Apparently it runs in the family.
Wednesday, October 29, 2008
Tuesday, October 14, 2008
The American Nightmare
Our world projects a very strong image of success. Especially in a capitalist nation such as ours, the “American dream” transcends all facets of our lives dictating what characterizes success and thus happiness. In the film “American Beauty” the lead character of Lester comes to grip with the meaningless of this hapless existence and thus enters what is socially deemed a mid-line crisis. All the while, his journey parallels that of his wife: a woman consumed with the image of success and the life afforded by it. This is by no means a new concept in life or in media. Tennessee Williams’ 1954 play “Cat on a Hot Tin Roof” tells a similar story of a man, Brick, struggling with the hypocrisy of a life comprised of lies and social graces while his wife, Maggie, tries to maintain the image of a normal existence. But what is normal? What is “right”? Is it these women who fight hand over fist to achieve a conservative capitalistic concept of success? Perhaps it is instead the men that choose to reject traditional values and sentiments and explore whether or not their lifestyle façade is really worth all the trouble it affords them.
Both stories are based around marriages that began as, or became, advantageously based situations. They serve only as an advertisement for projected normalcy. In Brick’s case, his wife Maggie attempts to convince him, his family, and ultimately herself that Brick is not the loathing, detached alcoholic he appears to be. In the case of “American Beauty”, Lester and Carolyn’s marriage falls into a system of rules and power exchange reminiscent of Michael Foucault’s concept of sexuality as the currency of power. When Lester chooses to divert from the role set forth for him as the provider, Carolyn responds in kind by withdrawing what was left of her affection for him. As she steps into the role of sole provider she accepts the notion that she is now in control. She emotionlessly insists that perfection and normalcy is within her control, transcending traditional gender stigmas by stepping into the function normally reserved for the male.
As the world around them deteriorates, our female leads both clamber for any sense of control over their relationships and the world around them. Maggie insists to Brick that he still loves her despite his obvious disdain and recommendation that she takes a lover. She goes on and on about her beauty and the power she believes she has over others, especially Big Daddy. As she tells the family that she is pregnant, it is almost as though she believes speaking it will bring it to past. Her words become a self-assuring mantra that, despite her current situation, everything will eventually turn out right. Similarly, Carolynne seeks flawlessness in everything from her matching gardening tools to her dinner ambience. Even when presented with romantic attention from Lester, she can’t detach her need for perfection long enough to ignore the prospect that his beer is about to spill on the Italian silk sofa. In a very poignant scene near the end of “American Beauty”, Carolynne drives home from the gun range singing passionately along to Bobby Darrin's “Don’t Rain on my Parade” aptly symbolizing her almost maddening desire to maintain the dream she had worked so hard to attain.
In contrast, Brick and Lester seem to view their wives’ desire for traditional success with little thought or interest. Brick rarely even responds to Maggie as she prattles on and on about family affairs. He seems vacant, as though the pettiness of the world around him has lost its hold. In the same way, Lester symbolically stares out the passenger window of his wife’s car he states, “In a way I’m dead already” (American Beauty). Our male leads also choose to disregard the common social graces that appear to dictate the actions of their spouses. Primarily it seems to arise from disillusionment with the present and a desire to regress to a simpler, happier time. Brick breaks his ankle trying to drunkenly jump the hurdles he had mastered in his youth. He tells Maggie, “…people like to do what they used to do, even after they’ve stopped being able to do it” (Williams 62). Similarly, Lester is first inspired when he sees Ricky quit his catering job on the spot. It reminds him of a time when his only responsibility was to get high and have sex. Subsequently, he decides to buy the car he always wanted, take a shit job, and smoke dope in his down time. Lester is pictured smoking a joint and rocking to the Who’s “American Woman” in a scene that starkly contrasts Carolynne’s car ride sequence symbolically rejecting the concept of capitalism and a life devoted to what is expected of you.
Traditionally people like Brick and Lester would be seen as social deviants: listless, intoxicated, and uninspired. American capitalist culture encourages ambition, success, and conformity, all characteristics that Maggie and Carolynne embody. However, the achievement of the American dream seems strongly rooted in the denial of self gratification. As the characters of both Cat on a Hot Tin Roof and “American Beauty” illustrate happiness is not a byproduct of success. “This isn’t life, it’s just stuff” Lester tells Carolynne when she chooses her carefully crafted world over romance. Her life is so intensely rooted in “projecting the image of success” that emotion is entirely removed from her decision making process. Is it not more gratifying to live and truly feel, even if those feelings are pain and remorse?
WORKS CITED
American Beauty. Dir. Sam Mendes. Dreamworks. 1999.
Foucault, Michael. “The History of Sexuality.”
Truman. Breakfast At Tiffany’s. New York: Penguin Books, 1958.
Both stories are based around marriages that began as, or became, advantageously based situations. They serve only as an advertisement for projected normalcy. In Brick’s case, his wife Maggie attempts to convince him, his family, and ultimately herself that Brick is not the loathing, detached alcoholic he appears to be. In the case of “American Beauty”, Lester and Carolyn’s marriage falls into a system of rules and power exchange reminiscent of Michael Foucault’s concept of sexuality as the currency of power. When Lester chooses to divert from the role set forth for him as the provider, Carolyn responds in kind by withdrawing what was left of her affection for him. As she steps into the role of sole provider she accepts the notion that she is now in control. She emotionlessly insists that perfection and normalcy is within her control, transcending traditional gender stigmas by stepping into the function normally reserved for the male.
As the world around them deteriorates, our female leads both clamber for any sense of control over their relationships and the world around them. Maggie insists to Brick that he still loves her despite his obvious disdain and recommendation that she takes a lover. She goes on and on about her beauty and the power she believes she has over others, especially Big Daddy. As she tells the family that she is pregnant, it is almost as though she believes speaking it will bring it to past. Her words become a self-assuring mantra that, despite her current situation, everything will eventually turn out right. Similarly, Carolynne seeks flawlessness in everything from her matching gardening tools to her dinner ambience. Even when presented with romantic attention from Lester, she can’t detach her need for perfection long enough to ignore the prospect that his beer is about to spill on the Italian silk sofa. In a very poignant scene near the end of “American Beauty”, Carolynne drives home from the gun range singing passionately along to Bobby Darrin's “Don’t Rain on my Parade” aptly symbolizing her almost maddening desire to maintain the dream she had worked so hard to attain.
In contrast, Brick and Lester seem to view their wives’ desire for traditional success with little thought or interest. Brick rarely even responds to Maggie as she prattles on and on about family affairs. He seems vacant, as though the pettiness of the world around him has lost its hold. In the same way, Lester symbolically stares out the passenger window of his wife’s car he states, “In a way I’m dead already” (American Beauty). Our male leads also choose to disregard the common social graces that appear to dictate the actions of their spouses. Primarily it seems to arise from disillusionment with the present and a desire to regress to a simpler, happier time. Brick breaks his ankle trying to drunkenly jump the hurdles he had mastered in his youth. He tells Maggie, “…people like to do what they used to do, even after they’ve stopped being able to do it” (Williams 62). Similarly, Lester is first inspired when he sees Ricky quit his catering job on the spot. It reminds him of a time when his only responsibility was to get high and have sex. Subsequently, he decides to buy the car he always wanted, take a shit job, and smoke dope in his down time. Lester is pictured smoking a joint and rocking to the Who’s “American Woman” in a scene that starkly contrasts Carolynne’s car ride sequence symbolically rejecting the concept of capitalism and a life devoted to what is expected of you.
Traditionally people like Brick and Lester would be seen as social deviants: listless, intoxicated, and uninspired. American capitalist culture encourages ambition, success, and conformity, all characteristics that Maggie and Carolynne embody. However, the achievement of the American dream seems strongly rooted in the denial of self gratification. As the characters of both Cat on a Hot Tin Roof and “American Beauty” illustrate happiness is not a byproduct of success. “This isn’t life, it’s just stuff” Lester tells Carolynne when she chooses her carefully crafted world over romance. Her life is so intensely rooted in “projecting the image of success” that emotion is entirely removed from her decision making process. Is it not more gratifying to live and truly feel, even if those feelings are pain and remorse?
WORKS CITED
American Beauty. Dir. Sam Mendes. Dreamworks. 1999.
Foucault, Michael. “The History of Sexuality.”
Truman. Breakfast At Tiffany’s. New York: Penguin Books, 1958.
Wednesday, October 1, 2008
I said I recall breakfast at tiffany's.
After reading "Breakfast at Tiffany's" today I was reminded of Tuesday's
discussion about celebrity sex tapes and our culture's draw to
celebrities regardless of whether they do things that are commonly seen
as morally lax. I feel the same draw is felt toward Holly by both her
suitors and the reader, but why? Most readers seem to assume it's her
charm, audacity, and optimism that redeem her questionable lifestyle.
Instead, I think it's instinctive pity that makes us love Holly. The
vision of a child prostitute, resolute despite horrible odds and
tittering on the edge emotionally, invokes the inner protector in us
all. I personally reminds me of those horrible E! True Hollywood Story
episodes that center around the live of child stars gone horribly awry.
Holly's story flows like one of those slow motion montage sequences of a
smiling child at parties and on runways all while the voice-over tells
of sex abuse and an addiction to huffing glue. Though we as a culture
love the shiny image of celebrity, full of glitz and glamour, we relish
the cracks in the facade more so. Whether it allows us to feel pity,
empathy, sympathy, or triumph, we feel commonality. Isn't it easier to
bring them to our level than step up to there's?
Romantic comedy: low art?
I believe that most movies are enjoyed primarily because they offer the
viewer an escape from their mundane and normal lives. Whether a janitor
feels the rush of a heroic soldier, a sociopath gets to live out his
serial killer tendencies, or a spinster pretends that a charmingly
befuddled stud is waiting at the local coffee house to sweep her off her
feet, fantasy is the appeal of film. How then can you label romantic
comedy as the "low art" genre? So few movies that reach blockbuster
status actually teach,inspire, or otherwise utilize the sounding box
that is available to filmmakers. Isn't it then more positive to evoke
sentimentality rather than anger or fear, regardless or whether the
parameters are realistic or not? I personally would rather delude myself
for an hour and a half with schmaltz.
Pissing off the feminists...
I found it interesting that Beauvoir took such a limited world view by
stating that "throughout history (women) have always been subordinate to
men." Such a statement is only true if you look purely at a western
world heavily influenced by the tenants of Christianity. In many
cultures women walk equal and even superior paths to men.
I was also taken by the observation that "a man never begins by
presenting himself as an individual of a certain sex; it goes without
saying that he's a man." Perhaps it is not the man's fault for labeling
women as the other, but woman's eternal quest for frameworked equality
that stirs the pot so to say. It reminds me of the timeless advise that
every socially awkward kid gets from their parents after they get picked
on the first time: don't fight back, you'll only provoke them. Just
ignore it and eventually they'll get bored and find someone else to pick
on. I'm sure this puts a giant bulls eye on my forehead for any feminist
within a twenty mile radius, but I think that if women spent half the
time working to have a reason to be respected as they do complaining
about not being equals the "cause" would be a lot further along.
By no means do I want people to think I'm anti feminism. I just feel
that whining about it gets us nowhere other than gaining the reputation
of "man haters" or "bitches" (and I mean it in the mean way, not the
playful way).
-kara
Subscribe to:
Posts (Atom)
