Pauline Kael - Trash, Art, and the Movies (IV) [tekst, tłumaczenie i interpretacja piosenki]

When we are children, though there are categories of films we don’t like—documentaries generally (they’re too much like education) and, of course, movies especially designed for children—by the time we can go on our own we have learned to avoid them. Children are often put down by adults when the children say they enjoyed a particular movie; adults who are short on empathy are quick to point out aspects of the plot or theme that the child didn’t understand, and it’s easy to humiliate a child in this way. But it is one of the glories of eclectic arts like opera and movies that they include so many possible kinds and combinations of pleasure. One may be enthralled by Leontyne Price in “La Forza del Destino” even if one hasn’t boned up on the libretto, or entranced by “The Magic Flute” even if one has boned up on the libretto, and a movie may be enjoyed for many reasons that have little to do with the story or the subtleties (if any) of theme or character. Unlike “pure” arts which are often defined in terms of what only they can do, movies are open and unlimited. Probably everything that can be done in movies can be done some other way, but—and this is what’s so miraculous and so expedient about them—they can do almost anything any other art can do (alone or in combination) and they can take on some of the functions of exploration, of journalism, of anthropology, of almost any branch of knowledge as well. We go to the movies for the variety of what they can provide, and for their marvelous ability to give us easily and inexpensively (and usually painlessly) what we can get from other arts also. They are a wonderfully convenient art.

Movies are used by cultures where they are foreign films in a much more primitive way than in their own; they may be enjoyed as travelogues or as initiations into how others live or in ways we might not even guess. The sophisticated and knowledge able moviegoer is likely to forget how new and how amazing the different worlds up there once seemed to him, and to forget how much a child reacts to, how many elements he is taking in, often for the first time. And even adults who have seen many movies may think a movie is “great” if it introduces them to unfamiliar subject matter; thus many moviegoers react as naïvely as children to “Portrait of Jason” or “The Queen.” They think they’re wonderful. The oldest plots and corniest comedy bits can be full of wonder for a child, just as the freeway traffic in a grade Z melodrama can be magical to a villager who has never seen a car. A child may enjoy even a movie like “Jules and Jim” for its sense of fun, without comprehending it as his parents do, just as we may enjoy an Italian movie as a sex comedy although in Italy it is considered social criticism or political satire. Jean-Luc Godard liked the movie of “Pal Joey,” and I suppose that a miserable American movie musical like “Pal Joey” might look good in France because I can’t think of a single good dance number performed by French dancers in a French movie. The French enjoy what they’re unable to do and we enjoy the French studies of the pangs of adolescent love that would be corny if made in Hollywood. A movie like “The Young Girls of Rochefort” demonstrates how even a gifted Frenchman who adores American musicals misunderstands their conventions. Yet it would be as stupid to say that the director Jacques Demy couldn’t love American musicals because he doesn’t understand their conventions as to tell a child he couldn’t have liked “Planet of the Apes” because he didn’t get the jokey references to the Scopes trial.

Every once in a while I see an anthropologist’s report on how some preliterate tribe reacts to movies; they may, for example, be disturbed about where the actor has gone when he leaves the movie frame, or they may respond with enthusiasm to the noise and congestion of big-city life which in the film story are meant to show the depths of depersonalization to which we are sinking, but which they find funny or very jolly indeed. Different cultures have their own ways of enjoying movies. A few years ago the new “tribalists” here responded to the gaudy fantasies of “Juliet of the Spirits” by using the movie to turn on. A few had already made a trip of “8½” but “Juliet,” which was, conveniently and perhaps not entirely accidentally, in electric, psychedelic color, caught on because of it. (The color was awful, like in bad MGM musicals—one may wonder about the quality of the trips.)

The new tribalism in the age of the media is not necessarily the enemy of commercialism; it is a direct outgrowth of commercialism and its ally, perhaps even its instrument. If a movie has enough clout, reviewers and columnists who were bored are likely to give it another chance, until on the second or third viewing, they discover that it affects them “viscerally”—and a big expensive movie is likely to do just that. “2001” is said to have caught on with youth (which can make it happen); and it’s said that the movie will stone you—which is meant to be a recommendation. Despite a few dissident voices—I’ve heard it said, for example, that “2001” “gives you a bad trip because the visuals don’t go with the music”—the promotion has been remarkably effective with students. “The tribes” tune in so fast that college students thousands of miles apart “have heard” what a great trip “2001” is before it has even reached their city.

Using movies to go on a trip has about as much connection with the art of the film as using one of those Doris Day-Rock Hudson jobs for ideas on how to redecorate your home—an earlier way of stoning yourself. But it is relevant to an understanding of movies to try to separate out, for purposes of discussion at least, how we may personally use a film—to learn how to dress or how to speak more elegantly or how to make a grand entrance or even what kind of coffee maker we wish to purchase, or to take off from the movie into a romantic fantasy or a trip—from what makes it a good movie or a poor one, because, of course, we can use poor films as easily as good ones, perhaps more easily for such non-aesthetic purposes as shopping guides or aids to tripping.