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is only the "To Print" page. To go to the regular page of Ray Carney's
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Robert
Kramer was one of the many unsung heroes of the first generation American independent
filmmaking movement. In his great works, Ice, Milestones,
Route One, Starting Place, and many other important films,
he was the great cinematic historian of American life, thought, and culture
beginning with the Vietnam era through the Reagan-Bush years. For more than
30 years, along with Jon Jost, Kramer was the conscience of American film. The
essay included on these pages was written by Ray Carney for a book of French
criticism. It has never been published in English.
Revolutionary Style:
Ice and Milestones
To all filmmakers who accept the limited, socially
determined rules of clarity of exposition, who think that films must use the
accepted vocabulary to “convince,” we say, essentially: “You only work, whatever
your reasons, whatever your presumed ‘content,’ to support and bolster this
society. You are part of the mechanisms which maintain stability through re–integation.
Your films are helping to hold it all together. And, finally, whatever your
other descriptions, you have already chosen sides. Dig: Your sense of order
and form is already a political choice. Don’t talk to me about ‘content’—but
if you do, I will tell you that you cannot encompass our ‘content’ with those
legislated and approved senses, that you do not understand it if you treat it
that way. There is no such thing as revolutionary content, revolutionary spirit
laid out for inspection and sale on the bargain basement counter.”
We want to make films that unnerve, that shake
assumptions, that threaten, that do not soft–sell, but hopefully (an impossible
ideal) explode like grenades in people’s faces, or open minds up like a good
can opener.
—Robert Kramer
I’m a revolutionary, but not in the political
sense…These small emotions are the greatest political force there is.…We have
problems, terrible problems, but our problems are human problems.
—John Cassavetes
Just
because escapist art is bad, doesn't mean socially engaged art is necessarily
any good. Political filmmaking may be escapist too: an escape from the complexity
of human emotions, an escape from the parts of life that politics doesn’t reach.
Sociological understandings leave a lot of experience unaccounted for. Life
is more than ideology, and in fact the most important parts of experience may
completely elude ideological understanding. Political structures and power relations
only touch the outside of our lives; the depths of experience are on the inside.
There is no place in ideological analysis for love, kindness, worry, fear, or
hope. The mystery, wonder, and unpredictability of experience disappear. Who
knows how much greater an artist even Eisenstein might have been if he hadn't
been trapped in reductive ideological analyses? A baby carriage bouncing down
a flight of steps may be an arresting image, but the view of experience it provides
is of limited value in helping us understand ourselves. At times, even Godard
has been guilty of using political stances and slogans as a way of avoiding
emotional complexities.
One
of the things that makes Robert Kramer such an important artist is that his
work is ideologically informed without being limited by the shallowness of ideological
forms of understanding. It is political without yielding to the tendentiousness
of political analysis. It is sociologically astute without succumbing to the
depersonalizing tendencies of sociological knowledge. In fact, Kramer's two
early masterworks, Ice and Milestones, take
the limitations of ideological understanding as their subject. Both films imagine
groups of figures who have organized their lives around political analyses of
experience, and who get into emotional trouble as a consequence. In Ice,
it is a cadre of revolutionary terrorists who inhabit a dystopian future that
bears more than a passing resemblance to the period in which the film was made—the
late sixties in America. In Milestones,
it is a group of political radicals and former war protesters attempting to
put the pieces of their shattered lives back together in the post–Vietnam era.
Both films are ideologically engaged in the extreme—mounting powerful attacks
on American imperialism, social injustice, and bourgeois complacency. But what
makes them so remarkable is the ways they indicate how much more there is to
life than is encompassed by political understandings—whether those of the characters
or those of the viewer. Kramer brilliantly demonstrates how experience overflows
ideological containers.
Both
Ice and Milestones are organized in terms of a
series of rapid, understated ironic juxtapositions of political ideals and personal
events that highlight the limits of purely ideological stances. In Ice, a serious young revolutionary pauses
in his work of translating an audio tape about the struggle for equality of
blacks, Chicanos, and women, to berate his girlfriend for not having supper
ready. At another moment, Kramer cuts from a revolutionary polemic about "false
consciousness" to a scene in which the same figure as the one in the earlier
scene is shooting up heroin. The clear implication is that one way of being
drugged is hardly superior to the other. (As evidence of the importance of these
“counter–statements” to Kramer, it might be noted that the director himself
plays the role of the girlfriend–abusing, drug–taking revolutionary in both
scenes.)
In
Milestones, a bar owner tells one
of his waitresses about his participation in the Vinceremos Brigade (a group
of people who went to Cuba from the United States in the mid–sixties to help
in the socialist experiment), waxing poetic over the beauty of the experience,
only to have his monologue slowly segue into a sexual come–on. Being a revolutionary
is his way of picking up girls. In a further irony, we subsequently see him
interacting with a waitress, a bill collector, and a performer in disturbingly
inhumane and unkind ways. So much for revolutionary slogans.
But
irony is only one of the ways that Kramer indicates the limits of political
stances. Ice and Milestones keep reminding us of areas of
life that political analysis doesn't address and revolutionary action can't
touch. Kramer keeps expanding our view precisely at the points the political
and sociological rhetoric of his characters (or the political commitments of
his viewers) would narrow it. Wherever his characters become too single–minded,
he forces his viewer to be multiple–minded. His editing and sound design put
the limitations of single–mindedness on display.
Sometimes
the effect is as subtle as a few sounds laid in on the soundtrack. Early in
Ice a woman interrupts her work to
wrap guns she is smuggling to a revolutionary group, and we momentarily hear
the sound of a child's voice on the soundtrack. At another moment, late in Ice,
we see the same terrorist we previously saw yelling at his girlfriend about
supper and shooting up (the terrorist played by Kramer), rifling through a file
cabinet in a house. He is suddenly panicked by the sound of a door opening in
another room and raises his shotgun, bracing himself for an attack. For a few
seconds the tension is almost unbearable. We and he expect the police to burst
through the door any second. However, the next noises on the soundtrack are
children's voices—the last thing we and he expected to hear. All he’s heard
was little kids in talking in another room. In both scenes, the effect on a
viewer is extraordinarily deep. Amid all the revolutionary posturing, we had
forgotten there were such things as children—innocent victims of this whole
situation, figures who have utterly no connection with or understanding of guns
and power. Further jarring, touching incongruities in the first scene include
the additional facts that the woman is not a full–time revolutionary but a potter
working in a studio, and that she is using bakery boxes to hide the guns. There
is a world beyond ideology.
Even
the revolutionaries themselves are not entirely taken in by their own rhetoric.
In Ice, during the revolutionaries'
preparation for one aspect of the "spring action" (involving going
out and persuading residents of a nearby housing project to join the movement),
a number of them meet to rehearse what they will say by play–acting both sides
of the conversation. At one point in the mock session a young woman is holding
forth to a young man about the joys of being a martyr to the revolution. Another
young woman Kramer has cleverly framed in the background during the entire shot
speaks up to say that she isn't persuaded by the brave talk. All three are revolutionaries,
and as part of the mock session, it is all supposed to be just pretend. But
what makes the moment gripping is that the young woman clearly has stopped play–acting
for a moment. She is not offering merely token objections the way she is supposed
to. She sincerely entertains doubts about what they are doing. She is genuinely
upset by the other woman's revolutionary ranting, and unconvinced by her overheated
rhetoric. It is Kramer's way of indicating that even some of the most committed
revolutionaries have doubts about their own jargon. Their own uncertainties
keep surfacing. No matter how firm our intellectual commitments to a cause,
our emotions can still get in the way.
We
see that in a slightly different way a few minutes later in Ice. Kramer focuses on the filmmaking group
in the final minutes of their preparations before the "spring action"
is to take place. It would have been easy to turn the scene into agitprop: to
show the purposeful, focused revolutionaries gathering their equipment together
and headed out into the night on their idealistic mission. But he does something
artistically more difficult and much greater: He dramatizes the full range of
confused, unsettled feelings that such a moment might actually evoke. The leader
of the group is focused and purposeful and dedicated to the cause, but he is
also obviously rattled and upset and uncertain about the outcome of the upcoming
event. His anxiety manifests itself not only in nervously barking out unnecessary
orders and insulting questions to his female assistant ("Did you remember
this?" . . . Did you do that? . . . Are you sure?"),
but in being so physically jittery that he has a hard time tying his tie and
putting his coat on. (She has to help him.) At one point, the scene even verges
on tragicomedy—when the leader muses to no one in particular on the weirdness
of the fact that, as he puts it: "There are people out there with machine
guns who have never been in a fist–fight before." The touching humor and
sad commonsense of his observation cuts through all of the cadre's apocalyptic
posturing to suddenly bring us back down to earth. What does it mean to be a
terrorist who has never been in a fist–fight?
The
point of each of these ironies and incongruities is that there is no such thing
as ideological purity or consistency of purpose. Grand ideas are well and good,
but messy, clumsy life keeps getting in the way. Kramer shows us that like the
head of the film unit, we can be on our way to film the revolution, but still
be wracked with doubt and fear. Like the woman smuggling guns, we can be revolutionaries
but also have to juggle being artists and mothers (and going to the bakery)
at the same time. Like the young man doing the translation, we can talk the
rhetoric of justice but still be trapped in stunningly unfair patterns of behavior
and feeling.
It
is not accidental that, in one of the great scenes in all of Kramer's work,
one of the most important characters in Ice, the bookstore owner named Howard (who is somewhat apolitical
and consequently not trusted by the hard–core revolutionaries) makes a passionate,
poetic speech to a young woman named Leslie about freedom not being a political
state but an intellectual and emotional achievement. It is not something won
on the streets but a quality of our hearts. The truest liberation is inward
and spiritual. Howard’s voice is as close as we come to hearing Kramer's own
voice in Ice. He tells us in words
what shot after shot in Ice tells
us visually and acoustically: that political aspects of our experience won't
be uncoupled from the rest of our lives.
That
is ultimately what makes the movie Kramer makes so different from the films
the revolutionary cadre itself produces in Ice. The films the revolutionaries make are proud, confident, self–assured,
and tendentious. The film Kramer makes is the opposite: It is humble and exploratory.
It asks questions and keeps its mind open to unforeseen possibilities. The films
within the film treat ideological concepts like "imperialism," "freedom,"
"false consciousness," and "revolutionary activity" as if
they could be disconnected from the rest of life. Kramer reconnects ideology
with the emotional and intellectual untidiness of lived experience.
Robert
Kramer was one of the many unsung heroes of the first generation American independent
filmmaking movement. In his great works, Ice, Milestones,
Route One, Starting Place, and many other important films,
he was the great cinematic historian of American life, thought, and culture
beginning with the Vietnam era through the Reagan-Bush years. For more than
30 years, along with Jon Jost, Kramer was the conscience of American film. The
essay included on these pages was written by Ray Carney for a book of French
criticism. It has never been published in English.
©
Text Copyright 2005 by Ray Carney. All rights reserved. May not be reprinted
without written permission of the author.
This
is only the "To Print" page. To go to the regular page of Ray Carney's
www.Cassavetes.com
on which this text appears, click
here, or close this window if you accessed the "To Print" page
from the regular page. Once you have brought up the regular page, you may use
the menus to reach all of the other pages on the site.