Saturday & Sundry Thoughts on Allegory as Side-effect

Allegory: we humans seem wired into it, a side-effect of human nature, encouraged and developed by early exposure to myths, parables, fables...and religion.

Allegory, as a concept, has been around since at least the days, and philosophers, of ancient Greece. I suspect that it was around but undocumented long before that. Its use and appreciation in matters religious, moral, political and general is accepted as another of our innate human characteristics.

Billy Collins' poem, The Death of Allegory, proposed that allegory is really a thing of the past. First verses are below, the rest at an archived post HERE.

The Death of Allegory
By Billy Collins

I am wondering what became of all those tall abstractions
that used to pose, robed and statuesque, in paintings
and parade about on the pages of the Renaissance
displaying their capital letters like license plates.

Truth cantering on a powerful horse,
Chastity, eyes downcast, fluttering with veils.
Each one was marble come to life, a thought in a coat,
Courtesy bowing with one hand always extended,

Villainy sharpening an instrument behind a wall,
Reason with her crown and Constancy alert behind a helm.
They are all retired now, consigned to a Florida for tropes.
Justice is there standing by an open refrigerator.........

It's a clever poem, nicely done, but in truth allegory is with us still, in literature, in art, in theatre, and in film.

A blog post is no place to be delving into every instance of recognised allegory. Blog readers, few as they may be in these Facebook-ridden days, are prone to ADD, as am I! That being so, I'm interesting myself here in just a couple of instances of allegory in movies, which had flown right over my head; perhaps I've not been alone in this.

A hat-tip to a piece at Taste of Cinema for this enlightenment. From the 14 examples of movies quoted - of those I'd actually seen - I found that the allegory in these two had zoomed right over my now silvery top-knot -

High Noon (Fred Zinnemann, 1952)
The Plot: On the day of both his marriage to a pacifist Quaker (Grace Kelly) and supposed retirement, a town marshal (Gary Cooper) is given less than two hours to decide what to do about a gang of killers headed for his town – a conflict that, playing out more or less in real time, is complicated by his realization that none of his neighbors seem willing to help.

What It’s REALLY About: McCarthyism

Wait, What? To understand this one, one must take into account when the film was made. Shot in 1951 during the Korean War, the film’s plot is heavily influenced by events concerning the House Un-American Activities Committee (HUAC). Carl Foreman, the screenwriter, was called before HUAC as he was in the process of writing the script and refused to name names, causing him to be labeled an “uncooperative witness.” He was blacklisted shortly thereafter.

Watching the film with this background knowledge, it’s impossible to disregard the parallels between the town’s inaction in the face of incoming danger and the refusal of many in Hollywood to stand up for their persecuted peers. The film isn’t quite as blatant with this idea as other works about McCarthyism were at the time, such as the plays The Crucible (1953) and Inherit the Wind (1955), so it’s understandable how the message of this thoughtful Western could go over the heads of modern viewers unaware of the circumstances under which the film was made.

And

RoboCop (Paul Verhoeven, 1987)
The Plot: In a futuristic Detroit, Officer Alex Murphy (Peter Weller) is brutally gunned down by a gang of criminals, only to be brought back to life as a crime-fighting cyborg (justifying the film’s tagline: “Part man. Part machine. All cop. The future of law enforcement.”).

What It’s REALLY About: Jesus Christ (once again)

Wait, What? Director Paul Verhoeven has made no secret of his aim to portray the title character as a Christ figure. After all, Murphy suffers a cruel and painful death at the hands of laughing sadists, only to be resurrected and become a savior figure. The biggest visual clue comes at the end, when RoboCop walks through shallow water, appearing to almost walk on top of it. Of course, turning the other cheek isn’t exactly RoboCop’s style. As the Dutch director has stated, he’s “the American Jesus.”

As it happens, I've just this week ordered a used DVD of the Robo-Cop re-make starring, in place of Peter Weller, a new favourite of mine, Joel Kinnaman, whose performance in the TV series The Killing impressed me so much that we're watching the whole Netflixed series for a second time! I shall be watching the Robo-Cop re-make with yet another layer of added interest now!

A final thought, fitting for the 21st century, from Flannery O'Connor,
Mystery and Manners: Occasional Prose :

“In any case, you can't have effective allegory in times when people are swept this way and that by momentary convictions, because everyone will read it differently. You can't indicate moral values when morality changes with what is being done, because there is no accepted basis of judgment. And you cannot show the operation of grace when grace is cut off from nature or when the very possibility of grace is denied, because no one will have the least idea of what you are about.”

Perhaps Billy Collins was right!

Netflixing & Beyond ~ The Killing & Joel Kinnaman

The Killing, a four season TV series adapted from a Danish series, began in 2011 in the USA, on AMC channel, with a 4th season produced by Netflix. This series has been our staple diet for the past couple of weeks, becoming more addictive by the episode. I'd been wary of watching yet another police detective series, we'd overdosed on 'em already this year. I'm very glad now that we did venture in to it, and were hooked. Plaudits have to go to writers as well as actors, naturally - but without talented actors even the best scripts will sink without trace in audience memory.

There are just one or two familiar faces involved, in secondary or minor roles, the two leading actors, Mireille Enos (Detective Sarah Linden) and Joel Kinnaman (Detective Steven Holder), were completely unknown to us. After a slow start, the pair have impressed us more and more with each episode. In fact, I'm convinced Joel Kinnaman in particular will, before long, become a superstar- Initially on the big screen, but I hope he'll return to TV in another series.

After The Killing, Kinnaman played the leading role in a re-make of Robocop, and has another big screen role coming up later this month, as Liam Neeson's son in Run All Night. We watched the Robocop re-make last week. Kinnaman was good in the role, but it doesn't offer the same kind of scope as The Killing. To be honest, Kinnaman is much too good for the Robocop part, but it has made his name familiar to millions more people.

Rather than rattling on about themes of The Killing, and spoiling someone else's enjoyment of it in the future, I'm going to say simply that its one of the best, top of my list in fact, among shows in the same police detective genre. We've watched, via Netflix, this year Broadchurch, The Fall, Top of the Lake, and Luther, I found The Killing more constantly engaging than any of those. Husband thought it well-acted, well-scripted, but a tad depressing. Ah well...he's a big Blazing Saddles-type fan, so he would, wouldn't he?

I'll concentrate here on Joel Kinneman. As episodes progressed I became intrigued by the character he plays, and plays so well: quirky, flawed, street-wise police detective, Steven Holder. He plays well against his less quirky but equally flawed female detective partner, Sarah Linden. There's that kind of love/hate chemistry and loyalty between them that audiences brought up on shows such as Moonlighting and Law and Order SVU (me) revel in. We'd watched seasons 1 to 3 before I looked for the actor's history in detail, plus his date of birth. He's Swedish born, with dual citizenship Sweden/USA - mother Swedish, descended from Ukrainian Jewish immigrants to Sweden; his father American born.

In a video interview (see below) Kinnaman mentions that he spent a year in high school in Texas as an exchange student. He says that the accent, general style and demeanor he adopted as Steven Holder is largely based on the voices and attitudes of his friends there. He said that the school was quite segregated - redneck types and black & hispanic minorities. He found friendship more easily with the latter two groups, enjoyed their attitudes and quips, drew on his memories of these when playing Holder. It works so well!

The video interview is a must watch for fans of The Killing and for fans of Joel Kinnaman.




There's also a shorter video interview with Jon Stewart - this one about the Robocop role.
See HERE.

Kinnaman comes over as being quite non-starry, down to earth, even a little shy at times, a world away from Steven Holder.

Why was I finding Joel Kinnaman's acting so engaging? I even dreamed about him (as Steven Holder) one night! Cut to the chase: I'd noticed his date of birth was 25 November 1979. In deciding to prepare this post I used my software to calculate a 12 noon natal chart for him - bingo! Moon in Aquarius (whatever time of day/night he was born). My Aqua-astro-anntenna was at it again! On looks and build alone, I'd have guessed on some strong Gemini emphasis - but unless he has Gemini rising I'd be wrong. I'll not post his natal chart - that would seem overly intrusive. I'll say just that he has Uranus conjunct Mercury in Scorpio, Sun, with Neptune conjunct Venus in Sagittarius, Moon in mid-Aquarius (at noon) and three personal planets in Virgo.

I'll be watching Joel Kinnaman's ascent with interest. He has, already, entered what I call my ABBO (always be a bit of) Hall of Fame, along with Bryan Cranston (there's always be a bit of Walter White in Bryan Cranston); Damien Lewis (there'll always be a bit of Brody and Major Winters in Damien Lewis). In Joel Kinnaman, there'll always be a bit of Steven Holder!