On Memorial Day weekend -- and again on the anniversary of D-Day -- we take a solemn moment to remember our war heroes. In 1944, the man who would have been my father-in-law, had he lived long enough, landed on Omaha Beach, fought in the Battle of the Bulge, and liberated a concentration camp. He also slugged an officer who made anti-Semitic taunts.
Some spend the day, or a portion of it, watching war movies, and you can see great ones about a Japanese prisoner of war camp in Burma, the brainwashing of GIs by Chinese militants during the Korean War, the plight of returning veterans having a tough time readjuisting to civilian life, the story of a Swedish industrialist whom the British blackmail into spying on Nazi industrial capacity not to mention do-or-die missions behind enemy lines in Europe; traumatized pilots returning to their base in Britain after one flight too many; escape attempts from German POW camps; the exploits of generals, the fate of battles, the derring-do of a charismatic hero; a mutiny on a US Navy destroyer-minesweeper that has seen better days; heroism on the home front with an alliterative heroine such as Greer Garson or Claudette Colbert.
My Triple Cain theory of Hollywood and War is based on a primal parable of guilt and violence, the story of Cain's slaying of his borther Abel. Hollywood movies are the invention of wandering Jews, and the moviemakers conceive themselves as marked men like Cain, protected by the vvery sign that sets him apart. This identification with Cain supports the view that violence is righteous and inevitable. There are three prominent movies in which the name Cain figures.
(b) The Caine Mutiny (1954) with Humphrey Bogart, Van Johnson, Fred MacMurray, and Jose Ferrer as the Jewish lawyer Barney Greengrass who gets the mutineers off the hook by exposing the captain, Bogart, as a paranoid playing with marbles he is destined to lose. Well, maybe Greengrass isn't his last name. It's Greenwald. But you know what I mean. I thnk especially of the spech he makes when he spills his champagne into Fred MacMurray's face, which he does not just because Fred's a hypocrite and a heel but somehow also in the name of the batty captain and similar incompetents who donate their bodies to the machinery of war, which is metaphorically identified with a US Navy destroyer on its last sea legs.
(c) The hero of High Noon (1952), willful Marshall Will Kane, played by tall stoic taciturn determined manly Gary Cooper, with goodness blonde gracious Grace Kelly as his Quaker (pacifist) bride, who shoots a man before the "real time" movie is through, and the just-married couple drives the carriage out of town with no fanfare except the lonesome Academy Award-winning song, "Do not forsake me, O my darling." Several "types of allegory" come into play, depending on whether the focus is on
ii) Grace Kelly
iii)) Frank Miller, who has vowed to kill him and is expected on the noon train,
iv) the townspeople, who are either
2) too young to do do anything but play cops and robbers,
(3) too old to do anything but offer a warm hand clasp
(4) Lloyd Bridges.
(d) Summatiom of thesis
1. Cain and Abel (Genesis) as a parable of Hollywood and the American War Machine
2) Digression on Michael Caine as a British variant of the American type
3) The special attractions of the prisoner-of-war camp as a site; digression on William Holden, Steve McQueen, and James Garner as three attractive North American models
4) Digression on East of Eden with James Dean (whose last name is a near anagram of Eden) as a version of Cain,
5) Presidential hopeful Herman Cain's moment of fame.
6) Comment from Susan Cain, author of the bestselling Quiet: The Power of Introverts in a World that Can't Stop Talking. Cain's research tells her that "we watch people like Charlie Sheen BECAUSE they are narcissistic, not in spite of it." The obnioxious are "better liked" in college. "Not only that, but the type of narcissism that was most predictive of popularity was the most malignant kind."
7) Everything else.
Details TK. -- DL