“This is the event Armageddon wanted to be!”
That line just came up on my TV screen—a rave for The Core, starring Aaron Eckhart and Hilary Swank, which is also said to be electrifying, jaw-dropping, and astonishing. Not unlike the broadcast over on CNN right now. In fact, check out the poster for The Core. (And then come back.) Does that book-of-Revelation fire look familiar? Baghdad is definitely burning.
“Shock and awe,” the curious pairing which you, David, invoked in your first entry is a very un-Washington phrase that I don’t think we should pass over lightly (deciding “it’s been used,” as if we were writers panting to be original [which of course we are not]). Like both of you, I’m guessing, I’ve spent the day trying to make sense of moving pictures, while thinking about the war and the Oscars, and simultaneously trying to forget them both. One thing I’ve been thinking about is: What are the differences among shock, awe, and entertainment?
The series of explosions on CNN is shocking. The aerial images in Gangs of New York areawesome. Chicago and About a Boy are entertaining. But what the hell is one’s proper—or even one’s actual—posture toward the range of spectacles currently available for contemplation?
When the Pentagon talks about “shock and awe,” it is not—obviously—praising a big-budget movie (pace wags at Harper’s Magazine), it is describing a process of subduing, not to say killing, people.
But who’s supposed to be shocked, and who awed? Moreover, shock and awe are aesthetic effects, aren’t they? In the context of movies, they are even virtues; any filmmaker with ambition wants to make a shocking, awesome movie. (Except maybe Charlie Kaufman.) If a friend told me she was in awe of Scorsese and shocked by The Road to Perdition, I would assume she was a fan of both. Isn’t our military actually trying to promote “self-loathing and submission” among the Iraqis? And “shock and awe” here at home? I’m just trying to get my terms straight.
I’m confused about terms, but at least I finally have some Oscars picks. Without a gift for prophecy I’m going to vote my heart: Adrien Brody (best actor), Julianne Moore (best actress), Chris Cooper (best supporting actor), Meryl Streep (best supporting actress), Pedro Almodóvar (best director), Chicago (best movie), Far From Heaven (best screenplay), and Adaptation (best adapted screenplay).
Lynda, I was interested to learn that, of the Academy Awards ceremony, “Kaufman thinks the whole thing is corrupt but is going to everything anyway.” That posture of resignation (we can’t go on, we must go on) seems about right for now. Let’s hear it for Kaufmanesque self-loathing and submission.
On a lighter note, David, I agree that Ed Harris was especially pathetic at pathos in The Hours (though he was not alone). And on a still lighter note, “roaring delight” is a perfect characterization of Chris Cooper in Adaptation, which I finally managed to see, and really liked. Roar! Delight!
