Call It Therapy

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For many years, about all I ever pursued, research-wise, was ancient Near Eastern studies.  It’s still the reason people visit my Academia.edu page.   From the stats it’s clear that not many people are interested in the horror aspect of my work.  Still, I know what motivates me (most of the time).  I recently read a piece that features a brief interview with Peter Counter, discussing the therapeutic value of horror.  Since my interest in the genre has been rekindled (starting, not coincidentally, around 2005), I think I’ve known all along that horror is therapeutic.  The people I know who watch horror aren’t the kind many people picture—creepy troglodytes who don’t come out of their houses where the shades are always drawn.  No, they are normal folks, at least for academics.  They find the genre profound, for the most part.

The interview with Counter (in the Nova Scotia Advocate) makes clear that Counter uses horror therapeutically.  The first reason that he gives is that it’s honest.  I agree.  You see, I grew up with more than my fair share of phobias.  I could go into the reasons here, but I don’t know you well enough to trust you with them just yet.  In any case, I worried a lot about things that could go wrong, often involving everyday circumstances.  I didn’t think watching monster movies was a coping technique—I didn’t even know what a coping technique was.  I just knew that somehow those kinds of movies made me feel better.  I began reading gothic novels in my teens, even as I was becoming very religious.  I never saw a conflict between the two.

Now, as an adult, I feel that I have to explain this “unusual” interest to people who know me.  Now I can more clearly see the therapeutic value in such movies.  I can even see elements of it in movies that are classified otherwise.  I recently watched Groundhog Day (back around, well, Groundhog Day).  It had been many years since I’d viewed it, and the elements of horror in the film struck me.  Being trapped in the endless return, Phil Connors contemplates, and indeed commits suicide many different ways only to reawaken in the same scenario the next morning.  The look on Bill Murray’s face when he snaps the pencil before getting a couple hours sleep when he begins to realize what is happening says it all.  A similar realization same came clear on a recent rewatching of Willy Wonka and the Chocolate Factory.  Watch it with an open mind.  The interview with Counter makes the point that a pandemic like this is an opportunity.  Isolated, we can watch horror and we can learn to cope.

Sweet Morality

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CharlieandtheChocolateFactory When I saw Willy Wonka and the Chocolate Factory as a child, I had never heard of Roald Dahl. Although I enjoyed the movie, it was never a favorite. Like any kid I liked candy, but I’ve seldom been motivated by sweets. I discovered Roald Dahl when my daughter was young, and read for the first time his somewhat more disturbing original version of the story. Tim Burton has a reputation for going back to the roots of beloved childhood characters and revealing their darker sides. When his Charlie and the Chocolate Factory came out in 2005, the appeal went beyond sweets, for this was a modern, if sinister, morality play. While rewatching the movie recently a number of what should’ve been obvious religious motifs suggested themselves. The first came when Charlie Bucket is shown in the main chocolate processing room reaching for a candy apple. Violet Beauregarde steps in and snatches the apple from the tree in a defiantly Evesque move. She later receives her punishment by being transformed into a fruit.

Augustus Gloop receives a strange, chocolatey baptism is what might otherwise be the waters of life. After all, the Oompa-Loompas are shown bowing down in worship to a cocoa bean in a flashback. When Veruca Salt attempts to catch one of Willy Wonka’s nut-sorting squirrels, in a rather disturbing scene reminiscent of Ben, the squirrels pin her down and carry her to the garbage chute. She is carried in classic cruciform style, emphasizing the martyrdom she receives at the hands of her indulgent father. Even Mike Teavee undergoes a kind of resurrection after being atomized and projected into a television.

A friend once told me that the characters in the film represent various deadly sins. Augustus Gloop easily falls into gluttony, and Violet Beauregarde is an emblem of pride. Veruca Salt clearly represents greed, and Mike Teavee is full of wrath. Willy Wonka is part devil and part god in the film, doling out just punishment in a seemingly unfeeling way, while rewarding the few instances of virtue. Deprivation forges virtue in Charlie Bucket demonstrating how clearly the movie is in the realm of a morality play. With its horror film tropes and forays into the truly strange, Charlie and the Chocolate Factory is an example of how morality persists even in the vision of those often considered completely secular. Without it the movie becomes just another excuse to overindulge in sweets.