There are a great many things that don't bother me in entertainment; the romanticizing of real tragedy, however, is something that has recently made me cringe. Let me note that I am still trying to understand my own thoughts and feelings on the subject, and as such, may not be so eloquent in articulating what it is exactly that bothers me - but let's start with Immanuel Kant's theory of aesthetics, just for a little background. I won't bore you with Literary Theory, and I am by no means an expert on the subject, but the jist is that beauty is not a property of an object, person, piece of art, etc. - it is, instead, something recognized in between experiencing said object and the way one's imagination or senses react to it. Therefore, to judge or identify beauty is not a logical act, but an aesthetic act, despite our belief that we can universally attribute the property of "beauty" to something or someone. He referred to such an overpowering of the senses as the sublime. Furthermore, Kant found that the aesthetics of war are directly related to the morality of war. In simple terms, war itself cannot achieve the sublime; only when war is just can it be so.
I am not writing to agree or disagree with Kant. I simply want to point out the myriad of movies, video games, and all manner of digital entertainment that focus on the war experience. Yes, most of these games are based on the (somewhat subjective?) "moral" idea of a "just" cause (i.e., diffusing terrorist bombs in C.O.D.), but how is it as a culture in the 21st Century that we find the ideas of war and terrorism so entertaining? Just food for thought. And, more alarmingly, how is it that people are okay with capitalizing on real tragedy? How is it that we're okay with saying hey, let's create a film about one of the most heartbreaking days in our history - and then we'll dishonor the victims by charging people money to come see the Hollywood version of their experience - and then we'll subject the story to criticism and see how it holds up against all of the other winter blockbusters. Really? How do you even begin to judge a film like this? "Well... I don't know if the acting really held up... could've been more touching... the plot was a little too unbalanced..." Ugh.
I didn't know anyone who perished on 9/11. Maybe I'd feel differently if I had, who knows. Maybe I'd appreciate the story being personalized and put into film. But there's just something in me right now that really doesn't like the idea at all. I'm not trying to put Tragedy on the stand, either - I find catharsis and appreciation in tragic drama. But this 9/11 thing gets to me because the wound is still tender, and I just don't think the big screen will suffice in expressing or communicating the loss. It may touch us, or make us feel - but if Hollywood commits the inevitable injustice of adding to the actual events, what are we mourning?
I can handle fabricated tragedy; I think we value violence as entertainment because the human mind will always want to know what could be - what horrifying things we may encounter or suffer through. We want to stand on the edge and put our toes in, because one day it'll be our turn, and we'll never know how until that very moment. It's like trying to turn away from a bad train wreck. (I have my limits, of course. You won't catch me watching The Girl with the Dragon Tattoo any time soon. I'm not paying money to watch the graphic reproduction of rape, dismemberment, and the like.)
Speaking of tragedy, if you're not watching SouthLAnd, you're seriously missing out. (Sorry, I seriously think everyone should watch this show, and have to plug here.) SouthLAnd has, on numerous occasions, made me cry so hard my body shook. It's a cop drama, and it's the most real, most intense, most amazing show ever created. I hate to use the term "gritty," since it's so cliche, but that's exactly what it is. I absolutely DETEST most of modern television, cop dramas in particular. I can predict the entire episode within the first five minutes. The dialogue is painfully misplaced and corny. The characters are completely unrealistic. Obviously I'm not a cop and will never quite understand what it's like to be one, but this seems to be just about as true-to-life as it gets. For starters, there's no soundtrack. How HORRENDOUS to include a soundtrack in a cop drama; does a key change really foreshadow the upcoming gang-bang in real life? SouthLAnd is just beyond words. It accomplishes something no other show or film ever has for me, and you'll never understand until you watch it yourself. Here's a clip of Det. Bryant finding out that a young gang member he's reached out to has committed his first murder:
And the best episode yet, when the two main characters - detectives who've built somewhat of a relationship with the community - find themselves on a routine drive home. They calmly respond to a bottle being thrown, and Det. Morretta, who knows most of the neighborhood, is murdered just after Det. Bryant signals to the chopper that they everything's under control and they don't need any help (Code 4):
I'm thankful Ann Biederman knows that there's not a happy ending to every conflict, all wrapped up nicely with a euphonic string of heart-warming chords. Sometimes life is shitty, and your best friend dies, and you have to try to pick up the pieces - and there's nothing else, no greeting card line or hidden meaning, that can be gleaned.
Okay, I know I've rambled. Point is, I'm not sure I'm cool with a 9/11 movie. I understand and appreciate other movies that keep the memories of our history alive, but I'm just not sure that I'm ready for this one to be a film. That may be contradictory... but that's just how I feel.
