Erika in the Painting

My collection of stories, in both cinematic and novel form, is extensive. And numbered among them are many films and books that I dislike in their entirety, for whatever the reason. Yet I would not pass up the chance to buy them if I could rewind time, and that's because there's a very particular reason behind my acquisition of every book and DVD I've ever bought.

I process stories in fragments, in terms of the individual frames of a film, or passages in a book. I also judge stories in terms of their wholeness, but very few have passed on that score. Most frequently, I find myself arrested by one scene where beauty, eloquence, and transcendent vision converge in a two-hour film that is otherwise pure crap. I would never pass up the opportunity to acquire such a film. That one scene may be the key to the conception of something beyond the banality of the story in which it is trapped.

The movie that has inspired this tirade is not to be ranked with such overwhelmingly sullied gems, however. The 1990 film adaptation of Roald Dahl's "The Witches", starring Anjelica Huston, has always been one of my favourite fantasy pictures of all time. While the opening sequence possesses the true thrust of the movie's captivating mystique, the second half is mostly saved by the elegant evil of Anjelica Huston's exotic performance.

Yet there is one scene in this movie that has stayed with me since the first time I ever watched it, and has remained as haunting as ever as I watch it now with the jaded, penetrating eyes of the literary scholar: Luke's grandmother is telling the story of how her friend Erika was stolen by witches. Not long after her friend's disappearance, she recalls coming to Erika's house:

The return to the time of a grandmother's childhood in Norway is both locked within the frame of a lost time and evocatively embodied before us. The tense specter of a child's unexplained disappearance is unstated and in every detail present. Then comes that moment of chilling strangeness when our tense separateness from fantasy dissolves in the full apprehension of a fairy-tale evil. Luke's grandmother relates the scene in the voice that is key to the enchantment at work:

"Then that day, while Erika's mother was pouring the coffee, her father came walking towards us. It was as though he had seen a ghost...His face was all twisted up as he walked towards the painting behind me. There...as if it always had been there...was Erika...locked in the painting...gazing at us..."

The scene as described is not overtly penetrating. But experienced in its form - something to do with the captured face of a child that could never exist anywhere but in the suffering of the eerie torment of being locked in a painting, in the composition of the figures, and the lulling chill of the voice of the grandmother and the spare chimes of a sweetly insistent score - few cinematic moments have struck me like this one.

In my book, Erika in the Painting is one of the few truly perfect accomplishments of cinematic story-telling. It will stay with me always as a reminder of the essence of fairy-tale...the apprehension of pure strangeness...like a melody at the shrill edges of the dark side of music.

On Austen's Clues

Clueless, the 1995 Alicia Silverstone fluff-fest, was based on Jane Austen’s Emma; surprising, but apt you must allow. I never cease to enjoy the expression that comes over people’s faces when I share this piece of trivia, whether they be lit-buffs/Austen fans or just plain Clueless haters.

Let me first note that there has been a long tradition since Clueless for fluffing down various canonical works into teen-aimed flicks, which may or may not have been sparked off by the movie. Most people do not know that Clueless is based on a Jane Austen novel, and it was never marketed that way, not is it ever mentioned. That Ten Things I Hate About You is a version of Shakespeare’s The Taming of the Shrew is better known. Less witty modernizations of canonical works are even more publicized, like the dreadful She’s the Man starring Amanda Byrnes, a lamentably predictable excuse for Twelfth Night. Clueless may not be as witty as Ten Things or even as stylish as Cruel Intentions, but I think it certainly shares more with Emma than any of the ones I’ve mentioned, and that sheds some interesting light on the work of Miss Austen, particularly as the relationship between Clueless and Emma is so seldom thought of.

Cher Horowitz is the ostensible contemporary take on Emma Woodhouse, in characterization if not social location; after all modern day Beverly Hills is hardly the most pleasing equivalent for the classes Austen wrote about, who though wealthy and privileged (and not always that) were not really glamorous. Both heroines are blessed with good looks, affluence and social superiority, and marked with the same flaws, although Cher’s vanity and self-regard is less advertised than Emma’s. Both fancy themselves as instrumental in the matchmaking of a teaching figure (Miss Geist in Clueless, Miss Taylor in Emma) with someone else, which inspires an ostensibly well-intentioned pageant of good deeds (and I do mean pageant) which inevitably go wrong. Both have to learn that the inherent flaw in their good deeds is the vanity which underlies them all, and that they are not as socially competent as they had thought themselves (in a word, clueless). Both end up with the one person who is able to criticise them (Josh in Clueless, Mr Knightley in Emma), symbolizing their arrival at humility and self-knowledge.

Why then, is Clueless such a fluff-fest, and Emma a canonical work? What stopped the many that don’t and didn’t know where the plot blueprint for Clueless came from, from applauding the movie the way many received Austen’s works and still do? Is the dressing up really that important? Surely if one has profound significance then the other should too?

I suppose the answer in part does have much to do with the dressing, or the fluffing down. Jane Austen was praised not only for her use of irony and wit but also for her keen observation of a society that she represented very well, all of which in Clueless is naturally dismissed. Consequently the meticulous representation of the manners, propriety, hypocrisies and virtues of a small slice of human experience have been largely sacrificed.

Jane Austen was, fundamentally, a realist writer, and Clueless, for all its amusing translation into contemporary fluff, is a fantasy world. It is not the sort of fantasy that this blog celebrates, but the kind which ultimately yields little more than spectacle and decadent self-indulgence. In doing so, it really makes fun of itself, representing its trivia as exactly that: trivia. Because no matter how polished or trend-setting Clueless was, or how great Alicia Silverstone looked in it, we are meant to laugh at Cher, and never for a moment take her or her trivia seriously. It is ironic, but not the way Austen was ironic. Emma, on the other hand, though every bit as vain and self-indulgent as Cher, is somehow a heroine whose redemption we do take seriously, whose trivia, it seems, we do take seriously.

Why is this? Perhaps the crucial difference between Clueless and Emma is that Emma's [social] cluelessness was never the primary flaw, but her lack of respect for a complex system of conventions meant to serve courtesy and honour, as a result of arrogant dismissiveness. And curiously, in its very irony, Clueless replicates this flaw, by mocking the trivia which emerges with such skill in Austen's novels as anything but. Because if Austen's novels teach us anything, it is that playing justly by society's rules is never trivial if it serves their original purpose to sustain virtue and express compassion.

Of Capes and Cartoons

I recently read a book which referred to the narrative craft of comic books as 'urban fantasies'. Although no doubt a term which thinly disguises its apologetic stance (not unlike 'graphic novels'), I like it. I can attach it to a genre I have come to know and love through years of afternoon cartoon adaptations and have come to respect through a recent boom in Hollywood exploitation and hours of window shopping on the pavements of the information residential areas of Wikipedia. I can locate it in the vast multiverse of the Perilous Realm, not as it turns out, all elves and nymph-spun moors.

I loved watching Spiderman and X-men as a kid. I remember they gave me my first liberating inkling that fantasy and growing up need not be mutually exclusive. I remember the thrill of seeing magic at work not in a Romantic pseudo-medieval past or high tech imagined future, but right here, right now. I remember feeling exhilarated at the thought of those tremors collapsing the real with the wonderful.

I love the breakdown in our time between the so-called poles of High culture and Low culture. I love that they are melting and pouring into each other, so that more of fiction can be enjoyed on a more intellectual level if we choose. I love that we are truly free in the Perilous Realm.