America Since “Pleasantville” Fifties: Cultural Rebirth Aborted, Changing of Guard Denied, Elders on Life Support, and Abomination Fills the Land

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Culture War, Class War Chapter Seven: Cultural Rebirth, Aborted

It’s a (Not So) Wonderful Life…for the World War Two Generation Compared to Their Boomer Children

War Compelled the Dashing of Dreams for WWII Gen Youth – It’s a Not-So Wonderful Life

Sixties Youth Ideals of Freedom – So at Odds with Their Parents Lives of Heavy Responsibilities

The paramount theme in “Pleasantville”—which is that thinking for oneself and following one’s own unique path and being open to the change that comes with that brings “color,” truth, and aliveness to one’s life—is truly a Sixties Generation idea. Again, it is not that it has never been thought of before. All great ideas have been thought before, but that does not mean they have been implemented on a sociocultural, macrocosmic level. Many ideas have remained in the realm of the solitary pursuits of philosophers and mystics and been exemplified only in individual lives. But the Sixties was such a time of turmoil because the values of individual freedom, personal passion, feeling and experience, questioning authority, and thinking for oneself were shared by so many Baby-Boomers and were so contrary to the values of the generation in power.

It’s a (Not So) Wonderful Life

An excellent example of how opposed the Sixties values are to those of the WWII Generation is found in that beloved movie of all time, “It’s a Wonderful Life,” starring Jimmy Stewart. In that film, the main character is prevented by circumstances from following his dreams. One event after another keeps him from leaving his home town. His story might be called “The Truman Show” in reverse for he comes to accept the loss of his dreams. He is rewarded for giving up his yearning for adventure with the warmth of a loving family and friends.

Nonetheless, he has been reduced to someone who simply follows a script or role and when it appears that he might fail in that role he considers killing himself.

Reassures a Generation

The movie is beloved and timeless, no doubt, because it reassures an entire generation and all those who have had to give up their dreams for whatever reason that their sacrifices were for a higher good and that it is a wonderful life after all.

Will never know what might have been.

It provides a rationalization against the painful feelings of knowing that one will never know “what might have been” by pointing out the truth that one’s life affects others and has meaning regardless of whether or not one has been fortunate enough to actualize one’s deepest desires, talents, aspirations, and dreams.

War Compels Dashing of Dreams

As mentioned, “It’s a Wonderful Life” calls out to and epitomizes the experiences and attitudes of the World War Two Generation in particular. They were called upon to fight a war, after all, which no doubt would derail many a young man’s (and woman’s) dreams. As in “It’s a Wonderful Life,” the circumstances that arise to prevent their following through on their dreams are imposed from the outside–the state of being at war and being called upon by a draft to enlist or else be enlisted. For the women, as well as the men who stayed behind, the war’s influence on their lives and the carrying out of idealistic schemes and dreams are only a little less pronounced. For, as in “It’s a Wonderful Life,” the war created a society heaving with needs and pain, which only the truly heartless (who wouldn’t have any dreams anyway) could not help but feel compelled to respond to.

Growing up too fast

In one way or another, the situation in the Forties, with the war effort and afterwards, created a generation who, except for the rare individual or one of unusual circumstances, was called upon to step up into mature responsible tasks long before the idealism of their youth would have preferred that they do so. And their generation is scarred for having missed this opportunity. They are individuals deserving of our sympathy; yet crippled they are nonetheless.

We Are the Centaurs (My Friends)… The WWII Generation’s Sacrifice Made the Idealism of Their Children Possible

The WWII Generation’s Sacrifice Made Sixties Visioning Possible

Mashing Butterflies and Drowning Kittens

This is not to say, however, that the generations before the WWII Generation were allowed their dreams and that the WWII Generation is unique in being crippled in its development. For we know that earlier child-rearing modes required the submission of children and youth to parental wishes (again, see “The History of Childhood As The History of Child Abuse” by Lloyd deMause). Therefore, dreaming or envisioning an adventurous life was not the norm. For much of the history of the world and in most cultures, indeed, even the selection of one’s spouse was decided by the parents. So much has our history–in both Eastern and Western cultures–been marked by the assassination of youthful dreaming, idealism, and choice that Shakespeare’s Romeo and Juliet can be said to be a revolutionary work in even depicting that this assassination of dreams is a tragedy!

Roaring Into Life

Still, the WWII Generation can be said to have been especially affected by this slaying of self, for they did, after all experience the heady freedom of the “Roaring Twenties” and the dreaming that preceded the Great Depression. In the Twenties, victorious in World War I and with it now put behind, America was coming into its youthfulness and was heady with its achievements. Unbelievable accomplishments and inventions in all areas of life were speeding up sociocultural change causing some to believe that a new era was around the corner, just within reach, an era unlike anything the world had ever known. This was the atmosphere in the Twenties when the WWII Generation were in their childhood or adolescence. It couldn’t help making a very strong, because of its being early, imprint on their expectations.

Suddenly Depressed

However, these dreams would be dashed in the Great Depression, during which time they would be adolescents and young adults, and they would be harnessed into struggling like their parents had to earlier and were now again struggling.

Getting a New Deal…Light at the End of a Tunnel

Still, as time wore on the dreams of a new world would be reignited with the idealistic union movement and the Franklin Roosevelt changes in the social contract that rescripted the relation between the society and the individual, creating a symbiotic one which enhanced them both as champions of each other. Folks would magnify the power of the person when united with others. They would dream of a fairer world in which the rich did not dominate with their wealth because the poor could balance the scales with their strength in numbers, adding to their individual power by joining in unions and by combining their votes in elections. They could begin to envision the light at the end of the tunnel of the Great Depression in which they might realize the freedom and adventure they’d glimpsed around them as children in the Twenties.

War. Shot Down Again.

So it is understandable that they would not wish to enter World War II when it began. And Pearl Harbor Day, when their fate was inevitably forged, when it became clear that for the second time the light of individual freedom would be extinguished, would become an important marker in their lifetimes–a day almost as much to be memorialized as their birthdays.

We Are the Centaurs (My Friends)

Sitting on the Shoulders of One’s Ancestors

For this we can pity the World War Two Generation. As in John Updike’s The Centaur, the World War Two Generation is depicted as a generation that was required to give up its dreams and do its “duty,” above all. It was required to carry out a script given to them by their society, not allowing them to follow their natural youthful ideals. And as in Updike’s novel, they are beaten down in a life that is regimented and has no “color,” spark, life, idealism, or dreams. They have become the robot-like residents of “Pleasantville.” But Updike points out in his novel that their sacrifice, despite the personal tragedy of it on the individual scale, is both necessary and noble in that it makes possible the realization of dreams by the generation that they gave birth to.

Prince in Exile and Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s “Pleasantville”

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The Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s “Pleasantville”

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The Sixties Generation Arrived

It is significant that the protagonist of change in the movie “Pleasantville” would be a young male, Bud (David). This is in keeping with legends of old where a young prince comes bearing the new knowledge. But in postmodern style, wonderfully so, he is drawn only reluctantly into this role and we see that it is women who are the real instigators, the least threatened by change. At first, David/Bud opposes his sister and argues for the status quo, maintaining that his sister, who is actually the first one to “break the rules” and thereby to bring color to the town, must abide by the script.

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The Prince in Exile

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The Prince is Schooled in Tradition

sitaThe “young prince” knows the rules well. This fits with legend, where the new ways are brought by a prince who is not ignorant of tradition; in fact the prince is the one who has excelled in training in traditional ways. (See also, Common Themes from Myth and Mythology in Modern Fiction, Prince in Exile.)

In the movie, David is in fact a Pleasantville trivia whiz. He knows exactly the way things are supposed to unravel, the way events are supposed to go.

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The Prince Is Reluctant to Break with Tradition

So when his sister first introduces color by introducing sex, he admonishes her. And when he also is tempted to a change in the “script,” he refuses at first. This is when Bud is offered homemade cookies by the young woman who would be his romantic partner. He refuses because he knows that, according to script, it is another young man who is supposed to get the cookies and end up with that particular girl. Despite his attraction for the young woman, his strong sense of maintaining the status quo, not rocking the boat, causes him to try to refuse the cookies. It takes a great deal of forcefulness on the young woman’s part to get him, reluctantly, to accept the cookies that he actually does want. So, again, it is a young, significantly “colorized,” woman who tempts him into a change in the script.

The Prince Brings Change, Without Realizing It, Just Being Himself

It is not that the young man does not have the makeup for accepting change. In fact, even before his sister blatantly brings about change, and therefore color, by rebelliously introducing sex, he has already sown the seeds of change, although unconsciously, when he suggests to his boss, Mr. Johnson, that he think for himself, instead of following a rigid script. This he does unconsciously and out of selfish motives in that he by nature is different from the character he is supposed to portray and so he does not play his role exactly as it is “supposed” to be played. Specifically, because he is not really the robot character he has replaced, he ends up being late for his job–which heretofore was a totally unheard of event.

The Hundredth Monkey

It is also significant that it is the young that are the first ones in the town to become “colored.” As in the hundredth monkey phenomenon, it is first the young, especially females, who are open to new experiences, ways, and ideas. Then it is adult females–in this movie exemplified by Betty Parker, the mother of Bud and Mary Sue—who are next to consider alternatives and new ways. Adult males are the last to turn to color, but among them it is the sensitive of heart, exemplified by the artist/soda-jerk character, Mr. Johnson, who “turn on” initially.

Good Old Boys, the Last to Learn

Last to become colorized—i.e., to be open to change and thinking for oneself—are the “authorities” of the town, in this instance, those on the Chamber of Commerce. And among these the most recalcitrant of all is their leader, Big Bob, played by J.T. Walsh, in his final film role before his passing away. Though Big Bob displays a pleasing and affable persona on the surface (for this read “good old boy”), there is an insidious Hitleresque quality to him which provides the suspense at the climax of the movie where he presides over the fate of the artist, Mr. Johnson, and the “young prince,” David/Bud.

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Abortion of Cultural Rebirth Always Begins With a Conservative Backlash by The “Religious Wrong”

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A Conservative Backlash by The “Religious Wrong”‘ Attempts to Abort the Generational Changing of the Guard in America’s “Pleasantville”

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“You Can’t Legislate Morals”

With the support of the Chamber of Commerce, we know Big Bob has the power to do whatever he will with the two on trial. slide_194730_434143_smallAnd since the events preceding the trial has included mob actions which have included a book burning, the attack and destruction of the malt shop, and the cornering, physical intimidation, and physical attack of “coloreds” by gangs—images common to modern times which has seen these sorts of events in actuality occurring in the civil rights and anti–Vietnam-War movements, and currently in democracy and freedom uprisings in the Middle East, America, and throughout the world in the Occupy movement—the fate of the prisoners is imagined to include the ultimate penalty of death.

“Conservative Backlash”

Indeed, this ominous possibility is promoted by the actions of the soda-jerk Artist who, at the trial, pitifully pleads for a compromise. This is pitiful since we know that his art is his life, that it is the one thing that has truly enriched his life and made it worth living.

Sitting at the Lunch Counter

We know of its importance in that, even after the attack on his malt shop, he defied the “rules” laid down by the town’s authorities which outlawed art and color by working with the Prince through the night to produce a colorful mural on the outside wall of his shop depicting the current events of the town and the feelings swirling about inside its residents.

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This defiant act by the artist is reminiscent of antiwar demonstrators, who got fired upon at Kent State, of civil rights demonstrators, who police attacked with dogs, and of Tiananmen Square demonstrators, who were rolled over by tanks, shot, and killed, and most recently of all the courageous men and women of the Middle East risking their lives for freedom and of the Occupy heroes throughout the world putting their bodies in front of the most dire, widespread fascism ever to exist.

Since this character, recently so courageously defiant, is intimidated into pleading for a compromise in which he would be willing to use only certain colors or where he would submit for approval by the Chamber’s leader his ideas for painting beforehand—a compromise which his body language and facial expressions show, wonderfully acted by Jeff Daniels, is one near up against the very death of his soul—we know he fears for the loss of his physical life.

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“Just Sign This Confession.”

The compromise is too much like the compromises we have witnessed being offered and come to expect being offered to some of the Tiananmen Square and other political prisoners of recent times wherein they are required to do something along the lines of admitting their guilt, apologizing to the State for the trouble they have caused it, and promising to never again to engage in such activities…and only in the most benevolent of circumstance being allowed to continue anything like their former activities but if so only under the supervision and with the approval of authorities with veto power over their proposed actions.

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The Religious Wrong

So Big Bob and the Chamber of Commerce represent in the current social framework the Religious Right (sometimes referred to as the “religious wrong” and sometimes about which it is noted that the Religious Right is neither). Big Bob’s Chamber of Commerce represents Republicans, Tea Partiers, and those in general in our society who have succumbed to the rewards and threats of the World War Two Generation to live a regimented robot-like unfeeling passionless life; to become one of J. D. Salinger’s “phonies,” to abide by their misconstrued idea of “family values,” and above all to “behave” and not do anything to rock the boat of the status quo which might threaten the privileges of those currently enjoying power and wealth handed down, mostly, by heredity.

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Civil Rights Movement

It is highly significant that in the courtroom scene the “colored” would be sitting in the balcony, above the black-and-white men. One might say this represents their status as being an elevated state, something to aspire to, and yet not on the level where matters are decided. But even more so, this scene is important in that it is a near exact replication of the courtroom scene in “To Kill a Mockingbird,” wherein the balcony of the courtroom is filled with Blacks, another kind of “colored.” This makes it clear that when the movie is dealing with the conflict between the adult males of the town and the “colored” it is referring to the Civil Rights movement.

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Revenge of the Octogenarians and the American Tienanmen Square – Culture War

Abortion of Cultural Rebirth, Aborted Changing of the Guard – The King Refuses to Die

The American Tienanmen Square—Culture War

The events in China’s Tiananmen Square more than twenty years ago so affected and still affects some of us here in America because we know at some level that we have experienced it before. What happened in China two decades ago is so much like what happened here four decades ago, somewhat less graphically, around the Vietnam War demonstrations. Let me explain.

Standing Before Tanks, Flowers in Barrels

For one thing, the images of the demonstrations in China, e.g., the lone man standing in front of the tank, were so like those of Sixties demonstrations, e.g., Sixties youth blocking the paths of soldiers and placing flowers in their gun barrels.

Revenge of the Octogenarians