Reviewers and interpreters of the
films Walkabout, by Nicolas Roeg, and
Swept Away, by Lina Wertmüller, tend
to paint the over-arching messages of the films as acutely monochromatic, when
often there is much evidence that through the motifs of juxtaposition in the
two pictures, the directors not only contrast “civilization” with “savagery”
and capitalism with communism, but also compare the adverse concepts in such a
manner that the viewer is forced to critically contemplate the value of each. These
interpretations, though perfectly valid, often neglect the inherent reciprocity
of “juxtaposition,” that the correlation of different ideas highlights both
differences and similarities.
In her analysis of Walkabout, “Eyes Wide Shut,” Alexa
Grabowski skillfully elaborates one such comparison in the beginning shots of
the film:
People’s faces
were not shown for the majority of the opening scene; they were cut off at
waist level. The children even appeared to be panting like dogs while in class
leading me to believe that Roeg wanted us to see them as a herd of animals
rather than individuals. At that point I understood that there was going to be
a hint of societal mockery throughout the film. (2)
This is an engaging
interpretation, and later in her essay, Ms. Grabowski explains that to
interpret this “societal mockery” as purely subversive detracts from the film’s
message as a whole (4). Rather than focusing only on the contrasts between
civilization and savagery, the film considers the parallels between modernity
and its ancestors in tribal systems and unfortunately suggests no solution to
the problems which Roeg presents.
In a similar manner, Xavier Eang
Lee in his analysis, “The Colored Man’s Burden,” interprets a poignant scene in
the film which juxtaposes the Aborigine boy’s gutting of a kangaroo with cuts
to a professional butcher in his shop:
The switching
between visuals shows the connection between the two ways of butchering. Ab’s
way is messy and out in the open, while the Western butcher is chopping in a
clean, white environment. Although these
two methods are different they are still essentially the same thing. Roeg uses the constant changing between
frames to show that what may seem savage or taboo from one point of view may
not be so from another. (4)
This scene does not demonize
Western society, but uses the assaulted sensibilities of the viewer, offended
by the brutality of the butchery, to remind him/her that the most significant
difference between the two worlds, civilized and savage, is that Western
society demonizes the personality of the uncivilized; the concept of civility
pretends that the connection between actor and action has been severed, that
interaction which remains impersonal is of higher status. Notice that, much
like the children in Ms. Grabowski’s scene, the face of the butcher is not in
the field of view, his identity is separate from his deeds.
This insulation of doer from done
is most clearly present in the young boy, who runs about playing war in the
beginning of the movie, yet does not understand the implications of his own
father taking shots at him. Society has severed the connection between the deed
and the morality and brutality of its author, no one is personally invested in
their action and this allows them to do as they please without intervention on
the part of the conscience. It is this intentional severance which Roeg is
highlighting in this film and he gives no real suggestions for solving the problem.
Unlike the previous analyses, the
following interpretations attempt to place the film Swept Away in neat little boxes of “misogynistic” or “pseudo-feminist,”
with little consideration of how the themes are used in the movie, particularly
whether or not the sexism in the film—Gennarino states outright, “Women were
meant to serve men” (Wertmüller 59 min.)—is presented in a negative or positive
light. Though it is certainly arguable whether or not rape in film (and, in
this case, it most certainly is rape) can even be comedic at all, Wertmüller’s
film can be interpreted satirically, and the question simply becomes whether or
not the mockery was successful and clear (the very fact that it must be debated
is evidence that the parody has failed). How this satirical interpretation
affects the intent of the film remains mostly unexplored.
Roger Ebert, in his review of the
film, argues that the film sends two specific messages:
(1) That once the corrupt facade of capitalism is
stripped away, it's the worker, with the sweat of his back, who deserves to
reap the benefit of his own labor, and (2) that woman is an essentially
masochistic and submissive creature who likes nothing better than being swept
off her feet by a strong and lustful male. (par.
5)
While this is one possible
interpretation, it assumes that Gennarino is meant to be viewed as the film’s
protagonist, that he is in the “right” at all times. It seems a more nuanced
approach is necessary. Perhaps Wertmüller intends to highlight the similarities
between the two systems, capitalist and communist, as she points out that even
when the communist is in power, he abuses his power as much as Raffaella does
when she has the greatest influence. This is certainly not to say that her
verbal abuse is somehow equal in magnitude to rape, as this is not the case,
but if the director is satirizing Gennarino’s actions, then it is incredibly
ironic that the communist, who ostensibly fights for a classless society, sets
up a diminutive sexist hierarchy as soon as the reigns are his to snap.
James Berardinelli, in his
opposing view of Swept Away, argues
that those who criticize the film’s sexism are neglecting two pieces of
evidence:
First,
Raffaella actually starts the abuse with her constant berating of and lording
over Gennarino on the yacht. Secondly, this "romance" is not taking
place in anything resembling a civilized situation - by virtue of their
circumstances, the characters have been thrown back into a setting that mimics
prehistoric times, when survival (of the individual and of the species)
dictated coupling. Gennarino's physical dominance of Raffaella is, in a strange
way, the manner in which he proves to her that he is strong enough to be her
mate. (par. 4)
About the most valuable fragments
of analysis in this review are the scare-quotes around “romance,” as the film
is hardly romantic and not very comedic. The critic’s first point, which has
already been touched upon, argues that Raffaella somehow brought the sexual
abuse upon herself through her verbal attacks on Gennarino—when he ignores her
whining, she shouts, “Your refusal to answer me only shows what a peasant you
were!”(Wertmüller 55 min.)—and this argument essentially justifies rape to
avenge insult. Berardinelli’s second point romanticizes a primitive state of
being and he falls into the trap of demonizing civility and glamorizing
“prehistoric times.” The characters’ natural setting is not an excuse to
defenestrate morality, but an opportunity to analyze society (which is has both
advantages and disadvantages) in an objective manner; injustices can be
redressed and a better amalgamated system implemented. To throw completely off
the mantle of civilization is to lose its benefits along with its issues, and
this principle can also be applied to capitalism, which, though quite
imperfect, has some admirable qualities. This is perhaps the message of Wertmüller’s
film, that critical analysis and alteration of the status quo is a better path
than starting again from tabula rasa.
Not to mention that to justify rape by the location
in which it was committed, which Berardinelli attempts to do, is morally myopic.
These reviews prove that to focus
only on either the comparisons or the contrasts between two concepts limits
interpretation, and, ironically, falls into the same trap as the characters in Swept Away, who can only see each
other’s differences, physical and political, and not their similarities as
fellow human beings. Neither Walkabout
nor Swept Away attempt to subvert
civilization as it is today, but to force their audiences to think critically
on societal issues with an objective morality, without romanticism or hatred of
different concepts in their entirety, and by union of the most beneficial
aspects of each system to create an objectively better world.
Works Cited
Berardinelli, James. Rev. of Swept Away, dir. Lina Wertmüller. ReelViews. Web.
Eang Lee, Xavier. “The Colored Man’s Burden.” 2016. Print.
Ebert, Roger. “Swept Away by an Unusual Destiny in the Blue Sea of
August.” RogerEbert.com.
20 February 1976. Web.
Swept Away. Dir. Lina
Wertmüller. Perf. Giancarlo Giannini, Mariangela Melato. 1974. Web.
Walkabout. Dir. Nicolas
Roeg. Perf. Jenny Agutter, Luc Roeg, and David Gulpilil. 1971. Film.
YouTube. 10 Jan. 2016. Web. 16 Feb. 2016.
Such a deep words, truly thoughtful and imaginative.
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