
I am sure you've heard some version of the following in your lifetime: American films are vastly different from European films. No doubt you're nodding your head right now: Not only have you heard this before, you know it, from experience, to be true. And it is arguably true much of the time. In fact, let us without hesitation state the differences:
- American films are often overtold, without subtlety or nuance, in contrast to European films.
- American films present plot lines that are largely predictable, slaking Americans' thirst for resolution, for clear portrayals of the good and the bad; of the guy always getting the girl or the bad guy getting his comeuppance before the last credits. European films are freer from these constraining expectations; and European filmmakers are content with ambiguity and ambivalence, almost flaunting that contentment.
- American films speak not only to Americans' alleged need for clear and defined solutions and resolutions, but such films also speak to their alleged need for endings that are not abrupt, thus never leaving viewers hanging. Americans demand a denouement, a tidy wrap up. In contrast, European filmmakers, aware of the complexities of life and death, recognize that life itself often ends abruptly, without resolution, without clarity; their films mirror that reality.
- American films are produced for maximum economic impact, for making a big profit splash, while European films are produced for their own sake as works of art (or so it goes).
- American films are largely produced for entertainment purposes, for titillation or distraction, while European films are produced to elevate the soul, to engage the intellect and the heart; or to shock the viewer into existential honesty about the intrinsic meaninglessness (or purposelessness) of life and the shallowness and relativism of social mores.
At least this is true in my experience. When I visit the art house, or when I trek to Harvard Square for a progressive film, I am never surrounded by a bunch of John Birch-types, or even Reagan types. McGovern, Carter, Mondale, Clinton: these suit my fellow theater-goers. No, I'm surrounded by the urbane liberals whose sophistication comes trippingly off their tongues.
Oddly, this is only the case, apparently, when discussing film (or literature). For the liberal suddenly becomes an anxious dolt when it comes to politics. Just take a look at liberal responses to the Alito hearings, for example. Chuck Schumer, a liberal New York Democrat, was shocked and dismayed that Judge Alito would not define with absolute clarity his position on Roe v. Wade. Alito in fact incensed all the most liberal members of the US Senate, House, and press corps, hiding (or so he was accused) in ambiguity and dancing around nuance. Unsure of how a Justice Alito might adjudicate, liberals suddenly demanded certainty of their future, demanding guarantees to prop up what has given their lives meaning and purpose for so long. Liberals expect the courts and governments to give their lives stability, in contradiction of the existentialism of the art house, which says that meaning and stability can only come from the self (good old conservative self-reliance?).
One look at the Iraq War will also speak to my point. Liberals scream for an exit strategy, for a "plan" and "purpose," for something unambiguously immediate; for a redeployment that brings swift and immediate resolution. Liberals plead for a denouement; for a tidy ending. Liberals demand a purpose for war and every action related thereto; or they plead for a war-less world, one bereft of cinematic drama and reality's unblinking hardness. Liberals even pronounce a black-and-white sense of justice, with President Bush (and America) as evil and anyone else morally superior ("Anyone but Bush!"). Liberals aver that the war is "all about oil" or "all about imperialism," claims which are patently unambiguous and without nuance.
Liberals want government guarantees to care for the poor; or to save the environment; or to ensure that no child is either left behind or without medical coverage. That these are all fears voiced with a Hosanna! Hosanna! (Save us!) to the great State somehow go unnoticed. But what will not go unnoticed is how these anxious pleas stand in contrast to the love of art's alleged ambiguity and purposelessness.
Ironically, it appears that it is the conservatives who are comfortable with political ambiguity, of not knowing how everything will and must end. It is the liberals who want to take not only the suffering but even the anxiety out of life; while the conservatives, who abhor suffering and anxiety, recognize that neither can be expunged solely by the salvific state. Conservatives appear to be fine with free markets -- instead of laws -- shaping economies. Conservatives appear at ease with a war without a defined (and limiting) exit-strategy. Conservatives appear comfortable with a Supreme Court nominee who may or may not overturn Roe v. Wade (and there are many conservatives who support Roe v. Wade, whereas there is nary a liberal who opposes it, which suggests much about which side is more free-thinking). In short, it is the conservatives who are comfortable in practice with life's raw difficulties, whereas liberals only speak of such in theory from the safety of a Greenwich café.
So, there's my foray into film and identity politics. I have only opined about it here, having thought of my thesis last night while listening to the radio. Take it as you will. I am sure it falls short, but astute thinkers will see irony, hypocrisy and hubris, I believe, in those who claim to be "real" patrons of both progressive film and liberal philosophy.
Now, please excuse me while I go and watch "Memento" – in reverse.
Contratimes
©Bill Gnade 2006/Contratimes - All Rights Reserved.
[Photo: Something ambiguous, I hope. Some of you won't see what it is until you "free your mind."]