I have blogged previously about the fundamental difference between film as art and film as entertainment. For the most part we, as a culture, have abandoned any attempt to present film as art in an effort to set records at the box office. In a word: art doesn’t sell, entertainment does. The most recent example is the record $532 million that the “ridiculous” action film “The Fate of the Furious” recently made (in the first weekend) — worldwide. The word “ridiculous” is not mine, but that of a critic who could see no redeeming value whatever in the film which was, apparently, one explosion after another. I saw only the trailer, but I think I get the idea and that I have enough of a sense of what the film is all about to make a comment: a thin plot, little dialogue by second-tier actors, a touch of sex, and more than a little mayhem and graphic violence. The special effects people have taken over American movie-making. A cinematic tour de force? Hardly. More like a cinematic comic book.
I have noted before that films that achieve the level of art require an effort on the part of the spectator, an effort of the mind and the emotions. The viewer must become fully engaged in what is happening on the screen and must use his or her imagination to make connections and follow the sometimes complex plot and action. When film is presented as mere entertainment, no effort of required: the film does all the work and the spectator merely needs to sit back and “let it happen.” The imagination withers from lack of exercise.
But the problem goes deeper than merely a lack of imagination and effort required to view most recent films, especially of the “action” variety. It suggests to those of us who care about such things not only a lack of imaginative effort, but also a growing desensitization to the suffering and pain of others. The more we see cars exploding and blood pouring out of open wounds the less it impacts on us. This is not unlike the desensitization of police officers and surgeons who see pain and suffering on a regular basis and are able to “shut it off” somehow. I gather in their case it is a defense mechanism as those who must work in the midst of pain and suffering must obviously figure out a way to cope. Otherwise they would have to find another line of work. This is the idea behind the British comedy “Doc Martin” in which the main character who is a successful vascular surgeon suddenly develops a blood phobia because one day he realizes that his patients are real people and has to leave the operating room for a GP’s life in a small village in Cornwall.
The point of all this is that desensitization is sometimes a good thing, but when it becomes commonplace, even global, it becomes worrisome. If we simply “shut off” the natural human reaction to seeing another person in pain or upon hearing about the suffering of those who are displaced by a war they never wanted in the first place, what does that say about us as human beings? Fellow-feeling, as the Scots told us about in the eighteenth century, is a basic trait of the human species. We see someone suffering and we naturally feel their pain — it’s called “empathy,” and some are more empathetic than others. But we were told at the time that it is a trait we all share to one degree or another and whether we agree with that thesis (and there are those who do not) it attests to the fact that there is a common reaction to the pain of others that ordinarily surfaces and keeps the “average” person from wanting to inflict pain or even to witness it in others. Fellow-feeling may not be universal, but it is certainly not uncommon — though it threatens to become so.
In a word, the possibility that a film has received a huge payout despite the fact (because of the fact) that it is merely violent entertainment that wallows in the pain and suffering of others on the screen, and that this film has become the record-holder for all films for all time, does make us pause. What does this say about us as human beings? Not just in this culture, but around the world where people are lining up to see the latest action film that has no redeeming value whatever.