Category Archives: Movies & TV

The Art of the Con – Great American Narrative Redux

Sarah Sanders is leaving us. Turning in her tin star to ride off into the sunset. A snake oil saleswoman raised by a snake oil salesman fronting for one of the greatest American con men. It’s the great American story. From PT Barnum and Buffalo Bill to Bernie Madoff and the TV evangelists (and TV Generals too) America’s history is littered with “heroes” whose only great talents were for fooling us for a quick buck.

There is a reason that Hollywood is known as the “Dream Factory.” A primary exercise in movies and television is the production of contrived experiences. The TV product is specifically tailored to be interspersed with fantasy images designed to sell us things we probably don’t need. A by-product of this simulation is the creation of the celebrity. A person who, as Daniel Boorstin points out, is well-known for no good reason other than for his/her well-known ness. The existence of public relations and marketing, one of the most profitable of American businesses (fantasy image makers that have actually made themselves into a fantasy image–Madison Avenue and Mad Men), is dependent on hoodwinking the masses into buying things simply for status. In fact capitalism probably can’t stand on its own if people only buy what they need to survive.

In this age of media saturation we live in a country that has defined itself through its deceptions. We the people are delusional about who we are and who we’ve been. We have constructed our self-image based on received stories consumed through mass communication. We are never satisfied because our extravagant expectations rarely match up with reality and so we are forever searching for the next big thing, or hitting it big, or making the big time. Much of our national story is set on these shaky grounds of designed misconception. The art of the con itself is based on creating illusions, and the best artists are the most deceptive ones.

Within this communal hallucination one space where the real continues to transfix us is in the realm of true crime reporting. We are fascinated with the spontaneity of crime, it’s one of the rare experiences that is not totally contrived, that’s why its influence is outsized proportionally in the news cycle.* We love to make fun of the incompetents, we secretly admire the masterminds, but we are always afraid of being a victim, thus we are easy targets for the personal security rackets. Even so, that spontaneity soon evaporates since everything is fed to us through the filtering medium of the lens and the slanting pens of editorial offices. Kennedy won the election because Nixon didn’t have a close enough shave, but Nixon really won because Kennedy cheated in Texas and Chicago. Kennedy was a good guy killed by a lone outlaw (really?) and Nixon was an outlaw killed by a two good guys, a deep throat and a tape recorder. Kennedy goes down as hero, Nixon as villain. As unseemly as it all sounds it has all become national folklore. The real has become laborious, its minutiae too difficult to comprehend and its details too boring to memorize. The condensed, filtered, repackaged fantastic interpretation becomes more appealing, more exciting, easier. It’s almost as if we like to be duped. As if, like Barnum told us, being suckered is part of the experience of being American. We’re all on reality TV.

These threads converge in the Trump scenario. The ascendance of Donald and Sarah, both celebrities, both only recognizable for being recognized in the media, neither with any appreciable “real” talent, is the predictable reappearance of two of the foundational forms in the American drama- the con man and his trusted sidekick. But here the Donald takes it to a new level by representing the merger of several archetypal character types found in the American mythological narrative. Depending on who you ask Trump assumes the role of con man, outlaw or tough lawman. Sometimes all three at once, and that is somehow ok for many of his supporters. The fact that he seems to stand out above the sordid crowd alerts us to what is most sinister about him. He and Sarah spin up a show that is patently outrageous, they are the attention getters. Yet the true crime, the ongoing stagecoach robbery and swindling of the passengers, continues relatively hidden behind the scenes. The equivalent of throwing a smoke bomb in the other direction– I’ll create a diversion while you rob the bank.

American history is a mythical history. From the frontier days to the modern world the outlaw, the con man and the lawman have been, and continue to be, central characters in that myth. The overarching theme is the struggle for the acquisition of wealth, property and security between the powerful and the powerless, haves and have nots, whites and non-whites, bosses and workers etc. Depending on the time and circumstances the fortunes of the groups have changed in relation to each other. But the long term trend, albeit not entirely linear, has been the consolidation of victory for the few. Historically a reliable brake against the greed of the powerful, many of them legalized outlaws, con men and law men, has been their fear of the masses. That is, the fear of democracy. Now the stage in the theatre of democracy, upon which our national mythology has been acted out, is in danger of being condemned for its rotting foundations. Historian Eric Hobsbawn put it succinctly– “One of the worst things about the politics of the past 30 years is that the rich have forgotten to be afraid of the poor.” Not only do they no longer fear us they have actually convinced many of us that the outlaw con man is the best lawman. And every good sheriff needs a loyal deputy–adios senora Sarah…

With so many unfilled posts in his administration the next feature on the Donald double-bill: The Searchers

* A side note: This may be why sports are so popular? They are one of the few remaining forums for spontaneous non-contrived experiences. That’s not to say that the spectacle surrounding sports isn’t the equivalent of a PT Barnum event– a circus– but the game itself still maintains a sense and tension of the real. Anything can happen. The popularity of pro wrestling on the other hand informs us that the power of the contrived still remains immense in the American psyche, even in the domain of sports.

Related:

https://parallelnarratives.com/2016/07/11/the-century-of-the-self-bbc/

We know a lot less than we think about the world – which explains the allure of “simplism”

La Marseillaise Casablanca

Released in January 1943, when the most important battle of the war, the battle of Stalingrad, was still raging, with Normandy still a year and a half in the future, and the tide not yet turned against Hitler’s war machine. Most of Europe and North Africa was under the jackboot of Nazi tyranny. Many of the actors in the scene were actual refugees who had fled from the Nazis, so the emotions were real. This celluloid moment may capture the spirit of hope and resistance better than any other. It is a true testament to the power of movies.

In real life Jean Moulin, murdered by the Gestapo in 1943, became the symbol of the French Resistance.

 

Malle, Moreau and Miles – Elevator to Modernity

This masterful scene from Louis Malle’s Elevator to the Gallows (1958) is a quintessential example of 20th century post-war modernism. It’s all here– the near perfect intersection of film (a noir at the leading edge of the French New Wave), music (the atmospheric jazz score was improvised by Miles Davis in a single, all-night recording session), the electrified urban landscape (lit by neon, headlights, arcades and storefront displays), fashion (notice the various representations as Moreau walks in front of the arcade) and finally, dripping sensuality (Jeanne Moreau and Miles Davis fused in sexy melancholia ultimately climaxing in a downpour of rain and thunder). What cool is made of….

Have a martini….

The Century Of The Self (BBC)

What do Sigmund Freud, Joseph Goebbels and Betty Crocker have in common? Ever wonder why anyone would choose to buy a Rolex when a Timex keeps time just as well? Hint: some smart people figured out how to tap into our unconscious fears and desires and over the past century we’ve been the unwitting subjects of a wildly successful mass experiment in consumer manipulation and social control. Adam Curtis of the BBC reveals who they were and how they did it…

On Every Box of Cake Mix, Evidence of Freud’s Theories (NY Times Review)

**FAIR USE NOTICE**
These Videos May Contain Copyrighted (© ) Material. The Use of Which Has Not Always Been Specifically Authorized by The Copyright Owner. Such Material is Made Available to Advance Understanding of Ecological, Political, Human Rights, Economic, Democracy, Scientific, Moral, Ethical, Social Justice Issues, Teaching, and Research. It is believed that this Constitutes a ”Fair Use” of Any Such Copyrighted Material as Provided For in Section 107 of the US Copyright Law. In Accordance With Title – 17 U.S.C. Section 107, This Material is Distributed Without PROFIT to Those Who Have Expressed a Prior General Interest in Receiving Similar Information For Research and Educational Purposes. For More Information:http://www.law.cornell.edu/uscode