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JUST SAY NO TO 'DUH': The Man Without Qualities, Ulysses,
A la Recherche du Temps Perdu...for those who like to make
such lists, these are widely considered to be the three greatest
works of 20th-century western literature. They all have one thing
in common: None of their protagonists are sub-literate morons.
How unlike our contemporary paradigm for the hero, who apparently
must be an uneducated and empty-headed half-wit, lest we feel
that he or she is in some way inherently superior to us. Tom Hanks,
Jodie Foster and Adam Sandler, who otherwise have very little
relation to each other, have all made moves wherein they play
the mentally disabled.
Believe it or not, there was a time when the mark of wisdom was
not one's childlike inability to parse complex sentences. Socrates
may have lived a simple life, but he was not a simpleton; although
their followers have given new derisiveness to the term "drones,"
Jesus and Gautama Buddha both spoke in complex metaphors that
have yielded a rich and renewing supply of interpretations to
centuries of seekers and critics who spent time thinking about
their words.
Even as recently as the 1960s, there were public intellectuals
like Norman O. Brown and Marshal McLuhan who didn't assume that
a reader's cerebral cortex must be so thoroughly damaged by Fox
TV and Big Macs that anything that requires thought should be
expunged from their writings, if only so that their audiences
would not be angered and go out on a junk-food-fueled road rage
extravaganza.
In the U.S., we no longer have public intellectuals of any repute.
Politicians, who once used complex tropes like anastrophe and
chiasmus in challenging the public to "ask not what your
country can do for you, but what you can do for your country,"
now instead tell us, "It's the economy, stupid." And
we respond to that....
Americans have actually begun to revel in their international
reputation for being idiots. Look at our best-selling how-to books:
Their titles are all a twist on "Scratching Where it Itches
for Dummies" or "Operating your External Genitalia for
the Complete Idiot." People are actually paying $17.95 to
be told that they're too stupid to read a normal instruction book,
and must go for this remedial help in operating their already-idiot-proofed
home appliances.
For my part, I have to place a chunk of blame squarely on the
shoulders of the movie executives who started, within the last
10 years, to force-feed the American public a set of mentally
challenged heroes who are supposed to be better and wiser than
their fully functional, nose-breathing associates.
In the '60s there was the occasional look at the mentally challenged.
Such films as Charley and the fabulous A Day in the
Death of Joe Egg attempted sympathetic portraits of the horrors
and humiliations associated with mental dysfunction. While Charley
ends up romanticizing the child-like intellect of its lead
character, it does so only in a bittersweet mode, showing him
happily playing with children after losing what had become an
enormous intellectual prowess. Both sides of Charley--his extreme
intellect and his childish playfulness--were placed on camera
and played against each other, leaving an ambiguous conclusion
that left open questions about the superiority of either productivity
or happiness. While hardly a great film, Charley was neither
a simple-minded celebration of the ethical superiority of the
moronic.
Then came Forrest Gump. The conceit of this over-awarded
film was that the lead cretin, Forrest Gump, was in fact morally
better than those who used intellect to question the world around
them. Protesters, seekers of alternate lifestyles and malcontents
all wind up dead or in trouble, while the pawn-like Gump moves
effortlessly through the most important moments in recent history.
With his simplistic catch phrase, "stupid is as stupid does,"
Gump condemns those whose experiments and adventures fail, while
giving value to simple-minded rule-following. It's more than a
catch phrase; it's sort of a Complete Idiot's Guide to Organizing
Your Life (a title which is now actually available, along
with Gumpisms: The Wit and Wisdom of Forrest Gump, and
1,200 more "Complete Idiot's" and "For Dummies"
volumes.)
Nineteen ninety-four not only brought us Forrest Gump,
it also delivered the increasingly annoying Jodie Foster hamming
it up as the simpleton Nell, and Jim Carrey and Jeff Bridges
fighting over which one was Dumb and which Dumber.
It was also the year that Republicans gained control of Congress
on a know-nothing platform, part of which was an attack on "the
cultural elite" and "liberal intellectuals."
This two pronged, Hollywood and D.C. assault on refinement and
intellect has left us with such filmic celebrations of stupidity
as Black Sheep, The Waterboy, Beverly Hills Ninja, and
the upcoming Dumb and Dumber II: The Early Years, scheduled
for summer release.
The latest non-comedy to celebrate the pleasures of doltishness
is The Other Sister, starring Juliette Lewis as a mentally
challenged young woman who finds love. Due for summer release,
the one thing this film has going for it is that it cast someone
who is obviously brain damaged (Lewis) in the lead role, so that
we're not forced to gawk at the spectacle of some otherwise intelligent
actor making funny gestures and absurd vocalizations in order
to put on the mentally handicapped equivalent of "blackface."
Still, doesn't anyone in this country realize that movies are
our most important cultural export? The rest of the world judges
America by the dullards we lionize on the big screen. When traveling
in France and England, I was repeatedly asked, "Are Americans
really that stupid?" Well, seeing as we accept as valid a
book titled Everything I Need To Know I Learned in Kindergarten,
and seeing as Americans think that a spiritual quest for higher
truth involves looking for "the inner child," I was
hard pressed to say no.
It isn't just the adoration of idiocy that marks us as a nation:
We also hate the intelligent. Movies portray scientists as evil
(Jurassic Park, Frankenstein, The Avengers ), the brainy
as nerdish losers (Revenge of the Nerds, Pretty in Pink, Weird
Science), and those with calculating intellects as villains
(Speed, Con Air, Mission Impossible, all the James
Bond movies, etc.). As far as American cinema is concerned, the
intelligent are warped, evil people, or ugly losers with no chance
of ever getting laid. The last thing they could believably become
are leaders, heroes and pioneers.
But there is an underlying irony to this that seems lost on the
movie-going public and the Academy Awards committee: Such things
as televisions, movie projectors, sound systems, the VCR, and
hell, even plot and narrative, were actually invented by intelligent
people. It seems odd for a film to teach that the world would
be a better place if we were all more like Forrest Gump, when,
in fact, if we were all like Forrest Gump, there would
be no film to do the teaching.
Perhaps someone in Hollywood will remember this, and give us
heroes like Leslie Howard in Pimpernel Smith, who, like
Indiana Jones, was an archaeologist...but unlike Indiana Jones,
was also articulate, well-read, and highly refined. In the meantime,
we'll just have to sit through Home Improvement: The Motion
Picture while reading The Carefully Thought-Out Positions
of Jesse Helms.
-- James DiGiovanna
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