The Philosophy of the Coen Brothers. Mark T. Conard

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СКАЧАТЬ as basically funny, there is a sort of underlying truth to all of it. America does have a fascination or love affair with the image of the outlaw, so choosing to be an outlaw is not really that crazy. And it is hard starting a family in this modern world, even if, or especially if, you are an outlaw by trade. And starter homes sometimes are little mobile homes in the desert. And sometimes, in spite of your best efforts, nature does not cooperate; infertility is a fact of life.

      When Hi says, for example, “I tried to stand up and fly straight, but it wasn't easy with that sumbitch Reagan in the White House…. I dunno, they say he is a decent man, so…maybe his advisers are confused,” it is such a mishmash of deep political wisdom, weird, folksy compassion, and just raw, self-serving excuse that it is hard to find one's way with it. It is funny and true and crazy all at the same time. It also has a vaguely socialist ring to it, and of course Pete Seeger, the creator of the “Goofing Off Suite” we are hearing in the background, was a famous socialist and defender of the people, which further suggests some deeper political message behind the craziness. This, one might say, quoting the American poet Robert Frost, is “play for mortal stakes.”²

      The Optative Mood and America

      We, in America, are weaned on the milk of aspiration. This is what I understand Emerson to mean when he describes our spiritual history as being in the “optative mood.” “Optative,” from the Latin optio, meaning “free choice,” is Emerson's slightly archaic word for the American sense of being free to determine one's own life, to be whomever one wants to be. The great advantage of this spiritual history is the energy and the inventiveness it calls forth in American people. The downside of this ethos is how demanding and difficult it is on a person. There is very high expectation that everyone will be an “individual” and that a person will have high aspirations, but not much direction is given to us about what aspirations to have or how to achieve them, except that one should aspire to work hard. So much is expected of us to be something original and so little is given to us about how to do that that the problem of who we are to be can drive us a little crazy. We do not inherit an identity so much as find ourselves tasked with (to use a Coen expression from Fargo [1996]) creating an identity. That is an easier task for some than for others, and certainly there are some deep deceptions in the American mythos of self-creation, deceptions about the irrelevance of the conditions of one's birth, the role of social class, or money, or race. So, on the one hand, we have more freedom than most in history to make of ourselves what we will. On the other hand, that puts a considerable burden on each of us as individuals to come up with a unique self to be.

      Part of the American mythos, part of the sense of what is especially unique about America, is captured in the idea of “American exceptionalism.” This idea is usually traced back to Tocqueville's Democracy in America (originally published in two volumes in French in 1835 and 1840), but it can be found even earlier in a famous sermon given by John Winthrop in 1630, in which he describes a future for America in which “wee will be seen as a citty upon a hill.”³ This expression of American exceptionalism, of a future America as “a city upon a hill,” is aspirational in at least two ways. It is aspirational in the sense that it is describing not only a hoped-for state of the country that can be achieved if we are true to certain principles but also what we should aspire to for our future country; it expresses a dream of what America could be. It is also aspirational in the sense that this hoped-for state, once achieved, will itself represent an aspirational goal to the rest of the world.

      The idea that there is something special about America, something not just unique but also superior, the idea of America as an idea of some kind of better possibility, seems to pervade our thinking about ourselves, as well as the thinking of others about us, and it is, as most things are, both a blessing and a curse. The blessing is the way the idea of America's exceptionalism empowers us to pursue our own dreams of what we want to be. It is part of the American ideal that we are not necessarily limited by birth or class or race. On the other hand, the expectations of individual achievement are very high, and often we fail to measure up. It is not an incidental detail, I think, that the first image we see of Hi is of him thrown against a height measure, which, under the circumstances, indicates a certain failure to measure up to the high expectations of society.

      Comedy

      Raising Arizona is a comedy.⁴ I take it to be a comedy in at least two senses. First, it is a comedy because it is very funny. The second way that I see Raising Arizona as a comedy is in the classic sense of a comedy (which derives from Aristotle's definition of a comedy) as a narrative that begins in a bad place but, in its narrative unfolding, ends in a good place.⁵ This is why Dante's narrative of a descent into hell and subsequent journey through purgatory and paradise is called The Divine Comedy.⁶ It is not so much that it is a humorous work, although there are some very funny passages in it, but that it follows the classic trajectory of a comedy as described by Aristotle.

      This claim, that Raising Arizona is a comedy in this classic sense, depends on an interpretation of the ending of the movie as being an affirmation of a better future for Hi and Ed. The ending of the movie seems to be ambiguous. Hi is having another one of his dreams (although all of his previous dreams in the movie have turned out to be connected with reality), and he is dreaming of a better and more fruitful future, but their actual situation seems to be worse: they are babyless, and Ed has pronounced, in her definitive way, their (Hi and Ed's) complete unsuitableness to each other and her determination to leave him. Whether they stay together or not remains undetermined by the narrative of the movie. To affirm the movie as having the form of a classic comedy means finding in this very ambiguity some kind of affirmation that transcends the early hopefulness and excitement of their original courtship and marriage.

      I interpret the title of the movie, Raising Arizona, to indicate the most fundamental theme of the movie, namely, the aspirational theme of self-improvement that is so central to the American identity. The basic trope is the idea of height, so I take Hi's name to be a kind of spatial metaphor of his aspirations. What constitutes growth, what constitutes the necessary change in condition, from a worse to a better condition (so that the movie can fulfill the form of a comedy), will be a change in one's aspirations. At the beginning of the movie, I take Hi's aspirations to be relatively uncomplicated. What he wanted to be was also what he was, an outlaw. The outlaw is a kind of American aspiration, an American ideal. The outlaw is just an extreme form of the American ideal of the frontiersman, the adventurer, the one who braves the wilderness and does so because of the excess of wildness still in him or her. The classic American movie genre of the western is filled with figures that straddle the line between law and lawlessness, so that the good westerner is just barely across the line on the side of the law and the only one wild enough to go after the bad westerner, the one who has slipped to the far side of the law and into a lawless wildness. The connection with the American movie genre of the western is made explicit with some allusions to westerns in Raising Arizona, as, for example, the location of the film in the Southwest, the long-coat dusters worn by Gale (John Goodman) and Evelle (William Forsythe) when they rob the bank, and the showdown between Hi and Leonard Smalls (Randall “Tex” Cobb).

      The problem of creating an identity for oneself can be framed in terms of the relationship between universals (or generals) and particulars. That is, to be something is to participate in some form of a universal: one is a lawyer or a teacher or a fifth grader or an American. But to participate too much in a universal, to identify oneself too deeply with a general idea, is to lack any particular identity at all.⁷ On the other hand, to be too idiosyncratically particular is, in a way, also to lack an identity; it is to have no continuous identity at all. We construct our identities, therefore, out of a combination of some kind of general or universal idea inflected by our own particular characteristics. In part, our particularity is constituted by just the particular array of general ideas that we participate in, so one way to develop one's identity is in choosing which combination of general ideas in which to participate. So, one is a midwesterner or a teacher, someone who drives a Ford or likes baseball, and so on—our identity being, more or less, just the complete list СКАЧАТЬ