“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can’t do anything about what’s on the screen.” — David Thomson
Has the prolific film critic David Thomson fallen out of love with the movies? That’s the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us.
No, he hasn’t fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society.
“What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies.
Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn’t gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality.
Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it Being There or Network. Or perhaps The Truman Show.
