Yesterday I went to see 'Milk'. There was much to admire in the film and many reasons to feel inspired by the story. Sean Penn was stunning in the depth and nuance of his performance and the man he portrayed shone with warmth, intelligence and unyielding integrity. His story was uplifting, despite its tragic end, for showing a man who fought the good fight against mindless prejudice, who began with a handful of supporters and inspired many more to join a movement, who persisted in the face of hatred and eventually won - small victories that paved the way to greater freedoms. You wanted all your elected officials to be more like Harvey Milk. You wanted to be more like Harvey Milk - a kind, passionate and deeply humane person fighting in a just cause.
And yet I came away unsettled, even disturbed. Because, much as the film celebrated the humanity of its subject, it denied the very same quality to those who fought against him. Anita Bryant and John Briggs, who campaigned to have gay rights repealed and gay teachers in California fired, were portrayed as ignorant, arrogant, Bible bashing bigots - the very antithesis of Milk. And while of course the instinctive reaction of anyone holding liberal views to someone who equates homosexuality with pedophilia is repulsion and condemnation, the minute you strip such people of their humanity you do to them exactly what you accuse them of doing to others. We cannot only empathize with those with whom we agree. The far greater and more important challenge is to find the humanity in those who are not likable, who commit heinous acts, who hold obnoxious views, who dare I say it - blow themselves up for their religious beliefs. Finding their humanity is our only defense against becoming what we purport to oppose.
The last film which I saw with Sean Penn did just that: it found the humanity in someone who your instinct told you to abhor - a murdering rapist. Dead Man Walking, which I finally got around to seeing this summer, was for me an example of one of the supreme ambitions, even duties, of art: it told a story that enabled the viewer to empathize with a character who all our social conditioning has told us to see as inhuman. Although right until the end we did not know whether or not he had committed the crime, and even if he hadn't he was a troubled character, at the last, regardless, his pain and anguish and terror of death were so visceral that you could not but feel for him, could not but be moved to compassion and pity.
I thought for a long time afterwards about how this film in particular and art in general manages to achieve this feat. And I think that it is simply this: it finds the nodes of emotions that we have all felt and uses these as the poles through which to route the connection between viewer/reader and character, a circuitry that enables us to imagine being in someone else's shoes. At a reading this week by Irish Writers protesting the situation in Gaza, one read out an extract from a conscientious objector during World War I in which he made an appeal to rationality as being that which fundamentally separates man and beast. But in many ways this is wrong (or at least only half the truth): that which makes us human is our ability to feel love, hate, shame, anger, hope, despair, our ability to express these emotions in our stories and our art and most crucially of all our capacity to imagine what it must be like to be in someone else's place . None of us has taken another's life but we have all done things that we are ashamed of and we can project this outwards and so grasp the enormity of guilt and remorse that Matthew Poncelet must have felt. None of us has had to sit in a room, handcuffed, and say goodbye to our families, but if we were in that position we would probably feel an impulse to crack a joke. And though none of us have been on death row, we have all at some point felt fear of death and so can imagine the terror of knowing that at a set, appointed time we were going to cease to be. It is this capacity - to feel ourselves and to feel for others - that is ultimately what makes us human. And it is the commonality of that capacity that unites us.
My objection to identity politics is that it denies this. At one point in Milk, after the landmark defeat of Proposition Six, Harvey Milk declares that this is 'a victory for all the us's out there' - the African Americans, the Latinos, the women and the disabled. But setting up binaries of 'us' and 'them', so that 'our' victory is 'their' defeat is so clearly destructive that I feel bored even making the point. Much as it is understandable to emphasize an identity when that identity is used to discriminate against you as a human, it creates a dialectic that drives both sides to the extremes. People often comment on the polarized nature of American society - the liberal havens on the coasts and the deeply religious and conservative interior. But this is no paradox - they feed off each other. And much as I celebrate the victory of the gay rights movement and the hope that it brought, casting it as a victory of the 'us's' rather than a victory of us all is almost as divisive as the acts of discrimination it sought to overturn.
And yet I came away unsettled, even disturbed. Because, much as the film celebrated the humanity of its subject, it denied the very same quality to those who fought against him. Anita Bryant and John Briggs, who campaigned to have gay rights repealed and gay teachers in California fired, were portrayed as ignorant, arrogant, Bible bashing bigots - the very antithesis of Milk. And while of course the instinctive reaction of anyone holding liberal views to someone who equates homosexuality with pedophilia is repulsion and condemnation, the minute you strip such people of their humanity you do to them exactly what you accuse them of doing to others. We cannot only empathize with those with whom we agree. The far greater and more important challenge is to find the humanity in those who are not likable, who commit heinous acts, who hold obnoxious views, who dare I say it - blow themselves up for their religious beliefs. Finding their humanity is our only defense against becoming what we purport to oppose.
The last film which I saw with Sean Penn did just that: it found the humanity in someone who your instinct told you to abhor - a murdering rapist. Dead Man Walking, which I finally got around to seeing this summer, was for me an example of one of the supreme ambitions, even duties, of art: it told a story that enabled the viewer to empathize with a character who all our social conditioning has told us to see as inhuman. Although right until the end we did not know whether or not he had committed the crime, and even if he hadn't he was a troubled character, at the last, regardless, his pain and anguish and terror of death were so visceral that you could not but feel for him, could not but be moved to compassion and pity.
I thought for a long time afterwards about how this film in particular and art in general manages to achieve this feat. And I think that it is simply this: it finds the nodes of emotions that we have all felt and uses these as the poles through which to route the connection between viewer/reader and character, a circuitry that enables us to imagine being in someone else's shoes. At a reading this week by Irish Writers protesting the situation in Gaza, one read out an extract from a conscientious objector during World War I in which he made an appeal to rationality as being that which fundamentally separates man and beast. But in many ways this is wrong (or at least only half the truth): that which makes us human is our ability to feel love, hate, shame, anger, hope, despair, our ability to express these emotions in our stories and our art and most crucially of all our capacity to imagine what it must be like to be in someone else's place . None of us has taken another's life but we have all done things that we are ashamed of and we can project this outwards and so grasp the enormity of guilt and remorse that Matthew Poncelet must have felt. None of us has had to sit in a room, handcuffed, and say goodbye to our families, but if we were in that position we would probably feel an impulse to crack a joke. And though none of us have been on death row, we have all at some point felt fear of death and so can imagine the terror of knowing that at a set, appointed time we were going to cease to be. It is this capacity - to feel ourselves and to feel for others - that is ultimately what makes us human. And it is the commonality of that capacity that unites us.
My objection to identity politics is that it denies this. At one point in Milk, after the landmark defeat of Proposition Six, Harvey Milk declares that this is 'a victory for all the us's out there' - the African Americans, the Latinos, the women and the disabled. But setting up binaries of 'us' and 'them', so that 'our' victory is 'their' defeat is so clearly destructive that I feel bored even making the point. Much as it is understandable to emphasize an identity when that identity is used to discriminate against you as a human, it creates a dialectic that drives both sides to the extremes. People often comment on the polarized nature of American society - the liberal havens on the coasts and the deeply religious and conservative interior. But this is no paradox - they feed off each other. And much as I celebrate the victory of the gay rights movement and the hope that it brought, casting it as a victory of the 'us's' rather than a victory of us all is almost as divisive as the acts of discrimination it sought to overturn.