HOW THE BEATNIK RIOTS BEGAN

EXT. 50S BEAT COFFEE SHOP: We hear a discussion going on inside.

EDDIE BEATNIK (VO): "So that's where the art of film is today...."

INT. COFFEE SHOP:

EDDIE BEATNIK: "It's caught between two poles: Fellini and Bergman. The man of heart and the man of mind."

EDDIE BEATNIK: "Fellini's simple and light hearted. Inside he's a child and through his vision we relive...well, you know." 

EDDIE BEATNIK: "Bergman on the other hand...what a cold fish! Did you see 'The Silence?' I thought it would never end. Bergman's just a rehash of Ibsen, only it's all done with stares instead of dialogue."  

BEATNIK EDDIE: "I'm afraid cinema will never reach maturity until it rediscovers heart. 

BEATNIK #1 (VO): "Yeah, heart!" 

BEATNIK #2 (VO): "Without heart film is nothing!"

BEATNIK #3: Dig it, Man. Without heart, life is nothing!"

  

Eddie looks for something.

EDDIE BEATNIK: "Anyone got a light? I can't find my matches."

BEATNIK #1 (VO): "Hey, you're putting me on the spot, man!"

BEATNIK #2 (VO): "Yeah, like matches cost money. Cats should use their own matches."

BEATNIK #3 (VO): "Dig it, man! In life you gotta have your own bread! No mooching!" 

BEAT GIRL: "Gee, that's too bad. I could use a light, too."

SPEED SFX: ZWOOT! ZWOOT! ZWOOT! as several arms race into sc., to light her cigarette. 

BEATNIK #1 (VO): "Let me lay it on you, Sister!"

BEATNIK #2: "Here's a light! Keep the lighter!"

BEATNIK #3 (VO): "I have a pocket full of lighters! Take them all!

BEATNIK #4 (VO): "I have a whole house full of lighters! 'Wanna see them!?""

BEATNIK #5 (VO): "Do you need a ride home? How about a sandwich?"

BEATNIK #2: "Eddie, I agree with your opinion about Fellini, but you got Bergman all wrong. He's witty. Actually Bergman is more like Fellini than somebody like Rossellini."

BEATNIKS # 3 and 4: "Rossellini's the main dude. Even Fellini copies him."

BEATNIK #5: "But does Rossellini have heart? That's the question."

BEATNIK #6: "Does Fellini have brains? THAT'S the question!"

 BEATNIK #7: "Yeah! Fellini thinks we're all interested in his fantasies about fat girls."

BEATNIK #7: "I don't think Fellini would know what to do with a real woman. In fact, I think Fellini is......" 

TO BE CONTINUED.......

WHO CAME BEFORE THE BEATS?

Ever since the late fifties a large number of the intellectuals in this country (above) have been bohemians. Even some traditional intellectuals like Bill Buckley had a bit of a bohemian side to them, and enjoyed playing to bohemian audiences.  That's understandable. The 50s intellectuals seemed to be searching for something elusive,  and you always have a grudging respect for seekers, no matter how addled they may be in other respects.  


Before the Beats most intellectuals were attached to universities. There's was a frustrating era because everybody knew the old world had ended with WWII, but nobody had a handle on the new one.  With the radicalism of the Depression years and all the wartime propaganda for our allies Stalin and the Soviets, Marxism now had a place at the university table and a lot of academics didn't know how it fit with traditional liberalism. The response of some of these intellectuals was to be  placeholders. They were determined to shepherd the old ideas and values into the mysterious new era, integrating them with whatever scary radical thing would come next.


It was an odd time, an inbetween time. University presses put out thousands of books with unclear, mushy opinions that nobody wanted to read. Today you won't even find these books in used book stores or thrift store bins. They just don't have an audience. Maybe they never did. Half of the titles had "Crossroads" in the title, as in "Education at the Crossroads." The output of liberal arts universities at this time was so boring and muddled that young people began to self-educate, which is one of the ways the Beat movement began.  

I'm a traditional liberal so I have no sympathy with the liberal/Marxist synthesis that was painfully emerging in the 50s. On a purely human level though, I sympathize with the attempt of academics in mid-century to keep the old wisdom alive. Doing that in a world that had recently been gutted by fanaticism was a perfectly understandable thing to do. The problem was that the old wisdom, at least when it was stated in the old way, was curiously out of sync with the new era. Immensely destructive changes were ahead, and these heroic placeholders were doomed to pass unthanked into obscurity.  I think they knew that would happen, they just didn't know what to do about it.


Anyway,  they were a likable bunch of people who were riddled with funny quirks and affectations as many good people are. Pipes (okay, cigarettes), woolen tweeds,  bow ties, Terry Thomas moustaches...they had it all, as you can see in the films below.






Here (above) an unidentified announcer of that era sits with critic Lionel Trilling, and "Lolita" author, Vladimir  Nabokov. The set is a room filled with statues, wainscoting, pillars, old European furniture and a working oil lamp which functions as a sort of candelabra.  After talking for a bit around the lamp, all move over to the sofa, as if to enjoy cigars and brandy. It's a wonderful world where intellect and culture still have a place. It just seems funny to see all those cultural artifacts crammed into such a tiny space. I like it, though. If this show were still on I'd watch every episode. 

Nabokov is fascinating, but he doesn't really say anything. Trilling attempts to say it for him and is good-naturedly rebuffed. Boy, you can never get creative people to tell you how they do what they do.

Trilling has real charisma. He has that great tortured look that intellectuals are supposed to have, as if every word was painful to enunciate.  The moderator, Pierre Berton,  does a great job of setting a musical tone that sets up pleasing counterpoints from his guests. It's a great little ensemble. Even if nothing memorable is said, it's wonderful theater.

Aaaargh! I'm too tired to write anymore.