Название: Are you talking to me?: A Life Through the Movies
Автор: John Walsh
Издательство: HarperCollins
Жанр: Биографии и Мемуары
isbn: 9780007441198
isbn:
Could it be true? I went downstairs, switched on the light in the living-room and stared. Yes, it bloody well could. For years, I had unconsciously been furnishing my home to look like a simulacrum of the room in 2001: A Space Odyssey where an astronaut had fetched up thirty-odd years before, the room in which he was re-born into something infinitely grander than a mere Earthling. For years, it appeared, I had been patiently, unconsciously, nagging away at an image of transcendence in my head, one that had steered my taste in something as banal as furniture, and all to create a scene – actually in 2001 – where, at the end of your long journey, you don’t die after all.
It was such a shock that I began to wonder what other movies had sowed a corresponding seed, or how they had altered the course of my life when young. And gradually I began to isolate the films that had had a specifically moral, physical or psychological effect on me or had made me behave in peculiarly uncharacteristic ways.
Only a fool would admit that he or she has become a better person through their exposure to the cinema. It’s never been the natural home of great moralists. Sentimental film buffs still go to see D.W. Griffiths’s Birth of a Nation and emerge stunned by its casual racism, its black baddies and Ku Klux Klan heroes. But the cinema screen works an insidious magic on the emergent consciousness, and leaves us charged with feeling in ways that we only dimly understand. Unlike books or plays or TV programmes, the movies make you do weird stuff. And it’s this egregiously personal response to the key movies in your life that I try to explore in the ensuing chapters. I’ve included nothing I saw after I was twenty-one because it’s before that age that films imprint themselves on you most deeply; after twenty-one, your life is too hijacked by work, drink, sex, family demands and all the compromises you make with the Real World to be awestruck to the same degree by the plush curtains and the massive screen.
Perhaps my youth was mis-spent in darkened cinemas, when I might have been better employed reading Hegel or Gibbon or Proust, climbing Snowdon or Helvellyn with the Venture Scouts, travelling in the Sudan or the South China Seas, helping the sick with Mother Teresa. But the movies changed my life in the Sixties and early Seventies, and this is a celebration of that heady metamorphosis. And I cordially invite the reader to raid his or her own filmic image-bank and consider what flickering presences, what seductive scenes and passionate epiphanies, made them into the people they’ve become.
* J.G. Ballard, speculating about Hollywood’s influence on American attitudes to war, came up with a startling theory about movie-worship. ‘Any dream that so endures,’ he wrote, ‘must draw its strength from the deepest survival instincts. The potent spectacle of bright light playing against a high wall taps into something hardwired in our brains – memories, perhaps, of the first dawn.’
* Which goes, in its entirety: Yeah. Huh? (Pulls out gun.) Huh? Huh? Faster ’n you. Go fuck yourself. (Puts gun back in holster.) I saw you comin’, you fuck, shitheel. I’m standing here. You make the move. You make the move. It’s your move. (Pulls out gun again.) Huh. Try it, you … (Puts the gun away.) You talkin’ to me? You talkin’ to me? You talkin’ to me? Well who the hell else are you talkin’ …? You talkin’ to me? Well, I’m the only one here …
1 THE CAT IN THE CRIMSON SOCK Mutiny on the Bounty (1962)
It was a fabulous wedding. At least they all told me it was. I hadn’t a clue. I’d never been to a wedding before.
The lady coming towards us was an apparition in rolling breakers of white shiny stuff, surmounted in her upper reaches by wavy clouds of white net that hid her face like tumbling cumuli obscuring a pale, autumnal moon. Everybody in the crammed pews had turned to look, as she drifted down the aisle on the arm of a teary-eyed old geezer with a moustache – what was he, her granddad? – processing slowly down the whole length of the church. I gazed at her too, this ghostly bride, but I was shocked by the sight of the whole congregation brazenly turning their backs on the altar and the tabernacle and the priest who stood beside me.
It seemed, to my prim, eight-year-old eyes, jolly rude to behave that way. You didn’t turn round and look behind you in church. Even if a platoon of Protestant militia were (as seemed likely, in those doctrinaire days) suddenly to burst in, blasting assault rifles in the air, you always faced the altar when the priest was on it, doing his priestly business. It was a rule of Catholic church-going, like not fidgeting during a sermon, not remaining seated when you were supposed to kneel, or not playing with your wodge of Potty Putty during the dead quarter-hour when everyone joined the queue for Communion.
I’d been an altar server for a year or two, and I knew the rules. I was a strict little Papist gauleiter, a stickler for correct form. Any junior acolyte who rang the gold three-dome shamrock of bells in the wrong place during the Mass would get a vicious ticking-off from me or from Thimont, my friend and co-adjutant in the altar-server army, just as he had once abused my stupidity when I’d been a bungling starter on the altar steps.
Now he and I stood on either side of the priest in his white-and-gold chasuble, waiting in our off-white vestments for the dame in the pristine cloud to arrive before us. As she drew level, she was joined by a sweating chap from the front pew who had got up to stand beside her, nervously pulling his fingers as if trying to make his knuckles crack, along with an identically-dressed other chap by his side, the pair of them quaking slightly.
The priest asked the bride and groom some simple questions at dictation speed and they repeated everything he said like parrots. I wasn’t impressed. They seemed so nervous. Would the priest speak harshly to the lady if she got a word out of place? Would he say, ‘No, that’s wrong, you stupid boy,’ to the man, as the Religious Education teacher at school ticked you off if you got a bit of the catechism wrong? Would they both wind up in detention?
It was a pivotal year, 1962. The Kennedy assassination, the Profumo scandal and Beatlemania were just months off. The old world of the Fifties, had I realised it, was about to change for ever. But at home in Balham, south London, life was still shrouded in Fifties gloom. It was a monochrome time. The smell of beef sausages lingered in the hallway where I drove my Dinky Toy Bentleys at reckless speed down the banisters, and constructed Airfix models of Fokker triplanes and Sherman tanks, and supervised pitched battles of tiny plastic soldiers – British Tommies and German desert rats – with their feet disablingly clamped onto tiny skateboards.
My mother read The Lady, a shiny magazine of unimpeachably correct, upper-class rectitude, which featured small-ads for nannies and cook-housekeepers in its latter pages. I was devoted to a comic called Valiant, full of the exploits of adventurous misfits in jungles, war zones and minor-league football clubs. My father came home from the surgery in Latchmere Road for his supper at 8 p.m., drank gin-and-orange cocktails that smelt of clinics and tut-tutted over pretentious arty documentaries (like Ken Russell’s film of Elgar) on a TV show called Monitor.
Sunday family outings in our Renault Dauphine took us to wasp-infested picnics in Cannizaro Gardens in Wimbledon, the suburb where my sister and I went to school during the week. We went to church twice on Saturdays, morning and evening, as well as the be-there-or-die mandatory Catholic attendance on Sunday mornings. It was a grey, craven, mind-your-manners time, with no hint of the rebellion to СКАЧАТЬ