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worldbuilding in "her"
i see myself in spike jonze. he's a skinny white guy who likes arcade fire. in high school, i imagine him falling in with a group of friends who are also skinny white guys, all of whom are slightly bigger, more athletic and more successful with women than him because they probably all skateboard and he probably has just enough aesthetic sense to be able to film them doing skateboard tricks. i may have spent most of my childhood on the internet while spike jonze was outside getting his hands slightly dirtier and listening to hip-hop, but i think we are essentially the same sort of betamale situated on opposite ends of the millenial generation. reptilian cybercafe pseudo-aspergers indie boys.
people who really like spike jonze's movies must spend a lot of time ignoring or minimizing raw materialist criticisms about their visual sense, embodied and appropriated in a still-emerging subset of commercial "indie" films which i inexplicably associate with the year 2007, which seem to come "before" claims about his worldbuilding. i think in the case of "her", to ignore these cries of exasperation is to make a severe mistake in approaching a more substantial criticism. "her" is about how it looks. little boys make and like movies that look and sound violent and unimportant like "transformers", big boys make and like movies that look and sound violent and somewhat important like "argo", and the point of spike jonze is that he's not like the other boys. in jonze, there's color, love and sensitivity. a weird sex scene in "her" is set to some kind of simulacrum of arcade fire's "porno", from their latest album "reflektor" - a track about the collective unconscious behind male masturbation. a character remarks that joaquin phoenix's theodore twombly is "part woman," and theodore twombly is the kind of character whose unrealistic professional life and boring personality seem to point to attempted autobiography. just as arcade fire have written an original score that serves as a half-recreation of their own latest record, spike jonze has written a character that serves as a half-recreation of himself.
the world built in "her" is one that compensates for its lack of real women with a vague aesthetic "femininity" complemented by ambiguously "female" sexless objects. in freudian terms, jonze mourns the loss of female companionship through the melancholic internalization of the "female" into his basic psychological and creative structures. twombly's computer asks him: would you like your operating system to have a male or female voice? the answer is obvious; the crass and unfeeling male voice with which twombly is afflicted at the beginning of the film before the unveiling of "os one" helps to establish his rough life in the future metropolis. twombly's ex-wife is inhumanly cruel and lacks understanding; before her dismissal of the film's central love affair, she appears frequently in the movie in sequences without dialogue dedicated largely to her physical beauty. even amy adams kind of fails at being a woman, to the point at which her main creative labor is the creation of a video game that functions as an educational motherhood simulation. jonze's world without women is also a world without parents, though adams' character (with her implied infatuation with twombly) puts forth some effort in building an ability to play some part in twombly's absent oedipal drama. for spike jonze, a real woman has no more important labor.
despite its spiritual and aesthetic move away from jonze's verbose and intellectual early works penned by charlie kaufman, "her" deals more directly with complexity than those movies. "her" has no less technical detail than something like "being john malkovich", it's just a lot better at hiding those details somewhere beneath the action. in exile from germany, theodor adorno wrote a series of essays about the fascist impulses in the music of wagner, detailing his relationship to personal and physical complexity; his operas are pretty overt and materialist in that the hidden impulses of their characters are either obliterated or brought forth into plot action. still, wagner's anti-semitic caricatures differ somewhat from most of his characters in that they seem to openly express emotions, like pain, and come off as narrow-minded specialists with deep and complex personal involvements (see mime in the "ring" cycle). in scorsese's "the wolf of wall street" (starring jonze in a bit part as a long island penny broker), the film whose controversy almost makes up for the dominant ideology's homogeneous acceptance of "her", leo dicaprio's mephistophelean jordan belfort recalls this old technique of demonization in his candid address to the audience at the film's hedonistic peak claiming that the nature of his crimes are too complex for us plebeians to understand (though the pump-and-dump schemes of the late-80s are elementary in comparison with some of the financial trickery that led to the 2008 meltdown). while scorsese managed to impartially portray this obscurantism as a means to a more objective critique of the story's narrator, the real criticism in "the wolf of wall street" congeals as essentialism and misogyny when interpersonal issues are depicted as subordinate to the more broad and insidious claims of capital. jonze does something similar but entirely different in its effect with "her" - presently uncontroversial scientific conclusions are brought forward into an imagined future and rendered obscure by dialogue and sci-fi fantasy. late in the film, twombly struggles to understand a physics book recommended by the entirely disembodied, roughly "feminine" object of his affection, and is unable to establish a connection with her to tell her about his confusion, leading to one of the film's climactic moments. i googled the title on the spine of the book and it doesn't seem to be a real thing, but i like to imagine that it's a book about quantum computing and the human physical accomplishments that have made systems like twombly's "samantha" nearly possible in recent years. as a crude reduction, twombly can't understand samantha just as cliches would have it that boys like spike jonze and i never "understand" women - but don't mistake "her" as a pseudo-critique in the same way that "wolf of wall street" is. like wagner's jew, jonze's woman can be approximately controlled and commanded but can't ever be fully understood; call it the feminine mystique.
it's not a coincidence that scarlet johansson, an ultimate sex symbol, was chosen at the last minute to play a sexless and disembodied "female" thing.
i can't help but continue to invoke arcade fire's "reflektor" as a companion piece to "her", because the two seem to have been created through processes constituted by a great deal of intersection and collaboration. someone must have already written a thinkpiece about the particular brand of cultural appropriation in arcade fire's new music, namely the "reference" to culturally indigenous rhythmic music in service of the thematic concern with western society's navelgazing millennial tendencies. just as "reflektor" ironically can't come to terms with the material facts of its basis in a departicularized and essentialized cultural mass constituted in the real world by actual people and processes sometimes in conflict with one another (while consciously dealing with "material facts"), spike jonze goes some of the way towards critiquing white boy masturbatory isolation without any efficacy towards realistic worldbuilding or the surmounting of white boy masturbatory misogyny. jonze imagines the los angeles of the future as being all-white and consumed with a certain way of life and sense of humor. more importantly, jonze's world reduces women to a set of aesthetic indications (voices, images) and places the betamale in a godlike position. at least deviantart furry porn retains some actual emotional passion in its movement towards a sexually isolated fantasy worldview. for a couple of artists so dedicated to the idea of honest engagement with material reality, why are spike jonze and win butler so afraid of the physics of the worlds they build? as true as my idle enjoyment of "her" was, i'm nervous about the degree to which it seems to have been made for exactly me.
my favorite babe
In high school, I competed in Speech and Debate every weekend.
During freshman year, my event du jour was Impromptu, wherein a competitor draws a random topic printed on a slip of paper from a bag or bowl, along with a room assignment, and must immediately head to that room and deliver a five-minute speech on said prompt. The time it took to find the classroom with your judge in it was all the time you had to prepare a five minute oratory. Accordingly, some students walked very slowly.
The first time, I cried and asked the judge for help. She was a speech coach herself, and helped me brainstorm topics. I had chosen Impromptu as my speech event because I had been a chatterbox as a kid. I liked to learn and ramble about most anything. Within a few weeks of competing, I was placing on a regular basis. I credit my current ability to write vast quantities of bullshit on the fly to these early speech experiences. Public speaking and writing are just different ways of packaging the same art.
After that year of Impromptu, I switched to a Debate event called Public Forum. It’s a two-on-two style debate, wherein each side gives a speech, then there’s a q&a/crossfire/slugfest, then another set of two speeches, then another crossfire, etc. For a few weeks I competed as “maverick” — meaning I had no partner, and had to deliver double the speeches, against a team of two. I did well but wasn’t allowed to be ranked until I got a team member.
My debate partner, from then on, was a thin, angularly-faced, dirty-blond boy named Erik. He was new to the debate team, but took to it like a duck to a pond. We were a perfect match. I was a seat-of-the-pants, brash, argumentative dick who rolled her eyes during rounds and destroyed opponent’s false claims and faulty logic; Erik was a composed, well-postured, thoughtful kid who carefully wrote and edited his speeches ahead of time. He laid out our central arguments and marshalled the evidence; I came in with an aluminum bat and battered our opponent’s claims into a pulp.
We wore matching suits and started finishing each other’s sentences. People called our team “E squared”. We went to States, then Nationals, twice. We were creepy blonde twins. We spent all our free time in our school’s speech room, prepping arguments and doing research long after all the teachers, coaches, and even real athletes had gone home.
We organized our school’s Gay Straight Alliance, and changed its name to make it more broadly inclusive (but more complicated and less memorable). We phone banked for John Kerry (ugh I know). We created massive tri-fold educational posters on the “History of Homosexuality” and installed them in the school library, and made obnoxious, unprovoked anti-Don’t Ask, Don’t Tell speeches in the lunchroom over the PA system. When a slightly unhinged girl on the speech team suffered some kind of nervous dissociation and attacked Erik, I was the one that cried.
Our relationship smoothed into something more appropriate after Erik got a boyfriend. I was pissed initially because he started to spend more time with the kid than working on his speeches. One day he was late to a tournament and I threw a binder at his head. He almost missed an entire weekend of debate rounds, and almost left a match early when there were still two rounds to go so he could meet up with his beau in Erie, PA. He went to prom with the other out gay guys and their straight female friends, who were more conventionally feminine than I was; I skipped the event and spent the night getting blotto with my closeted lesbian friends.
A year and a half later, we were attending the same college and living together, along with his ‘hag’ and my then-boyfriend. Choosing the same college as Erik was not, let’s say, coincidental. But Ohio State was the only urban, big school I got into, and it had the best Psychology program, so the fact that it granted me proximity to my former ‘twin’ was mostly just a bonus. We’d grown apart a significant amount by that point. We never finished each other’s sentences. We didn’t hang out except to watch playthroughs of Assassin’s Creed and GTA.
One day, in that apartment, he came out of his room wrapped in a blanket with a pair of leg warmers on, and said he’d been listening to classical music on his Pandora station, and that the song Danse Macabre by Camile Saint-Saens reminded him of me.
Everyone else was out of the house; his hag was in some pre-law class or at an internship; my then-boyfriend was at some German club event. We sat in the kitchen and drank coffee with cheap, heavily sweetened non-dairy cream and talked. I said something about not seeing myself as a woman so much as a person, and he said I know you don’t, but everyone else does. Sees you that way.
He got depressed. He stopped going to classes. Instead of playing games a few hours a day, his whole afternoon was consumed with the blue, wintry glow of his Playstation 3 cast on the layers and layers of blankets he tossed over himself like a cocoon. He dropped at least one class each semester.
There had been days like this in high school, too, days he just never showed up because he’d watched a sad movie, or felt like maybe he had cancer all of a sudden, or because he just couldn’t wake up. I, too, had experienced periods of slothfulness; had people tell me I was “acting like a depressed person” (the exact words, which I’ve heard thrown at Erik too). It was easier to assume he was a flake, or that he was nervous, rather than profoundly depressed. I left for graduate school; he started drinking too much. He stopped drinking. He went to law school. It was too isolating. He moved home.
We each passed through rings upon rings of listlessness, low motivation, romantic desperation, loneliness, social anxiety, regular anxiety, and withdrawn, dreamy bitchiness. We’re both better now, I think; we get up every day and work and speak to other people without much struggle. I think we could have gotten better much faster, and much more effectively, if we had shared even a thread of our pain with each other. But then, we’d long stopped finishing each other’s sentences.
No one else has ever told me a song reminded them of me. No one else has anticipated my words before they exited my mouth, or respected my ability to sardonically snipe and insult above all my other attributes, or perfectly, effortlessly understood the kind of woman-person I am. I can’t say I returned those favors, but now when I hear this song, at least I can say I think of him.