- 70th Anniversary: On the Day of Love, Remember Dresden February 13-15, 1945
- A Failed Petition for Writ of Certiorari: the Most Important Project of the Year
- About Charles Edward Lincoln, III: For Family, Home, and Freedom (Make it Real)
- Joan of Arc’s 600th birthday in France—Vive Marine Le Pen and the Front National!
- Jon Roland & Shelley Sue Thomson in 2006-2007—Revisiting the Most Unkindest Cut of All….. Treachery not only by Friends, but by Friends for whom one has done so much indisputable good….
- JUST NUKE NEW ORLEANS NOW! (Don’t dissipate history and culture gradually, Please get rid of it ALL AT ONCE, ONCE AND FOR ALL, why waste time?)
- Lies, Damned Lies, and Reviewing the History of some things that did and some things that never happened in 1997 or any time since….
- Race-Based Standing: the most outrageously perverse violation of Civil Rights laws in America (the Warren Court was a Fraud)
- Reconstructed Ethnohistory of the Southwest (In Memory of Cynthia Irwin-Williams & her field School at Salmon Ruins, San Juan County, New Mexico, ENMU)
- The History of Lago Vista 1997-8, and of the US District Court for the Western District of Texas
- TMI: Inflationary Facebook & Wikipedia lead to Depreciation of Knowledge & Information
- What healing or reconciliation can be found in Historical Lies and Present Self-Deception? Since the Bishop has not Responded, I write again, this time to Orissa Arend
- WHERE WEALTH (AND CHEAP ELECTRONIC KNOWLEDGE) ACCUMULATE AND MEN DECAY—from the Enclosure Acts to Einstein and the I-Phone….
- BUY A BANNED BOOK: “NOBODY DIED AT SANDY HOOK!”
- FLIERS ATTACKING MONUMENTS ON THE STREETCARS—Four Years Ago, Two Years Before the Purges Began—you cannot tell me that this is an accident…it was a PLAN!
- The Life and Legacy of Willis Allison Carto: POPULISM’S FOUNDING FATHER BETRAYED: PART 1
- (no title)
- Four Years ago September 13, 2014-September 11, 2018 working Tom Sunic and the American Freedom Party…
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Tag Archives: 1939
Oscar Night Semantics, Semiotics, and Black and White Semaphores: Oscar Integrity is indeed GONE WITH THE WIND….
I don’t know whether you watched the Academy Awards last night but it made me ill to see that “12 Years a Slave” won best picture and that “Dallas Buyer’s Club” was second runner up after “Gravity“…. All the world is indeed a stage, but WHO ARE THE PRODUCERS?
Who exactly arranged for “12 Years a Slave” to (a) be produced and (b) win an Oscar exactly the same year that the Episcopal Church is deepening its commitment to “Racial Reconciliation”? As much as I loved Cate Blanchette’s acceptance speech, I do not think there was anything “random” about the Oscar for Best Picture or Best Supporting Actress for “12 Years a Slave” although “subjective” is much too kind an adjective for “fixed.”
Does it have anything to do with Michelle Obama appearing magically at the end of the program last year to announce Best Picture?
Was it not eerie that Ellen DeGeneres, of all people, said right at the beginning of the ceremony:
“Possibility number one, ‘12 Years a Slave‘ wins Best Picture. Possibility number two, you’re all racists,” said Oscar host Ellen DeGeneres, returning after seven years, as she ended her opening monologue. Well the Academy’s 6000 voters went with possibility number one.
In any other context, this would be recognized and denounced immediately as a “fix”—but not in modern America, apparently.
And the people at the Oscar Party I was attending CHEERED that comment (which I’m sure was just a surprisingly frank disclosure of Academy “insider” politics). But nobody cheered Matthew McConaughey when he thanked GOD for the blessings he had received in his life. And yet his speech was the sole mention of GOD all night…..
The Academy and the Anglican Church are pillars of the Establishment—representing, respectively, the New and the Old varieties of American Power. During Barack Obama’s fifth year in office, why is it so important to be beating the dead horse of Old South Chattel Slavery? Is it, could it be because the current political establishment needs to cover for the fact that they are planning a deeper, more permanent, and more everlasting slavery for all of us?
The worst aspect of the Oscars, in a way, for me was the “Oscar Party” I attended—which I attend every year—at the Prytania Theatre in Uptown (Audubon Park area) New Orleans. This audience of Uptown New Orleans Sheeple cheered every time “12 Years as a Slave” was mentioned— I personally find the cause of the success of the movie 100% political and less then 10% cinematic. It is not exactly a BAD movie…. but the only good things about it are….emotional effect without basis in truth.
Oh, and finally, there was a 75 year anniversary tribute to The Wizard of Oz, and even a passing mention of the Special Oscar given to Judy Garland. But no one at the Academy (at least no one on the Televised Program) last night made absolutely ANY MENTION of Gone with the Wind, Mr. Smith Goes to Washington (very early but classic Jimmy Stewart), Stagecoach (very early but classic John Wayne), Wuthering Heights (Laurence Olivier, David Niven, Merle Oberon), Of Mice and Men (Burgess Meredith and Lon Chaney), and Adventures of Huckleberry Finn (with Mickey Rooney), ALL of which films (among many others in any basic Film History “must see” library) came out the same incredible cinematic year.
1939 could be described as the Zenith of “Early Hollywood’s” Glory, and the year in which it achieved its greatest triumphant status as the shaper of American mythology and representation of life and history, both distant and recent. The movie repertoire produced that year was largely a White Anglo-Saxon Protestant, and entirely a Pro-White, pro-European, pro-Christian, value laden year and positive year. (Note what small if any role religion plays in 12 Years a Slave compared, for instance, to GWTW, even though, realistically, Christian religion was at the heart of both Abolition and the Black Slave-Emancipation experience—though indeed Christian education was a major part of slave life, as recent studies of the Louisiana Episcopal Diocese and the life of Bishop Leonidas Polk have revealed). But there were very few signs of cynicism or morally enigmatic gray areas in these movies. Even the dark shadows of early Cine Noir were two full years away from their full manifestation in Orson Wells’ Citizen Kane and The Maltese Falcon (with Humphrey Bogart) which both debuted in 1941.
And, even more stunningly, perhaps, in the “Obituaries” department, only the most passing and ephemeral memorial was made on March 2, 2014, of America’s darling Shirley Temple Black. In that same incredible 1939 Shirley had starred in (for her) a rather grown up, syrupy and melodramatic (but very quietly antiwar) movie, The Little Princess, about a little girl in Victorian England who searches army hospitals for her father, rumored to have died in the Second Boer War (1899-1902), which just happened to be one of the blackest and cruelest marks on Great Britain’s Imperial (and, only somewhat coincidentally, Sir Winston Churchill’s personal) escutcheon barely 40 years before the beginning of World War II. The Little Princess was a 1939 critical and commercial success with Temple’s acting at its peak.
But of course, “commercial success” is all relative. In addition to critical acclaim, in spite of the very tough competition in 1939, and despite its incredible length at 238 minutes, Gone with the Wind was and remains the most commercially successful movie OF ALL TIME. GWTW won more Oscars than any movie in recent memory, including:
“Academy Award for Best Picture, Academy Award for Best Actress, Academy Award for Best Actress in a Supporting Role,Academy Award for Best Director, Academy Award for Best Writing Adapted Screenplay, Academy Award for Best Cinematography,Academy Honorary Award, Academy Award for Best Film Editing, Academy Award for Best Production Design, New York Film Critics Circle Award for Best Actress, People’s Choice Award for Favorite All-Time Motion Picture, Satellite Award for Best Overall DVD, Academy Award for Best Screenplay”
And even Wicked Wikipedia still acknowledges:
All Titanic phenomena aside, David O. Selznick’s adaptation of Margaret Mitchell’s sweeping Civil War romance is still king of the movie world.
So this, you see, is the way they alter and eradicate our memory—and the memory of our world the culture which raised us all… They remember the Wizard of Oz because it is non-threatening (at least as interpreted by most people, but 12 Years a Slave is a cultural, historical, and moral lie utterly incompatible with the realpolitik of Gone with the Wind.
There is a great need for change, and reform, and a NEW WIND to be blowing—right through the Academy’s Hometown….
Confessions of a Lifelong-Heroine Addict….(oh well, since I was 6 or 8 I guess, probably not so much before that…)…from Dorothy Gale to Katniss Everdeen
The California Secretary of State having quite literally locked the doors to my running for Senate this year (at least in Tulare and Fresno Counties)—and the California Courts not seeming to offer a sufficient or accessible remedy—I now have time to indulge other (if related) obsessions my life, such as my sufferings from a lifetime of heroine addiction….
Like almost every other aspect of my life, I blame my mother Alice and grandmother Helen almost equally….
It was my mother and father who, when I was very small, used to take me down by the Thames in Westminster near the Houses of Parliament and show me the statue of Boadicea (aka “Budica”), the last independent Iceni Queen of East Anglia who rebelled and died trying to evict the Roman Conquerors, in whose memory it was said and sung that “Britons never shall be slaves.” We also took one trip out to Norwich to visit one of the woods where the Iceni supposedly worshipped their own goddess of Victory….called “Budika” in the Ancient British language of the Druids….(my parents were both heavily into historical and comparative linguistics). Budika/Boadicea in A.D. 60-61 apparently burned Roman Londinium to the ground along with several other cities before being defeated and poisoning herself by the long Roman Road called “Watling Street” which we also visited…. She was a heroine and supposedly a great archer….
Of course my parents also tried, as heart as their own agitated and addled lives would permit them, to make me aware of a very different heroine, regarding whom they required me to memorize “the Magnificat” from a very early age….”My soul doth magnify the Lord….Abraham and his seed forever…” And yes, the Virgin Mary was indeed a rebellious heroine… and she has remained a heroine to hundreds of millions of people up to the present time…. Later on, I learned to sing the Magnificat and other pieces of Anglo-Catholic “Maryolatry” as a choirboy in the junior Choir at the Church of the Incarnation in Dallas, under the tutelage of the late, Great Russell J. Brydon (who died just a few months after this post was originally written, in September 2012 at the age of 88:
But it was my grandmother Helen who was something of a heroine in my young eyes herself, and it was Helen who introduced me to the very first literary (as distinct from Historical or Biblical) heroines of whose stories I ever learned in detail: namely Dorothy Gale, Scarlett O’Hara, and the Roman Goddess Diana and her Sacred Temple by Lake Nemi near Ariccia (Diana was also an archer…)
The path of fictional heroines from Dorothy Gale’s grey home in Kansas to Katniss* Everdeen’s equally grey home in District 12 of Panem took 108 years….from the first publication of the Wizard of Oz in 1900 through the appearance of archer Katniss Everdeen Hunger Games in 2008**….is really the history of the idealistic dreams and ultimate failure of the 20th century (idealist dreams in Baum’s time giving way to a more cynical realism by 1939, passing through the somewhat confused “liberation” of the 1960s, sinking into the dark, pessimistic world of Buffy and Angel and finally coming to rest in the despair of District 12 in Panem in 2008—the year Barack Hussein Obama took over from George W. Bush…two different faces for the heartless, soulless, President Snow….)
But the difference in spirit between those two places traces indeed the tragic story of the Decline and Fall of Western Civilization (and of the American Dream) in the 20th Century. Major stopping points along the way (for me at least) include 1939 with the Dorothy Gale’s transformation in the person of Judy Garland and Scarlett O’Hara’s complete redefinition of the concept of “progress” in the late 19th century, Jane Fonda’s comic Cat Ballou and Barbarella in the 1960s, and Buffy the Vampire Slayer in movie and television from 1992-2003.
At each of these intervals, the world is more cynical and darker, and the heroines more complex. Many critics have observed that the “head injury/dream sequence” aspects of the 1939 Movie Wizard of Oz and the metathesis of real individuals to “dreamtime” residents of the Land of Oz (which was COMPLETELY absent from L. Frank Baum’s book) resulted directly from Freudian psychoanalysis and the early popularity of psychology. The general effect is to radically weaken the power of Oz as metaphor or lesson—but the movie was a wonderful hit—a lightly comic Wagnerian gesammtkunstwerk of acting, visual art, and music, so nobody really cared.
A lot of the verbal banter and humor in the movie likewise showed a certain “worldly” sophistication with which I think Frank Baum would only have been somewhat congenial. E.G. the Cowardly Lion’s song “there’s just no use denyin’, I’m just a DANDYlion…” and the Wizard’s closing comment to the Scarecrow:
Back where I come from we have universities, seats of great learning -- where men go to become great thinkers. And when they come out, they think deep thoughts -- and with no more brains than you have .... But! They have one thing you haven't got! A diploma!
As a former denizen of the great academic halls of Cambridge, Massachusetts 02138 and Chicago, Illinois 60637 (from various halls of which august institutions I did, for all the good that it’s done me or the world, get diplomas), and a regular visitor to many other such places, I can tell you that the Wizard here is absolutely right:
And when they come out, they think deep thoughts -- and with no more brains than you have....
But such cynicism simply was not part of the original vision of Oz, and although Baum occasionally did occasionally turn such comments to ridicule life back in North America in later books, he did not at all in his first installment in which he remade European folk mythology and archetypes and reshaped them in a very idealized panorama of a world where death was rare if non-existent and even the most evil of men and creatures did not kill for sport or pleasure.
For all of L. Frank Baum’s futuristic visions, I do not think he could have foreseen the transition from the naïve and hardworking life of Kansas to the nightmarish dreamworld of Suzanne Collins’ grim opera—neither a soap opera nor a very lyric, although even in the written version (which I finally got around to reading), music plays an immensely important part in the methathesis of metaphor and character, from Katniss’ Father to Peeta, from Prim to Rue… as between the unnatural National Anthem of the Conquering Capitol and the free world of nature and the poor of the “outlying districts.”
L. Frank Baum’s Oz books in so many was shaped and defined the culture of early-to-mid 20th Century of a predominantly White Christian America, especially after the release of Judy Garland’s movie….*** The spirit of Dorothy Gale’s Kansas was stiflingly dull and harsh—the American dream had already, at that point, apparently kind of run aground and needed new life— The spirit of Dorothy Gale’s Oz was half atavistic throwback to the Middle Ages, half filled with futuristic wonders (such as Glinda the Good’s Magic Picture, which permitted her what we would now call “live video access” to whatever was going on in Oz or elsewhere earth she was interested.
Dorothy Gale was a simple, pre-teenage girl (Judy Garland was at least ten years older than the original character was portrayed as being in the First Oz Book, but Dorothy Gale remained essentially a-sexual throughout the series, never had a boyfriend or a beau…. perhaps recapitulating some archaic notion of “the Virgin Goddess”, e.g. Diana Nemorensis or the Virgin Mary or the “Virgin Queen”, Mary again or Queen Elizabeth I) whose strength derived from common sense, great courage, love, and determination. Dorothy Gale was a generalist who never specialized in anything or focused on any particular trade, profession, or way of earning a living (all throughout the long series of Oz books, in fact). She was just flexible, imaginative, and practical—kind of a “Renaissance girl” in a very low tech way.
Being a non-specialized generalist seems to be the primary role of all feminine heroes. Of the earliest three I knew (Dorothy Gale, Scarlett O’Hara, and Diana Nemorensis), if Dorothy Gale had the purest and most asexual identity, Scarlett O’Hara surely had the most impure and sexual.
It was perhaps for that reason that I was never really taken with her until I was a teenager, even though with my grandparents I religiously had watched Gone with the Wind at every possible opportunity and my grandmother compared the mythic South with the real South over and over again. Scarlett O’Hara was beautiful, flirtations, and OWNED men in a way that is both fairly realistic and quite cynical. But the book and movie Gone with the Wind were brilliantly timed between the First and Second World Wars to show that the American War Between the States of 1861-1865 was the first really and truly modern war of total destruction.
Throughout history, up until Abraham Lincoln loosed Sherman on Georgia and Grant on Virginia, the goal of Conquest Warfare had been to preserve as much of a conquered land’s wealth as possible—so that it could be stolen and appropriated for the victors. There might have been a lot of talk in Ancient Rome about how “Carthage must be destroyed” and about Salting the Earth once it was vanquished, but Carthage was not only not burnt to the ground and left to rot by the Roman Conquest, it became one of the Great Cities of the Roman Empire, as 20-30 years of Harvard Archaeological excavations in Tunisia have so clearly shown. Gone with the Wind showed something else when Sherman’s “wind blew through Georgia.” The purpose was indeed, as the opening lines of both the movie and the book suggested, to wipe out an entire civilization, a way of life—to replace what Marxists call one “mode of production” with another. NONE of Baum’s villains in Oz were as bad as that, although the movie version of the Wicked Witch of the West was pretty murderous in her general attitude….
One major innovation of Jane Fonda’s heroines Cat Ballou and especially Barbarella in the 1960s was the advent of “free love”, which never appeared even once in any of Baum’s pre-1920 writings, which was only very obliquely alluded to in Gone with the Wind, but which by the 1960s was all anyone really cared about.
Like Dorothy Gale and Scarlett O’Hara before her, Cat Ballou and Barbarella were unspecialized generalists who could adapt to almost any situation. They were strong, intelligent, sexy, deadly in a good cause, and then Jane Fonda went to Hanoi…. In retrospect she may have been right to do it because the Vietnam War was totally wrong, a seriously failed experiment in 1984-type “perpetual war”….but Jane Fonda’s actions did not seem positive at the time.
In this defiance of the outward semblance of world order sense, Jane Fonda’s characters of both Cat Ballou and Barbarella somehow came to life as defiant outlaws….crossing boundaries that no one else would cross, and doing so with both impunity and (what seemed most shocking at the time) complete immunity from real official sanction. Like the righteous killer Catherine Ballou who avenged her father’s death in the Wild West—Jane Fonda first enacted herself as a mythic reality and then, by going to Hanoi, remade herself as a historic metaphor—walking through the image of a treacherous act, unscathed, in essence to show that Vietnam was all a staged event….. a dramatic diversion to keep the masses simultaneously afraid, amused and absorbed….
Fast forward 24 years from Jane Fonda as Barbarella and you arrive the first incarnation of Buffy the Vampire Slayer, a completely modern LA County San Fernando Valley girl with no hints of modesty or virginity about her…. followed by the much more intriguing evolution of Buffy Summers in the TV Series from virginal high school freshman to intensely sexual college freshman, in a world which is increasingly dark and where reality is increasingly concealed….. Buffy’s Sunnydale was a mythic place, a lot like Los Angeles, while her first boyfriend and lover Angel eventually goes to the real Los Angeles and sets up shop as first as a private detective and then director of a large law firm—two professions which, in Los Angeles at least, possibly in the movies generally, have almost acquired the status of modern Jungian archetypes….
The increasingly dark and brooding, sad and depressed Buffy Summers never lost her general adaptability—she could never specialize in any profession or line of work any more than Dorothy Gale or Scarlett O’Hara or Catherine Ballou… but the realization that the dark forces of the world were effectively unbeatable and had pre-existed anything good in the world—these were major transformations of the American Dream from the Early 20th Century. And it was during the 7 televised seasons of Buffy that the 20th Century, which came in with a little girl magically transported by a tornado from dull grey Kansas to a bright and beautiful alternative universe which knew no death, went out during Buffy’s Freshman year at UCLA with a young adult barely out of her teens who was alone in the world, with her small circle of more specialized friends, fighting vampires and the forces of darkness.
And five years after Buffy ended, Katniss Everdeen picked up the bow from her archetypal ancestors the Goddesses Inanna and Diana and Queen Boadicea, and began to hunt for meagre food in the desperately hunger fringes of District 12 (in what was once called Appalachia in what was once called North America).
The gruesomeness of the Hunger Games apparently shocks some people—I would have thought that Americans had long since forgotten how to be shocked about or by anything. Children murdering children for sport isn’t the most pleasant of ideas, to be sure. But in that 17-19 year olds have gone off to fight in every war America has ever seen….along with a few 16 year olds here and there, and since the History Channel periodically shows authentic news clips of 15-16 year old resistance “werewolves” in 1945 Post-World War II Germany being shot by firing squads of American Troops, and countless tens of thousands of teenagers have been silently snuffed in Afghanistan, Iraq, and Vietnam, it is hard to believe that the idea of children fighting and dying is really such a big deal to our ever hypocritically squeamish population.
The Hunger Games resonate with so much in our history and culture—with the original Victor Hugo version of Les Miserables (hopelessly buried and lost in the Broadway Musical of the same name), and in Suzanne Collins’ own account with the myth of Theseus and the Minotaur.
But above all the Hunger Games resonates with the year 2012 in which America has taken so many steps towards being a brutal, repressive dictatorship like Panem, already—with idiot fake and fraudulent “Conservatives” like Lindsey Graham and Newt Gingrich competing with idiot truly fraudulent “Liberals” like Carl Levin, Barbara Boxer, Dianne Feinstein, Nancy Pelosi, and Barack Obama competing with one another to see who can shred the Constitution fastest.
Interesting to me, given that I based my own doctoral dissertation at Harvard in large part on revisiting Frazer’s the Golden Bough and with it Diana’s Temple by Lake Nemi near Ariccia, are the parallels between the Hunger Games and the myths and rituals of Divine Kingship. There is nothing in the story of Theseus and the Minotaur, however, about games or about Tributes being well-fed and allowed every luxury leading up to their deaths. But precisely this treatment is common in the rites of Divine Kingship, where sacrificial victims, like the individual selected for sacrifice during the rites of Toxcatl among the Aztec, are equated with the God Tezcatlipoca (“Smoking Mirror”) during the last year of their lives, given wonderful food and drink, and then sacrificed. Similar paradigms of sacrifice are found throughout the world—
And the sacrifice of children, likewise, is extremely common: to the rain gods in Mesoamerica, relic traces of this existed even among the modern Yucatec Maya who tie small children to the legs of the altar during the cha-chaac or rain ceremony—although the children have to do nothing more that happily chirp like rainy season frogs (but woe to the boy who croaks like a dry season Toad—he will be beaten, not sacrificed, but beaten). The Hebrew Bible itself is filled with child sacrifice (all through the Books of Kings and Chronicles, in particular, are Kings who make their children “walk through the fire”—perhaps most famously the daughter of Jeptha…), and by way of archaeological parallel—the excavations at Carthage have revealed hundreds and thousands of child sacrifices…. Among the Natchez of Mississippi, families sacrificed their children in order to rise in social status from commoners (“Stinkards”) to “Honored” Nobility according to the French records by Dupratz and recounted by John R. Swanton….
And in this sense it is perplexing: sacrifice almost always lead either to elevation in status or to outright deification: why the elite of Panem would not have recognized the risk embodied in Golden Bough-Divine Kingship type of analysis: the sacrificial victim—like the Rex Nemorensis at Ariccia who becomes King by killing the old one in combat, will always become the next king.
At the end of the first book of Suzanne Collins’ trilogy, Katniss Everdeen is poised to become (with Peeta), Queen and King of Panem. This was not only foreseeable, it was in comparative mythological terms inevitable—and yet Suzanne Collins’ trilogy does not allow this drama to evolve that way. In part, this may be because technology and traditions of oppression have obliterated the natural succession of Divine Kingship….
But Sir James G. Frazer’s point in writing the Golden Bough was to show that Divine Kingship involving the deification of sacrificial victims and their elevation as Kings is a nearly world-wide phenomenon. I sit here puzzling at the significance of all the trappings of Divine Kingship and the Golden Bough in the Hunger Games.
Frank Baum had either borrowed or unconsciously recreated so many motifs from ancient mythology—the Four World Quarters with colors Winkie-yellow Quadlin-red Munchkin-blue and Gillikin-purple with Green for the Center of the Emerald City are like nothing so much as the mythological and symbolic organization of (1) Ancient Mesopotamia, “Land of the Four Quarters” centered on Uruk, (2) Celtic Ireland, Ulster, Munster, Connaught, Leinster, and centered on Midhe (Meath) at Tara, and (3) pre-Hispanic Yucatan which, at several Classic sites, is divided into quarters dominated (as recorded on Stelae A & H at Copan) by Tikal, Calakmul, Palenque, and Copan and which even now is divided into four quarters (Yucatán, Campeche, Quintana Roo, and Petén, with Belize claimed by Guatemala and Geographically appearing to be a southern extension of Quintana Roo).
But in Frank Baum’s Oz, kingship is never strong and is always frowned upon, as are all attempts at centralization or standardization of culture, customs, or laws among the four/five regions of Oz. For that reason, I would assume, there are no hints or traces of divine kingship in Oz—it is a Federal egalitarian Democracy of sorts (even though no one ever votes).
But by the time of Buffy, as the 20th century closes, the need for a leader has brought forward the Slayer—“one girl in all the world” who fights the Demons. Now Joss Whedon optimistically ended his series with a devolution of power and prowess from Buffy through the magic of Willow to Millions of “potential” slayers—-but it didn’t quite ring true, in a Television series where even the most outrageous vampiric and magic witchcraft was somehow made to feel “emotionally authentic.”
In the Hunger Games, Dictatorship is the reality and the two victors of the Hunger Games, Katniss & Peeta, are set to become the Divine Kings and possibly the real sovereigns of their land. Perhaps the need for leadership, the need for someone to save the population, is not yet great enough, but in terms of the political and emotional significance of our story-telling, I think that the journey from Dorothy Gale’s Grey Kansas to Katniss Everdeen’s Grey District 12 tells us the story of the loss of hope and impending doom and despair which was the 20th Century.
* Katniss is named after a plant called Sagittaria, and my grandmother was born under the sign of Sagittarius—it could be that Katniss reminds me a great deal of my grandmother Helen—similar complexions and faces…. Actress Jennifer Lawrence certainly fits very precisely the image in Suzanne Collins’ book…. and the younger pictures I’ve seen of my grandmother with long hair as a teenager in the time before the U.S. entered WWI….growing up in a place very much like the defeated districts of Panem in the Southern USA.
** In some New Age texts, 108 years is said to be a Venus Cycle, the more ordinary astrological cycle is one of 104 years. 108 is used, but oddly enough, is four years longer than longest calendrical cycle and planetary identity of the Ancient Goddess of Love, namely Inanna/ Ishtar/Aphrodite/Venus. The calendrical cycles of Venus and the sun are said to “bind” (i.e coincide) every 2920 days, but the ultimate binding of 5 Heliacal Cycles of Venus with 8 Calendar years …. (365 x 8 = 5 x 584 = 2920 x 13 = 37,960 = 2 x 52 years (my current age) = 104 calendar years/105 “tuns” or 360 day periods—the root of the Maya and Aztec Calendars). Like her Roman Counterpart Diana, Aphrodite and Inanna were both archers—it seems to be the feminine weapon of choice, possibly for purely sexual Freudian reasons, possibly for some mixture of Freudian sexual and Jungian archetypal causation.
*** In the 1970s, Broadway Musical and 1978 movie “the Wiz” the just recently departed Diana Ross and the late Michael Jackson did their best to reframe and appropriate the Baum story for African-America in the aftermath of the Civil Rights movement (or Fraudulent Civil Rights Fiasco) of the 1950s-60s…. I have never been comfortable Easing on Down the Road with them in that direction…. although my grandfather was a great supporter of alternative all black productions (now almost extinct) because they upheld and even developed, really and truly, the old segregationist’s doctrine of Separate but Equal (we actually attended the Wiz at the Majestic Theater on Broadway as well as an all black revival of Guys & Dolls in my one major summer with him (ever in my life) in 1976.
The personal tragedy of an individual of marginal importance in history can be quite moving. King George VI was not one of the mover’s and shakers of the 20th century, although he sat on England’s throne during World War II and was the last to wear the Crown of Emperor of India created for his great-grandmother Victoria a bare 67 years before his reign. This movie shows Prince Bertie/King George VI: in perhaps the truest light, not only was he not one of the century’s (or even two decades’) movers and shakers, he manifests himself most sympathetically as one who was profoundly moven and shaken by the events of his time, in spite of his high rank and title.
The Duke of York’s personal tragedy was a speech impediment which so moved the people of the United Kingdom, Canada, Australia, and all the other English-speaking dominions that it is engraved on the minds of anyone who lived in that era (even Americans) if they were at all aware of England’s role in the world war. Colin Firth captures the King’s stuttering as a result of childhood abuse and the film encapsulates it rather well for what it was really symbolic of—the hesitant stuttering of the British Empire as it muddled on through its last decade of existence.
Throughout my youth my conservative parents and grandparents (all Americans born in either Louisiana or Texas, but excessively enthusiastic Anglophiles) drilled into my head that Edward VIII had betrayed his heritage and his empire by marrying the heiress Mrs. Wallis Warfield Simpson from Baltimore. That aspect of the tragedy is covered in this movie which also tacitly concerns how Princess Elizabeth became so popular, and ultimately queen.
For the first time made public (at least to my mind) is that Prince Bertie (George VI) spent years trying to overcome his speech impediment by and through the loyal services of a Harley Street (City of Westminster) Australian-born speech therapist (who actually lacked any formal medical credentials) named Lionel Logue who very sympathetically put up with the King’s (also to me heretofore unknown) arrogant bad temper. Lionel Logue saw George VI as a friend, which (again reflecting the personal tragedy) apparently no one else did see.
It has been one of the most interesting points of hypothetical speculation about 20th century history to wonder what would have happened if King Edward VIII had aggressively “taken charge” in 1936 and insisted on marrying Wallis Warfield Simpson in the face of the Prime Minister’s opposition. Would it perhaps have saved the British Empire if the monarch had been stronger and taken a bold modern step? As one who watched the fairytale marriage of Prince Charles and Princess Diana blossom and then decay into a nasty modern divorce of simply sleazy series of episodes involving reference by HRH Charles of Wales to tampons and Diana ultimately dying in Paris in the company of the son of a slimy Arab purchaser of the quintessentially English Harrod’s Department store probably as a result of reckless driving by a drunken chauffeur—I think England could have benefitted from the much more minor scandal of Prince David (Edward VIII) insisting on marrying whomsoever he pleased, even if she were not royal, was a commoner in fact, from one of the (former) colonies, and twice divorced. Such a revolt against religious strictures relating to marriage has at least as distinguished an English history as Henry VIII (It could have been said that “VIII is the number for royal marriage revolt—Henry VIII to Edward VIII”). (Or alternatively “VIII is the number for revolting royal marriages…”).
But the simple truth is that Edward VIII eschewed his education and birthright, became Duke of Windsor, flirted with Nazis and Naziism, and generally was an embarrassment to England and the Empire, living in self-imposed exile and (all but social) obscurity until his death in Paris in 1972.
The movie is wonderful “history lite” with one of the worst likenesses I’ve ever seen of Winston Churchill playing the Lord of the Admiralty and World War II PM. All the characters are charming and unoffensive, even Wallis Warfield Simpson, and the sidebar references to Hitler and the War are as innocuous as those old newsreels of the Fuhrer speaking to the assembled hundreds of thousands in Nuremberg could possibly be. There is even a cameo appearance of the actual 1937 Coronation itself embedded in the movie. I think my grandmother and grandfather would have poked lots of holes in the historical fabric just because “they were there” and knew about so much of the historical context, and they would complain bitterly about the action of the movie ending on September 3, 1939, at the beginning of World War II rather than showing the harsher wartime reality of the stuttering King’s reign.
But it was good to be back at the old Prytania Theatre near Jefferson in Uptown New Orleans close to Audubon Park and Tulane, and to feel that history lives on in one form or another. The really important point here is to preserve the memory of the last decade of the British Empire in all its stuttering, hesitating reality as embodied by its unwilling, stuttering, hesitating King, who loved his daughters and endearingly describes himself to the little princesses Margaret and Elizabeth as a Penguin who transforms into a gigantic Albatross (go figure?) early on in the movie.