Haunted Life

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It’s funny what a difference that a few years can make.  I can’t seem to recall from where I sourced my movies in the noughties.  Streaming was extremely tenuous in our Somerville apartment—the plan didn’t include the required speed for it.  Like in the old days when it took twenty minutes to upload a photograph through dial-up.  In any case, I know I’ve watched The Haunting before.  I know it was in Somerville, but having watched it again I have to wonder if my mind is playing tricks on me.  I read Shirley Jackson’s The Haunting of Hill House there, and I saw the movie.  But how?  It’s all about mind games, but the mind games are played on a woman who has an abusive family, one that damages her psychologically.  Escape is important to her, even if it is to a haunted house.

I think the last time I watched this I was looking for something that might scare me.  That phase was one of thinking not much frightened me—but this movie is scary.  Even with its “G” rating, its lack of blood and gore, and black-and-white filming.  It scares.  One thing I’ve noticed when reading about these older movies after I watch them is that many improve with time.  Shirley Jackson was known during her life but you become a classic writer only AD—after death.  The Haunting has aged well.  I suspect it has something to do with Robert Wise, the director.  What must the psychology of a man be who directed The Sound of Music, The Day the Earth Stood Still, and The Haunting?  The latter is all about psychology.

Movies that make you think are those, I believe, that may become classics.  And perhaps there’s a bit of Eleanor inside all of us.  Wanting to be noticed but eschewing publicity.  Needing someone to love us, but pushing away those who try.  Children in bad environments learn unorthodox, and often unhealthy, coping techniques.  Eleanor has difficulty accepting that John is married when she thinks she’s finally found a place that accepts her for who she is.  Even if it’s a haunted house.  Especially if it’s a haunted house.  As a child I’d no doubt have found the movie boring.  There is, however, much for adults to absorb.  And, I expect, I’ll need to go back and read the novel again.  One of the reasons for watching horror is that the viewer is seeking something.  It’s not just thrills.  I didn’t write about the movie the last time I saw it so I don’t recollect when it was.  Or even how.  My thoughts now, however, are that I should’ve paid closer attention the first time.

Star Tracks

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Star_Trek_The_Motion_Picture_posterLong ago in a galaxy far away—1979 in rural western Pennsylvania, to be precise—the local inhabitants were surprised to learn that James T. Kirk was now an admiral. Two years earlier Star Wars had thrilled us with special effects first mastered in 2001: A Space Odyssey but a more accessible plot. Robert Wise, who had not only given the world The Sound of Music, but also The Day the Earth Stood Still, took the helm for the new Star Trek: The Motion Picture. Star Trek geeks, of which crowd I do not count myself, hadn’t really taken their cliched role in the emerging high tech society, and CGI was still a few years off. Nevertheless, rumors in school had it that the movie featured a bald woman and had boldly gone where no man had gone before. The original crew was all there. So on a Friday night I dutifully made my way to the Drake Theater to watch and left saying, “is that all?” Star Wars was action-packed and fun, filled with archetypes and wise-cracking robots. Star Trek had Voyager 6, like E.T., trying to phone home. In a word, the movie was forgettable.

On a tour of the original Star Trek world, I finally sat down to watch The Motion Picture, with its grandly archaic-sounding name, last night. I shuddered to think I’d last seen it 35 years ago—that makes me as old as the crew was starting to look—but this time I was able to see things I hadn’t before. Spoiler alert! Voyager 6 is looking for God. The original Voyager 1 reached the end of our solar system a couple years back, but in 1979 there was no reason to suppose that we wouldn’t try again and again to reach out to parts unknown. We were rapidly become materialistic, and the universe could be a known quantity. Three centuries in the future, Voyager 6 is headed home, having been rebuilt into an unstoppable living machine. When the creator—humanity—doesn’t pick up the phone V’ger poises to wipe out the carbon-based infestation until it learns how to physically, biologically merge with a human being (cue the bald lady and otherwise superfluous Captain Decker). Lots of colorful lights and we can all go home.

Even now I can’t muster the courage to say the movie is profound, but it does touch on an issue that has only grown over time—we have voluntarily left our deities behind. In our rush to reduce the world to the least common denominator, we have pulled the plug on the cosmic phone. The Voyager program ran out of steam as the Cold War was heating up down here on earth and we were being told we were all just a bunch of atoms fooling around anyway. The machines, in the meantime, had come to believe. I probably won’t survive another 35 years to watch Star Trek: The Motion Picture again, but I do hope that in that time we may become more aware of our humanity. And I do hope that if someone divine does happen to call, that we’ll at least pick up the phone.

Running to Stand Still

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“You have faith, Professor Barnhardt?” Klaatu asks the scientist in the classic The Day the Earth Stood Still. Barnhardt demurs, stating that curiosity is what makes good science, not faith. But sometimes I wonder if the professor or if the alien is correct. Science fiction was young in 1951, and Robert Wise would go on to give us such diverse fare as West Side Story, The Haunting, The Sound of Music, and the first Star Trek movie. Still, The Day the Earth Stood Still has always been my favorite movie that he directed. In 1951 quite a bit could be assumed about America’s religious sensibilities. Yes, diversity had been part of the mix from the very beginning, but the view of America as a “Christian nation,” although not in any way official, was not seriously challenged in those days. This shows through clearly in the movie. Although the opening sequence is intended to be a Klaatu eye-view of descending to earth in his space ship, it is reminiscent of the stock “creation” imagery that would become so familiar to those of us who watched Bible movies. It is a God’s eye-view as well.

Christ-like, Klaatu descends to earth to bring a message of peace, but also an apocalyptic threat, from the powers beyond. He is capable of miracles, such as the eponymous day the earth stood still—the ultimate in non-violent protest because hospitals and airplanes still have power and nobody is harmed. In his human incarnation Klaatu not so subtly takes the name Carpenter, making the corollary clear. In case you missed that, however, he is killed, resurrected and in the end ascends to heaven. Klaatu becomes the prototype of the messianic alien, a figure we would see in guises from ET to Starman. Believers in ancient astronauts or not, the makers of our space movies know that God is an alien.

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The Day the Earth Stood Still came early on in the Cold War. The obviousness of distrust in the Soviet Union is placed in the mouths and knowing glances of various characters. Some even suspect that Klaatu is a Russian rather than a spaceman. Sputnik was still six years in the future, but the atomic bomb was already in the past. We had learned to destroy ourselves before we had learned how to escape the only planet we have. Klaatu delivers his final homily not to politicians, but to scientists of all races (and, unspoken, creeds). Seated on folding chairs in the outdoors, as if at a revival meeting, they listen as Klaatu tells them the decision of how to live is up to us, but Gort, a kind of avenging angel, is always overhead. The invocation that can save humanity, however, is given to the female lead Helen Benson. She alone knows the sacred words “Klaatu barada nikto.” Amen.