Sunday, August 23, 2015

Confounded by the Human Animal (Essay by Bob Racine)



My wife Ruby and I have been cat owners for many years.  A few weeks ago we had to euthanize one of them due to irreversible pain and organic deterioration.  His name was Brolin, a quite large feline and very furry, and one characteristic habit of his was sprawling out in the middle of the floor on his back to sleep, oblivious to what was around him, often reclining in a thoroughfare between furniture that was of necessity much used by us. 

One might think that he liked living dangerously, doing the equivalent of some children’s experience of hoofing it on top of a railroad track when the train is heard approaching and seeing how long the balancing act can be sustained before the engine is right upon them.  But I rather believe that he was quite oblivious to any danger. 
                            
So many times when I had to walk from one room to another with Brolin stretched out before me, I got the shakes.  Especially was this so after I developed the Lumbar Stenosis condition with which I am now permanently afflicted.  I was afraid I might kick him accidentally, or trip over him and injure both of us, since I cannot always trust my ability to stride easily, especially if I am carrying something bulky in my arms.          
                            
But aside from the fear of accident involving him, I got the shakes just seeing him stretched out with his eyes closed and me with my much larger, imposing human body at his side.  I realized that I had at that moment the power to inflict great harm on that helpless cat and probably deliver a fatal injury by nothing more than a swift stomp of my foot.  It was not by any means a temptation on my part or a wish; I would not have harmed him for the world.  It is just scary knowing that one has in one’s possession the capacity and the opportunity to snuff out another life, to have another living creature totally at one’s mercy. 
                            
We have all had moments driving a car when some pedestrian is crossing over in front of us using a crosswalk, no other vehicle or witness is in sight; that pedestrian is our only reason for slowing down or stopping.  It would not be hard to smash into that body of flesh and keep on going.  We know we have just let another human being live. 
                            
The power of life and death forced upon us!
                            
More unnerving than this is reading in the papers about hit men, assassins, those in the business of stamping out human targets – murder incorporated.  The Islamic State certainly comes to mind, and all those cults of extremism that operate on the assumption that Allah awards the slaying and raping (no less) of the infidel.  Just as disturbing are the accounts of street kids, not in the Middle East but in our nation, wielding lethal weaponry, enflamed youth who have somehow transitioned from that testy but innocent childhood to murderous mayhem!  At what point did they bring themselves to sell out to those latent impulses we all possess and turn themselves into riotous, bullheaded, dangerous belligerents?  What factors, environmental or otherwise, did they encounter in the process of growing up that took them down that perilous fork?  What prevented us non-violent, law-abiding citizens from opting for that path of savage indulgence in the course of our maturing?  How did we come to be so squeaky clean? 
                            
But there is one thing we do have in common with the lawless herd – we are all, in addition to whatever else we may be or become . . . 
                            
Animals!
                            
In fact, we are first and foremost animals.  We react to stimuli, not always on automatic, but the reaction is inevitable nonetheless.  We are psychosomatic creatures played upon by the universe, by a host of influences and trigger mechanisms, the DNA not the least of them.  We learn habits and acquire values and ideas from exposure to our primary environment, long before we hear of other choices, good and bad, that can be made. 
                            
And all along the way there are these little wormy critters playing upon us from within called instincts.  There are the basic animal instincts and, if we are fortunate enough, we generate better acquired instincts.  And nothing is more threatening than the struggle between what is flat out animalistic and what is learned and acquired.  When values and ideals butt in on the animal drives, any one of a number of destinies can be hammered out of that crackling fire.  The variables are quite plentiful, sometimes legion.   
                                      
I am sure many of you, like me, can point to those people and influences and institutions that have played a saving role in your lives – family upbringing, the church, the synagogue, the scout troop, special friends and mentors.  They all gave us that foundation we needed to throw off the yoke of our animal drives.  The drives have not gone away, but their grip has been loosened; we learned that there is a level of living that transcends the demands of the animal flesh.  
                            
Of course among those transcending factors is the instinctual need for loving spiritual relationship, for a communal tie that exceeds the primal bond of family and neighborhood and draws us away from the morbidly murderous imaginings of our un-tethered minds.  For me it is the Christian faith and the institution of the Christian church.  But of course there are others just as humane and just as redemptive. 
                            
The person to feel sorry for is the one who has never been exposed to the magic of kindred hearts beating together.  I am speaking of those who see us humans as nothing more than animals and act accordingly.  Not all to whom I refer are common criminals.   For Friedrich Nietzsche there was no such thing as good and evil, just animalistic creatures called humans struggling for survival.  Human nature is “bestial”.  His was a philosophy of despair.  I doubt if he or any of his adherents would say so, but that is what it boils down to.  Life makes no sense.  All is basically chaos.  Sometimes, when it is convenient, we make order out of it. It is an attitude that despairs of anything like dignity or morality. 
                            
Now maybe we think it takes a lot to get someone into that kind of mindset, into that kind of world view.  But it is really a very attractive system of belief.  There is a kind of apparent safety in despair, when it becomes that overt and active.  You perceive yourself as free from all restraints.  You do not have to answer to anybody.  The good news as set forth in the New Testament, or wherever, would seem to such a one at best a joke, at worst enslaving dogma or an opiate.  Most of those setting fires and exploding loose cannons in our contemporary world are not consciously strict  Nietzscheans.  Most of them have probably never studied the man’s philosophy.  But in plain fact they do belong to his club.  They are enflamed lost souls who find among their fellow marauders on the streets the “saving” community they have never enjoyed, and they have found their sense of purpose in ill-defined objectives.  They belong to “the gang”, the gang devoted to blind rage.
                            
Human nature is complex; human nature is confounding to all who attempt to explore it and trace its boundaries and contours.  There are no easy answers in the quest for what we call the good life, but there are many clues, many signposts.  We are all a work in progress, whatever our age, but without the tools for self-knowledge backed up by cultivated self esteem we would, like those street derelicts, drift with an unruly wind and perhaps become enslaved to it.   
                            
Pray for them and for peace and the contagion of compassion and tolerance in our changing world.


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com. To learn about me consult on the website the blog entry for August 9, 2013.

Saturday, August 8, 2015

Bob Racine's 100 Favorite Movies, Segment 7 of 7



TOM JONES (2 hrs & 9 min, color, 1963)
Tom (Albert Finney) is a mischievous bastard kid, having been adopted as a baby by a merciful country squire.  On the threshold of adulthood he is rendered a vagabond by scandal and the conniving of enemies.  Henry Fielding’s beloved farcical satire on 18th century class society in England is given delectable treatment by Director Tony Richardson.  It is superbly bawdy – bounding in all kinds of bedlam, brash buffoonery and naughtiness that Richardson never allows to get out of hand, a consistently rousing and really good-hearted romp.  Have a ball with it!

TOOTSIE (1 hr & 56 min, color, 1982)
A discontented actor (Dustin Hoffman), eager to raise money for mounting more sophisticated theatre, disguises himself as a woman and gets chosen for the female lead in a TV soap opera, hoping to cash in with the salary s/he earns.  Jessica Lange plays an actress he falls for, she believing him to be a platonic female friend.  The scheme lands him in serious hot water.  The writing, thriving on the loaded subject of sexual identity, is one for the books, the credit for it shared by Don McGuire, Larry Gelbart and Murray Schisgal.   This for me is Sidney Pollack’s best directorial effort. 

TOPSY-TURVY (2 hrs & 40 min, color, 1999)                        
The languishing London-based partnership of showmen Gilbert and Sullivan is saved from collapse (1885) with the premier of “The Mikado”.   Mike Leigh, writer/director, has made that turning point come poignantly alive and has added much to our appreciation for the birth pangs involved in the creative process.  With amazing restraint and with lots of droll but loving humor he not only enters the lives of these composers but the world they inhabited as well.  He makes every character in a splendid ensemble production take on fascinating foible and dimension.  Superb in every way!

TOUCH OF EVIL (1 hr & 51 min, b&w, 1958)
Orson Welles (also directing) portrays a resourceful man of despoiled soul and conscience – a police chief in a small Mexican border town, who resorts to the underhanded to solve a local murder.  Mexican narcotics officer Charlton Heston and Heston’s American wife Janet Leigh, traveling through on their honeymoon, are pulled into the dirty affair.  The script is based upon a novel by Whit Masterson, and the haunted and decadent atmosphere Welles creates to bring it alive on screen is astounding.  The camera is no mere observer; it heightens our perceptions at every turn. 

TREASURE OF THE SIERRA MADRE, THE (2 hrs & 6 min, b&w, 1948)
John Huston’s visionary masterpiece is about greed – men on a fool’s errand for gold in the fabled Sierras.  Humphrey Bogart in probably the most out-of-the-ordinary role of his career and Walter Huston (John’s father) are fantastic as high-spirited gold prospectors, with Tim Holt their more lightweight companion.  The story, based on a novel by B. Traven, takes our threesome on a most fascinating mountain trek.  I never tire of studying the dynamics of their life together, the erosion of solidarity the closer to success their tired feet take them.  Tremendous and gigantic!   Great score too!

TRUMAN SHOW, THE (1 hr & 43 min, color, 1998)
Truman Burbank is a thirty-year-old man whose entire life on an idyllic island has been seen by a world-wide public in a 24/7 telecast, finessed by a genius TV producer named Cristof (Ed Harris).  Gradually he discovers that he is living inside a cocoon and has to fight his way out.  Jim Carrey gives a wonderful performance, and what could very easily have been an over-the-top, heavy-handed gimmick becomes a quality work of absurdist art in the hands of director Peter Weir.  The camera is used with great imagination, and the script is a great case in point for originality.   

12 YEARS A SLAVE (2 hrs & 14 min, color, 2013)
The scourge of black slavery in the U.S. has never been dramatized on screen with more daring and forthrightness and more authenticity than in this piece of pre-Civil War history.  A free Afro-American man, citizen of Saratoga, N.Y., was kidnapped and spent twelve years in the south on a plantation where he lived out a nightmare that he retold in an autobiography, adapted here by British film-maker Steve McQueen and writer John Ridley.   For further extensive comment on the film from me I urge the reader to consult my website, enspiritus.blogspot.com, for the May 2, 2014 posting.   

2001: A SPACE ODYSSEY (2 hrs & 24 min, color, 1968)
Stanley Kubrick’s landmark production takes us from the grunts and gropings of prehistoric humans to a strange future encounter in the bowels of intergalactic space, loosely derived from a writing by Arthur C. Clarke.  Astronauts headed for Jupiter track the source of an energy emitted by an excavated monolith on the moon’s surface.  They play second fiddle to high tech hardware, a berserk computer and a warp on the edge of infinity that threatens to consume.  A substantial mythical journey of body, mind and spirit!   The last half hour is indescribable to anyone who has not seen it.

VERTIGO (2 hrs & 8 min, color, 1958)
Alfred Hitchcock weaves a stunning and spellbinding tale about a veteran cop (James Stewart) traumatized in the line of duty and so afflicted with agoraphobia that he decides to retire.  He soon gets sucked into a private surveillance case involving a beautiful and mysterious woman (Kim Novak) supposedly possessed by a departed spirit.  What really possesses her and why the hapless man becomes ever so obsessed with her is the business of Hitch’s most psychologically devious movie, driven by a creeping sense of terror and borderline sanity, with a mind-blowing climax. 

WEST SIDE STORY (2 hrs & 31 min, color, 1961)
In his great innovative musical for the Broadway stage Leonard Bernstein created a sound, a beat, a mystique that defies imitation, and director Robert Wise brought the work to life on the screen.  The central plot: A native teen weary of his delinquent past and a sheltered Puerto Rican girl are star-crossed lovers caught between rival street gangs.  Jerome Robbins’s choreography on actual NYC streets is something to see again and again.  Every musical number is without doubt a showstopper, an event – a bridge crossed to move the plot along, not a detour or a mere dalliance.     

WHALE RIDER (1 hr & 41 min, color, 2002)
Considered by her rigid grandfather to be unsuited for leadership or for instruction in the Maori disciplines because of her sex, a twelve-year-old girl must wage a persistent battle for recognition.   The price she pays to win the hearts of her people cannot be measured in any modest terms, and she has a restorative effect upon her family and tribe.  The story is from a novel by Witi Ihimaera, the film directed by Niki Caro.  There has simply been nothing like it in American movie theaters before.  It will bind many hearts to the sacred ground of being.  And yes, the whales do get into the act.

WHEN HARRY MET SALLY (1 hr & 35 min, color, 1989)
A most unusual boy-meets-girl love story!  Sally (Meg Ryan) and Harry (Billy Crystal) are two unsettled young adults who require chance meetings, misunderstandings and forced acquaintance over many years to find out that they are right for each other.  A flippantly and fabulously funny team they are, forging the linkage between trusting friendship and romantic love.  They find out that there is nothing wrong after all with marrying your best friend.  How perfect can the chemistry be between two lead players!  The comedy they generate is an absolute stunner. 

WHO’S AFRAID OF VIRGINIA WOOLF? (2 hrs & 9 min, b&w, 1966)
Under the sway of Mike Nichols’ coherent and resourceful direction Edward Albee’s brilliant college campus saga of George and Martha, the seemingly placid professor and his super bitch wife, ignites, with Richard Burton and Elizabeth Taylor at their memorable best.  George Segal and Sandy Dennis are a young couple visiting.  The script has strong allegorical significance, both timely and timeless implications, and is concerned with the decimation of massive idols of the mind.  Love, hate, fear, jealousy, cruelty, desperation, grand illusion and sobering discovery all figure in it. 

THE WIZARD OF OZ (1 hr & 42 min, color, 1939)
The unhappy Kansas farm girl named Dorothy (Judy Garland, who else?) dreams a delirious dream, one that seems to transport her into that world “over the rainbow” that she alone among her family and neighbors apparently believes in.  But of course she discovers that this world of Oz is also enchanted with witches, hostile animals and scary ogres, all of whom have to be subdued.  She has become the caretaker of the discontented children inside all of us, who need periodic reassurance that love and a place in the heart called home are for real.  A supreme musical classic!


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.

Friday, August 7, 2015

Bob Racine's 100 Favorite Movies, Segment 6 of 7



1776 (2 hrs & 46 min, color, 1972)
The last month and a half before July 4, 1776, when the Declaration of Independence was adopted in Philadelphia, is the occasion for a most enthralling period enactment, directed by Peter H. Hunt from the smash stage musical.  Besides its very singular and vital music and lyrics, there is lots of thought-provoking humor, ideological disputings, political maneuverings, moments of poignant introspection, even a touch of male/female romance.  It unites past and present in timely wedlock, as Adams, Jefferson and Franklin face off with destiny and each other. 

SINGIN’ IN THE RAIN (1 hr & 42 min, color, 1952)
Directors Gene Kelly and Stanley Donen fashioned a musical that continues to have wide appeal.  Singer/hoofers Kelly, Donald O’Connor and Debbie Reynolds have many devices up their sleeve for enabling their silent film company to shift over to talkies, and those devices are very funny, tuneful and unforgettable.  Jean Hagen, right on the mark in a difficult portrayal, poses complications as a possessive and snooty star of silents, whose baby voice bodes ill for the new medium.  The tap dancing is sensationally good, as is Kelly’s famous frolic in the rain with the title song. 

SLEUTH (2 hrs & 18 min, color, 1972)
The sleuthing in this remarkable tale is done by two English dudes, who make it something of a sport – a very dangerous one, as it turns out.  What starts off as a larcenous gentlemen’s agreement between a highly eccentric murder mystery novelist (Laurence Olivier) and a socially ambitious hairdresser (Michael Caine) segues into a contest in deadly subterfuge and psychological mastery in a very labyrinthine plot.  The veteran director Joseph L. Mankiewicz did a flawless, finely calibrated job, working from a celebrated play by Anthony Shaffer. 

SNAKE PIT, THE (1 hr & 48 min, b&w, 1948)
The first major Hollywood movie ever to treat the subject of mental illness with studied seriousness remains a first rate drama of brokenness and healing.  Olivia de Havilland is marvelous as a victim of deprivation and subtle abuse, who has to descend into the bowels of a state-run asylum to find the face of her personal demons.  Mark Stevens is her faithful but bewildered husband and Leo Genn her devoted psychiatrist.  The screenplay is a dynamic mixture of eeriness, excitement and loving encounters, thanks to the sensitive directing of Anatole Litvak.  [No snakes are seen or heard.] 

SOME LIKE IT HOT (2 hrs & 2 min, b&w, 1959)
The funniest picture the legendary Billy Wilder ever made unites Jack Lemmon and Tony Curtis as Prohibition Era musicians who witness the St. Valentine’s Day Massacre and take flight from underworld hit men.  It is a send up of gangster movies and the Roaring Twenties.  What is the comic premise?  Lemmon and Curtis disguised as women and traveling with an all-female band that includes sexy Marilyn Monroe!  Bawdy and bounding bedlam follows, as our hapless heroes seek to maintain their disguise, while romancing and landing in merry mishaps at the same time.  A scream!

STREETCAR NAMED DESIRE, A (2 hrs & 2 min, b&w, 1951)
Vivian Leigh is fabulous as Blanche Dubois, Tennessee Williams’ aging, tormented and wasted relic of southern gothic nobility, who visits her younger sister (Kim Hunter) and sister’s violent, Neanderthal husband (Marlon Brando) in a low-rent New Orleans neighborhood.  It does not take long for these three conflicted souls to kindle a smoldering fire of jealousy, hate, insanity and perverse sexuality that leads to tragic consequences.  At the directorial helm is none other than the Class A Elia Kazan, recreating on the screen the play he introduced so brilliantly on the stage. 

SULLIVAN’S TRAVELS (1 hr & 30 min, b&w, 1941)
In his undisputed comic masterpiece, Preston Sturgis satirizes Hollywood’s simultaneous obsessions with realism and make believe. Joel McCrae portrays a film director who during the Great Depression leaves his cushy studio and takes to the road to find out about life in the raw, with the intention of making a movie that captures the brutal essence of the submerged masses’ struggle.  His simulated life as a hobo turns up failed actress Veronica Lake.  Sturgis writes and directs with alacrity, a strong, driving narrative and the witty wisdom of a court jester. 

SUNSET BOULEVARD (1 hr & 50 min, b&w, 1950)
Billy Wilder’s searing indictment of behind-the-scenes Hollywood features William Holden as a starving screenwriter trying to get a foothold there, who gets entangled in the elaborate fantasy life of a has-been femme fatale of the silent screen, Gloria Swanson.  He soon discovers that this woman’s dreams of making a comeback have led her to the edge of psychosis, and she threatens to become his undoing.  The world of decadence and exploitation that Wilder opens up has been visited before but nowhere as penetratingly.  A sturdy piece of work!

SWEET SMELL OF SUCCESS (1 hr & 36 min, b&w, 1957)
This screenplay by Ernest Lehman and Clifford Odets has both an emotional and a cerebral impact, having to do with a corrupt, misanthropic syndicated columnist and his long arm of silent, inconspicuous influence.  Though Burt Lancaster is a force to contend with as the columnist, it is Tony Curtis who dominates the scenery as Lancaster’s press agent lackey, playing informant, blackmailer, even pimp to gain his favor.  The film packs a mighty wallop, and is handled with great economy, subtlety and dead-on-the-mark control of atmosphere by Director Alexander Mackendrick.     

TALENTED MR. RIPLEY, THE (2 hrs & 18 min, color, 1999)
Patricia Highsmith’s disturbing novel, set in the 1950s, comes to the screen courtesy of director/writer Anthony Minghella.  Matt Damon is Tom Ripley, a young knockabout musician who through an extended tapestry of pathological lies and desperate but deceitful moves insinuates himself into the good graces of a well-to-do family,  He is much taken with Jude Law, the family’s ex-patriot son, until their friendship turns violent and leads to the progressive dissolution of Ripley’s integrity.  A most fascinating dark journey!  Vintage quality acting all the way by a vintage cast!  

THERE WILL BE BLOOD (2 hrs & 38 min, color, 2007)
A trenchant character study of a predatory prospector in the old west who while scrapping around for gold discovers oil and builds a dynasty, the film astutely directed by Paul Thomas Anderson from an Upton Sinclair novel!  Daniel Day-Lewis’ portrayal of him is not only brilliant; he is off the charts.  We watch the man over the better part of three hours go from a simple grubber to a slithery, decadent beast of prey at whose hand many suffer.  It is not a western in the traditional sense of the word, and it is not for all tastes, but it is a unique and worthy magnum opus. 

THIRD MAN, THE (1 hr & 45 min, b&w, 1949)
The diseased and demoralized state in which World War II left much of Europe is the hypnotic backdrop of director Carol Reed’s potent, internationally beloved thriller.  Graham Greene devised the screenplay, based upon one of his own novels.  A starving American writer (Joseph Cotton), newly arrived in postwar Vienna in search of an old buddy (Orson Welles), is plunged upon his friend’s apparent death into a tangle of dangerous circumstances related to black marketeering.  A fast-paced, beautifully stylized, lucidly written film, driven by a brooding compassion! 

THOUSAND CLOWNS, A (1 hr & 56 min, b&w, 1965)
One of the most hilarious motion pictures my eyes, ears, heart, soul and funny bone have ever encountered, given lively direction by Fred Coe, from the hit play by Hugh Gardner!  Jason Robards gives his greatest screen performance as a funny if impudent society dropout and adult child living a life of whimsy and playfulness along with his 12-year-old cohabiting nephew (Barry Gordon).  But in two days time he gets a reality check he never would have imagined possible – by Child Welfare and by his sudden attraction to a flighty social worker (Barbara Harris).  See it and howl.

TO KILL A MOCKINGBIRD (2 hrs & 9 min, b&w, 1962)
Harper Lee’s bittersweet evocation of life in the Deep South during the Great Depression comes fully alive.  Director Robert Mulligan and screenwriter Horton Foote capture all the book’s rich and essential details.  A six-year-old girl (Mary Badham) and her ten-year-old brother (Philip Alford) experience something awesome, bewildering and eventually traumatic when their loving and widowed lawyer father (Gregory Peck) defends a poor black man (Brock Peters) against a charge of attempted rape.  The fallout from this trial lands upon their tender heads.  Unforgettable!


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.