Last night, I had an odd double feature of Death Wish and Christmas Vacation. It was my first viewing for both films, and while I found Death Wish the more entertaining of the two, both movies left me with some thoughts regarding their cultural commentary and the historical context that commentary was made. I posted my thoughts on Letterboxd (a fantastic site for keeping a movie journal), but in case those comments were to vanish for some reason, I wanted to keep them here as well (my site is indestructible). Keep in mind that these are not reviews but simply a collection of disorganized thoughts that I wanted to put down before I went to bed.
[Note: minor spoilers ahead]
An absolutely fascinating film. If the Bernie Getz shooting hadn’t happened 10 years later, I could have sworn it would be the influence for Death Wish. The film is borderline unapologetic in its values, although there is an awkward moment where a background character has to explain why Paul Kerney (Charles Bronson) is killing so many black people isn’t racist (she has a fair point, although it ignores the larger social issues, which falls in line with the rest of the movie).
Death Wish is an angry fantasy for anyone who has ever been a victim of a violent crime or known the victim of a violent crime. It reaches deep into the futility having crime seep into our safe worlds and show us how powerless we truly are. And the only solution comes not from the police, but down the barrel of a gun. It also helps that in the world of Death Wish, most criminals carry switchblades and not guns.
Oddly enough, the police aren’t seen as ineffective as much as allied against the individual rather than supporting the community. An entire department seems to mass around stopping Kerney, but they shrug their shoulders when his wife was murdered and his daughter was raped. There’s media sensationalism to the vigilante, but no character ever brings up the point that the cops are now investigating the murder of a criminals rather than the murder of an innocent women.
Of course, this all plays into the notion of the One Man Against the World fantasy Death Wish (winkingly?) embraces. The movie makes sure to position Kersey not as the outlaw, but as the noble gunslinger. He’s always looking for trouble, but he’s righting the wrongs the law can’t or won’t stop.
It’s also strange that the criminals gravitate towards Kersey; in one scene, a couple punks go through multiple train cars just to get to him even though there are other people on the train and he’s just some guy reading the newspaper. Bronson may not be intimidating (although we see at the beginning of the film that he’s absolutely ripped), but he’s also doesn’t convey weakness. Why would criminals target him as a victim?
It’s tough to tell if director Michael Winner is playing it straight, but either way, it’s a damn interesting and entertaining film. It’s heavy-handed as hell, and I honestly don’t know if it’s satire or preaching. Personally, I would like to see it as satire since I think that makes it a smarter movie. Then again, the film could also be played as a tragedy. Kersey is an honest, hardworking man and violence consumes his life and becomes his addiction. At the end, rather than give up his gun, he gives up on his family and moves away so he can kill more street punks.
National Lampoon’s Christmas Vacation
Billed as a “Christmas classic”, I was a little underwhelmed by Christmas Vacation. It wasn’t as funny as I’d hoped it would be, nor was it particularly memorable. The family dynamic felt like The Ref but with all the hard edges rounded off to a PG-13 rating. More often than not, the movie relies on slapstick and rarely finds a satisfying build-up and pay-off to its farcical elements. The best moments are when the Griswolds continue to unintentionally ruin their neighbors’ lives.
Where Christmas Vacation caught my attention wasn’t so much in its comedy, but in its values. Coming out a year after the Reagan administration, it’s a movie that champions the pursuit of the middle-class becoming the upper-middle class while still retaining good, old-fashioned American values. The Christmas miracle isn’t getting to keep the house. It’s getting to keep the house AND get a swimming pool. If your house has a swimming pool that not inflatable, then congratulations: you’re upper-middle class.
Meanwhile, Uncle Eddie (Randy Quaid) and his brood are the disgusting poor. They’re not necessarily bad people, but they’re uncouth, dumb, and most importantly, they mooch off the goodwill of the Griswold clan. Uncle Eddie may be good for kidnapping the wealthy, but he’s also the guy who expects you to open your wallet and pay for his kids’ toys because he’s too lazy to get a job.
Meanwhile, the film also doesn’t want to alienate the aspiring middle class by saying the wealthy (Clark’s boss) are inherently good. But they’re certainly not bad. They’re just misguided, and if they could only see how much a middle class family like the Griswolds appreciate Christmas, then the rich folks would realize that maybe they shouldn’t slash the bonuses of hardworking Americans. This dream scenario would truly be a Christmas miracle.
It’s also important that the Griswolds are a very specific kind middle class family. They live next door to the Chesters–a horrible, selfish couple who may be in the same income bracket, but they’re not REAL Americans. They don’t have kids, they don’t celebrate Christmas, they’re not friendly, and they simply don’t share the Griswolds values.
While I would like to give screenwriter John Hughes credit for crafting a ridiculously subtle satire of the American dream, his screenplay for Ferris Bueller’s Day Off shares the same kind of me-first values of the Reagan era. When the characters sing the National Anthem at the end, it’s not ironic. It’s taking national possession of the holiday. It’s not “Happy” Christmas, you British bastards. It’s “Merry” Christmas. If you don’t like it, you can get out.
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