“I Swear, If You Existed, I’d Divorce You.”

If the recipient of this insult had been a philosophy professor instead of a mere history  professor, he might have responded as follows.  "Darling, by the Existence Symmetry of Relations, if a relation R holds, then either all of its relata exist or none of them do. Now one cannot divorce a person to whom one is not married.  So you and I stand in the marital relation.  It follows that if I don't exist, then you don't either."

What Do We Have to Teach the Muslim World? Reflections Occasioned by the Death of Maria Schneider

Alg_maria_schneider I was one of those who saw "Last Tango in Paris" when it was first released, in 1972.  I haven't seen it since and I don't remember anything specific about it except one scene, the scene you remember too, the 'butter scene,' in which the Marlon Brando character sodomizes the Maria Schneider character.  Maria Schneider died last week at 58 and indications are that her exploitation by Brando and Bertolucci scarred her for life.

Islamic culture is in many ways benighted and backward, fanatical and anti-Enlightenment, but our trash culture is not much better. Suppose you are a Muslim and you look to the West.  What do you see? Decadence.  And an opportunity to bury the West. 

If Muslims think that our decadent culture is what Western values are all about, and something we are trying to impose on them, then we are in trouble.  They do and we are.

Militant Islam's deadly hatred of us should not be discounted as the ravings of lunatics or psychologized away as a reflex of envy at our fabulous success. For there is a kernel of insight in it that we do well to heed. Sayyid Qutb , theoretician of the Muslim Brotherhood, who visited the USA at the end of the '40s, writes in Milestones (1965):

     Humanity today is living in a large brothel! One has only to glance
     at its press, films, fashion shows, beauty contests, ballrooms,
     wine bars and broadcasting stations! Or observe its mad lust for
     naked flesh, provocative pictures, and sick, suggestive statements
     in literature, the arts, and mass media! And add to all this the
     system of usury which fuels man's voracity for money and engenders
     vile methods for its accumulation and investment, in addition to
     fraud, trickery, and blackmail dressed up in the garb of law.

A wild exaggeration in 1965, the above statement is much less of an exaggeration today. But setting aside the hyperbole, we are in several  ways a sick and decadent society getting worse day by day. On this score, if on no other, we can learn something from our Islamist critics. The fact that a man wants to chop your head off does not mean that he has nothing to teach you.  We often learn more from our enemies than from our friends.  Our friends often will spare us hard truths.

Companion post: What Ever Happened to Linda Lovelace?

Saturday Night at the Oldies: My Darling Clementine

MyDarlingClementine1946 Saw this 1946 movie once again last night.  A heavily fictionalized version of the shootout at the O. K. Corral, it stars Victor Mature as Doc Holliday, Henry Fonda as Wyatt Earp and Walter Brennan as Old Man Clanton.  The Mexican cutie's name is 'Chihuahua.'  They don't make 'em like this anymore.

Now enjoy the song from 1884 in both of its versions together with the lyrics.  The second version features the oft-omitted last verse in which the singer, having lost his Clementine to a drowning, finds solace with her little sister.

A Note on Into the Wild, the Movie

Into the Wild, the movie, impressed me and held my attention for its two and a half hours. But I'm understating: it moved me and ought to  be added to my list of most memorable movies, there to rub shoulders with the likes of Zorba the Greek and La Strada. Not that I would rate it as high as those two classics. Here is a reviewer who didn't get it:

Krakauer and Penn see themselves as kindred spirits to McCandless, rugged individualists seeking the fullness of life in nature. And that probably explains why they both attribute McCandless' reckless adventures to a philosophical quest rather than to what appears to be an obvious act of youthful rebellion.

No doubt McCandless was reckless, and his recklessness got him killed. But only someone who is spiritually dead could dismiss McCandless' quest as a mere act of youthful rebellion. The jaded, the security-obsessed, and those devoid of all idealism will find it easy to mock as hyperromantic and melodramatic the posturings of "Alexander Supertramp." But unlike them, the living dead, he was searching for something more, for the Real, for the truth of his existence. Life without a quest for the Real beyond the sham taken-for-real of one's society is just not worth living. Either you see that or you are spiritually blind.

Only someone who, like Krakauer, sees a bit of himself in McCandless will be able to appreciate what was genuine and worthwhile in him. That is one reason why Krakauer's book is so good. I was pleased to see that the movie stays very close to the book.

Most Memorable Movies

Here are my selections. But before I begin, I'll relate a retort of Michael Medved's. Hearing that Roger Ebert had awarded "two thumbs up" to some piece of trash, Medved quipped, "Two thumbs up what?"

1. Casablanca
2. The Seventh Seal
3. La Strada
4. Zorba the Greek
5. Lawrence of Arabia
6. Dr. Zhivago
7. Persona
8. Closely Watched Trains
9. Triumph des Willens
10. Crimes and Misdemeanors
11. Aguirre the Wrath of God
12. The Man Who Wasn't There
13. Blue Velvet
14. Barton Fink
15. Mulholland Drive

How many can you identify by dates, actors, directors?

Superman: The Moral of the Story

200px-Reevessuperman George Reeves (1914-1959) was the original 'Superman.' You know the character: "Faster than a speeding bullet . . . ." Reeves was murdered (or was it suicide?) in June of 1959. I remember a comment of my Uncle Ray at the time of Reeves' death: "He could stop other people's bullets, but not his own."

I hope Reeves won't mind it too much if I take moral instruction from the mistakes that killed him. It has long been my policy to let others pay my tuition at the School of Hard Knocks.

Reeves succumbed to sex, booze, and career-identification. It is hard enough to get the sex monkey off your back, but if you allow him to form a tag-team with the booze monkey you have double trouble. But of course I would never say that he was 'addicted' to these two 'monkeys': I believe in free will, self-discipline, self-reliance, and in strengthening one's will by exercising it. With respect to temptations, a good maxim is this: Resistance strengthens; indulgence weakens. And if you are a conservative, don't talk like a liberal.

Why Are Actors and Actresses Held in Such Low Esteem?

According to an August 4, 2009 Harris poll, the most prestigious occupation is that of firefighter, while near the bottom of the ranking falls that of actor.  62% of the Americans polled voted for firefighters while only 15% voted for actors.  At the very bottom of the ranking, however, were realtors, who garnered a measly 5% of the vote.

I don't understand why acting should be held in such low esteem.  After all, acting is is not easy to do well, and most of those likely to be polled are familiar with only the very best.  Good acting is not only difficult, but also very enriching to all our lives.  Consider Martin Landau's work in Woody Allen's masterpiece Crimes and Misdemeanors or Meryl Streep's performance in Sophie's Choice. Those are great movies and the actors in such movies make a profound contribution to the quality of our lives.   This is not to deny that most movies are worthless and that many great actors such as Robert De Niro waste their talents on worthless roles in worthless movies. 

So why should acting be held in low esteem?  But perhaps it is not acting but actors who are held in low esteem.  Perhaps it is not actors qua actors who are held in low esteem, but the people who act.  What I am suggesting, as a possible explanation of the fact of acting's low rating relative to other professions, is that the people polled conflate actors qua actors with the people who are actors, and project their dislike for these people onto their occupational role.

And why should the people likely to be polled dislike the people who are actors?  Because they are most of them flaming liberals who maintain views that are deeply offensive to ordinary Americans.  To take an example from a while back, Mike Farrell defended the the vicious murderer 'Tookie' Williams.  A very recent example is provided by that profound intellect, Janeane Garofalo, who maintains that the 'tea-baggers,' led by Limbaugh, are a white power movement motivated by 'racism.'  Read the the whole of her screed to get a sense of the level of lunacy to which HollyWeird liberals are ever inclined to succumb.  I shall not sully my site by quoting it.

Should one take polls seriously?  I rather doubt it.  Much depends on how exactly the questions are formulated.  The Harris 'result' that acting is held in low esteem may reflect only the low esteem in which average Americans hold the people who fill the occupational role.

Advice for Hollywood Liberals

Robert M. Thornton, ed., Cogitations from Albert Jay Nock (Irvington-on-Hudson: The Nockian Society, 1970), p. 59:

If realism means the representation of life as it is actually lived, I do not see why lives which are actually lived on a higher emotional plane are not so eligible for representation as those lived on a lower plane. (Memoirs, 200)

Exactly. If the aim is to depict reality as it is, why select only the most worthless and uninspiring portions of reality for portrayal? Why waste brilliant actors on worthless roles, Paul Newman in The Color of Money, Michael Douglas and Kathleen Turner in The War of the Roses, to take two examples off the top of my head from a potential list of thousands. The Grifters is another example. An excellent film in any number of respects. But imagine a film of the same cinematic quality which portrays in a subtle and intelligent manner a way of life — I avoid 'lifestyle' — that has some chance of being worth living. Notice I said "subtle and intelligent." I am not advocating Sunday School moralizing or hokey platitudinizing. And note that I am not opposing the above mentioned, but pointing out that a constant diet of dreck is both boring and unhealthy.

But I don't expect the folks in HollyWeird (Michael Medved's expression) to comprehend the simple point I have just made. They are too mesmerized by the color of money for that. Nor do I expect most liberals to be able to wrap their minds around it. So I'm preaching to the choir and to a few fence-sitters. But that has value: Maybe a fence-sitter or two will slide off to the Right Side; and perhaps the choirboys and girls are in need of a little extra ammo.

A deeper question concerns the purpose of art. To depict reality? That is not obvious. A good topic for someone else to take up. Conservative bloggers, get to it.

Some Things I Look For in a Movie: A Rant

1. No mindless 'action.' No race and chase, crash and burn. I am not a robot, so I don't want to watch a movie made by  robots about robots for robots.

2.  No gratuitous sex, violence, and offensive language. I have no objection to sex, violence, and bad language as such. There is a time and place for each.  I would have no problem, for example, with blowing a home invader to Kingdom Come where he is more likely to receive justice than here below from a criminal justice system lousy with tolerate-anything liberals.  But sex, violence and bad language  ought not be thrown in for no reason or just to titillate or offend in the manner of the adolescent (whatever his age) who thinks it cool to append the F-ing qualifier to every F-ing word.   Example: the opening scenes of Titanic.

Continue reading “Some Things I Look For in a Movie: A Rant”

Harry and Tonto

I saw the movie Harry and Tonto (1974) a while back. Starring Art Carney as Harry, it is the story of an elderly man who travels across the USA with his cat Tonto. Tonto’s aversion to riding in buses prompts Harry to buy a clunker in which they continue their journey. Various adventures ensue until they arrive at land’s end in Venice, California. There Tonto dies and Harry begins a new life.

It is a movie of real humanity unlike so much of the robotic crap cranked out by Hollywood. No race and chase, no explosions, no gratuitous sex and violence, no special effects.

Whenever I hear a movie praised for its special effects, I suspect the praiser to be a lunkhead capable of being roused from his stupor only by rude assaults upon his senses. What were the special effects in Fellini’s classic La Strada (1954), or in that other cinematic immortal, Zorba the Greek (1964) based on the great Kazantzakis novel of the same name? How about a story? How about some human meaning? How about some decent dialogue?