Author: Richard Melson

Zorba the Greek: The Tragic Layer Underneath Zorba’s Feigned Happy-Go-Lucky Style and Dancing

There is a deeper and more tragic layer to the famous movie Zorba the Greek (1964) with Anthony Quinn as Zorba. It’s not about unalloyed good-natured buffoonery or high spirits alone, as everyone seemed to think.

Zorba makes a tragic and transformative spontaneous confession about his past in a dialog with Basil (Alan Bates the introverted British character with whom he takes up).

Like every soulful human who wishes to stay happy and relaxed in life, Zorba also has his tragic fate on his back. Zorba is no different, he also has a dark past. His crimes and atrocities were endless when he fought for his country against the Turks and Bulgarians.

As he tells Basil that he killed people, burnt villages and raped women. But he puts all this in his tragic past and tries to restore peace in his life. He is married but has left his family behind.

He is trying to some extent to kill his inner pain, just revealed to Basil, through the famous dancing:

Sirtaki or syrtaki (Greek: συρτάκι) is a dance of Greek origin, choreographed for the 1964 film Zorba the Greek. It is a recent Greek folk dance, a mixture of syrtos and the slow and fast rhythms of the hasapiko dance.

The dance and the accompanying music by Mikis Theodorakis are also called Zorba’s dance, the Zorba or “the dance of Zorba.” The dance has become popular in Greece and one that is identified with the Greeks.

The name sirtaki comes from the Greek word syrtos—from σύρω (τον χορό), which means “drag (or lead the dance)”—a common name for a group of traditional Greek dances of so-called “dragging” style, as opposed to pidikhtós (πηδηχτός), a hopping or leaping style. Despite that, sirtaki incorporates both syrtos (in its slower part) and pidikhtós (in its faster part) elements.

Thus Zorba the Greek is a tragic story of a broken man—Zorba—trying to dance himself into an anesthetized state. It’s not about Falstaffian “clowning around.” To a large extent, Zorba is trying to run away from himself or “jump over his own shadow,” so to speak, but this must fail because hyperactivity of his type won’t help him from re-colliding with his life and his past.

Movies and Chemistry: Keeping the Enchantment of Education

Several movies give you an “enchanting” back door or window into chemistry so that you can “beat” the tediousness of regular education and come into the field and its topics via these movies:

I.

The Man in the White Suit is a 1951 British comedy classic with Alec Guinness as a genius research chemist. He fiddles with his flasks and polymer and textile chemistry experiments until he invents a fabric that shows no wear and tear “forever.” This would seem like a great boon to humanity in its clothing needs but the chemist (“Sidney Stratton”) finds that both labor and management reject his discovery violently as it threatens jobs and profits. Textile or fabric polymer chemistry is at the heart of the plot.

Cry Terror! is a taut 1958 crime thriller movie with James Mason and Rod Steiger. The plot involves the terrorist threat of exploding a domestic airliner with a hidden RDX cache (a TNT successor) unless the demanded payment is made.

RDX was used by both sides in World War II. The U.S. produced about 15,000 long tons per month during WWII and Germany about 7,000 long tons per month. RDX had the major advantages of possessing greater explosive force than TNT, used in World War I and requiring no additional raw materials for its manufacture.

Semtex is a general-purpose plastic explosive containing RDX and PETN. It is used in commercial blasting, demolition, and in certain military applications.

A Semtex bomb was used in the Pan Am Flight 103 (known also as the Lockerbie) bombing in 1988. A belt laden with 700 g (1.5 lb) of RDX explosives tucked under the dress of the assassin was used in the assassination of former Indian prime minister Rajiv Gandhi in 1991.

The 1993 Bombay bombings used RDX placed into several vehicles as bombs. RDX was the main component used for the 2006 Mumbai train bombings and the Jaipur bombings in 2008. It also is believed to be the explosive used in the 2010 Moscow Metro bombings.

Traces of RDX were found on pieces of wreckage from 1999 Russian apartment bombings and 2004 Russian aircraft bombings. Further reports on the bombs used in the 1999 apartment bombings indicated that while RDX was not a part of the main charge, each bomb contained plastic explosive used as a booster charge.

Ahmed Ressam, the al-Qaeda Millennium Bomber, used a small quantity of RDX as one of the components in the bomb that he prepared to detonate in Los Angeles International Airport on New Year’s Eve 1999-2000; the bomb could have produced a blast forty times greater than that of a devastating car bomb.

In July 2012, the Kenyan government arrested two Iranian nationals and charged them with illegal possession of 15 kilograms (33 pounds) of RDX. According to the Kenyan Police, the Iranians planned to use the RDX for “attacks on Israeli, U.S., UK and Saudi Arabian targets.”

RDX was used in the assassination of Lebanese Prime Minister Rafic Hariri on February 14, 2005.

In the 2019 Pulwama attack in India, 250 kg of high-grade RDX was used by Jaish-e-Mohammed. The attack resulted in the deaths of 44 Central Reserve Police Force personnel as well as the attacker.

Semtex was developed and manufactured in Czechoslovakia, originally under the name B 1 and then under the “Semtex” designation since 1964, labeled as SEMTEX 1A, since 1967 as SEMTEX H, and since 1987 as SEMTEX 10. Originally developed for Czechoslovak military use and export, Semtex eventually became popular with paramilitary groups and rebels or terrorists because prior to 2000 it was extremely difficult to detect, as in the case of Pan Am Flight 103.

The Russian apartment bombings were a series of explosions that hit four apartment blocks in the Russian cities of Buynaksk, Moscow and Volgodonsk in September 1999, killing more than 300, injuring more than 1,000, and spreading fear across the country. The bombings, together with the Invasion of Dagestan, triggered the Second Chechen War. The handling of the crisis by Vladimir Putin, who was prime minister at the time, boosted his popularity greatly and helped him attain the presidency within a few months.

The blasts hit Buynaksk on 4 September and in Moscow on 9 and 13 September. On 13 September, Russian Duma speaker Gennadiy Seleznyov made an announcement in the Duma about receiving a report that another bombing had just happened in the city of Volgodonsk. A bombing did indeed happen in Volgodonsk, but only three days later, on 16 September. Chechen militants were blamed for the bombings, but denied responsibility, along with Chechen president Aslan Maskhadov.

A suspicious device resembling those used in the bombings was found and defused in an apartment block in the Russian city of Ryazan on 22 September. On 23 September, Vladimir Putin praised the vigilance of the inhabitants of Ryazan and ordered the air bombing of Grozny, which marked the beginning of the Second Chechen War. Three FSB agents who had planted the devices at Ryazan were arrested by the local police, with the devices containing a sugar-like substance resembling RDX.

II.

The movie Khartoum (1966) has General Charles Gordon traveling to Sudan in 1884 to quell the “mad mullah” the Mahdi. (Osama bin Laden of his day).
At the train station where General Gordon starts his trip, there’s a railway ad sign that promotes the use of “Wright’s Coal Tar Soap.”

This gives us a sign of the rise of the modern chemical industry.

III.

Think of “Sherlock Holmes” in terms of all the movies and TV series or the original stories and books:

Holmes has to explain to Watson how he survived the assassination attempt on him by Moriarty, “the Napoleon of Crime” who threw him off the Reichenbach Falls. Holmes explains that he faked Moriarty out and clung to a bush or something and was (obviously) not killed.

Holmes tells Watson what he does when he returns to civilization and travels and studies for some three years:

“I then passed through Persia, looking in at Mecca, and paid a short but interesting visit to the Khalifa at Khartoum, the results of which I communicated to the Foreign Office. Returning to France, I spent some months in a research into the coal-tar derivatives, which I conducted in a laboratory at Montpellier, in the south of France.”

The context implies the year 1894.

There is clear evidence that Mr. Holmes was deeply involved in the research of coal-tar derivatives as early as 1889 when the events of the Copper Beeches matter were transpiring.

We are told that on an evening in 1889, Mr. Holmes was seated in 221B Baker Street at the deal table loaded with retorts and test tubes. He was settling down to one of those all-night chemical researches in which he frequently indulged.

The research work was interrupted by a message of distress from Violet Hunter. Watson found that there was a train the next morning, and Holmes tells Watson:

“That will do very nicely. Then perhaps I had better postpone my analysis of the acetones as we may need to be at our best in the morning.”

It is clear that Holmes was engaged in coal-tar research long before his visit to Montpellier in the south of France.

The quotation from the Copper Beeches story refers to acetones, not to coal-tar derivatives.

“In the fractional distillation of coal-tar, the distillate separates into five distinct groups or layers, depending upon the stage of the process and the amount of heat applied. Category-one of the five includes benzene, toluene, xylenes and cumenes.

Acetones [dimethelketone-CH3COCH3] may be derived from the oxidation of cumene. And cumene [isopropylbenzene-C6H5C(CH3)2] is derived by distillation from the coal-tar naphtha fractions.”

Cumenes are derived from coal-tar, and acetones are derived from cumenes. Thus, a study of the acetones is, necessarily, research into coal-tar derivatives.

The rise of chemical engineering and organic chemistry are at the heart of the Sherlock Holmes stories.

Thus we can “climb” into chemistry via these books and movies and keep a feeling of enchantment as a kind of educational “shoehorn.”

Songs as an Informal University

We have already seen in “Songs as Another Kind of Parallel University” that trying to revive or rescue enchantment in a “disenchanted world” (Max Weber, “Entzauberung”) is a kind of philosophical “move” in love songs which has much to do with the impact on the West of the medieval troubadours.

Take this masterpiece song from the fifties musical My Fair Lady. Notice the explicit introduction of “enchantment” into the lyrics:

“On the Street Where You Live”

I have often walked
Down the street before,
But the pavement always stayed
Beneath my feet before
All at once am I
Several stories high,
Knowing I’m on the street where you live

Are there lilac trees
In the heart of town?
Can you hear a lark in any other part of town?
Does enchantment pour
Out of every door?
No, it’s just on the street where you live

And oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second you may suddenly appear

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be

Let the time go by,
I won’t care if I
Can be here on the street where you live

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be
Let the time go by
I won’t care if I
Can be here on the street where you live,
Can be here on the street where you live,
Can be here on the street where you live

The enchantment of love is also at the center of the song by Seals & Crofts, “We May Never Pass This Way (Again)” from decades ago. In the same way that Jim Morrison and the Doors capture life’s basic randomized “thrownness” (Heidegger, “Geworfenheit”), Seals & Crofts capture life’s one-time ephemerality, as the title signals immediately:

“We May Never Pass This Way (Again)”

Life
So they say
Is but a game and they’d let it slip away
Love
Like the autumn sun
Should be dyin’
But it’s only just begun

Like the twilight in the road up ahead
They don’t see just where we’re goin’
And all the secrets in the universe
Whisper in our ears
All the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

Dreams
So they say
Are for the fools and they let ’em drift away
Peace
Like the silent dove
Should be flyin’
But it’s only just begun

Like Columbus in the olden days
We must gather all our courage
Sail our ships out on the open seas
Cast away our fears
And all the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

So
I wanna laugh while the laughin’ is easy
I wanna cry if makes it worthwhile
I may never pass this way again
That’s why I want it with you

’Cause
You make me feel like I’m more than a friend
Like I’m the journey and you’re the journey’s end
I may never pass this way again
That’s why I want it with you
Baby

We may never pass this way again
We may never pass this way again
We may never pass this way again
We may never pass this way again

After deeply drinking in this and other songs, you could become more “attuned” to academic philosophy which would become less of an abstract and insipid blur. Pre-awareness and pre-understanding give you the receptivity you need and you get these from movies and songs and private life. The trick is to use meta-intelligence to straddle the campus and the off-campus worlds.

Songs as Another Kind of Parallel University

Meta Intelligence is a heterodox view of education where formal education (courses, diplomas, universities, fields) are incomplete and limited without adding informal education which is part of your life such as movies, songs, conversations and images (paintings, posters, etc). Your “lifeworld” (Edmund Husserl’s apt coinage) fuses all the kinds of education where the word education means thought-provoking and illuminating. Even personal experience counts such as illnesses or bad marriages! Only via this Meta Intelligence will you achieve a glimpsed “holism.” (Meta Intelligence is that meta-field outside fields, borders and boundaries.)

Take songs.

Think back to Jim Morrison’s classic tune, “Riders on the Storm” which begins:

“Riders on the storm
Riders on the storm
Into this house, we’re born
Into this world, we’re thrown
Like a dog without a bone
An actor out on loan
Riders on the storm”

This song (by the Doors), expresses in a simple way Heidegger’s notion of human existence as partly governed by “Geworfenheit” which derives from “werfen,” to throw. “Geworfenheit” means “thrownness.” Jim Morrison and his band the Doors are song–philosophers without (probably) being Heidegger’s acolytes. Max Weber, one of the fathers of modern sociology, uses the word “disenchantment” to describe the modern world, “Entzauberung” in German, where “zauber” means “magicality” and “ent” means “removal of,” and “ung” means “condition of being.” The magic here does not mean something like a card trick but rather sacred mysteries, perhaps like the feeling a medieval European felt on entering a cathedral.

Enchantment in the West survived in our notions of romantic love and was associated with the songs and outlook of the medieval troubadours. Such romantic enchantment which is fading from our culture in favor of sex is still celebrated in the classic Rogers and Hammerstein song, “Some Enchanted Evening” from the forties musical and fifties movie, South Pacific.

The song lyrics give you the philosophy of romantic love as the last stand of enchantment:

“Some enchanted evening, you may see a stranger,
You may see a stranger across a crowded room,
And somehow you know, you know even then,
That somehow you’ll see here again and again.
Some enchanted evening, someone may be laughing,
You may hear her laughing across a crowded room,
And night after night, as strange as it seems,
The sound of her laughter will sing in your dreams.

“Who can explain it, who can tell you why?
Fools give you reasons, wise men never try.

“Some enchanted evening, when you find your true love,
When you hear her call you across a crowded room,
Then fly to her side and make her your own,
Or all through your life you may dream all alone.

“Once you have found her, never let her go,
Once you have found her, never let her go.”

Notice that “chant” is a component of enchantment.

One could say that conventional enchantment has been transferred to the world of science and mathematics where a deep beauty is intuited. Professor Frank Wilczek of MIT (Nobel Prize) wrote several books on this intersection of science and the quest for beauty whereas Sabine Hossenfelder of Germany has argued, per contra, that this will be a “bum steer.”

You should sense that like movies, songs give you a “side window” or back door into thinking and knowledge, which should be center stage and not depreciated.

Movies as Your Own Informal University

Theodicy is the inquiry into the paradox that a loving God would witness and allow such endless evil as exists in the world.

Movies can be very informative as a parallel university which gives you a visual and story-based entry into such a problem or puzzle or conundrum or dilemma.

Take the Roger Corman classic film (based on the Edgar Allan Poe story):

The Masque of the Red Death from 1964.

Consider the following exchange between Prospero (Vincent Price plays a kind of “evil machine”) from the film:

Prospero: Somewhere in the human mind, my dear Francesca, lies the key to our existence. My ancestors tried to find it. And to open the door that separates us from our Creator.

Francesca: But you need no doors to find God. If you believe…

Prospero: Believe? If you believe, my dear Francesca, you are… gullible. Can you look around this world and believe in the goodness of a god who rules it?

Famine, Pestilence, War, Disease and Death! They rule this world.

Basic Story:

The evil Prince Prospero is riding through the Catania village when he sees that the peasants are dying of the Red Death. Prospero asks to burn down the village and he is offended by the villagers, Gino and his father-in-law Ludovico. He decides to kill them, but Gino’s wife, the young and beautiful Francesca, begs for the lives of her husband and her father and Prospero brings them alive to his castle expecting to corrupt Francesca. Prospero worships Satan and invites his noble friends to stay in his castle which is a shelter of depravity against the plague. When Prospero invites his guests to attend a masked ball, he sees a red-hooded stranger and he believes that Satan himself has attended his party. But soon he learns who his mysterious guest is.

Theodicy and the Explanation of God’s Coexistence with Evil:

Wikipedia informs us:

Theodicy means the vindication of God. It is to answer the question of why a good God permits the manifestation of evil, thus resolving the issue of the problem of evil. Some theodicies also address the problem of evil “to make the existence of an all-knowing, all-powerful and all-good or omnibenevolent God consistent with the existence of evil or suffering in the world.” Unlike a defense, which tries to demonstrate that God’s existence is logically possible in the light of evil, a theodicy provides a framework wherein God’s existence is also plausible.

The German philosopher and mathematician Gottfried Leibniz coined the term “theodicy” in 1710 in his work Théodicée, though various responses to the problem of evil had been previously proposed. The British philosopher John Hick traced the history of moral theodicy in his 1966 work, Evil and the God of Love, identifying three major traditions:

  1. the Plotinian theodicy, named after Plotinus.
  2. the Augustinian theodicy, which Hick based on the writings of Augustine of Hippo.
  3. the Irenaean theodicy, which Hick developed, based on the thinking of St. Irenaeus.

One of life’s educational tricks (a pillar of Meta Intelligence) is to let the off-campus “university” of movies give you an on-ramp, if you know how to take it, into formal academe on the campus.

Globalization and Its Nuances

The PBS TV program History Detectives had an episode entitled “Atocha Spanish Silver” where the wreck of the Spanish ship Atocha was described like this:

“In 1985, one of the greatest treasure discoveries was made off the Florida Keys, when the wreck of the Spanish ship Atocha was found. On board were some forty tons of silver and gold, which in 1622 had been heading from the New World to the Spanish treasury as the means to fund the Thirty Years’ War.”

Is this an obvious case of globalization? What about Marco Polo? Rome–Han dynasty China trade in silks? Silk Road and Samarkand? Colombus? Magellan? Vasco da Gama?

All of these cases constitute a kind of harmless kind of “pop globalization” based on exotic voyages and travels.

Consider another such example, perhaps more academic:

“About the middle of the sixteenth century Antwerp reached its apogee. For the first time in history there existed both a European and a world market; the economies of different parts of Europe had become interdependent and were linked through the Antwerp market, not only with each other but also with the economies of large parts of the rest of the world. Perhaps no other city has ever again played such a dominant role as did Antwerp in the second quarter of the sixteenth century.”

(Europe in the Sixteenth Century, Koenigsberger and Mosse, Holt Rinehart Publishers, 1968, page 50)

Debt repudiations in several places in the 1550s are described like this:

“This caused the first big international bank crash, for the Antwerp bankers now could not meet their own obligations.”

(Europe in the Sixteenth Century, Koenigsberger and Mosse, Holt Rinehart Publishers, 1968, page 51)

This sounds like some kind of identifiably global period.

Actually, modern historians define globalization as “price convergence” (i.e., wheat has now a unified “world price,” implying a world market). This rigorous definition is confirmed by and also shows up in the data in the 1820s and may or may not be prefigured by all the Marco Polo and Atocha silver stories, mentioned above.

These episodes in history are not there yet.

One sees wheat prices and other commodity prices converging in the 1820s and thereafter based on railroads, steamships and telegrams.

The classic in this kind of analysis is:

Globalization and History: The Evolution of a Nineteenth-Century Atlantic Economy, by Kevin O’Rourke and Jeffrey Williamson.

Kevin O’Rourke and Jeffrey Williamson present a coherent picture of In Globalization and History, Kevin O’Rourke and Jeffrey Williamson present a coherent picture of trade, migration, and international capital flows in the Atlantic economy in the century prior to 1914—the first great globalization boom, which anticipated the experience of the last fifty years. The authors estimate the extent of globalization and its impact on the participating countries, and discuss the political reactions that it provoked. The book’s originality lies in its application of the tools of open-economy economics to this critical historical period—differentiating it from most previous work, which has been based on closed-economy or single-sector models. The authors also keep a close eye on globalization debates of the 1990s, using history to inform the present and vice versa. The book brings together research conducted by the authors over the past decade—work that has profoundly influenced how economic history is now written and that has found audiences in economics and history, as well as in the popular press.

(book summary)

In everyday language, we associate the word globalization with some ever-increasing Marco Polo phenomena. While that’s not entirely wrong, globalization in the more technical sense begins to show up in the data only from the 1820s. At this point, we begin to see the convergence of worldwide wheat prices, for example. This makes the world, for the first time, a global “store” with unified prices. Here is the technical beginning of globalization. The years 1870-1914 are subsequently the first real era of modern globalization and represent a kind of “take-off” from the first stirrings of the 1820s. World Wars I & II might be seen as globalization backlash.

At this moment in world history, whether Putin’s invasion of Ukraine will constitute a new wave of deglobalization remains to be seen.

Education and Circular Causation: Everything Causes Everything Else

The student will have seen in these educational essays the notion of “Husserl’s rhomboid”:

The great philosopher, Edmund Husserl, who died in 1938, would bring a matchbox to class and show his students they see parts and some surface area of the matchbox (a kind of rhomboid, hence the name “Husserl’s rhomboid”) but never all of it at the same time. Students can walk around the matchbox and see facets. They can twirl the matchbox but whatever they do, the students cannot “espy” or glimpse all of it except in their imaginations, once they have been exposed to all of it, side by side, facet by facet.

Gunnar Myrdal, the Swedish economist who won the Nobel Prize in 1974, has something a bit analogous when he speaks of “circular cumulative causation”:

Circular cumulative causation is a theory developed by Swedish economist Gunnar Myrdal in 1956. It is a multi-causal approach where the core variables and their linkages are delineated. The idea behind it is that a change in one form of an institution will lead to successive changes in other institutions. These changes are circular in that they continue in a cycle, many times in a negative way, in which there is no end, and cumulative in that they persist in each round. The change does not occur all at once, which would lead to chaos, rather the changes occur gradually.

Gunnar Myrdal developed the concept from Knut Wicksell and developed it with Nicholas Kaldor when they worked together at the United Nations Economic Commission for Europe.

In the characteristics relevant to an economy’s development process, Myrdal mentioned the availability of natural resources, the historical traditions of production activity, national cohesion, religions and ideologies, and economic, social and political leadership.

He writes:

“The notion of stable equilibrium is normally a false analogy to choose when constructing a theory to explain the changes in a social system.

What is wrong with the stable equilibrium assumption as applied to social reality is the very idea that a social process follows a direction—though it might move towards it in a circuitous way—towards a position which in some sense or other can be described as a state of equilibrium between forces. Behind this idea is another and still more basic assumption, namely that a change will regularly call forth a reaction in the system in the form of changes which on the whole go in the opposite direction to the first change. The idea I want to expound in this book is that, on the contrary, in the normal case there is no such a tendency towards automatic self-stabilisation in the social system. The system is by itself not moving towards any sort of balance between forces, but is constantly on the move away from such a situation. In the normal case a change does not call forth countervailing changes but, instead, supporting changes, which move the system in the same direction as the first change but much further. Because of such circular causation as a social process tends to become cumulative and often gather speed at an accelerating rate…”

(Gunnar Myrdal, Economic Theory and Underdeveloped Regions, Gerald Duckworth, 1957, pp. 12–13)

Myrdal developed further the circular cumulative causation concept and stated that it makes different assumptions from that of stable equilibrium on what can be considered the most important forces guiding the evolution of social processes. These forces characterize the dynamics of these processes in two diverse ways.

These essays that you are reading here are examples encouraging students to put causes in a kind of circle: history exists because economics exists because psychology exists because society exists because history exists. Everything is causing everything else. There isn’t a simple “linear parade.”

By way of contrast, in a person’s private life, he/she went to the dentist before buying the batteries and after having lunch. There’s a timeline of events.

In history, there are such linear timelines also: John Kennedy was assassinated before Donald Trump became president. You had breakfast before dinner. You slept before you got up in the morning.

However, processes (industrialism, migration, urbanization, inflation, etc.) are not analyzable as events like meals and one-time occurrences but are more like getting old or learning a language.

Multi-causal interpretations and circular causes get the student out of simple, “this happened and that happened” in favor of “this and that caused each other, going both ways and interacting with other pressures too.” Everything is causing and altering everything else in all directions.

Movies As Education: Books and Selves

La Notte (English: The Night) is a 1961 Italian drama directed by Michelangelo Antonioni. The film stars Marcello Mastroianni, Jeanne Moreau, and Monica Vitti (with Umberto Eco, the novelist, appearing in a cameo).

Filmed on location in Milan, the film depicts a day in the life of an unfaithful married couple and their deteriorating relationship.

In 1961, La Notte received the Golden Bear (at the Berlin International Film Festival, the first for an Italian film) and the David di Donatello Award for Best Director.

La Notte is the central film of a trilogy, beginning with L’Avventura (1960) and ending with L’Eclisse (1962).

The movie follows Giovanni Pontano (Marcello Mastroianni), a distinguished writer, and his beautiful wife Lidia (Jeanne Moreau) as they visit their dying friend Tommaso Garani (Bernhard Wicki) who is hospitalized in Milan. Giovanni’s new book, La stagione (The Season), has just been published, and Tommaso praises his friend’s work.

La Notte reflects the director’s intuition that “you are what you read,” and books create a kind of thread through the story.

The dying, hospitalized patient has recently published an article on the famous philosophical writer Theodor Adorno. At the party the couple drifts into, the works of the Austrian–Jewish writer, Hermann Broch, are mentioned. Essentially, in a depressing glitzy world of lost and semi-lost souls, reading and books constitute a kind of emotional life raft or direction-finding compass, at least potentially. Antonioni frequently uses this motif.

We find this kind of reading and books-centered view of people interpreting their (bewildering) worlds in the works of the French thinker Charles Péguy (who died in battle during World War I in 1914):

“The Jew,” he declares in a passage that has become famous, “is a man who has always read, the Protestant has read for three hundred years, the Catholic for only two generations.”

(quoted in Consciousness and Society, H. Stuart Hughes, Vintage Books, paperback, 1958, page 355)

Charles Péguy is also central to Louis Malle’s classic French film Au revoir les enfants (English: “Goodbye, Children”).

If we “zoom out” and look for a meta-intelligent lesson, we can say that reading, writing, and arithmetic, the three basics mentioned in the phrase we all know, are very deeply entwined with who we are. Stories explain us to ourselves, and stories involve books and reading in our “Gutenberg world.”

The replacement of these by various (post-Gutenberg) screens and games may or may not be thought of as a variant since they constitute a kind of “pseudo-participation” and not participation based on perusal.

Movies As Universities: The Case of So Ends Our Night

So Ends Our Night is a riveting and moving 1941 movie version of Erich Remarque’s classic novel Flotsam (English, German: Liebe deinen Nächsten).

You may remember Remarque as the author of the international best-seller All Quiet on the Western Front, a big success in movie theatres of that time. Thomas Mann generally is considered the premier German writer of the twentieth century, and while that’s true in terms of prestige perhaps, Remarque is a more gripping German author.

Flotsam tells a great story about stateless refugees during the Nazi nightmare circa 1937. (One should immediately sense the resonance in our time with the millions of political and climate refugees, exiles, fugitives, and victim peoples like the Rohingya of Myanmar and the Uyghurs of Xinjiang, China, experiencing cultural genocide. We might extend this list to the Tutsis of Rwanda in 1994, the European Jews of World War II, and the Armenians of 1915 in the Ottoman Empire massacres. One could add the Chinese in Indonesia who experienced a genocidal pogrom in 1965. (Think of the movie, The Year of Living Dangerously with Mel Gibson.)

The movie So Ends Our Night, based on Remarque’s great work Flotsam, shows Fredric March and Glenn Ford playing supremely harried stateless refugees, hounded all through Europe, in a nightmare of life “without a country,” passport, visa, citizenship.

Glenn Ford is only half-Aryan and is in danger of being murdered by the Nazi crazies. Fredric March is not racially endangered, but as an opponent of Hitler’s regime and a dissenter could be murdered for that treason. Both are in a “having no passport” hell.

Between minutes 23 and 24 of this movie, March explains to Glenn Ford’s 19-year-old on the run like he is:

“Individuals or nations, it’s all the same, as long as they’re safe and comfortable they don’t give a hoot about what happens to anybody else.

There’s the misery of the world.

That’s why progress is so slow and things slip back so fast.”

With some reflection, you’ll probably see the deep point March makes about global history and “the way of the world” plainly expressed without camouflaging the truth.

You can learn quite a bit if you ponder this movie conversation, with both refugees sitting under a tree, harried and distressed, in a nightmarish emergency.

Thus, So Ends Our Night can be a movie-as-university for you and feed your meta intelligence.

Movies as a Parallel University: The Case of Romantic Imperialism

When we think of romantic imperialism, we think of Rudyard Kipling’s poems, Winston Churchill’s The River War and perhaps Teddy Roosevelt’s macho “strenuous life” romanticized militarism (which the neocons somewhat knowingly aped to get the U.S. to invade Iraq in 2003). We should also recall British movie classics like The Four Feathers and “deflationary” versions of these jingoistic notions in The Man Who Would be King. During the 1930s, the Hungarian brothers Alexander & Zoltan Korda created many classic empire-celebration films in London, such as 1935’s Sanders of the River.

The Nigerian writer Chinua Achebe’s attack on Joseph Conrad’s Heart of Darkness as a kind of toxic “othering” of all Africans is a culmination of these imperial and anti-imperial tendencies.

Lastly, Maupassant’s classic Bel-Ami represents Algeria as a “colonial badlands” for French domination, killing, despoiling, profiteering, and later culminates in Meursault’s random murder of an Arab again in Algeria in Camus’ classic The Stranger. This literary concatenation also fits into this set of colonial imperial phenomena.

Niall Ferguson (the famous Harvard/Stanford “empire enthusiast”) finds his forerunner in the 1940 classic movie Beyond Tomorrow. The following “row” takes place on Christmas Eve between Chadwick (the Niall Ferguson imperialist) and Melton who sees empire as land-grabbing which you can dress up and prettify any way you like (“a grab is a grab,” he says):

Allan Chadwick: I tell you England’s territorial expansion had quite a different significance.

George Melton: No matter how thin you slice it, a grab is a grab.

Allan Chadwick: Grab?

That’s a specious term. England carried civilization into the wilderness. What was Australia before she redeemed it from the Aborigines?

Allan Chadwick: The truth is there isn’t an acre of the Empire that isn’t proud to fly the British flag.

The quick irritated exchange from Beyond Tomorrow is a good example of this eternal argument, allowing you to then “jump off” from this movie-as-university to do more exploring.