuation from all of this and Irenes current situation is that there was a certain degree of dependency between Irene and her mother.
Bennett depicts Lesleys escape from her solitude in her sleeping with numerous men. We do not really feel any sympathy towards her because she is shown to keep doing it. Bennett selects the metaphor
..the cat sitting there, watching the trout
to explain the way which Lesley falls into the trap. In this there is realisation of what she is doing, so the feelings of irritation are yet stronger. The audience can appreciate her embarrassment because of the technique that Bennett uses - glossing over the details
His rooms nicer than mine. His bathrooms got a hair-dryer.
The video shows her usual lively tone becoming quiet and slow, her body language follows the same pattern. It is obvious that Lesley has slept with this man, yet Bennett only allows her to obliquely reveal this.
It is only in the reported speech of the policeman that we comprehend all the trouble Irene has caused
Were asking you because who was it who was it wrote to the chemist saying his wife was a prostitute?
This not denied, but there is indeed a justification for it.
We learn in reported speech of the type of film Bennett has selected for Lesley, Spud talks of
...main girl...making videos...overseas market...West Germany..
To the reader/viewer this suggests porn. Lesley does not see this, Bennett again shows her lacking basic common sense. For her inadequacies Bennett refers her to an American book. One of the points in the book is purpose and use of name. Yet there is a definite over usage of names
Chess, Simon?...Well, Simon...Spectacles, Simon
This exhibits Lesleys superficially - she does not look deeper than names or appearances. If we look for the reasoning behind this we can realise that to a certain extent it is related to her job. Performance plays a big part of Lesleys life. The frequent use of the word interesting by Bennett in this monologue shows falseness and superficiality . Whereas the reason for the frequent use of the word little by Bennett establishes Irenes sense of modesty and we do not resent her in the slightest for it. Using Her Big Chance and any other monologue show how the central characters reveal obliquely their personalities and circumstances.
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