Movie art is not the opposite of what we have always enjoyed in movies, it is not to be found in a return to that official high culture, it is what we have always found good in movies only more so. It’s the subversive gesture carried further, the moments of excitement sustained longer and extended into new meanings. At best, the movie is totally informed by the kind of pleasure we have been taking from bits and pieces of movies. But we are so used to reaching out to the few good bits in a movie that we don’t need formal perfection to be dazzled. There are so many arts and crafts that go into movies and there are so many things that can go wrong that they’re not an art for purists. We want to experience that elation we feel when a movie (or even a performer in a movie) goes farther than we had expected and makes the leap successfully. Even a film like Godard’s “Les Carabiniers,” hell to watch for the first hour, is exciting to think about after because its one good sequence, the long picture postcard sequence near the end, is so incredible and so brilliantly prolonged. The picture has been crawling and stumbling along and then it climbs a high wire and walks it and keeps wanting it until we’re almost dizzy from admiration. The tight rope is rarely stretched so high in movies, but there must be a sense of tension somewhere in the movie, if only in a bit player’s face, not just mechanical suspense, or the movie is just more hours down the drain. It’s the rare movie we really go with, the movie that keeps us tense and attentive. We learn to dread Hollywood “realism” and all that it implies. When, in the dark, we concentrate our attention, we are driven frantic by events on the level of ordinary life that pass at the rhythm of ordinary life. That’s the self-conscious striving for integrity of humorless, untalented people. When we go to a play we expect a heightened, stylized language; the dull realism of the streets is unendurably boring, though we may escape from the play to the nearest bar to listen to the same language with relief. Better life than art imitating life.
If we go back and think over the movies we’ve enjoyed—even the ones we knew were terrible movies while we enjoyed them—what we enjoyed in them, the little part that was good, had, in some rudimentary way, some freshness, some hint of style, some trace of beauty, some audacity, some craziness. It’s there in the interplay between Burt Lancaster and Ossie Davis, or, in “Wild in the Streets,” in Diane Varsi rattling her tambourine, in Hal Holbrook’s faint twitch when he smells trouble, in a few of Robert Thom’s lines; and they have some relation to art though they don’t look like what we’ve been taught is “quality.” They have the joy of playfulness. In a mediocre or rotten movie, the good things may give the impression that they come out of nowhere; the better the movie, the more they seem to belong to the world of the movie. Without this kind of playfulness and the pleasure we take from it, art isn’t art at all, it’s something punishing, as it so often is in school where even artists’ little jokes become leaden from explanation.
Keeping in mind that simple, good distinction that all art is entertainment but not all entertainment is art, it might be a good idea to keep in mind also that if a movie is said to be a work of art and you don’t enjoy it, the fault may be in you, but it’s probably in the movie. Because of the money and advertising pressures involved, many reviewers discover a fresh masterpiece every week, and there’s that cultural snobbery, that hunger for respectability that determines the selection of the even bigger annual masterpieces. In foreign movies what is most often mistaken for “quality” is an imitation of earlier movie art or a derivation from respectable, approved work in the other arts—like the demented, suffering painter-hero of “Hour of the Wolf” smearing his lipstick in a facsimile of expressionist anguish. Kicked in the ribs, the press says “art” when “ouch” would be more appropriate. When a director is said to be an artist (generally on the basis of earlier work which the press failed to recognize) and especially when he picks artistic subjects like the pain of creation, there is a tendency to acclaim his new bad work. This way the press, in trying to make up for its past mistakes, manages to be wrong all the time. And so a revenge-of-a-sour-virgin movie like Truffaut’s “The Bride Wore Black” is treated respectfully as if it somehow revealed an artist’s sensibility in every frame. Reviewers who would laugh at Lana Turner going through her femme fatale act in another Ross Hunter movie swoon when Jeanne Moreau casts significant blank looks for Truffaut.
In American movies what is most often mistaken for artistic quality is box-office success, especially if it’s combined with a genuflection to importance; then you have “a movie the industry can be proud of” like “To Kill a Mockingbird” or such Academy Award winners as “West Side Story,” “My Fair Lady,” or “A Man for All Seasons.” Fred Zinnemann made a fine modern variant of a Western, “The Sundowners,” and hardly anybody saw it until it got on television; but “A Man for All Seasons” had the look of prestige and the press felt honored to praise it. I’m not sure most movie reviewers consider what they honestly enjoy as being central to criticism. Some at least appear to think that that would be relying too much on their own tastes, being too personal instead of being “objective”—relying on the ready-made terms of cultural respectability and on consensus judgment (which, to a rather shocking degree, can be arranged by publicists creating a climate of importance around a movie). Just as movie directors, as they age, hunger for what was meant by respectability in their youth, and aspire to prestigious cultural properties, so, too, the movie press longs to be elevated in terms of the cultural values of their old high schools. And so they, along with the industry, applaud ghastly “tour-de-force” performances, movies based on “distinguished” stage successes or prize-winning novels, or movies that are “worthwhile,” that make a “contribution”—“serious” messagy movies. This often involves praise of bad movies, of dull movies, or even the praise in good movies of what was worst in them.
This last mechanism can be seen in the honors bestowed on “In the Heat of the Night.” The best thing in the movie is that high comic moment when Poitier says, “I’m a police officer,” because it’s a reversal of audience expectations and we laugh in delighted relief that the movie is not going to be another self-righteous, self-congratulatory exercise in the gloomy old Stanley Kramer tradition. At that point the audience sparks to life. The movie is fun largely because of the amusing central idea of a black Sherlock Holmes in a Tom and Jerry cartoon of reversals. Poitier’s color is used for comedy instead of for that extra dimension of irony and pathos that made movies like “To Sir, with Love” unbearably sentimental. He doesn’t really play the super sleuth very well: he’s much too straight even when spouting the kind of higher scientific nonsense about right-handedness and left-handedness that would have kept Basil Rathbone in an ecstasy of clipped diction, blinking eyes and raised eyebrows. Like Bogart in “Beat the Devil” Poitier doesn’t seem to be in on the joke. But Rod Steiger compensated with a comic performance that was even funnier for being so unexpected—not only from Steiger’s career which had been going in other directions, but after the apparently serious opening of the film. The movie was, however, praised by the press as if it had been exactly the kind of picture that the audience was so relieved to discover it wasn’t going to be (except in its routine melodramatic sequences full of fake courage and the climaxes such as Poitier slapping a rich white Southerner or being attacked by white thugs; except that is, in its worst parts). When I saw it, the audience, both black and white, enjoyed the joke of the fast-witted, hyper-educated black detective explaining matters to the backward, blundering Southern-chief-of-police slob. This racial poke is far more open and inoffensive than the usual “irony” of Poitier being so good and so black. For once it’s funny (instead of embarrassing) that he’s so superior to everybody.
“In the Heat of the Night” isn’t in itself a particularly important movie; amazingly alive photographically, it’s an entertaining, somewhat messed-up comedy-thriller. The director Norman Jewison destroys the final joke when Steiger plays redcap to Poitier by infusing it with tender feeling, so it comes out sickly sweet, and it’s too bad that a whodunit in which the whole point is the demonstration of the Negro detective’s ability to unravel what the white man can’t, is never clearly unraveled. Maybe it needed a Negro super director. (The picture might have been more than just a lively whodunit if the detective had proceeded to solve the crime not by “Scientific” means but by an understanding of relationships in the South that the white chief of police didn’t have.) What makes it interesting for my purposes here is that the audience enjoyed the movie for the vitality of its surprising playfulness, while the industry congratulated itself because the film was “hard-hitting”—that is to say, it flirted with seriousness and spouted warm, worthwhile ideas.
Those who can accept “In the Heat of the Night” as the socially conscious movie that the industry pointed to with pride probably also go along with the way the press attacked Jewison’s subsequent film, “The Thomas Crown Affair,” as trash and a failure. One could even play the same game that was played on “In the Heat of the Night” and convert the “Crown” trifle into a sub-fascist exercise because, of course, Crown, the superman, who turns to crime out of boredom, is the crooked son of “The Fountainhead,” out of Raffles. But that’s talking glossy summer-evening fantasies much too seriously: we haven’t had a junior executives fantasy-life movie for a long time and to attack this return of the worldly gentlemen-thieves genre of Ronald Colman and William Powell politically is to fail to have a sense of humor about the little romantic-adolescent fascist lurking in most of us. Part of the fun of movies is that they allow us to see how silly many of our fantasies are and how widely they’re shared. A light romantic entertainment like “The Thomas Crown Affair,” trash undisguised, is the kind of chic crappy movie which (one would have thought) nobody could be fooled into thinking was art. Seeing it is like lying in the sun flicking through fashion magazines and, as we used to say, feeling rich and beautiful beyond your wildest dreams.
But it isn’t easy to come to terms with what one enjoys in films, and if an older generation was persuaded to dismiss trash, now a younger generation, with the press and the schools in hot pursuit, has begun to talk about trash as if it were really very serious art. College newspapers and the new press all across the country are full of a hilarious new form of scholasticism, with students using their education to cook up impressive reasons for enjoying very simple, traditional dishes. Here is a communication from Cambridge to a Boston paper:
To the Editor:
“The Thomas Crown Affair” is fundamentally a film about faith between people. In many ways, it reminds me of a kind of updated old fable, or tale, about an ultimate test of faith. It is a film about a love affair (note the title), with a subplot of a bank robbery, rather than the reverse. The subtlety of the film is in the way the external plot is used as a matrix to develop serious motifs, much in the same way that the “Heat of the Night” functioned.
Although Thomas Crown is an attractive and fascinating character, Vicki is the protagonist. Crown is consistent, predictable: he courts personal danger to feel superior to the system of which he is a part, and to make his otherwise overly comfortable life more interesting. Vicki is caught between two opposing elements within her, which, for convenience, I would call masculine and feminine. In spite of her glamour, at the outset she is basically masculine, in a man’s type of job, ruthless, after prestige and wealth. But Crown looses the female in her. His test is a test of her femininity. The masculine responds to the challenge. Therein lies the pathos of her final revelation. Her egocentrism had not yielded to his.
In this psychic context, the possibility of establishing faith is explored. The movement of the film is towards Vicki’s final enigma. Her ambivalence is commensurate with the increasing danger to Crown. The suspense lies in how she will respond to her dilemma, rather than whether Crown will escape.
I find “The Thomas Crown Affair” to be a unique and haunting film, superb in its visual and technical design, and fascinating for the allegorical problem of human faith.“The Thomas Crown Affair” is pretty good trash, but we shouldn’t convert what we enjoy it for into false terms derived from our study of the other arts. That’s being false to what we enjoy. If it was priggish for an older generation of reviewers to be ashamed of what they enjoyed and to feel they had to be contemptuous of popular entertainment, it’s even more priggish for a new movie generation to be so proud of what they enjoy that they use their education to try to place trash within the acceptable academic tradition. What the Cambridge boy is doing is a more devious form of that elevating and falsifying of people who talk about Loren as a great actress instead of as a gorgeous, funny woman. Trash doesn’t belong to the academic tradition, and that’s part of the fun of trash—that you know (or should know) that you don’t have to take it seriously, that it was never meant to be anymore than frivolous and trifling and entertaining.
It’s appalling to read solemn academic studies of Hitchcock or von Sternberg by people who seem to have lost sight of the primary reason for seeing films like “Notorious” or “Morocco”—which is that they were not intended solemnly, that they were playful and inventive and faintly (often deliberately) absurd. And what’s good in them, what relates them to art, is that playfulness and absence of solemnity. There is talk now about von Sternberg’s technique—his use of light and décor and detail—and he is, of course, a kitsch master in these areas, a master of studied artfulness and pretty excess. Unfortunately, some students take this technique as proof that his films are works of art, once again, I think, falsifying what they really respond to—the satisfying romantic glamour of his very pretty trash. “Morocco” is great trash, and movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them. The kitsch of an earlier era—even the best kitsch—does not become art, though it may become camp. Von Sternberg’s movies became camp even while he was still making them, because as the romantic feeling went out of his trash—when he became so enamored of his own pretty effects that he turned his human-material into blank, affectless pieces of décor—his absurd trashy style was all there was. We are now told in respectable museum publications that in 1932 a movie like “Shanghai Express” “was completely misunderstood as a mindless adventure” when indeed it was completely understood as a mindless adventure. And enjoyed as a mindless adventure. It’s a peculiar form of movie madness crossed with academicism, this lowbrowism masquerading as highbrowism, eating a candy bar and cleaning an “allegorical problem of human faith” out of your teeth. If we always wanted works of complexity and depth we wouldn’t be going to movies about glamorous thieves and seductive women who sing in cheap cafés, and if we loved “Shanghai Express” it wasn’t for its mind but for the glorious sinfulness of Dietrich informing Clive Brook that, “It took more than one man to change my name to Shanghai Lily” and for the villainous Oriental chieftain (Warner Oland) delivering the classic howler, “The white woman stays with me.”
If we don’t deny the pleasures to be had from certain kinds of trash and accept “The Thomas Crown Affair” as a pretty fair example of entertaining trash, then we may ask if a piece of trash like this has any relationship to art. And I think it does. Steve McQueen gives probably his most glamorous, fashionable performance yet, but even enjoying him as much as I do, I wouldn’t call his performance art. It’s artful, though, which is exactly what is required in this kind of vehicle. If he had been luckier, if the script had provided what it so embarrassingly lacks, the kind of sophisticated dialogue—the sexy shoptalk—that such writers as Jules Furthman and William Faulkner provided for Bogart, and if the director Norman Jewison had Lubitsch’s lightness of touch, McQueen might be acclaimed as a suave, “polished” artist. Even in this flawed setting, there’s a self-awareness in his performance that makes his elegance funny. And Haskell Weller, the cinematographer, lets go with a whole bag of tricks, flooding the screen with his delight in beauty, shooting all over the place, and sending up the material. And Pablo Ferro’s games with the split screen at the beginning are such conscious, clever games designed to draw us in to watch intently what is of no great interest. What gives this trash a lift, what makes it entertaining is clearly that some of those involved, knowing of course that they were working on a silly shallow script and a movie that wasn’t about anything of consequence, used the chance to have a good time with it. If the director, Norman Jewison, could have built a movie instead of putting together a patchwork of sequences, “Crown” might have had a chance to be considered a movie in the class and genre of Lubitsch’s “Trouble in Paradise.” It doesn’t come near that because to transform this kind of kitsch, to make art of it, one needs that unifying grace, that formality and charm that a Lubitsch could sometimes provide. Still, even in this movie we get a few grace notes in McQueen’s playfulness, and from Wexler and Perro. Working on trash, feeling free to play, can loosen up the actors and craftsmen just as seeing trash can liberate the spectator. And as we don’t get this playful quality of art much in movies except in trash, we might as well relax and enjoy it freely for what it is. I don’t trust anyone who doesn’t admit having at some time in his life enjoyed trashy American movies; I don’t trust any of the tastes of people who were born with such good taste that they didn’t need to find their way through trash.
There is a moment in “Children of Paradise” when the rich nobleman (Louis Salou) turns on his mistress, the pearly plebeian Garance (Arletty). He complains that in all their years together he has never had her love, and she replies, “You’ve got to leave something for the poor.” We don’t ask much from movies, just a little something that we can call our own. Who at some point hasn’t set out dutifully for that fine foreign film and then ducked into the nearest piece of American trash? We’re not only educated people of taste, we’re also common people with common feelings. And our common feelings are not all bad. You hoped for some aliveness in that trash that you were pretty sure you wouldn’t get from the respected “art film.” You had long since discovered that you wouldn’t get it from certain kinds of American movies, either. The industry now is taking a neo-Victorian tone, priding itself on its (few) “good, clean” movies—which are always its worst movies because almost nothing can break through the smug surfaces, and even performers’ talents become cute and cloying. The lowest action trash is preferable to wholesome family entertainment. When you clean them up, when you make movies respectable, you kill them. The wellspring of their art, their greatness, is in not being respectable.
