Emma Donoghue‘s novel “Room,” and subsequent movie of the same name, is allegedly inspired by real-life criminal Josef Fritzl, who imprisoned and raped his daughter, Elisabeth Fritzl, for twenty-four years. The novel and movie feature Ma and her son Jack as prisoners of Old Nick–Ma’s kidnapper and rapist. When Jack turns five, Ma executes a successful escape plan.
A 2010 article written by Sarah Crown, and published on The Guardian’s website, quotes Donoghue as saying her book was not based on the Fritzl case but, rather, “triggered” by it. Similarly to Ma, Elisabeth Fritzl was imprisoned, raped, and impregnated. The major differences include:
- Fritzl’s captor and rapist was her father.
- Fritzl was imprisoned for 24 years.
- Fritzl’s prison was in her home’s cellar–Ma’s prison was in a garden shed.
- Fritzl had multiple children in her prison while Ma raised one child.
People accused Donoghue of taking advantage of the shocking case for self-gain in the form of a book deal. Donoghue states she did not intend this and views the book, partly, as a reflection on the complexities of parenthood.
Since the trial, Elisabeth Fritzl and her family withdrew from society, adopted new identities, and began “anonymous” lives. So, it’s hard to imagine she is glad that her story has regained notoriety with the film’s creation and award nominations.
But when “fiction” lives so close to reality, it’s not strange to wonder: did the film and the book need to purchase Elisabeth Fritzl’s life story rights? Seemingly not, as most courts recognize that there is a difference between retelling a true story and being inspired by one to create a work of fiction. There are significant differences between Donoghue’s stories and the real crimes, therefore it is not viewed as a true depiction of the Fritzl case.
While the use of Elisabeth Fritzl’s trauma as literary and cinematic inspiration may feel distasteful to some, Donoghue’s works do not use the crime’s details for shock factor, but rather as a way to explore how strength and family function. In fact, the most gripping part of Donoghue’s screenplay is the intelligence and resilience of major, and minor, female characters. For example, how a woman could endure a constant trauma for seven years and raise a son, without breaking down mentally is unimaginable even when it is performed in front of you. What motivated Ma to maintain a daily routine for Jack? Perhaps the love and sense of responsibility she had for her son surpassed the atrocities she endured. Or perhaps it was the hope she would one day see her mother and father again and return to her childhood home, which she describes to Jack in an attempt to explain the outside world to him.
Another extraordinary woman appears in the female police officer who responds to the 911 call when Jack escapes. While she only emerges in one scene, her ability is striking. She patiently questions Jack in an attempt to learn his story. While gentle in tone and manner with Jack, she does not back off from her questions when he refuses to speak. Instead she pushes him to give her all the information he can. The male officer, her partner, only gets in her way, telling her she won’t get anything out of the boy and to give him time. But she ignores the other officer and from Jack’s disjointed tale of escape is able to deduce the location of Jack’s prison and rescue Ma quickly. Her part may have been meant to move the plot along rather than to applaud women who excel at their jobs, but, still, her heroism is lasting.
Despite privacy concerns, the story of “Room” remains important. It’s important that two such heroic, female characters exist as recognitions of real, strong women and as role models for every person. And finally, it’s important that this story features women doing the saving rather than being saved.