A few days ago, I was finally able to see the movie advertised in the poster above.
I’d wanted to catch it during its initial release, back in 1977. Not because of a review I’d read or a preview I’d seen. I was just responding to that poster image. But I didn’t stop to ask myself why.
I now believe:
I responded because the image reflected my everyday experience of life.
I might be walking along on a sunny day with my head in the clouds. But all the while my feeling sense was saying: you’re traversing a rickety bridge in a wild storm in vehicle tilting too far to one side.
Unfortunately, at the time, I was able to ignore what I felt. I didn’t confront that sense of uncertainty until years later.
If I had seen the movie, I doubt I would have said: yes, that’s my life up there! But perhaps by feeling what I actually felt, I might have at least experienced a catharsis.
As it was, William Friedkin’s Sorcerer* only lasted a week or two in the theaters. So I lost my chance.
But over the years, that image stayed with me. Oddly enough, I never asked myself why. So when I finally got the chance to see the film this month, I wasn’t thinking: let’s explore that metaphor! No, simply stated: I hoped to see ordinary characters struggling to make it through an extraordinary ordeal. I wanted to see honest physical and mental duress. No cartoon superheroes for me!
Well, on that score, I got what I wanted. What a harrowing thrill Sorcerer is! Sometimes a movie is a pale version of what’s depicted on the poster. Not this time.
The next day, thinking back on the film, I finally considered the metaphor of the image. I remembered my initial response. I realized the connection between the image and what I was feeling at that time.
But I also realized the image provoked a slightly different response in the present.
These are not just uncertain times for me—they’re uncertain times for all of us. Will we get across this swaying bridge of broken boards? Will we make it to the other side?
But even after that insight, I felt a little dissatisfied with the movie.
Not because the four main characters were criminals. I don’t want traditional heroes.
Nor was I hoping for a feel-good Hollywood ending. I don’t need the traditional narrative. I want movies that reflect life and even when things work out in life, they usually don’t work out perfectly.
Nor I was bothered by the motivations of those men. They’re not trying to save a child, a family, or a community. Each man is just trying to save his own miserable hide. But considering how they’re suffering, I want to see them escape with their hides intact.
That said, I wish one of them had revealed some higher aspiration. At least one character could have risen above his feral instinct for a moment of blessed spiritual clarity. As Andrzeg Wadja showed us in Kanal, even in a sewer you can experience an epiphany.
Call me a softie, but I need a story that gives me at least a little ray of hope. Hope for the human race. The light doesn’t even need to be that bright.
Yes, we do witness an act of tenderness at the end. But that act has tragic consequences. Our little ray was snatched away right before the credits rolled. Again I’m told: no good deed goes unpunished.
I don’t believe that to be true. But I do know our best efforts often go unrewarded. I know this world doesn’t play by the rules I learned as a child. I know we’re on a rough ride over a shaky bridge during a ferocious storm. I know we could go off the road and explode at any moment.
I don’t wish to ignore that reality. I won’t avoid a movie that tells that truth with a metaphor. But to that metaphor can we add another metaphor—the little ray of hope? I need that ray in order to endure the storm.
(* I’ve found a number of interviews on YouTube in which Friedkin talks about the production of Sorcerer. Not my favorite filmmaker, but the man did give good interviews.)
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