I think I’ve come up with a compromise that may put an end to the controversy that surrounds the Stone Mountain Confederate Memorial Carving.
For those unfamiliar with the situation, the Memorial Carving, the largest bas-relief sculpture in the world, adorns the broad side of Stone Mountain, a granite-like monadnock located on the outskirts of Atlanta, Georgia. It depicts three heroes of the Confederacy, its president, Jefferson Davis, and two of its most celebrated generals, Robert E. Lee, and Thomas J. “Stonewall” Jackson.
The idea for such a sculpture was hatched by the United Daughters of the Confederacy in 1912 when Stone Mountain was pretty much a private reserve of the Knights of the Ku Klux Klan. It was cross-burning central.
After several attempts to get the project off the ground, the effort was abandoned in 1928. It would have remained little more than a partially completed sculpture of Lee’s head, had it not been for the Georgia General Assembly’s decision in 1960 to revive the endeavor.
I’m not quite sure how much this was an act of segregationist defiance by a yet another southern state reluctant to give up on Jim Crow or how much it was a bizarre tourist industry vision to transform the mountain and the surrounding area into an ante-bellum theme park. The line between out-and-out racism and gross racial insensitivity is a thin one sometimes.
In any event, a dedication ceremony for the Confederate Memorial Carving was held in May of 1970, which makes the monument a relatively recent addition to our cultural heritage, if you can call it that.
Not surprisingly, in the wake of the massacre at the Emanuel AME Church massacre in Charleston last month, there have been calls, most notably by the NAACP, to have the carving removed from the side of the mountain.
Opposition to expunging the sculpture have been widespread, too. Some of it, no doubt, emanates from racist quarters or a misguided pride in the cause of the Confederacy that turns a blind eye to the fact that it was, at its core, a struggle to preserve the “special” institution of slavery.
Some of the opposition, though, has to do with not wanting to endorse a program of historical revision that comes across a lot of like the feeding of the “memory hole” described by George Orwell in his novel 1984. I can grok that.
But when it comes to a compromise for the Confederate Memorial Carving, it is memory itself that may come to the rescue.
It is a little remembered fact that Jefferson Davis decided to “hastily put on one of his wife’s dresses” in order to try to escape capture by Union forces in May of 1865. That he was still dressed this way when he was taken into custody was the source of an abundant amount of public ridicule at the time.
So, I say, instead of jettisoning Jeff from the side of Stone Mountain, dress him up in a nice period bonnet. This could be done with an installation using a frame anchored (non-destructively) in the sculpture itself, decked out with durable, brightly colored fabric.
It would serve as a visible reminder that, while these three men were heroes of the Confederacy, they were not victorious ones.
Essays emerging from my varied interests in science, film, politics and philosophy, among other things.
Thursday, July 23, 2015
A modest proposal for the future of the Stone Mountain Confederate Memorial Carving
Saturday, July 4, 2015
The movie "Self/less" or "Oblivion Can Wait"
As the movie Self/less opens, we meet Damian Hale (Ben Kingsley), a master of the business universe, if there ever was one. Damian takes no time in demonstrating that he is not about to be fooled or out maneuvered. Losing is not an option for him.
But we soon learn that it looks like this never-say-die competitor, may have finally met his match. Death is knocking on Damian’s door, and it isn’t inclined to take “no” for an answer. Might there be a way for Damian to use his smarts and enormous wealth to win again this time around?
It turns out that, thanks to an entrepreneur-inventor named Albright (Matthew Goode), “life’s a bitch and then you die,” is a restriction that now applies only to the undeserving 99.99%. Albright has developed a technology that allows extraordinarily rich guys like Damian to “shed” their old, faltering bodies and have their consciousnesses transferred into young, robust ones.
After a bit of reflection and a ham-handed attempt to make amends with his estranged daughter, Damian decides to pay his money and take his chances. When Albright’s spinning MRI scanners come to a stop, Damian’s consciousness winds up inside the body of someone who looks a lot like Ryan Reynolds (Ryan Reynolds). Damian, it would appear, has hit the lab-grown body jackpot.
At first the consciousness transfer seems to have come off without a hitch. There is a lengthy montage, reminiscent of a Rocky movie, that shows post-transfer Damian training hard to master the challenges that come with controlling his exquisite, new body. But, fighter that he is, Damian is more than up to the rehabilitation tasks. Vivid flashbacks, though, intrude on Damian’s experience and remind us that all is not right in his brave, new Reynoldsian world.
Sadly, the procedure has not gone well at all when it comes to acting. It ends up feeling like someone forgot to hook up the “personality” cable that connected Damian’s old body with his new one for the consciousness transfer.
The old Damian may have been a crusty old son of a bitch, but in the short period of time that he has on screen, Kingsley somehow lets us know that he is also a complex man who has known ample amounts of both pride and regret during the course of his life.
As portrayed by Reynolds, the young Damian never seems to emerge fully from the confused state of mind that immediately follows the consciousness transfer. Sure, over the course of the movie he winds up showing that he is still a smart adversary and a relentless competitor, but none of the texture of the character handed off to him by Kingsley survives.
The film itself has been promoted as a thought-provoking science fiction thriller that allows us to contemplate the possibility that technology may soon provide a way for us to live forever, while forcing us to consider the moral price that we might pay in doing so. Yet, as with most science fiction, the new-fangled science is only incidental to the retelling of an older, venerated story.
In this case of Self/less, this storyline is a deal with the devil. Here Damian takes on the role of an essentially noble but arrogant Faust and Albright his obsequious and beguiling Mephistopheles. The movie reminds us yet again that striking a bargain to sell one’s soul is never without unanticipated consequences.
It’s also interesting to consider is how Self/less borrows from other genres.
As it turns out, Damian’s consciousness has not just landed in a buff, young body, but it’s the buff, young body of an superbly trained U.S. Army Special Forces soldier. Although the soldier’s still resident conscious awareness is suppressed by medication, his killing instincts kick in reflexively whenever they are needed, and they are needed a lot in the movie.
In this regard the film feels a little like a variation of the action-thriller The Bourne Identity — may be it could be called The Reborn Identity? — in which the hero, a superbly trained C.I.A. killing machine, has lost all conscious memory of his former life as a spy, but is able to draw reflexively on his martial arts skills and detailed knowledge of spycraft to save the day, in spite of his otherwise complete amnesia.
But at its heart, Self/less harkens back to the genre of “second-chance” stories, such as It’s a Wonderful Life, in which death is held at bay, at least briefly, so that the protagonist can return to the world to set things right.
A classic example of this genre is Warren Beatty’s 1978 Heaven Can Wait. In that movie, Beatty’s nice-guy quarterback hero, Joe Pendleton, is snatched up to heaven before his time, and, as a result, must be parked in the body of a no-good tycoon, Leo Farnsworth, until a more suitable one can be found. This celestial mix-up creates an opportunity for Joe to right some of Leo’s corporate wrongs, fall in love with a beautiful woman played by Julie Christie, and win the Superbowl. Not bad at all as far as second chances go.
Given how religious sensibilities have changed in the last forty years, with Self/less it is oblivion, not heaven, that must wait. And Damian’s unfinished work is not all that glorious: it’s simply to rediscover the importance of family and to repair his relationship with his daughter as best he can from beyond the grave. Undoing the nefarious body-snatching enterprise that Albright has set in motion would complete his redemption.
Young Damian does succeed in his second-chance mission. My biggest regret is that old Damian, as portrayed by Ben Kingsley, was not along for the ride.
Posted by Marc Merlin at 3:49 PM No comments:
Labels: Beatty, Bourne, criticism, critique, essay, Faust, film, Kingsley, movie, review, Reynolds, Self/less
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