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We take the existence of political parties as a given.  Even dictatorships usually have one party, which is strange if you think about it–a bit like having a sports league with only one team.  Why do you need a party if it doesn’t have to compete with any other party?

Nevertheless, political parties are everywhere.  They are clearly very popular. And yet, when you think about it, there is no obvious need for parties in a functioning democracy.

To run for office, you just need to collect enough signatures to get on the ballot in relevant districts.  After that, you need to get your message out somehow–usually through press interviews, ads, campaign rallies and speeches.  And you don’t need a party to do any of that.

Once you are in office, you have even less need for a party because, well… you are in office.  Now you just need to use the office to accomplish your goals.  Periodically, you need to campaign for re-election, but as we just saw, that can be accomplished without a party.

The obvious point is that you need money in order to run for office, and parties are a convenient way of raising money and in general providing the infrastructure for a successful campaign.

But there are other ways of raising money. If you’re a really effective and charismatic speaker–a major asset in politics–that in itself can be a fundraising mechanism. And if you are already wealthy, you may be able to self-finance campaigns for some offices. The super-rich want to control politics anyway; why don’t they just cut out the middleman and do it themselves?

Also, the rise of mass media means that it’s cheaper to get the word out than it used to be. Donald Trump famously got billions of dollars worth of “free advertising” for his campaign by dominating both mainstream press and social media headlines.

So, what are political parties for?

One thing they obviously do is provide a way of associating oneself with certain goals, policies and philosophies.  If someone is a Democrat, you can generally guess where they stand on most issues. That can save a candidate a lot of time–you know you’re guaranteed a certain number votes just from your party affiliation. More on that later…

Parties also provide a framework for running campaigns.  This is also a time-saving function.  Everyone knows the Republicans and Democrats are both going to field some candidate in the race for state governor, for example.  So they have some campaign infrastructure already in place–they just need to sort out who the candidate will be.

In this respect, political parties have surreptitiously taken over the political process simply by virtue of providing candidates with credibility.

It works like this: the press knows that either the Republican or the Democrat is going to win, and so they focus their coverage on them.  Similarly, donors know the same fact, and so donate primarily to one of the two candidates.

Thus, while it’s not apparent why you need a party apparatus, it is clear that once you have one, it’s hard to get rid of it.

Politicians have tried to challenge various parties over the years, and some have succeeded in radically changing what a given party’s platform is, or even in creating an entirely new party. But to my knowledge, nobody has ever challenged the party infrastructure itself.

H. Ross Perot challenged the Republicans and the Democrats in the 1990s.  His signature issue was the national debt and deficit. To some extent, he made his point–after he gained a sizeable share of the vote, the parties cooperated to balance the budget in order to placate the Perot voters. (It didn’t last long, but still.)

Even Trump, much as he tried to play the role of Outsider Underdog taking on the Establishment Machine, didn’t truly challenge that parties from outside.  Instead, he played divide and conquer, first taking over the Republicans and turning their infrastructure to serve him in defeating the Democrats.

The core Republican party system remained (and remains) in place; Trump just took charge of it and directed how it should be used.

If you define a party–as I suggested above–as a team of people interested in accomplishing some set of goals, it makes it hard to understand how this type of takeover is possible. There was a sizeable anti-Trump faction in the party, but most of them ended up supporting Trump anyway. You would expect that parties would be more fluid if they were truly about political philosophies.

Parties are much more tribal things–akin to supporting a sports team. Being a member of a given party is more a matter of one’s cultural values and upbringing than it is any specific political agenda.  Just as someone will cheer for their team even if the players and coaches are bad, they will support their party even if the candidate is bad.

People wonder why politicians are, in general, so ineffective.  There are a couple reasons for this, but I suspect one is that they are tremendously insulated from constituent pressure thanks to the power of the party system.  Once you have support of the party machinery, the job gets a lot easier because a certain number of people will support you just because you are from their party.

People always try to fix this problem by mounting primary challenges. Which is great, except that it has only two possible outcomes:

  • The challenger loses. This is usually what happens; it’s called the incumbent advantage.
  • The challenger wins, and then enjoys all the same benefits of the party machinery that his or her predecessor did, thus turning them into another cog in the machine.

The only office that doesn’t work like this is President, because the President has more power to shape the party’s agenda.

This is yet another cause of the weakening of the Legislative branch relative to the Executive. Over the decades, the party system produces weaker and weaker legislators, until finally Congress is populated by people who are totally beholden to their party, and thus, to their party’s leader.

And this puts us hot on the trail of figuring out what a political party actually is: it is a means of simplifying the complex business of government into a more understandable form. Namely, it turns a complicated system of numerous offices into a very simple hierarchy with one ultimate executive.

This explains what a political party is and, incidentally, explains why they have them even in dictatorships.  Political parties are what produce dictators.

That sounds like a pretty wild idea, doesn’t it?  It does to me.  I was surprised when I realized it as I was thinking about this. However, some other people in history have come to the same conclusion regarding political parties. For example:

“All obstructions to the execution of the Laws, all combinations and associations, under whatever plausible character, with the real design to direct, control, counteract, or awe the regular deliberation and action of the constituted authorities… serve to organize faction, to give it an artificial and extraordinary force; to put, in the place of the delegated will of the nation, the will of a party, often a small but artful and enterprising minority of the community; and, according to the alternate triumphs of different parties, to make the public administration the mirror of the ill-concerted and incongruous projects of faction, rather than the organ of consistent and wholesome plans digested by common counsels, and modified by mutual interests…

[…]I have already intimated to you the danger of parties in the state, with particular reference to the founding of them on geographical discriminations. Let me now take a more comprehensive view, and warn you in the most solemn manner against the baneful effects of the spirit of party, generally.

This spirit, unfortunately, is inseparable from our nature, having its root in the strongest passions of the human mind. It exists under different shapes in all governments, more or less stifled, controlled, or repressed; but, in those of the popular form, it is seen in its greatest rankness, and is truly their worst enemy.

The alternate domination of one faction over another, sharpened by the spirit of revenge, natural to party dissension, which in different ages and countries has perpetrated the most horrid enormities, is itself a frightful despotism. But this leads at length to a more formal and permanent despotism. The disorders and miseries, which result, gradually incline the minds of men to seek security and repose in the absolute power of an individual; and sooner or later the chief of some prevailing faction, more able or more fortunate than his competitors, turns this disposition to the purposes of his own elevation, on the ruins of Public Liberty.”

George Washington’s Farewell Address. (1796)

  • Purely as a piece of rhetoric, I liked his Inaugural Address more.  For one thing, it was shorter. In general, the fewer words you use to make your point, the better.
  • That said, the pundit class that this speech was clearly designed to impress obviously prefers long speeches that cover too many topics to have any punch to them.
  • I suspect Bannon wrote most of it.  It sounds like him.
  • I have never liked the “Free Trade / Fair Trade” line, which Democrats have often used in the past and which Trump used here. “Fair Trade” in this context is a meaningless phrase that can be used to justify virtually any tariff or other protectionist measure, whether warranted or not.
  • Of course, I’m sure it will play great with the “Reagan Democrats” (or now, I guess, “Trump Democrats”) who are the linchpin of his coalition.
  • It was woefully short on specifics, but no one expects that out of these anymore.  They are just glorified performances of political theater, and have been as long as I can remember. (And Trump excels at theater.)
  • I am not sure why the Press is so surprised by the style of the speech.  I guess they were expecting him to do his usual rambling and improvisational monologue.  I wasn’t expecting that. I was expecting more or less what we got.
  • Moreover, this is not the first time Trump has done something like this. He gave “normal” speeches both at the convention and in his victory speech on election night. Trump has never had an issue acting like a normal politician for brief periods of time–it’s just that he’s never sustained it. And there’s mounting evidence to suggest he doesn’t need to.

By now, you all have probably heard about the huge screw-up at last night’s Academy Awards. Due to a mix-up with the envelopes, they accidentally read the wrong film title and said the Best Picture award went to La La Land when in fact it went to Moonlight.

I’m not saying that it doesn’t make the show’s producers and the firm involved with managing the envelopes look like idiots.  It totally does.  They appear utterly incompetent.  I don’t understand how such a mistake could even be possible.

But that doesn’t really matter.  Because as stupid as it makes them look, it was also fascinating to watch.

If done competently, an award show is boring.  Somebody gets presented with an award, comes on stage, thanks everyone they know, leaves the stage, and then the process repeats.  Dull stuff.

It might be interesting if there were more uncertainty about the winners beforehand, but thanks to the internet, people usually have a pretty good read on who or what is going to win.  (For example, everyone knew going in that the winner of Best Picture would be either La La Land or Moonlight.) Plus,most people only care about a few categories–acting, directing and picture. The rest are just filler as far as most viewers are concerned.

But seeing this was dramatic. It was interesting to see the La La Land people get so excited, only to have to give the award to the Moonlight people. “The thrill of victory and the agony of defeat”, as they say, in the space of a few minutes.

And then there was the fun of gradually piecing together just how they botched this so badly. It was a mystery thriller, full of intrigue–what did Warren Beatty know, and when did he know it?

Now people will want to watch the Oscars more than ever.  They will want to see if there is going to be another ridiculous mistake.  It’s even better because of the precise nature of the mistake–that it was only rectified after the erroneously-named winners were making their speeches. From now on, people who saw this show will think, “Yeah, they said X won, but I remember La La Land in 2017! Who’s to say that some producer won’t come running in to change it?”

This mess made the Oscars interesting again. Now everyone is going to wonder who really won. And that makes for a more compelling viewing experience, which in turn means higher ratings, which in turn means more ad money.

As the saying goes, that’s showbiz!

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There is no lack of explanations for what happened in 2016.  All the major groups have their version of it.  The centrist-Democrat political establishment one goes something like this:

“The Democrats failed to understand the economic anxiety voters in the Midwestern states felt as a result of globalization.  Donald Trump tapped in to these fears and won by turning out the midwestern white vote.”

That seems pretty reasonable.  But the more liberal, socialist-leaning elements of the Democratic party have a slightly different explanation:

“The people in the midwest were turned off by the flawed ‘establishment’ candidate Hillary Clinton, who they viewed as untrustworthy and unlikely to bring economic reforms that they wanted.  This depressed voter turnout, allowing Trump to capitalize on latent racism.”

This is pretty much the same thing, only it puts a little more blame on the Democrats and offers an implied prescription for the direction of the Party.

The Republicans, of course, have their own view as well.  It can be summarized as follows:

“The working men and women rose up to vote out the politically correct big government agenda of the Democrats, and supported a successful businessman who will put their interests first and bring back jobs and opportunity, and who is not afraid to say what he thinks.”

All of these explanations are fairly similar.  In an increasingly rare event in politics, all sides are in agreement on the basic facts; that Trump won, that Clinton lost, and that the Midwestern states were the reason why. They are all describing the same event, and so arrive at a set of explanations that satisfactorily summarize the same results in a way that suits their respective worldviews.

Each explanation seems plausible. Which one to use depends on the target audience, but any one of them could work in a typical piece of political analysis.

But chances are, you don’t want typical political analysis.  If you did, you would be reading CNN or Fox News or Huffington Post or Breitbart or some other site.  You’re here because you want more than a summary. You want to understand 2016 in a larger historical context, and to know about the economic, cultural and philosophical forces underpinning the shocking electoral result.

In other words, you want to know what really happened.

(more…)

I thought Oliver Stone’s JFK would be the weirdest movie I ever saw about the Kennedy assassination, but Jackie has surpassed it.  I went to see it again, thinking I must have been mistaken in my first impression.  The film can’t possibly be as bizarre as I remember, I thought. I must have just misunderstood it.

I didn’t.

I did get a few lines of dialogue slightly wrong in my original review, but as it turned out, the lines were even stranger than I remembered.  In Jackie’s frenzied query about the caliber of the bullet, she not only says she thinks it’s a heavier round “like soldiers use”, but also like those used for deer hunting.

Also, her aide doesn’t say “build a fortress in Boston and disappear.” He says “Disappear. Build a fortress in Boston.” Not appreciably better.

I talked to someone else about this movie, trying to work out what it was all about. She had an interesting interpretation: that the Journalist and the Priest who Jackie talks to aren’t meant as literal characters but as representatives of Journalism and Religion.

This would explain why these characters don’t have names; they are just “the Journalist” and “the Priest”. It also explains why their dialogues with Jackie seem so surreal. The Journalist, in particular, is way too rude to her–I don’t think a journalist would speak like that to any interview subject, especially not the President’s widow. But if he’s representing Journalism in general, Jackie’s perception would be that Journalists are incredibly rude.

Interpreted this way, the dialogues aren’t two characters talking; they are philosophical exercises meant to examine Jackie’s relationship to the institutions of the Press and the Church. And by extension, it makes sense to guess that most of the rest of the movie is her interaction with another institution: the Government.

If you watch the movie this way, you get the sense that Jackie is extremely disenchanted with all three of these.  That’s sort of what I meant when I wrote the movie was subversive–major institutions appear useless or untrustworthy.

All that said, I’m still not convinced that this is the way to interpret the movie.  Besides which, I’ve never been a big fan of allegories, and this one–if indeed that is what it is–is still ham-handed.  A piece of drama must work first as drama, and only then can it have allegorical or symbolic meaning.  The dialogues in Jackie are not smooth dialogues, no matter how much philosophical depth they may have or aspire to have.

But I don’t want to just give a short-attention span dismissal and say, “Oh, the script is rotten. Sad!” Because while it gets almost all the micro-level details of dialogue wrong, there is one very macro-level idea that it gets right, and that is the use of images and symbols (e.g. JFK’s funeral procession) to create legacies, and to shape the perception of history.

A few other observations:

  • The soundtrack didn’t seem as bad this time, although I still thought it came in too loud at inappropriate times when silence would have been better.
  • The scene where the Priest sums up his reflections on Life and Death is very strong, largely because it is the late John Hurt delivering the lines.  Great actor. R.I.P.
  • I said this before, but it’s worth repeating: all the acting was great, which was especially impressive given the problems I’ve mentioned with the dialogue.
  • Have I mentioned I have some issues with the script?

Lastly, I don’t get why people are calling this a “biopic”.  It isn’t one. A biopic should give you a sense of who a person is, and how they evolve over time.  Jackie takes place over a very short time frame, and it deals with a woman’s reaction to a tragic and shocking crime that had few historical parallels. That’s fascinating subject matter, but it’s not a biopic because it really doesn’t give you a larger sense of who Jackie was or what her life was like.

I’m not complaining about that.  I think this was a far more innovative thing to do.  I’m just saying they shouldn’t be calling it a “biopic”.  It’s more of a historical drama, on the order of Julius Caesar.

That’s all for now.  I might write more later.  This movie has limitless potential for discussion.

Have you heard about “virtue signalling”? Among the nationalist political writers, it’s all the rage to deride liberal causes and activists by using this term.

Apparently, the use of the phrase was popularized by one James Bartholomew, in this article for The Spectator:

“Go to a branch of Whole Foods, the American-owned grocery shop, and you will see huge posters advertising Whole Foods, of course, but — more precisely — advertising how virtuous Whole Foods is. A big sign in the window shows a mother with a little child on her shoulders (aaaah!) and declares: ‘values matter.’

The poster goes on to assert: ‘We are part of a growing consciousness that is bigger than food — one that champions what’s good.’ This a particularly blatant example of the increasingly common phenomenon of what might be called ‘virtue signalling’ — indicating that you are kind, decent and virtuous.”

My take on this would be: “It’s a poster; what do you expect?” It’s propaganda (or “public relations”, if you prefer). But we’ll have it your way, Bartholomew.

The Wikipedia article on virtue signalling lists some other oft-cited examples of the phenomenon:

All of these things could also be described as public relations or publicity stunts.  The Ice Bucket Challenge did get a bit ridiculous as a way for do-gooders to establish their liberal bona fides. I mean, look at this guy:

But where did this term come from, anyway? Wikipedia explains:

“Signalling theory has been applied to human behavior. Costly religious rituals such as male circumcision, food and water deprivation, and snake handling look paradoxical in evolutionary terms. Devout religious beliefs wherein such traditions are practiced therefore appear maladaptive. Religion may have arisen to increase and maintain intragroup cooperation. All religions may involve costly and elaborate rituals, performed publicly, to demonstrate loyalty to the religious group. In this way, group members increase their allegiance to the group by signalling their investment in group interests. Such behavior is sometimes described as ‘virtue signalling’.”

This is an example of a phenomenon that often occurs in academic or bureaucratic writing: using overly-complicated language to describe a simple and straight-forward idea.

Demonstrating that one is part of a group is not an unusual or complex concept.  It is the basis for how organizations function. It’s an elementary part of social activity.

But by calling it “virtue signalling” and applying the phrase in such a way that it becomes a pejorative, it creates a whole new way to criticize commonplace behavior.

This manipulation of language to cast mundane things in a more sinister light is an age-old technique.  For example, in the marvelous book Strategy: A History, Sir Lawrence Freedman writes:

“The word plot also acquired negative connotations during the seventeenth century… Yet the etymology of plot resembles that of plan. Both originally referred to a flat area of ground, then to a drawing of an area of land or a building, then to a drawing to guide the construction of a building, and eventually to a set of measures adopted to accomplish something.”

“A set of measures adopted to accomplish something” has neither good nor bad connotations, but by using the word “plot”, one can make it sound inherently malevolent.

Something similar has happened with the use of “virtue signalling” to make routine statements or actions seem disingenuous or hypocritical.

As you may notice, I’m making some changes to the appearance of the site. I have some new themes to play with. I’ve also now got the ruinedchapel.com domain. (as opposed to ruinedchapel.wordpress.com)

I don’t think it will cause any disruption for you, but be forewarned in case there’s any temporary weirdness, in addition to the permanent weirdness that already goes on here.

Historians are familiar with the “Miracle of Dunkirk”: the fact that Hitler ordered a halt to the Nazi advance, allowing the British time to evacuate men from the port.  Some argue that had the British been annihilated at Dunkirk, they would have surrendered to Germany.  At any rate, saving all those men was obviously a huge boon for the Allies.

What’s less clear is the reason for the Nazi “halt” order.  Some say it was given because Hermann Goering, head of the Luftwaffe, wanted a chance to demonstrate that air power could annihilate the enemy, and wanted ground forces to halt so eh could make his point. (Which he then failed to do.)

Others argue that the order was given because Hitler, being a megalomaniac, wanted to make it clear that he was the one in charge, and by ordering his generals to halt, he could demonstrate supreme authority.

Still others say it simply came down to a matter of logistics.  German armor had advanced so far so rapidly that their supply lines were stretched too far, and they needed to stop to be re-supplied.

Still others argue it was because the Nazis, caught up in their pseudo-scientific, quasi-mystical racial delusions, saw the British as being of the same or similar “race”, and were reluctant to annihilate them, preferring they should surrender with few casualties and become part of the Aryan empire they envisaged.

Whatever the reason, the order was given, and it was obeyed.  And that’s the part I find interesting.

Heinz Guderian
Image via Wikipedia

The German advance through France had been led by the rather sinister-looking fellow pictured at right, Heinz Guderian. Guderian was famously a proponent of advancing very fast and unrelentingly surprising the enemy with speed. It’s probably partially thanks to his style that the term blitzkrieg got so famous.

Guderian was also not hesitant to ignore orders.  Higher-ranking officers were shocked by just how quickly he was moving through France, and ordered him to halt.  Guderian would ignore them and advance anyway, looking to press his advantage and not give the French time to regroup.

So, my question is: why did Guderian finally obey the order to halt at Dunkirk, when he had a golden opportunity? It seems wildly out of character for him. Was it simply that an order from Hitler himself he felt he had to obey? Had he in fact stretched his supply lines to the breaking point, and really was incapable of continuing to press the attack?

It’s nothing more than a footnote in the larger historical context, but it’s very interesting to me.

I. Plot Synopsis

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Poster for “Jackie” (Via Wikipedia)

The movie Jackie is only partially about the title character, First Lady Jacqueline Kennedy. (Natalie Portman) Ironically, it is categorized as a historical biopic when in fact it is an exploration of public relations, image vs. reality in politics, and, in some ways, the nature of Truth itself.

That does not mean Mrs. Kennedy is not featured prominently–she is in nearly every scene, and often in extreme close-ups. Especially in the film’s opening half, we see her raw emotion in response to the assassination of her husband.

But as the film makes clear from the framing device–a reporter, (Billy Crudup) interviewing Mrs. Kennedy in the days after the assassination–it is focused on the role of media and appearance in politics, and ultimately in history. During the occasionally combative interview, she explains not only her emotional state, but also the ways in which she sought to shape the perception of her husband’s legacy.

This segues to flashbacks, first to a televised White House tour given by Mrs. Kennedy in which she discusses various historical Presidential artifacts which she has restored to the White House. This tour really did take place, and the filmmakers clearly went to some trouble to recreate it.

From here, the film next shows us the fateful trip to Dallas, and Mrs. Kennedy’s grief and horror in the aftermath. But even in these circumstances, political intrigue continues, as we see glimpses of the tension between Robert Kennedy and the newly sworn-in President Lyndon Johnson.

As Robert and Jackie ride with JFK’s coffin in Washington, she asks staff members if they know anything about Garfield or McKinley. They don’t. She then asks what they know about Lincoln, and they respond that he won the Civil War and freed the slaves. She then decides that she will model her husband’s funeral on Lincoln’s, to ensure his memory lives on as Lincoln’s did.

In one memorable sequence, we see her wandering the empty halls of the White House, listening to John Kennedy’s favorite record, the recording of Camelot, while drinking and taking pills as she is overwhelmed with grief.

Planning for the funeral continues, and Jackie makes clear her desire to have a long procession–a grand spectacle, that will capture the attention of the entire nation watching on television, and preserve Kennedy’s legacy. However, the Johnson administration is hesitant to do so, because of the security risk.

When Oswald is shot by Ruby, it confirms the risk to Mrs. Kennedy, and she decides not to have the procession on foot and go by motorcade instead. She shouts at Robert Kennedy in frustration, berating him (and by extension all politicians), for being unable to know what’s going on or keep anyone safe, despite all their power.

But later, as they are sitting in the empty White House, it is Robert’s turn to rage in frustration at the apparent wasted opportunity of his brother’s tragically ended administration. As she listens, Jackie makes up her mind that his death will not be in vain, and goes to Jack Valenti to tell him the procession will be on foot after all.

Valenti tells her that the problem is that foreign dignitaries–specifically, Charles de Gaulle–are afraid of the risk. Jackie replies that she wishes to let it be known that she will go on foot, but if de Gaulle wishes to ride “in an armored car, or a tank for that matter” she will understand, and pointedly adds that she is sure the national television audience will as well.

Bowing to this implied threat of public humiliation, they accede to Mrs. Kennedy’s wishes and proceed on foot.

Interspersed with all of this, in addition to her exchange with the reporter, are scenes of Jackie conversing with her Priest. (The late, great John Hurt). She is understandably having a crisis of faith, and pours her feelings out to him. He tries to console her, but in the end even he can give no satisfying answer to why God inflicts such suffering as has befallen Mrs. Kennedy and her family.

As their interview concludes, the reporter assures her that she has preserved Kennedy’s legacy as a great President. She tells him there’s one more thing, “more important than all the rest”, and relates the late President’s love of the musical Camelot, quoting the lines: “Don’t let it be forgot/That once there was a spot,/ For one brief, shining moment/That was known as Camelot.”

The film ends with this song playing over flashbacks of the White House tour and the Kennedys dancing together.

II. Review; Praise and Criticism

The film is very powerful, but also strangely disjointed. It can be hard to keep track of where action takes place even in the narrow time frame the film covers, so quick are the cuts to different moments.

Early on, there are many tight close ups on the face of the grieving widow, and long scenes of her cleaning the blood from her face and hair. These scenes are shocking, but seemed unrelated to the film’s larger theme.

The best scenes are those of the journalist interviewing Mrs. Kennedy. There is a tension between the two, who seem to strongly dislike one another, and Mrs. Kennedy’s harsh editing and commentary on what the reporter is and is not allowed to print starkly make the point about using the media to create a narrative–a point that seems especially relevant in light of recent political events.

In general, the acting is quite good. Peter Sarsgaard as Robert Kennedy is terrific, Hurt is very good, as he always was, and Billy Crudup is excellent as the journalist. The only actor who did not really seem right was John Carroll Lynch playing Lyndon Johnson, and this was not really an issue of his acting–which was quite fine–but simply his extreme non-resemblance to Johnson. There were times when I did not know who he was for parts of scenes.

This brings me to the star of the piece. Faithful readers know that Portman is my favorite actress, and it is because she is in this movie that I have followed it so closely.

Her performance is very good, and her Academy Award nomination is well-deserved. That said, all the talk that this is the greatest performance of her career is overblown–indeed, I would argue it is not even her greatest performance in a movie released in 2016. Her roles in Jane Got a Gun and A Tale of Love and Darkness (which Portman also directed) allow her far more range and depth.

There is however one very notable feature of her performance which, despite all the press about it, I have not seen mentioned in any reviews. That is the difference between how she plays Kennedy in the flashbacks and in the “present day” interview with the journalist.

In contrast to the panicked, grief-stricken widow of the immediate aftermath, in the interview scenes she seems about 20 years older, even though only a little time has elapsed. Her tongue is sharper and her attitude more bitter. The contrast is very noticeable, and quite effective at conveying the pain Jackie endured.

The single biggest problem with the film is its script. It is not uniformly bad–it is not even mostly bad–but when it is bad, it is absolutely dire. This might be worse than if it had been bad throughout, because it makes the really terrible lines stick out all the more.

At one point, someone advises Jackie to take her children, leave the White House quietly, and “build a fortress in Boston and disappear”.

Who the hell talks like that?

At another point, Robert Kennedy says that walking by the Lincoln bedroom reminds him that “one ordinary man signed an order that freed millions of people.” This is a rebuttal to Jackie saying it feels “peaceful”.

One scene was so bizarre I almost wonder if it really does have some basis in fact: aboard Air Force One, after the assassination, Jackie is asking about the bullet that killed her husband. “It didn’t sound like a .38” she says. “It sounded like a bigger–what do you call it?–caliber, like soldiers use.”

First of all, I find it hard to believe she would talk about the bullet. Second of all, I find it even harder to believe she would be able to tell if it was a .38 or not. And thirdly, if all that did happen, I think she wouldn’t then say “what do you call it” and be unsure of the word “caliber”.

Another example: when Jackie and Robert are walking through Arlington cemetery to select the grave site, Jackie is obviously having difficulty walking through the mud in her high heels. Robert asks her what’s wrong, and she says her shoes are getting stuck in the mud.

There’s no reason for her to say this.  It was clear enough to the viewer; so why include the line?

The Priest says lots of things that I highly doubt any Priest would ever say, least of all to the President’s widow. Even the scenes with the interviewer, strong as they are, have some ham-handed lines, such as when he awkwardly raises the subject of the White House tour film that introduces the flashback.

The musical score is just flat-out weird. It is primarily a growling, synthesized noise that is sometimes appropriately foreboding, but at other times is just annoying. Sometimes it overpowered scenes of the grieving Jackie in instances where silence would have been far more effective. (As if to drive this home, later in the movie many scenes have no soundtrack, and these are much better.)

The cinematography, on the other hand, is very good throughout. There are some beautiful shots of Washington D.C. and the White House interior, and the scenes at Arlington are appropriately grim. And best of all is a scene of Jackie and Robert talking about the funeral in the gloomy November twilight.  The scenery, make-up, costumes and acting all make it feel very real and immediate.

This all adds up to a wildly uneven picture.  Just when it gets good, some jarring line throws it off, and just as it seems about to run off the rails completely, the cinematography or acting grabs your attention again.

I would be tempted to say it’s a mess with great acting and cinematography.  If that were all there was to it, I could end the review now and just say, “See it if you are a Kennedy history buff or a Portman fan; otherwise, skip it.”

But that would ignore something.  Which brings me to the third and most complicated aspect of this thing…

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star_wars_phantom_menace_posterBefore we begin, let me first note that Cass Sunstein has written a very good article on this subject already, which you might want to check out before reading this post. Sunstein touches on a number of the same points as I do, and his article definitely influenced mine.  (Although, to be quite clear, I believed most of this before I ever read Sunstein.)

George Lucas repeatedly said one of the themes he wanted to explore in the prequels was how Republics become Dictatorships.  He drew parallels with the fall of the Roman Republic and the rise of Augustus, the rise of Napoleon Bonaparte to Emperor of France, and the collapse of the Weimar Republic and the rise of Nazi Germany.

Each of these historical episodes resembles the others, in that each involves the demise of a Republic and the concentration of State power in one individual. In the French and German cases, these republics had existed for only a short time, before which the government had been aristocratic. The Roman Republic, on the other hand, had existed for centuries.

In each case, power was given over to one person in response to some crisis.  The existing governmental structure that allowed for multiple people to have input was deemed inadequate to the task of responding to the problem.

And of course, in each case, the person chosen to wield the power had used clever, cunning and morally dubious means to reach the position he was in.

The Star Wars prequels depict this same pattern playing out in a cosmic fantasy setting.  In this respect, they are a bit like George Orwell’s Animal Farm–a political allegory masked in a fairy-tale setting.

In Episode I, the political thread of the story establishes that the Galactic Republic is unable to cope with an illegal blockade imposed by the Trade Federation on the planet Naboo. When Queen Amidala goes to Coruscant for help, Senator Palpatine tells her:

“The Republic is not what it once was. The Senate is full of greedy, squabbling delegates. There is no interest in the common good. There is no civility, only politics.”

This is one point that many people don’t appreciate about the prequels: the Republic really is weak. They are not capable of protecting their own citizens’ interests.  In this respect, the reasons for Palpatine’s rise are more understandable–the current government really was incapable of fulfilling its purpose.

Of course, Palpatine is the Augustus/Napoleon/Hitler figure in Lucas’s story, and so it’s also possible that (a) he is exaggerating the Republic’s weakness for his own gain and (b) the weakness is a result of some internal sabotage with which he himself is connected. Since he, as his alter-ego Darth Sidious, is originally responsible for the Federation blockade, it’s suggested that he might also be responsible for other problems in the Senate.

amidala
Queen Amidala (Natalie Portman) and Senator Palpatine (Ian McDiarmid)

Nevertheless, the following Senate scene makes it clear that the current government can’t solve Amidala’s problem, and so she follows Palpatine’s suggestion to call for a vote of no confidence to remove the Chancellor.

Palpatine is then able to assume the rank of Chancellor. In Episode II, Palpatine is able to manipulate Jar Jar Binks into voting him emergency powers for a coming war. Of course, Palpatine himself (as Sidious) has again played both sides and created the entire situation that makes war necessary.

Finally, in Episode III, the war has dragged on and allowed Palpatine to remain in office and accrue more power.  The Jedi, finally becoming aware of his treachery, attempt to take action to preserve the institutions of the Republic, but fail. Palpatine then uses this moment of crisis to turn popular sentiment against the Jedi and establish the Galactic Empire, taking advantage of the now extremely militarized society he has created.

There’s a very ironic moment in the scene where Mace Windu is fighting Palpatine. Windu has him at sword point when Anakin, having been swayed to Palpatine’s side, arrives and says, “he must stand trial”.

This causes Windu to hesitate, because he knows Anakin is right.  Windu is there to save the Republic and its legal order, but cannot do so without himself violating the rule of law.  Paradoxically, Windu cannot fulfill his duty to the Republic without violating it.

Of course, Palpatine and Anakin take advantage of Windu’s momentary hesitation to kill him.

This speaks to another point that is often overlooked: the collapse of the Jedi Order is interwoven with that of the Republic.  Like the Republic, the story suggests there is rot at the core of the whole institution–witness how they violate their own traditions by training Anakin when he is “too old”, or Obi-Wan’s tolerance of Anakin’s marriage to Padmé, despite the Jedi Code demanding celibacy.

The underlying theme of the prequels is not merely that the Republic fell as a result of evil people like Palpatine, but also because of mistakes or corruption on the part of well-meaning people attempting to protect it.  Padmé, Obi-Wan, Qui-Gon Jinn, Yoda, Mace Windu–all make errors or lapses in judgment that contribute to the collapse.

Indeed, perhaps the most significant error all of them make is continuing to tolerate Anakin’s consistent rule-breaking.  Neither his wife nor the Jedi ever punish Anakin for his repeated wrongdoing.  Their misplaced forgiveness simply encourages Anakin to keep getting away with larger and larger crimes.

As a depiction of the process by which Republics become Dictatorships, the prequels are fairly successful: cunning and ambitious people take advantage of weak and crumbling institutions and take advantage or crises to seize power.

What significance does this have for the present-day United States? It is commonplace to compare the rise of Donald Trump to that of other dictators, and his language and methods are unmistakably authoritarian.

More significant even than Trump himself is the decline of U.S. institutions. I have written before about the century-long weakening of the U.S. Congress vs. the Executive branch. Beyond that, there is a general loss of faith in the Press and in Religious tradition.

Just as Palpatine’s plan would not have worked if he had not been able to take advantage of the crumbling Old Republic, the United States would not be vulnerable to authoritarianism if its institutions remained strong.

Why, then, don’t other people (besides me and Sunstein) look to the prequels as a relevant tale that captures the current zeitgeist?

I think to an extent it is because as works of drama, they are poor–Episode II in particular, which depicted the crucial political turning point, is something of a mess in regards to dramatic essentials like character and plot. While I’ve previously argued that Episode I is the best of all six original Star Wars films, even its compelling political plot was bogged down by pointless comic relief and a weak first act.

Another problem is that, as interesting as the political allegory is, it is scarcely related to the lighthearted, swashbuckling atmosphere of the first three films, Episodes IV, V and VI. The more complex motifs of the prequel trilogy flummoxed audiences.  (To extend the earlier analogy: it is as if one tried to market Animal Farm as a prequel to Charlotte’s Web.)

Finally, the spirit of the first three films–and the more recent, Disney-made knock-off–is much more optimistic and reassuring.  The light side, these films say, will ultimately triumph over the dark, and all will end happily.500x680_movie10postersstar_wars_episode_i_the_phantom_menace-us_teaser

The tone of the prequels, in contrast, is much grimmer.  Not only is Evil triumphant at the end of the trilogy, but there is a suggestion that the forces of Good enabled it, and by their own failings, rendered it possible. It’s a troubling notion–that perhaps goodness itself contains within it the seeds of its own destruction.

The reason for the unpopularity of the prequels may be linked to more than their flaws as pieces of narrative fiction–it may lie in their disturbing portrayal of human nature itself, and in our reactions to our own vulnerabilities.

I might even paraphrase another writer of dramatic works on politics and human nature, and say, “the fault is not in our Star Wars, but in ourselves.”