Philosophical Screens: Professione: Reporter/The Passenger (Michelangelo Antonioni, Italy/Spain/France, 1975)

Blogpost, European cinema, Film education, Film reviews, French Cinema, Italian Cinema, Philosophical Screens, Spanish film, Uncategorized

This is a written version of sorts of the analysis that I gave on 17 January 2019 after a screening of The Passenger, a film featuring as part of the British Film Institute‘s Michelangelo Antonioni season, and which analysis was part of their ongoing Philosophical Screens series.

The discussion involved contributions from John Ó Maoilearca from Kingston University, and Lucy Bolton from Queen Mary, University of London, as well as from many audience members.

I shall try to stick only to what I said, even if this means foregoing some of the wonderful comments and ideas expressed by those other participants, including a brief if fruitful discussion of the relationship between the philosopher John Locke and the film’s lead character, David Locke (Jack Nicholson).

For, if the former represents something like a dualistic world view, then the latter comes to represent something of a progression away from that, not least as Locke leaves behind his identity as Locke and assumes the identity of David Robertson.

For, The Passenger tells the story of a journalist, Locke, who encounters Robertson (Chuck Mulvehill) at a tiny hotel in a small town in an anonymous African country, where they get drunk – in spite of the doctor’s advice for the latter not to.

After a relatively fruitless day of looking for rebels whom he can include in his documentary, and after getting his Land Rover stuck in the desert, Locke returns home to find Robertson dead – apparently from a heart attack.

Seizing his opportunity (not least because he looks a bit like Robertson and the locals will not be able to tell them apart), Locke assumes Robertson’s identity and says that it is Locke who has died.

Former colleague Knight (Ian Hendry) and estranged wife Rachel (Jenny Runacre) mourn Locke back in London, where the latter goes to pick up some stuff from his home and to check out Robertson’s world.

Indeed, before going to his Notting Hill home, Locke visits the Brunswick Centre, where he passes a girl (Maria Schneider) whom he will again encounter in Barcelona.

But Locke will not get to Barcelona before using Robertson’s ticket to head to Munich, where he discovers that Robertson was/is an arms dealer, and who was/is involved in supplying arms to the rebels in the nameless African country where the opening sequences of The Passenger took place (and which generally are thought to be based on Chad, about which more later).

As implied above, this is the first of several scheduled encounters between Robertson and the rebels, who are led by a man called Achebe (Ambroise Bia). However, after Achebe is abducted by presidential agents in Barcelona, that meeting does not take place.

Nor do the subsequent meetings that Robertson was supposed to have – at least according to the schedule in Robertson’s diary – in a (fictional) place called San Ferdinando and then at the Hotel de la Gloria in Osuna.

For, and here are some SPOILERS, after discovering that Robertson was with Locke the night before the latter supposedly died, Knight and Rachel both decide to try to track Robertson down.

As a result, when Knight nearly discovers in Barcelona that Robertson is in fact Locke, Locke has to go on the run – and where better to go than to the meetings that Robertson had scheduled, not least because they have led to him receiving a substantial sum of money from the African rebels?

What is more, Locke does this with the girl from the Brunswick Centre, who by seeming coincidence also happens to be in Barcelona when he is – supposedly looking at architecture as part of her studies.

Indeed, it is at what appears to be Antoni Gaudí’s Palau Guëll that Locke encounters the girl for the first time in Barcelona, before then catching up with her again at La Pedrera after spotting Knight on the Ramblas near his hotel.

Locke has chased the girl down to ask her to get his stuff from the hotel. This she does, and after the girl has evaded Knight, the pair travel on south towards Osuna via San Ferdinando.

Hearing that Robertson is being evasive, a curious Rachel also goes to Spain – but not after visiting the embassy of the African country in which Locke and Robertson were both working.

Knowing that Robertson is a gun runner for the rebels, the ambassador has his men follow Rachel, which ultimately results in the government forces finding Locke at the Hotel de la Gloria, where they assassinate him before Rachel can arrive with the local police.

Faced with Locke’s body, Rachel says that she does not know this man, while the girl identifies him as Robertson – and the film closes.

But beyond this synopsis of the film, what is also crucial is the film’s style, which I hope to explore in more detail in what follows – not least by picking up on numerous details that Antonioni features in his mise-en-scène.

My basic suggestion is that – however problematically – Locke has a primordial encounter in Africa, and this means that he can no longer remain who he was, in particular a dispassionate image-maker and reporter who is not directly with, but who rather observes the world. As Knight says of him in a televised discussion of Locke’s work: he had ‘a kind of detachment.’

The reason why this encounter is problematic is because it runs the risk of mythologising Africa, a mythologisation that might be as much my invention as I read it as being Antonioni’s.

That said, I hope that the evidence I present will suggest that this is at least as much Antonioni’s as it is my invention, while at the same time not necessarily being wholly unjust from a political perspective.

Twice in the film, Locke is asked whether he finds the landscape beautiful – once towards the start of the movie when Robertson asks him about the desert landscape by the small-town hotel, and once towards the end of the movie when Locke’s hire car has broken down and he looks at the desert landscape with the girl.

Notably, Locke’s answer changes in the interim between these two questions. For, the first time that he is asked, Locke shows little interest, suggesting that he prefers men to landscapes, to which Robertson replies: ‘There are men who live in the desert.’

The second time, meanwhile, the girl asks Locke whether he finds the landscape beautiful, to which Locke responds: ‘Yes, it’s very beautiful.’

In other words, Locke’s attitude towards the landscape has changed. What has happened?

Well, for one thing, anyone who has lived in, or even visited, a desert knows that sand gets everywhere (indeed, as I suggested at the BFI, Locke’s stuff is remarkably clean when it is returned to Rachel by the ambassador).

That is, the sand of the desert demonstrates that humans are incapable of controlling the space in which they live. For, try as they might to keep things like sand and dirt out, it always creeps in.

Now, architecture plays a prominent part in The Passenger, as the prominence of spaces like the Brunswick Centre and the Gaudí buildings makes clear.

Architecture is thus in some senses an attempt by humans to control space – to create a space that is free from the ravages of the desert, and of nature more generally.

Certainly, the London architecture of the Brunswick Centre would suggest this… while in Africa and in Spain, The Passenger is full of what I would call ‘porous’ architecture.

I call it porous architecture because repeatedly we see open windows and doors, and/or we see through open windows and doors, which themselves suggest not a shutting off of the outside, but a continuity between inside and outside (or, thinking of the reference to the philosopher Locke above, not a duality but a singularity of space).

Furthermore, in Africa in particular we see people wander into and out of frame from strange angles – appearing where we thought there might previously be nothing, as if the frame of the film is itself porous, and open to unexpected intrusions. Such unexpected intrusions might be called chaos.

And chaos can interrupt anywhere: for example, a pink rose extends largely into frame as Locke stands outside his own London home – as if nature cannot help but extend into the supposedly controlled world of men.

Furthermore, when Locke discover Robertson’s body, the fans in the room causes his hair to move, just as the towels that hang from pegs on the wall also twitch under the power of the breeze.

This is a universe of constant movement – one that is beyond our control as even humans move about after death.

And yet, men try to control the world – as can be seen by the inclusion in one shot of a speed limit sign in the desert. What is the point of a speed limit sign in a place where there are no roads? The asphalt may not have been laid down yet, but in order to stop the desert constantly from shifting shape and eluding control, the speed limit sign suggests that it will be coming.

It seems that Locke has, or at one point certainly had, a propensity for chaos, or for breaking down barriers and losing control, as is suggested during a flashback when we see him burning tree branches in his Notting Hill garden, an action that prompts Rachel to call him crazy – a moment to which I shall also return.

But somewhere along the line, Locke also lost this propensity for chaos – with Rachel subsequently suggesting to Knight that ‘David really wasn’t so different’ to other people, and that ‘he accepted too much’ – in particular referring to an interview with the African president, in which Locke did not challenge him about his policies, especially his treatment of the rebels.

Indeed, while an adventurer of sorts Locke seems to have become a human who has bought into the world of control – and yet who may still come back to accepting and understanding the world of chaos.

(This transition from control to chaos is the Jack Nicholson persona par excellence, from Easy Rider, Dennis Hopper, USA, 1969, to Five Easy Pieces, Bob Rafelson, USA, 1970, to Chinatown, Roman Polanski, USA, 1974, to One Flew Over the Cuckoo’s Nest, Milos Forman, USA, 1975, to The Shining, Stanley Kubrick, UK/USA, 1980, to Batman, Tim Burton, USA/UK, 1989, to A Few Good Men, Rob Reiner, USA, 1992, to As Good as It Gets, James L Brooks, USA, 1997, to About Schmidt, Alexander Payne, USA, 2002.)

As the Land Rover gets stuck in the desert, Locke starts to whack it with a shovel, breaking down in tears as he can no longer cross space in the way that he wants to.

In other words, he has lost control – and this infuriates him. Locke cannot cope with entropy; he cannot, if you will, cope with the idea of his own death. To quote another famous Achebe, he hates it when and cannot stand the fact that things fall apart.

And yet, Locke changes, or at the very least reconnects with his propensity for chaos, and after finding Robertson he decides to embrace chaos and to become someone else.

For, even to have a name (David Locke) is in some senses to seek to control one’s identity, and/or to be controlled. By becoming someone else, Locke enters into a world of becoming rather than a world of being, a world that goes with the flow, allows things to fall apart, is okay with entropy, allows in a little death (perhaps this is even an orgasmic existence, as petite mort, or little death, comes to mean orgasm in French).

But it is not just finding Robertson’s body that produces this change.

There are two sequences interpolated into The Passenger that bear discussion. The first is an interview that Locke shot with a man referred to typically as the Witch Doctor (played by an uncredited James Campbell).

Since the Witch Doctor has been educated in France and Yugoslavia, Locke is surprised that he has not abandoned his superstitious beliefs and instead adopted a more ‘western’ or ‘rational’ perspective on the world: ‘Has that changed your attitude toward certain tribal customs? Don’t they strike you as false now and wrong, perhaps, for the tribe?’

The response: ‘Mr. Locke, there are perfectly satisfactory answers to all your questions. But I don’t think you understand how little you can learn from them. Your questions are much more revealing about yourself than my answer would be about me.’

That is, Locke here demonstrates that he projects on to the world a western perspective that is closed-minded, much as westerns try to close the outside world off from their architecture, and much as many filmmakers try to close their frame off from any unexpected intrusions.

Notably, though, the Witch Doctor soon takes the camera from Locke and starts to film him.

In other words, there is a transition from Locke as ‘detached’ (as per Knight’s reckoning) to Locke as implicated – not someone beyond the frame, but someone as part of the frame.

What is more, at a later point in time we see footage, supposedly real, of a man being shot by a firing squad.

Knight, who is looking at this footage, responds in a blasé fashion – as if he had seen such images a hundred times before, while Rachel is appalled.

This suggests – perhaps again problematically – that a ‘female’ perspective is more implicated than a ‘male’ perspective, even if the latter is the one that is associated with image production and power, as per Knight’s job as a television producer.

But more than this, one can imagine that Locke, who recorded this footage, was himself so shocked by it that it ended his ability to be detached.

For, in presenting to us footage that supposedly is real – rather than being staged for the film – Antonioni provides us with an encounter with something real, much as Locke, too, encountered real death.

There are a couple of issues to pick apart here. For, we are still seeing a recording of death and not death itself when we watch The Passenger, and within the fiction of The Passenger, we are led to assume that Locke still recorded this moment in addition simply to observing it.

To say that the moment involves an encounter with what psychoanalysts might refer to as the Real, then, is problematic; the real life taken here is still reduced to an image.

And yet the documentary nature of this footage does in some senses mean that the fiction of The Passenger comes face-to-face with reality.

But is this not still then to render aesthetic something that is supposed to elude the aesthetic and to be instead real – a real encounter that leads Locke to give up on a life of detachment and to embrace chaos, such that ultimately he embraces death?

So the question now becomes: can film picture the real, or will it always only render or reduce the real to an image?

Perhaps film cannot, but the documentary image at least points to the real – to a beyond the frame that is in accord with Antonioni’s desire for his frame also to be ‘open’ to outside encounters via his filmmaking style as discussed above and as I shall explore in more detail below.

In this way, we might charge Antonioni with being unethical by interpolating into The Passenger a seeming snuff movie the provenance of which remains unknown, its participants anonymous?

For, by not telling us where this sequence comes from, Antonioni runs the risk of simply saying something problematic like ‘violence like this happens in Africa’ – a generalised Africa that is essentially violent and not riddled with violence as a result of specific histories and concrete circumstances?

And yet one might also contend that Antonioni, knowing that this footage exists, cannot not show it, since that might be more ‘unethical’ yet (to know that such things happen and not to acknowledge as much).

More than this, to ‘reduce’ issues such as African contemporaneity (corruption, postcolonialism, violence) to specific concrete histories would potentially be to make them manageable. Indeed, they might as a result lose their power as the Real – because like Locke himself, it would give an anthropocentric identity to a reality that has no name and is entirely chaotic.

And even if Antonioni cannot name or explain the footage, since it is, like reality itself, inexplicable (to explain it would be to conquer it, to control the uncontrollable), there are nonetheless hints as to the political reality to which Antonioni alludes.

For, we see that Robertson is reading, for example, a book about or by Patrice Lumumba, the Congolese independence leader, while the film was shot in a Chad undergoing political turmoil in the mid-1970s as well.

What is more, the film takes us beyond Africa when we read in Robertson’s diary that he has a meeting with ‘Daisy’ (presumed by Locke to be a codename for Achebe or other rebels/guerrillas) at the Hotel de la Gloria in Osuna on 11 September 1973.

This is of course the date on which General Augusto Pinochet bombed La Moneda, the presidential palace in Santiago, in the process killing president Salvador Allende.

In other words, The Passenger potentially links to not just an African but to a global repression of independence movements that are not in thrall to the colonial powers from which they were trying to liberate themselves.

Indeed, Locke/Robertson dies on this day, with The Passenger thus potentially suggesting on the one level a pessimism with regard to liberation movements, while at the same time Locke learns to embrace chaos and to let himself die.

Is there any other way out of this labyrinth? Or are humans condemned to fail in their bid to work with rather than against chaos, in that this always leads to death – perhaps especially at the hands of those who seek only to control?

Perhaps this is Locke’s tragedy. He can escape Locke; but he is still restrained by/as Robertson. Or, as Locke himself puts it, ‘it stays so difficult to get away from your own habits.’ And: ‘I’ve run out of everything. My wife. The house. An adopted child. A successful job. Everything except a few bad habits I couldn’t get rid of.’

Those habits might include the need for an identity, even if not ‘his own.’ This is his tragedy, perhaps the tragedy of western man… but perhaps western man must understand that a future is coming in which he does not play the starring role – even if Antonioni cannot make that film since that is not who he is. He, also, is the dying western man and not the (post)human of the future.

Perhaps the best that such a man can hope for is an angel who turns up in the form of Maria Schneider (who may well be Daisy?), who will guide him towards death.

Or perhaps the best that humanity can hope for is that they will be replaced by a new intelligence, one that may indeed be a human who is a bit more like cinema.

This is a curious assertion, so let me work it through. By this, I do not mean cinema as it most commonly manifests itself, with its strict demarcations between characters and actions, but a cinema that is itself far more like, or in tune with, or even a manifestation of the chaotic flow of the universe.

Instead, this is a cinema that refuses to recognise boundaries and which does not necessarily prioritise human action over anything else, instead locating the human as simply another part of space and time.

In Barcelona, we see Locke walk past a cinema called Cine Eden as he flees from Knight. Cinema might indeed present to us a new Eden. And we can see how this is so in Antonioni’s film in various ways.

Gaudí’s curving, chaotic and African-inspired architecture seems to announce Locke’s transition, a shift away from the rigid and into the flow, much as the journey south that is the film’s road trip also signals a motion towards a different reality beyond the hard lines of the global north.

The camera drifts away from Locke and focuses on a fan. It wanders up some electric wires and looks at some insects. Some cars drive past Locke and the girl, and the camera pans right, then left, and then right again – dancing with the passing cars rather than focusing on the film’s protagonists.

Famously, the camera pans around Locke’s hotel room and suddenly we see Robertson alive again, talking to Locke at an earlier point in time, even though there has not been a cut.

So not only do we see insects, cars and other machines take on a life of their own, as even the hair on a dead body can dance in Antonioni’s film, but time itself dances around, with the past co-existing alongside the present, and perhaps with an imagined future if in fact Locke is the one who died, but it takes him until 11 September 1973 and with the help of angel to realise as much.

Maria Schneider may (problematically) herself come also to signify such a cinema. She can turn up in Barcelona having been in London – as if by magic. She can anticipate Locke’s arrival at the Hotel de la Gloria by signing in ahead of him as Mrs Robertson. She can be a Daisy, a flow-er that many disregard as a weed, a force for chaotic revolution, as Věra Chytilová knew.

Indeed, as is made clear in Torremolinos 73 (Pablo Berger, Spain/Denmark, 2003), Spaniards would flee the repressive, controlling regime of Francisco Franco and head to France in order to see Schneider in Ultimo tango a Parigi/Last Tango in Paris (Bernardo Bertolucci, France/Spain, 1972), surely a problematic film, but one that nonetheless signalled a desire to flow with cinematic desire rather than repress it.

As mentioned, Rachel calls Locke crazy for starting a fire in his Notting Hill garden. What is also worth pointing out here is that this is not Locke’s memory, as per the earlier sequence shots that see involving Robertson, but Rachel’s memory.

That is, the film has transitioned without signalling it from Locke’s memory to Rachel’s, out of his brain/mind and into hers as if cinema knew no identity, no boundaries, but is only a force for chaotic flow and becoming.

And then of course we have the film’s famous final shot, a seven-minute sequence in which we see Locke lying on his bed before we see various cars arrive through the open window beyond.

The camera tracks slowly, slowly forward before then passing through the grille that otherwise blocks the window, circling around the dusty yard outside.

Locke is killed – notably offscreen – during this sequence, before the camera slowly, slowly returns to show us, now through the grille, Rachel, the girl, the hotel owner and some police officers standing over Locke’s body.

In other words, the camera – and by extension cinema – can pass through borders. It is a porous medium that embraces chaos and which flows; it is a flow-er, which takes us out of this world and into Eden, or a world without, beyond, and after humanity.

(At a push, I might provocatively add that the recent documentary, Nae pasarán, Felipe Bustos Sierra, UK, 2018, which tells the story of Scottish Rolls Royce workers who refused to do repairs on the engines of Pinochet’s Hawker Harrier jets in 1970s, also suggests that humans are at their best when they, too, defy borders and control. That is, cinema and socialism alike point to the flowers that humans can become, and as which we might bloom.)

It is perhaps only a series of chaotic coincidences that sets in motion the plot of The Passenger: Robertson dies in Locke’s hotel, the girl is in London and Barcelona, Rachel leads the government agents to Locke.

‘You work with words, images, fragile things,’ says Robertson to Locke back in the hotel. Images are fragile things, and they are not the concrete things that Robertson claims ‘people understand’ (and what he sells).

The world of hardness and borders is a world of war. Perhaps cinema is a world of love, even if it is a world of death,  a world of loving death, which loving is to deprive death of its fear-inducing power.

Westerners may condescendingly characterise Africa as being a continent stuck in the past. But Antonioni’s film perhaps also shows us that, in knowing that all things fall apart, it inevitably is also an image of our future. Cinema may show us images of the past (by definition, since what we see when we watch a film must be something that has already happened). But in what lies beyond the human, and what lies beyond the frame, perhaps this is where we find once again a future without humans, our future, cinema itself. Death itself. Flowering.

Brief thoughts around Iñárritu and Loach

Blogpost, British cinema, Film reviews, Spanish film, Transnational Cinema

Both Biutiful (Alejandro González Iñárritu, Mexico/Spain, 2010) and Route Irish (Ken Loach, UK/France/Italy/Belgium/Spain, 2010) hinge upon moments of great unbelievability. Or at least, moments that don’t, to me, quite add up.

In Biutiful, the film reaches its apex when Barcelona-based fixer Uxbal (Javier Bardem) buys some cheapo gas heaters for the illegal Chinese workforce of a local associate. It turns out that the heaters are dodgy, and as a result the immigrants stuffed into the basement all suffocate and die.

Without wishing too sound inconsiderate, this sequence pushes belief. Having idiotically left on overnight a gas hob connected to the mains (as opposed to a gas limited to the contents of a single tank), and in a space significantly smaller than the basement in Biutiful, and having lived to tell the tale, I find it hard to believe that this would happen. Not least because the basement in Biutiful has windows and a door, and the place does not seem as though it would be devoid of drafts.

That is to say, whether for reasons of ill judgement or otherwise, I found/find myself incapable of believing this twist in the film’s plot. And yet, as is perhaps to be understood, the accidental deaths of the Chinese workforce, indirectly Uxbal’s own fault, are supposed to be a defining moment in the film.

Hereafter, we are given a ride into Uxbal’s feelings of guilt. And herein is the fundamental problem, or, for me, weakness of Iñárritu’s film. For, the death of the Chinese labour force seems to be an excuse for Uxbal to exercise his sense of redemption and to exorcise his demons as he heads towards his own death. This is arguably made most clear by the conceit that Uxbal can see the dead – and that he can guide them through limbo to Heaven. That is, by seeing the dead, Uxbal arguably needs dead people to live. Rather than the film considering the dead Chinese workers as people, then, Biutiful treats them as an excuse for the journey of one man towards his own death. The film, finally, is Uxbal’s fantasy, then, perhaps even his own Heaven in that he is already ‘dead’ – and he needs the dead bodies of others to find his own way to Heaven.

Similarly, Route Irish sees the plot hinge upon a voicemail message left on a landline that, given the prevalence of mobile phones in the film, really should have been left on a mobile. Harim (Talib Rasool), a singer and translator, leaves a message for Fergus (Mark Womack) on his landline. In it, he explains/translates the voicemails and text messages left on another mobile phone belonging to a now deceased Iraqi boy. This mobile phone was sent to Fergus from his also deceased best friend Frankie (comedian John Bishop), and it contains evidence, in the form of a video, that could potentially lead to the conviction of a private security contractor, Nelson (Trevor Williams), who killed the Iraqi boy and whom Fergus also suspects of killing Bishop to save himself from investigation.

The coincidence is that the voicemail is discovered by Nelson as he goes through Fergus’ stuff in a bid to stop the story going any further.

As such, it is not that the voicemail on the landline is beyond the realms of possibility, but it is overtly functioning in the film as a plot driver, and as such sees the intrusion of artifice – much like the deaths of the Chinese workers in Biutiful – in a film that, even more than Biutiful, tries to ground itself in realism.

That the film then leads to Fergus enacting a prolonged revenge for Frankie’s death – killing Nelson, his two bosses Walker (Jeff Bell) and Haynes (Jack Fortune), and their secretary (whose name I cannot find) – suggests that Route Irish is similarly set up as Fergus’ own revenge fantasy.

Unlike Biutiful, Route Irish does see Harim explain that he should have released on to the internet the video on the phone of the assassination of the phone’s owner, his friend, and a taxi driver carrying a family in his ride. In this sense, more than Biutiful, Route Irish does try to emphasise the loss of life that its key incident entails.

However, both films seem to use the death of innocents as a reason to justify a narrative centered upon Western characters to put right wrongs that they have done. That is, the films both to a certain extent demean loss of life for the sake of Westerners’ redemption for their own wrongs.

To be fair to Route Irish, this is not the film’s only ‘purpose’ as I see it. It does also take swipes at the cowboy status of independent security contractors in Iraq, in that they are a law unto themselves, while also bringing to the fore the complexity of their job, in that they are under fire from local militants who do often look like civilians, and who do also use devices such as mobile phones to set off bombs. That is, in Iraq – and especially on Route Irish, the road that leads from Baghdad Airport to the Green Zone – one can easily lose one’s own life if one does not act in an overly cautious, but perhaps too aggressively a cautious, fashion. In other words, Route Irish does point out the lucrative and exploitative nature of independent security contract work in places like Iraq, while at the same time grounding what work those contractors do in real-life circumstances of kill or be killed – with ‘collateral damage’ a reality of this.

Furthermore, the film is also a critique of Fergus, a former soldier who saw a get-rich-quick opportunity in joining an independent security contractor firm, in that he cannot easily adjust back to normal life, is haunted by his own demons, and who cannot seemingly escape from the cycle of violence that going to Iraq commences. He is not ‘right’ in enacting his revenge, either, for he also kills the secretary, who is more or less marked as ‘collateral damage’ in the film beyond the ‘bad guys’ Haynes and Walker.

As it is, then, there are no easy answers offered by Route Irish. Even though Fergus talks about the poor behaviour of Americans in Iraq, the video track in the film sees him in flashbacks beating up Iraqi families, suggesting that he is at best being economical with the truth in his spoken account of events there. Fergus, then, is not beyond criticism.

However, the fact remains that both Biutiful and Route Irish take on heavy topics – contemporary migration and the war in Iraq respectively – and offer a predominantly ‘Eurocentric’ take on such matters. As such, the films are open to critique, for by being fantasies of redemption for their Western protagonists, they do not necessarily get to grips with the effects of the protagonists’ actions, and particularly those of others around them. Migration and Iraq, then, remain relatively unexplored in these films, which prefer instead to confer a central place to the paranoia and instability of their central characters.

This does not make the films ‘bad’ – and offering such a judgment is not necessarily the point of this blog. But it does perhaps point to the difficulty that filmmakers can have in offering up a truly balanced portrayal of contemporary events and concerns.

Yo, también/Me Too (Antonio Naharro/Álvaro Pastor, Spain, 2009)

Blogpost, Film reviews, Spanish film, Uncategorized

I saw Yo también as part of the recent London Spanish Film Festival 2010.

The turnout was excellent and, judging from the laughter induced by the advert from the Spanish Tourist Office which culminates in a relatively wealthy British wife and mother declaring “I need Spain,” the audience was predominantly Spanish.

The laughter continued into Yo, también itself, which, admittedly, is often a funny film. It tells the story of Daniel (Pablo Pineda), the first person with Down’s Syndrome to graduate from university in Spain. Daniel starts to work with the Seville council team, where he spots and then meets Laura (Lola Dueñas). He falls in love with Laura, who has 46 chromosomes, and who, according to various characters in the film, is an unsuitable partner for him.

However, in spite of the supposed disadvantage that Daniel has, he develops a strong friendship with Laura, a Madrileña who is going through something of a personal crisis in Seville (escaping from a relationship with her father that may well have been abusive) – and eventually, though for one night only, they become lovers.

Daniel is articulate and witty – rebuffing all of the unthinkingly prejudiced things that people say against him as the film develops – in particular attitudes regarding his sexuality and, by extension, the sexuality of Down sufferers in general. “Have you ever thought about prostitution?” Laura asks him at one point, making reference to the fact that Daniel finds it hard to control his sexual urges. “Do you think women would pay to sleep with me?” replies Daniel.

There is even a scene in which Daniel mocks those who are mentally disabled by hitting himself repeatedly over the head as Laura explains in a lift and in front of two onlookers that she is not interested in him as a lover. As Laura tells him to stop acting “subnormal,” the female onlooker rebukes Laura for talking that way to someone who is obviously ‘afflicted,’ which prompts Daniel – and then Laura – to burst out laughing. It is the prejudices of the onlookers that have been exposed, not those of Laura – and Daniel is mischievously pleased with pointing this out.

As Sharon Willis, among many others, has noticed, difference is a core part of the study of film: how film portrays people who are of different colours, different creeds, different nationalities, and different sexualities. Some films even attempt to address how mainstream cinema stereotypes, say, old people, although the issue of age difference (whether between people in relationships or just the treatment of old age in general) is underexplored. Similarly, ‘disability’ is relatively unexplored in cinema, even though Oscar perenially hands over his greatest prizes to ‘abled’ actors performing semi-retarded people (although as we have learned from Tropic Thunder (Ben Stiller, USA, 2008), he rarely gives awards to actors who go “full ‘tard”).

And so in many respects, Yo, también is an important film to counter the prejudices of ‘abled’ audiences towards people suffering from Down’s Syndrome. Although that Daniel can mock – lovingly or otherwise – people who are mentally handicapped in other ways does beg the question about ‘hierarchies’ of disability.

Daniel is educated – something the film makes clear that he owes to his parents: his mother (Isabel García Lorca, a niece or great-niece of Federico García Lorca) treated him normally, insisted that he go to school, and regularly reads to him in English, while his father (Pedro Álvarez-Ossorio) is a university professor, who similarly, we presume, treats Daniel like a normal human being. And because Daniel is educated, he has gained access to a different world not normally open to people with Down’s – or people who suffer from other physical and/or mental disabilities: he can look down upon those who do not share his abilities.

This is manifested in the film by the way in which Daniel does not take part in the dance classes organised for Down’s people by his brother Santi (Antonio Naharro, one of the directors of the film) and his sister-in-law-to-be, Reyes (María Bravo). Daniel in fact says that he does not like to dance, and only does so in the film with Laura when he is drunk. Otherwise, repeatedly we see Daniel looking down at the dance classes from an elevated position behind a glass partition. That is, Daniel is physically separated from the ‘normal’ Down’s people in the film – suggesting that he has, through his education, reached a ‘higher’ position in life.

Daniel is laudible: the film opens with an impassioned speech that he gives at a conference, and in which he asks that Down’s people be treated as equals to abled humans – particularly by giving them work to do. Obviously, Daniel has work. While it is rare that we ever see anyone actually doing their mundane daily grind in great detail in movies, it is striking that we never really see Daniel doing any work at the council. Instead, he mucks around at the photocopier and he gazes longingly at the women in the office, including Laura. What is striking is my own prejudice that was revealed to me: for, if I never normally question a ‘normal’ person’s ability to carry out work when watching movies, here I found myself wondering whether Daniel was in fact doing any work – or whether he was being retained by the council as a gesture towards equality. I should have supposed that of course Daniel can do this work, but I do suffer from lingering suspicions. (This despite having many years ago worked with a capable man with Down’s in a bar while at university.)

What condescension I have, though, I wonder Daniel also has. His education has made him an exception and, as Italian philosopher Giorgio Agamben has argued in a vastly different context, exceptions prove the rule; they are a product of the rule; they are inside that from which they are made outside when they become exceptional. The rule to which Daniel is an exception is the rule that Down’s sufferers are not allowed to work. But Daniel perhaps reinforces that rule as opposed to challenging it – not least because he is so insistently marked as different from the other Down’s sufferers, as suggested by the use of space in the dance hall.

In this respect, by telling us the story of Daniel, who is exceptional, we get little, or at the very least less, insight into the lives of others with Down’s, the lives of ‘normal’ Down sufferers. That is, Daniel through his education does not have to suffer so much from the prejudices of others – and can even mock the prejudiced (and, indirectly, those with ‘greater’ disabilities than himself). But how about showing us the hardships of those who do not have the advantages that Daniel has? If actors don’t get Oscars for going full ‘tard, so, too, have the makers of Yo, tamién told us a story about someone who is ‘normal’ enough – thanks to his education – so as not to be alienating to audiences.

But by paying such respect to audiences, the film’s ambitions are revealed as being somewhat slight. That is to say, yes, the film rightly raises awareness about the wants, needs and desires of people commonly thought of as disabled, but who want to and can in fact be contributing members of society. But it does not take us fully into the world of those with Down’s – using the educated Daniel instead as a mollification of an existence that people might not otherwise want to see but which, if they truly wanted to see or know the toughness and resilience that presumably are involved in the life of a Down’s sufferer, they perhaps should see.

Let’s not overlook the important love affair that takes place in the film between Luisa (Lourdes Naharro, presumably a relative of Antonio) and Pedro (Daniel Parejo), two Down sufferers whose relationship is seemingly outlawed by both the dance school at which they are partners, and by Luisa’s baker-mother. They run away and in a telling scene, they mock Daniel for his condescending manner towards them in explaining safe sex to them. As Daniel puts a condom on a banana, Luisa tells him that it is not an erect penis, but a banana. Daniel eats the banana – perhaps having seen something of his exclusion-through-education from his ‘own’ group.

Luisa, in perhaps the film’s most powerful scene, then tells her mother that she needs to live alone and be an independent woman. This is a key moment in the film, and there is much in these moments that contradicts aspects of the arguments I have so far been making in this blog. But on another level, one wonders why the film was not about Luisa and Pedro from the off…

Sex looms large in Yo, también. Daniel looks at porn on his computer at home and we have access to his fantasies about his co-workers dressed in bondage gear, bikinis, and the like. He lusts after Laura something silly. And sex between a Down sufferer and a ‘normal’ person seems to be the big taboo broken in this film. More heartbreaking, though, is the proscription of sex between Down sufferers that people try to place on Luisa and Pedro.

Furthermore, while the film has a liberal attitude towards sex in some respects (even Down sufferers want it and should be allowed to have it – with whomever they please), the film also rehashes stereotypical sexist points of view, in that Daniel lusts after women in quite a reactionary way. He has fallen in ‘love’ with Laura, it seems, before he has spoken to her – and so his conception of love and desire is as objectifying of women as it is ‘normalising’ of Down sufferers, in that we understand ‘them’ (as us) to have sexual desires and, perchance, needs. ‘I have a right to desire,’ the films seems to say; ‘but I also have a right to objectify women’ is the problematic point of view also put forward.

Finally, as the film was introduced, the speaker comented on the power of Dueñas’ performance as Laura. Surely Dueñas is excellent in this role. However, no mention was made of the Down actors. It seemed almost as if their performances were not registered as performances because they are, after all, full ‘tards already: the implication is that theirs are not performances.

And so while Daniel is self-consciously a performer within the film, Pineda, Naharro and Parejo, among others, receive no credit for their equally excellent performances.

When earlier I wondered that we perhaps need a film about ‘normal’ Down sufferers, unlike Daniel who has had a long and thorough education, a question is raised. Am I asking for a film made by a Down sufferer? Am I asking for a documentary about the condition? It is easy to imagine at times that Yo, también is a documentary/that this is not a performance. This is one of the chief tricks that the film pulls off in order to hide the elements within it that are retrograde (the singling out a single, ‘special’ hero whose specialness lies in being more like ‘us’ than ‘we’ thought others of his ‘kind’ to be – i.e. his specialiness lies in being not very special, in the sense of unique or different to us, at all – even if this marks him out as different to other Down sufferers; furthermore, the latent sexism in the film is also covered over in this way).

To give the Down actors their due as actors would be to make more prominent the at-times problematic (to me) politics of the film. This is not a fault with the film itself, which does credit the actors. But I wonder that the introduction which singled out Dueñas and not the Down performers reveals something odd – a hypocrisy of sorts, in that the film calls for Down’s people to be considered equals, and yet already they are removed from the system of judgment that is involved in rating a performance as good or bad. Furthermore, to do this (to assume that these are somehow not performances) means that we do not judge, say, Daniel’s sexism as precisely that, sexism, because we are instead induced into thinking ‘aw, Daniel/Pineda is being himself, we cannot judge him, the poor tot, because of his disability.’

Au contraire. Nobody’s perfect, as we know from Some Like It Hot (Billy Wilder, USA, 1959). But we live in a world where criticism and critiques are made and, painful though criticism often is for those receiving it, these are always ways for us to conceptualise and then perhaps to act upon ways of being ‘better’ people, perhaps even happier people. Treating Down’s sufferers with kid gloves will only perpetuate preconceptions of/prejudices against disability. Daniel’s a smart guy – he can come to understand that he should not treat women the way that he does. So let’s tell him what perhaps he already knows/learns in the film: don’t look down on others if you can help it. Then they will not perhaps look down on you (no pun intended).