Showing posts with label Mulholland Drive. Show all posts
Showing posts with label Mulholland Drive. Show all posts

Wednesday, May 28, 2014

Mulholland Drive and Elliot Rodger and the ambiguous manifesto of hate

There's a movie that I've seen twice now, and I still don't understand it, yet I think I know what's going on. Is that confusing enough for you? This intriguing piece of film is from director David Lynch and is called Mulholland Drive. Roger Ebert says of Mulholland Drive, "I think it's a delusion to imagine a complete film lurking somewhere in Lynch's mind--a ghostly Director's Cut that exists only in his original intentions." In my own words (and meant to echo Ebert's posthumous acumen) I call Mulholland Drive simply "baffling to the extreme." And just to establish my credentials, I'll begin with this statement: I'm no stranger to David Lynch.

I enjoyed Twin Peaks back in the 80's (yes, I'm that old). I've seen Eraserhead, The Elephant Man, and Dune (in many ways I prefer Lynch's Dune to the SyFy version even though SyFy's is more accurate to the book with respect to things such as "kris" knives and "the weirding way"). I'm also a fan of directors who famously put to celluloid things that are difficult to grasp. For example, I like the movie Eyes Wide Shut, which many people dismiss as Stanley Kubrik just wanting to parade a lot of nudity and orgies in front of an audience. To anyone that is willing to listen, I say that Eyes Wide Shut is a masterpiece and not pornography, misunderstood by men certainly more than women because men have difficulty in grasping the concept of a thing as tenuous as intimacy. Eyes Wide Shut is all about intimacy, and when viewed through that lens, all the events in the movie fall into their proper place.

Mulholland Drive, however, is none of these things. It's at once a dream and at other times a nightmare. Perhaps what I mean by this is that it is both surreal and pointless. Betty (Naomi Watts) is a perky blond and Rita is a voluptuous brunette and we're never completely sure if they aren't the same person. And that simple sentence barely scratches the surface of this film. Rita doesn't remember anything, even her name; Betty decides to help her. A viewer is treated to the most talked about lesbian love scenes in twenty years, yet how can we be sure that what we see isn't just a fantasy built around one person pleasuring herself? In Mulholland Drive, nothing leads anywhere, mysteries are started and not solved, and it's quite possible that the entire film is a capsule of the last thoughts that go through a dying woman's mind because at some point there's a corpse, and it more than likely belongs to our narrator. Mulholland Drive is not a Memento where you can hope to explain the mystery. Trust me. I've been trying to explain Mulholland Drive for almost a decade. I fail yet cannot deny that it exists, that there is no continuity, and that the violence it depicts oftentimes makes as much sense as what we as survivors must bear witness to.

Mental illness is a slippery slope whether it is shown to us in a movie like Mulholland Drive, or whether it is diagnosed by a psychiatrist equipped in this day and age to deal with it in familiar terms: cognitive dissonance, dementia, schizophrenia, bipolar disorder, and on and on and on. The word "crazy" and its acceptance as just being is long gone. Those of us who aren't psychiatrists yet live with someone diagnosed with a mental illness should feel better about our situation because we now have a word for what's going on with mom. And with words, there's medication, right? Because people understand what's going on, right?

I think not so much. I think more so that people in using these terms are trying to create the illusion that we have a grasp on the ephemeral. As a caveat to having a loved one with a diagnosed mental illness, there is some comfort to being able to explain the bizarre in terms that one can google. Human beings are ill equipped to deal with things that are irrational, and I think our minds crave answers to the most basic question: why?

By now all of us know what mass murderer, Elliot Rodger, did in Santa Barbara over the weekend. The only thing that we know for certain is that this young man was filled to the brim with hate. But here's the thing...like trying to figure out Mulholland Drive, I think the kind of hate that Elliot Rodger expressed in his manifesto is something we should try to understand, but to which there may be no answer at all. His kind of hatred is like a force of nature. Can one understand the motive behind a tornado? For all that we know, there's no motive. There's no reason why. It just is. Understanding the roots of hate in someone that has already committed the most heinous of actions by examining a narrative left in the wake of his suicide, is putting trust where I think there is none. Sure he wrote this 140-page story of his entire life, but in the end, we comb it looking for answers and building theories that may seem structurally sound but rest upon a web of lies from someone consumed by hate.

If, however, professionals can assume that Elliot Rodger is a reliable narrator for his own story, then his justifications for being a monster go far beyond a detailed suicide note. "I am Elliot Rodger...Magnificent, glorious, supreme, eminent...Divine! I am the closest thing there is to a living god," the 22-year-old college student, son of a "Hunger Games" assistant director, boasted. "Humanity is disgusting, depraved and [an] evil species. It is my purpose to punish them all. On the day of Retribution, I will truly be a powerful god, punishing everyone I deem to be impure."

His demented manifesto dropped like a bomb. And his misogyny pivoted around one idea: that men should go out and get sex from women, that women are obstacles to prevent men from achieving some kind of self worth through the loss of virginity, or (with virginity removed from the equation) then lots of sex is not only an entitlement but a right of passage. We can call this "crazy" all we want, but to tell you the truth, I see this kind of thing every day.

I know young straight religious men who openly brag about the things their wives do to ingratiate themselves toward them in the perceived privacy of their homes. I say "perceived" here because they have no idea how their husbands talk about them behind their backs. And since I know mostly men who are younger than myself, most of this kind of talk revolves around talks of power in a relationship, what one "can" and "can't do" in relation to sex (meaning the wife has given permission for some things and not others), and how much (quantity) one is receiving. And there is a "comedic shaming" among men who fall short or may have a perception of being in the proverbial "doghouse" because they "don't wear the pants in their family." That phrase actually disgusts me as I feel it reduces one or another party to being property and not a person.

To someone like me, the antics of "common men" who draw down salaries superior to my own and have homes and children makes me feel like an alien with green skin and purple antennae sitting on a couch in a room full of talk I was never meant to understand. The absurdity is enough to convince me that even though the body ages, many men are just children and they never grow up, and never cease bullying, shaming, and bragging. But even outside of marriages (which are a social and financial arrangement) bars across America on Saturday nights are filled with men who overreact with rejection. Why? Maybe Elliot Rodger, the latest in a string of gun-toting psychopaths, has an answer: "men feel entitled to get sex from women."

Why does this attitude even exist much less multiply and spread? It turns out misogyny has been with us as a culture for a long time. For example, this week we get a new Disney movie called Maleficent. It's a $200 million dollar spectacle of wizardry and dark storytelling for those who are familiar with the tale of Sleeping Beauty. Most people, however, probably don't understand the name "Maleficent." The Latin word commonly used to signify "witch" is malefica" in the feminine. And there is no better place to begin with an understanding of misogyny than by learning of witches.

Before the 15th century, witches could herald from either sex. But that all changed when the separate elements of witchcraft--harmful sorcery or maleficium, diabolism, heretic cultic activity, and nocturnal flight--all collapsed into a single concept of satanic witchcraft. Clerics of the 15th century explained a proclivity for witchcraft as resting in the female gender because of longstanding Christian concepts of the physical, mental, and spiritual weaknesses of women.

Remember Adam and Eve? Oh Eve, for talking to the snake in that garden, you have condemned your entire sex to feelings of enmity, prejudice, disgust, and abhorrence by men for thousands of years. Misogyny doesn't have to be so clearly defined either (as in Elliot Rodger's manifesto). It can take many forms, some of which are difficult to recognize. For one, it even extended to speech. Ever read the phrase "where be women, are many wordys?" in a Middle English text? I studied Middle English as part of my undergraduate work, and I can tell you that literacy in the 15th century was reserved for men and women of status and also the clergy. For the wider population, the following was true (as one 15th century preacher wrote): "Eve, our oldest mother in paradise, held long talks with the adder, and told him what God had said to her and to her husband about eating the apple; and by her talking, the fiend understood her feebleness and her unstableness." Further links of the mouth and female genitalia followed society from the 15th century and into the Renaissance, serving to entrench the idea that for women to be chaste they also had to be chaste in speech.

Violence like the kind that Elliot Rodger visited upon his victims will be the subject of debate for decades. I don't think you can point the blame on any single thing, be it video games, lack of good parenting, bullying, or a cultural understanding of gender roles (or the lack thereof). It goes deeper than any of these things to something so ambiguous that my lips fail to find the words to describe it. However, I do think it's taught and not inherited. Wherever it comes from, people should stop being shocked about it and realize that this kind of misogyny (or any hatred really) is a function of our modern society. It exists and maybe it's not so much a mental illness as it is a widespread clarion call that teachings of entitlement and hate speech are insidious and destructive and, if not taken seriously, threaten every single one of us.

Thursday, October 27, 2011

Six questions for Briane Pagel, author of Eclipse

I finished Briane's book Eclipse some time ago, and I have to admit, it is the most cerebral read that I've found while combing the endless books written by independent authors that are begging to be read. I give it five stars out of five.

Now when I say "cerebral" I'm not saying that it is difficult to read. I'm saying that it is challenging to really know what is going on. It's like reading one of Brooke R. Busse's flash fictions that she posts on her blog. Half the time I have no idea what it is that she's writing about.  So if you buy this book, you are purchasing a puzzle. I personally have my own ideas of what is going on with the book but you'd have to look at my review on goodreads. And it is just that...ideas. Mr. Pagel has not elaborated at all as to whether I'm correct or not. Also know that the book is short...novella sized. You can read it in one sitting easy so this is not asking you to set aside weeks to plow through a book. This is something you could flip through while waiting for your turn at the doctor's office.

Mr. Pagel keeps many blogs but the one that I follow the most is Thinking the Lions. I urge you to follow him there (click on link) because he's funny, witty, and I think it's always nice to be friends with a lawyer. :)

For fans of Mulholland Drive, Twin Peaks, Eraserhead, and the Tree of Life...this book is for you.

Without further adieu, I give you the man that dared to eat a Twinkie on his blog that was so rancid, I thought for sure he was going to get sick.
I do lawyer stuff and chase my boys around with a camera.
Q: If Eclipse were to be made into a movie, who would your dream director be? Myself, I would choose David Lynch as the cerebral quality of your writing seems to be spot-on with Mulholland Drive, Eraserhead, and even his film adaptation of Dune.

A:  This is hard because I don't really know directors. David Lynch's Mullholland Drive has the feel that I want for Eclipse, a kind of "what the heck just happened" feel, so he wouldn't be bad. But Tim Burton might be able to do a good job of putting a creative spin on it. The book isn't Tim Burton-esque at all, but I'd like to see what he'd do with it. I think a movie should do more than just parrot the written material; the visual and audio element to film both restrains the imagination and adds a new dimension to the work, and I think the interface where my imagination and Tim Burton's meet would be a great place to start Eclipse: The Movie.
Eraserhead...it simply must be seen and you will not understand it. Reaction is everything.
Q: You indicate that Eclipse may have been a collaboration with a friend of yours who might have acted as your muse to egg you to finish this project. How exactly did this surreal story come together?

It actually was a collaboration with The Boy, my eldest son you might know from reading Thinking The Lions. He gave me the idea, which I won't repeat here because it actually spoils part of the story of Eclipse, and I ran with it, writing the first chapter to give him an idea how I'd start it. He read the first chapter and said "Make it weirder," so I did. The use of Pink Floyd, Led Zeppelin and other hard-rock lyrics in the book was a sop to The Boy, who was going through his 70s-music-phase at that point.

Q: Upon finishing your book, what reaction do you want from your reader?

A:  "What the heck just happened here?" is the primary effect I'd like. The book has so many possible interpretations that I'd want a person to think "Okay, that's what it meant" and then later on say "But what if this" so that the storylines and imagery are constantly revisited. So far, people who have read it have almost uniformly come to me and said "So, was it real?" about one aspect or another. I love that.
What the heck just happened here is often what I ask when I watch "Eraserhead"
Q: Eclipse is really literary art. You do a lot of bold things with this book that probably made it difficult to market to agents and publishers. However, if you wanted to pitch it and could do so in only one sentence before the agent of your dreams, how would you pitch Eclipse?

  
A:  "Eclipse is more of a kaleidoscope than a book, but everytime you turn the kaleidoscope, you get an even more mysteriously horrifying version of an astronaut's journey from madness to murder."

Q: Having self-published, what advice do you give to those who may be looking to follow in your footsteps?

A:  I self-published because I am impatient with the "real" publishing process. I don't want to spend my time writing query letter and I don't want to have to conform my writing to what someone else expects.

I write because I enjoy writing, first and foremost, and secondly because I enjoy hearing from people about my writing, and if writing and being read is your goal, self-publishing is the way to go, because you have absolute creative control over it and never have to query yourself.

With that said, I make 98% of my money from my day job, and 1.9999% of my money from my blogs; the remainder comes from my books. My books are not money-makers. Yet. Selling books is like selling anything else; you have to work at it. If you want to make lots of money with your books, you have to either convince a publisher that you're the next John Grisham so they will put your book in giant stacks in the front of bookstores, or you have to relentlessly push your book in every forum imaginable and convince the public that you are the next John Grisham. I'm not going to quit my job and start going to Comic-con to sell my book, because then writing would just be another job instead of something that I have fun doing and can make a little money at.

But I said "yet." All success is a combination of luck and hard work, with the hard work creating more opportunities for the luck to strike. I market my books and market myself to a certain extent, and hope that I'll get lucky and the right person will read it and it'll start catching on. If it does, I'll finally buy that place in Hawaii. If it doesn't, then, well, I still got to write exactly the story I wanted to write and had fun doing it, and people occasionally review it or email me and tell me they loved it. That means a lot to me.

Q: If you were to pick one novel out there that could stand on the shelf next to Eclipse and be similar by tone and subject matter, what is the name of that novel?

A:  The Illustrated Man, By Ray Bradbury. Not a novel, but a set of short stories that I read when I was 12 and have never forgotten.

Buy Eclipse on Amazon for only .99 cents on your Kindle :)


Have a great Thursday.

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