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Harold Leung-ki Siu
蕭完期
I. INTRODUCTION
The screen is a dangerous and wonderful instrument , if a free spirit uses it. It
is the superior way of expressing the world of dreams , emotionsand instinct.
一-Lius
Bunuel
Th is paper is a modest attempt to understand some aspects of American popular
culture from a foreigner's point of view. Its basic aims are: (l) to identify the role of
I訂ge;
movies , especially American movies , in society at
(2) to explore the implications
and meanings of vigilantism as shown in American movies; and (3) to find out the link
between movies and popular thought.
Among the many forms of
popul缸 culture，
significant one--a strong arm of
world.
the 紅的 that
films/movies are clearly a powerful ,
penetrates nearly every corner of the
As art historian and critic Erwin Panofsky has suggested , their absence from our
lives would probably constitute a
“ social
catastrophe. "1
He wrote in Film Theory and
Criticism: “ If all serious lyric poets, composers, painters and sculptors were forced by law
to stop their activities , a rather small fraction of the general public would seriously regret
it. If the same thing were to happen with the movies the social consequences would be
catastrop ic. "2 That is probably an overstatemen t. However , the movies' power to evoke
certain authentic tone of a society and a particular era to a certain degree is beyond
doub t. For this reason alone , it will be worthwhile for this author to write on the subject
of American movies with an emphasis On vigilantism. In addition to this significance , a
personal involvement with movie review and motion picture studio experience give added
1.
Erwin Panofsky ,“Style and Medium in the motion Pictures ," in M. Cohen and G. Mast , eds. ,
Film Theory and Criticism (New York: Oxford University Press, 1974) , p. 152.
2.
Ibid.
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教學與研究第九期
168
fate is connected to success , failure , and death , according to Warshow's analysis:
At bottom , the gangster is doomed because he is under the obligation to succeed ,
not because the means he employs are unl~wfu 1. In the deeper layers of the
modern consciousness , all means are unlawful , every attempt to succeed is an act
of aggression , leaving one alone and guilty and defenseless among enemies: one is
punished for success. .. The effect of the gangster film is to embody this dilemma
in the gangster and resolve it by his death. The dilemma is resolved because it is
his death , not ours. We are safe; for the momen t. . . we can choose to fail. 9
Th is theme is partly evidenced by the treatment of God-father, which will be discussed in
next section. However , sometimes the vigilante , as determined by the movie director and
the public sentiment of a peculiar period , is above death , and no price is claimed or
collected for the violence he does in the name of justice.
To the audience , therefore ,
the problem of crime and punishment is not a moral issue , but an experience of cinematic
art.
Violence can be done in the form of vengeance , and thus become a kind of vigilantism , as shown in Death Wish (1 974). The protagonist of Death Wish , a “ mild-mannered
professional" (played by Charles Bronson) , is transformed into a deadly avenger by the
savage muggings of his wife and daughter. Instead of seeking out actual culprits the protagonist appoints himself a law officer and goes gunning down all the crooks and delinquents he can find in the subways and on the streets , shooting down one after another ,
almost casually. As his violent exploits are publicized by the press , the annoymous lone
ranger becomes a heroic figure to the Manhattan
habitants一-
so much so that when the
police finally establish his identity they can do no more than banish him to a distant city.
Apotheosized , he has provided a role-model for would-be snipers , future clansmen ,
potential terrorists and assassins. This seems to be a scenario reminiscence of the Bernard
Goetz case which took place three days before Christmas , 1984. In a dingy , noisy subway
in New York , Goetz fired five shots , wounding four black youths who allegedly were
about to mug him. Goetz became a vigilante overnight. The story of Goetz hit the raw
nerve in the American psyche. Some psychiatrists argued that the prevalence of violent
crime made people feel helpless , and that Goetz symbolically accomplished what the
ordinary people could not do and were taught not to do. Goetz is seen as striking a blow
9.
Ibid. , p. 133.
美國電影中之個人英雄主義
for all of them.
169
Time magazine reported:
Th e panel of 23 New Yorkers (of the grand jury) indicts Goetz only for illegal
possession of handguns. Much of the city applauds. So does much of the nation.
A Media General-Associated Press poll discloses that 479也 of Am ericans approve of
what Goetz did , 369也 prudently say that they do not know enough of the details
to form a judgement, and only 179已 feel that Goetz was wrong in shooting the
teenagers. 10
Although the Goetz case took an unexpected turn (he was later charged with four counts
of attempted murder) , the vigilante mentality of the American public was eviden t.
According to Graeme Newman , vigilantism is not a new product of the 20th century.
It has remained in existence in America ever since it emerged from the swamps of South
Carolina' about 1760 to compensate for the absence of law and order. l1 Once established ,
vigilantism grew and flourished by developing its own mystique of rugged individualism.
The legitimation of vigilante violence has been constantly displayed/exposed in popular
novels and movies. In many cases , the vigilantes were not portrayed as outlaws ,“though
they were plainly outside the law , nor as vengeance-seeking killers and terrorists , but
rather as good citizens taking up arms in the ‘ American way' to serve the cause of justice
and civilization. ..
Their illegal violence. . . was made to appear not only legitimate
but positively high-minded and moral. "12
III. VIGILANTE FILMS
Thre酬najor
vigilante films will be discussed. They are Dirty Harry , The Godfather,
and Taxi Driver.
A.
Dirty Harry
(1 971) 一-Warner
Bros.; directed by Don Siegel; leading actor: Clint
Eastwood
The genesis of Dirty Harry is by way of police melodramas like The French Connec-
tion and
Bulli衍，
justification.
which begin to develop the fetish for proficiency as the cop's major
Symbolic of this in both films are elaborate chase sequences in which all
thought of right and wrong, good or evil , is unequivocally translated into action: The best
man is simply the best driver.
Queen) and
10.
11.
12.
“ Popeye"
Pitted against ruthless mobsters , both Bullitt (Steve Mc-
Doyle (Gene Hackman) in The French Connection have to be tough
Ed Magnuson ,“Up in Arms Over Crime ," Time (April 8, 1985), p. 28.
Graeme Newman , Understanding Violence (New York: J. B. Lippincott , 1979), p. 47.
A也ley Montagu and Floyd_Matson , The Dehumanization of Man (New York: McGraw-Hill Book
Co. , 1983), pp. 156-7.
教學與研究第九期
170
to prevail, even at the sacrifice of being nice people or adhering to the letter of law. Misunderstood by their superiors and unappreciated by the public they serve , they achieve
satisfaction only from their skill and its ultimate vindication.
Although both films are
highly stylized , they make a show of realism , which means in this case an obsession with
gritty details. The cop is depicted as the sole repository of social order. It is a short hop
from the existentialism that
dr卸的 Popeye
Doyle to the indignation of Dirty Harry. Be-
cause his nemesis, Scorpio (Andy Robinson), is the most vile criminal conceivable, Harry
Callahan (Clint Eastwood) becomes the ultimate cop.
Scorpio is a sniper , a terrorist , a
pervert and a deranged hippie , whose contempt for life is reflected by his nefarious plot
to extort money from the City of San Francisco by killing an innocent person a day.
Thus, Scorpio's extremism is no less dramatic than the extremism of Harry , who breaks
into Scorpio's lair without a search warrant , and tortures him to learn the whereabouts
of a girl he has buried alive , thus breaking the law himsel f. The ensuing legal “ technicalities" permit Scorpio , a known killer, to go free , while Harry, the man who brings
him to justice at great personal risk, is reprimanded for his transgressions; and Harry is
forced to operate outside the law to effect the justice that the society has clearly forgotten
how to enforce.
As Carlos Clarens points out in Crime Movies , the foundation of Dirty
Harry is the classic showdown between Scorpio and Harry , two larger-than-life figures
locked into a bloody, sadomasochistic
ritl時1
of mutual affirmation.
Having directed
Eastwood in three previous films , Don Siegel, the veteran of a dozen crime films, orchestrates the familiar and extreme romance between cop and criminal with attention to
every existential nuance. After witnessing an hour of Scorpio's cold fury
when~
informed
that he has violated Scorpio's rights, he says, “Well , I'm broken off about that man's
rights." And when Harry finally catches up with and kills Scorpio , the law , no less than
the criminal, is the subject of his retribution: He contemptuously tosses his police badge
into the ditch where Scorpio's body has corne to rest. As a vigilante film , Dirty Harry is
a marvel of cross-purposes and a tentament to the confusion and loss of social cohesion
that arise out of bitter resistance
B.
The Godfather
(1 972)一 -a
t。由e counterculture，的 well
as
Paramount film
The Godfather was directed by the then young Francis Ford Coppola , who was of
Italian descen t.
March 15, 1972.
cinema.
The film was produced by Paramount.
The Godfather premiered on
By far it has been the eighth largest earning film in the history of the
Now , more than a decade after its initial release, The Godfather is, as Vincent
美國電影中之個人英雄主義
171
Canby contended ,“one of the most brutal and moving chronicles of American life ever
designed within the limits of popular entertainment."
In fact , for their consummate
precision , scale and sheer ambitiousness , the two Godfather films (I & II) form a colossus
of American cinema in the seventies. In the most perceptive review of the film , Arthur
SchlesInger , Jr. pinpointed the theme of The Godfather:
The film shrewdly touches contemporary nerves. Our Society is pervaded by a
conviction of powerlessness. The Godfather makes it possible for all of us , in
the darkness of the movie house , to become powerfu l. It plays upon our inner
fantasies , not only on the criminal inside each of us but on our secret admiration
for men who get what they want , whose propositions no one dares turn down. 13
A tapestry of family , ambition and dynastic capitalism set against the backdrop of
Am erica in the first half of this century , Coppola's epic makes the temporal
leaps一
from late-nineteenth-century Italy (Sicily) to the arrivals of immigrants at Ellis Island ,
life in New York's little Italy in the 1910s and 1920s, Batista's corrupt Cuba of the fifties
and Las Vegas of the early sixties 一一that produced , as Gerald Mast wrote ,“a political
conversation between the simple hopes of the past and the complex corruption of the
present." A gangster film , The Godfather
e~pands
on the genre and realizes its allegorical
potential by providing a social context for the insularity and aggression of the crime
family , relating its activities to a nation's history , and by integrating fully the lingo of the
vendetta killing with the argot of the corporate boardroom. Li ke Patton , The Godfather
lures the viewer into its fiction with the heroic qualities of the protagonists. Th e men
of the Corleone
family一- Vito ,
Michael and
Sonny一 -share
great strength of character
and an admirable and well-honed instinct for survival , as well as an intuition
criminal arts.
Outside the law , they conform to their own strict code of tradition ,
patronage and hono r.
“ system"
for the
The Corleones constitute an exaggerated replica of an existing
or bureaucracy: business. Though their interests are illegal , there is consistency
to their policies.
The Godfather is in fact Hollywood's requkm for the American Dream. For young
Vito Corleone (Robert De Niro) , whose parents and brother have been murdered by the
Sicilian Mafia , immigration to America represents a traditional passage from persecution to
freedom and opportunity. Vito comes to manhood in the Italian precincts of New York's
Iρwer
1昀3.
East Side , marries and has a son. Employed as a clerk in a grocery store , he gradual-
Sc】h甘
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i n David Denby, edι. ， Film 72
幻/7 3
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華三E 吉祥說 Y 國三言中箔真圈言要
教學與研究第九期
176
of the.chaotic society. The emergence of a vigilante (as in Taxi Driver's case) is an extreme
example of social malice , of confusion of values. The vigilante's intent is to achieve r egeneration throu g}:l violence.
IV. SUMMARY
As long as there are social injustice and unfulfilled dreams , vigilantism in American
movies will continue to be welcomed by the audience. Popular as qe may be , the vigilante
in movies has no name.
coherent politics.
He could be James Bond or Patton or Harry.
Heobliterates
Resorting to violence , the vigilante undercuts the very social order he
purports to defend; his cause is automatically lost and his universe deprived of consistent
values. The contradiction of killing to end killing imposes a burden on the vigilante that
can only by overcome
at 也e
expense of his humanity. The vigilante must become a
superhuman , a fantasy figure whose charm is his efficacy , his ability to get things done by
hook or by crook , his skill as a detective , a fighter , a trouble-shooter , a Godfather. In
essence , his presence is more symptomatic of decay and chaos than a remedy for them.
SELECTED BIBLIOGRAPHY
Cawelti , John. Adventure, Mystery , & Romance. Chicago: Univ. of Chicago Press , 1976.
Denney , Reue1. TheAstonishedMuse. Chicago: Univ. ofChicago Pr ess , 1957.
Harrington , John. Film And/As Literature. Ea g1 ewood Cliffs: Prentice-Hall , Inc. , 1977.
Kando , Thomas , M. Leisure & Popular Culture in Transition. St.
1ρuis:
The C. V. Mosby
Co. , 1980.
MacCann , Richard Dye r. Film and Society. New York: Charles Scribner's Sons , 1964.
Mast , G. and M. Cohen , eds. Film Theory and Criticism. New York: Oxford University
Press , 1974.
Mast , Gerald , ed. The Movies in Our Midst. Chicago: Univ. of Chicago Pr ess , 1982.
Monaco , James. American Film Now: The People, The Power, The Money, The Movies.
New York: Oxford Univ. Press , 1979.
Montagu , Ashley , and Floyd Matson. The Dehumanization of Ma n. New York: McGrawHill Book Co. , 1983.
Newman , Graeme. Understanding Violence. New York: L B. Li ppincott , 1979.
O'Connor , John E., and Martin A. Jackson , eds. American History and American Film:
美國電影中之個人英雄主義
177
Interpreting the Hollywood Image. New York: Frederick Ungar , 1979.
Rollins , Peter
仁， ed.
Hollywood As Historian.
Lexington: Univ. Press of Kentucky ,
1983.
Schatz , Thomas. Hollywood Genres. Philadelphia: Temple University Press , 198 1.
SkI缸，
Robert. Movie-Made America. New York: Random House , 1975.
Stanley , Robert , H. The Celluloid Empire. New York: Hastings House , Pu blishers , 1978.
Thompson , David. America in the Dark. New York: William Morrow & Co. , 1977.
Warshow , Robert. The Immediate Experience. New York: Doubleday Co. , 1962.
Wood , Michael. America in the Movies. New York: Basic Books, 1975.
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