Leaving Good Company

Source: Focus Features/huagl.net

Source: Focus Features/huagl.net

I have always believed that just as the presence of something is pleasant, the absence of it would be as much unpleasant and vice versa.

While this applies to many things, and almost everything for that matter, it holds true the most for good company.

Good company. Good is vague here, even misleading or inappropiate.

Enjoyable company perhaps.

This is a rarer commodity than you thought. Even rarer than happiness. Even though it is one of the most genuine sources of pure happiness itself.

Usually such experiences are the other way around. It’s mostly about repulsion. Maybe that is the way our world has been accidentally, or deliberately, designed.

So whenever you get a shot of this pleasure spirit, and are forced to retreat to your retreat, then you get a sweet-bitter hangover, rather a sweet-sour hangover, the likeness of which can never be offered by any other intoxicant.

Surely, good company, rather, enjoyable company, is different for everyone. And indeed it has everything to do with that particular person.

But I wonder if the perception of the experience is the same for everyone, and also the intensity of it.

It is one of the few happy sad things in life that you can actually take back home.

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© 1999 Focus Features – Under Fair Use

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Django Unchained & On-Screen Morality

Source: screenrant.com (Universal/Weinstein Company)

Source: screenrant.com (Universal/Weinstein Company)

Over the past months, one of the most talked about controversies in Hollywood has been director Quentin Tarantino‘s Django Unchained. A lot of people from African American and other communities objected to the depiction of slavery in the film and the franchise action figures. Director Spike Lee has refused to watch the movie out of respect for his ancestors. I respect their opinions.

For those who have not watched it yet, it is a story of a slave freed by circumstances, who embarks on an adventure to free his enslaved wife on the plantation of a racist and sadistic landlord with the help of an unlikely accomplice. It is an almost fantasy western, loaded with everything that Quentin Tarantino has a reputation for. Well, almost, if you know what I mean. But recommended.

The film has particularly come under fire for Tarantino’s excessive usage of the word “nigger” on the screen.

Of course, I can’t speak for the African American community, and I would welcome all those who would tell me to shut up on this, but I still could not understand what the problem was about after watching the film, which I would consider anti-slavery overall.

It actually seems to be a part of the incomplete trilogy of “Tarantino’s Frustration on Historical Atrocities”, starting with relatively mediocre Inglorious Basterds, in which (spoiler alert) a Jewish girl avenges the murder of her family by shooting the Nazi audience with the military leadership in a theater and setting fire to it. Django unleashes his wrath on his Caucasian “masters” in the most violent manner as well.

But what’s so new about it all? First of all, Tarantino is known to go over the top with his vivid and shocking non-linear story-telling, depiction of violence and abusive language. That’s not news. Secondly, it is a film that seeks to depict slavery, and you would think that a milder portrayal would not have done as good a job. Maybe its timing was perfect to set the audience’s mood for Spielberg’s Lincoln.

So using softer language would only have made the usual Tarantino audience die of laughing fits. Furthermore, it would have taken away the realism and believability, despite the absurd and exaggerated action sequences and fountains of blood.

While I would like to review the film separately, I am glad Tarantino won Oscar for best screenplay, his second since Pulp Fiction for the same category, though I guess movies like Amour looked like having a better choice. But it is a statement for the freedom of speech and an apt answer to the moralist critic. I would have preferred to see Samuel L. Jackson at least nominated for his part though.

Now coming over to the matter of on-screen morality, political correctness and appropriateness.

What you are showing on the screen depends on what you are talking about and it must. When storytellers mold their narrative to meet the moral standards of the audience or the critics, they cease to be storytellers in the first place.

You could reject it, criticize it, condemn it and even boycott it if you want to. However, calling for bans would be inappropriate in itself. But let us move on with the assumption that disagreements about on-screen morality do not take place at such a primitive level.

A motion picture is after all, just a motion picture and nothing more. It can be used for propaganda, but I would always prefer to see it used for art and entertainment.

I am not denying that the content and visuals and sound of the motion picture do not affect people. Indeed, they do which is the entire point of their exhibition in the first place.

However, it is up to the audience what they take home with them on watching a particular motion picture.

Depicting a torture scene loaded with racist slurs from a Nazi concentration camp could be seen as both sympathetic to the Jewish people and antisemitic.

If a person with sadistic tendencies who does not consider rape wrong and sees its depiction on screen, no matter how painful, then the chances are that person will take sexual pleasure in it. However, the same scene can affect another person to be moved by the portrayal of the trauma and pain and could develop sheer disgust and contempt for rape or anyone who commits it.

Shifting the onus to film and entertainment actually diverts attention from the responsibility of the educators. You cannot really expect every entertainment oriented medium to lecture people on morality all the time, whatever be the cause. That won’t happen because not only is it unrealistic and absurd, but too authoritarian in terms of moral policing.

Such films would be propaganda, not art. I know some directors try to do that all the time and I can’t begin to tell you how bad they make it look.

The trouble with our world is that it does not constitute of just good and considerate people. The darker side of humanity is far more apparent every other day than its empathetic one. It is a rather pessimistic way of looking at things, but ignoring it altogether would be idiotic actually. Besides, hardly any moral ideology is complete without an evil to fight.

Furthermore, if you believe in the correctness of your moral stance, then you should consider it strengthened by the depiction of its violation. A war movie could always be seen as anti-war, no matter how much it is glorified in it, especially if it is a realistic depiction. Movies depicting female objectification, rape and exploitation will always support the feminist argument, not otherwise. Films with racist dialogue would only prove how wrong and illogical racism is.

Someone finding inspiration from it to commit crimes would most certainly not have a problem with these evils in the first place.

Bad people do not need films to strengthen their wickedness. Good people need not be worried about the loss of their virtue by what is depicted on the screen.