Thereof one must not be silent

Derek Jarman's "Wittgenstein" is a poignant call to arms.

Last Friday, Tate Modern hosted a screening of Derek Jarman's 1993 film Wittgenstein. The screening was a collaboration between the New Statesman and Verso Books, which is celebrating its 40th birthday. It was part of a series entitled "In Defense of Philosophy".

Jarman's film is a humorous, often touching and visually brilliant portrait of the Austrian-born philosopher. The film came to be made after Tariq Ali was approached by Channel 4 to produce a series called "The Philosophers". Ali proposed four programmes. Of these, three were eventually made: on Spinoza (with a script written by Ali himself), Locke and Wittgenstein. For the Wittgenstein film, Ali commissioned Terry Eagleton to write the script that would eventually be filmed by Jarman.

During a question-and-answer session with the NS culture editor Jonathan Derbyshire after the screening, Ali suggested that the overarching vision for the series had been "to stimulate people and get them thinking about philosophy" -- an admirable ambition, given recent debates surrounding the future of higher education funding. Ali also wanted viewers to understand the milieux in which these philosophers lived and how they were shaped by them. For Jarman's Wittgenstein, this was Vienna and then Cambridge, where Wittgenstein moved in 1911 to study with Bertrand Russell. The filming took place over a period of two weeks with an initial budget of just £200,000.

The film brings the different strands of Wittgenstein's personality to life very successfully -- no easy task when you remember that Wittgenstein was an aeronautical engineer, gardener, ascetic, provincial teacher, social hermit, westerns aficianado, soldier, architect and hospital porter, as well as the philosophical genius history has remembered him as. Jarman elegantly charts the evolution of Wittgenstein's philosophy from his earlier attempts to create a picture theory of language -- in which words are pictures of a possible reality -- through to his latter concern with how language is actually used and how it works. Here, as Wittgenstein was keen to stress, he was not advancing "any kind of theory" (Philosophical Investigations). Rather, his writing serves more as a call to wean oneself off the problems of philosophy (what is the nature of time? Does God exist? What is knowledge? etc) and to appreciate that "everything lies open to view [and that] there is nothing to be explained".

This has led many to characterise Wittgenstein's views, incorrectly, as those of an anti-philosopher, a point the film makes very well. In fact, they were anything but. As Wittgenstein wrote in the Philosophical Investigations, the point is to realise that philosophical problems are solved

. . . by looking into the workings of our language and that in such a way as to make us recognise those workings: in spite of an urge to misunderstand them.

It was said that Wittgenstein was so persuasive and iconoclastic that impressionable Cambridge students would mimic his mannerisms: hitting his forehead when battling with an intractable grammatical problem or shouting at others when they expressed an inability to understand his latest gnomic utterance. Indeed, the style of his writing -- sparse, to the point and layered with aphorisms -- becomes incredibly infectious. It's hard to read Wittgenstein and move on.

One of the major challenges of bringing philosophy from the page to the big screen is the perennial temptation of the inconsequential anecdote. It is perfectly legitimate, for instance, to wonder whether it really matters if a philosopher struggled with homosexual urges or that three of his siblings committed suicide. Why would knowing either of these things aid our understanding of his work?

I can't settle that question here but one of the great strengths of Jarman's Wittgenstein is its ability to capture the uncompromising fervour with which he approached his work and indeed many other aspects of his life. Wittgenstein once wrote: "Wisdom is cold and to that extent stupid. (Faith on the other hand is a passion)." Norman Malcolm, who attended some of his lectures, once wrote of Wittgenstein:

He told me once that he had tried to lecture from notes but was disgusted with the result; the thoughts that came out were "stale" or, as he put it to another friend, the words looked like "corpses" when he began to read them.

The aesthetic brilliance of the film -- with its striking use of primary colours and inventive visual metaphor -- is great testament to Jarman's energy. Ali recalled that the director would arrive on set without fail at 7am everyday, despite serious illness and encroaching blindness, and stay until 9pm.

With a little artistic licence, the film condenses some of the more well-known stories about Wittgenstein: Keynes meeting "God" on the 5.15 train; his conversations with Elizabeth Anscombe, later his literary executor, about what the earth would look like if it moved round the sun; his intention to commit suicide when a passer-by gave him the "V" sign; and the hilarious sight of Russell arguing with Wittgenstein when he refuses to admit there is not a rhinoceros under the table (a hippopotamus in the actual account). And the character "Johnny" (played by Kevin Collins) serves as a conflation of Wittgenstein's love for David Pinsent and Francis Skinner, who died tragically early in life -- an event that deeply affected the philosopher.

Notwithstanding all that, Terry Eagleton was critical of the film and what was done to his script. He has written, for instance, that:

I shall omit the usual self-regarding narrative of how my screenplay was ripped to shreds by the director. Suffice it to say that at one point my agent instructed me to remove my name from the credits, whereupon the British Film Institute took fright and persuaded me to keep it on.

To be sure: Wittgenstein was never going to please everyone. As Ali himself suggested, the green, Martian interlocutor will be an insuperable obstacle for some viewers. The film also overlooks Wittgenstein's time in Galway and his years as an aeronautical engineer in Manchester -- perhaps not as glamourous as the time spent in Cambridge or Vienna but formative nonetheless. Still, the film is both warm and witty. The dying Wittgenstein tells John Maynard Keynes (played by John Quentin): "I'd quite like to have composed a philosophical work that consisted only of jokes." "Why didn't you do it?" Keynes asks. Wittgenstein replies: "Sadly, I had no sense of humour."

Lord Browne's recent proposal to cut the teaching grant distributed to English universities by £3.2bn, with a 100 per cent reduction for the arts, humanities and social sciences, represents a serious assault on philosophy in Britain. As Peter Wilby has suggested, Browne's review expresses the "grimly utilitarian attitude" that only medicine, science, technology and some foreign languages are worthy of subsidy. One thinks about the future of philosophy with trepidation. Wittgenstein's fervour and intensity, so wonderfully captured by Karl Johnson in Jarman's film, is a reminder to us all that philosophy matters.

 

You can follow Rob Higson on Twitter.

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Cute or creepy? How romcoms romanticise stalker-like and controlling behaviour

I present to you: a history of Hollywood romance, unromanticised.

This week, a new study was published with findings that suggest romcoms can encourage women to be more tolerant of stalker-like behaviour. I Did It Because I Never Stopped Loving You, a report Julia R Lippman, a professor of Communication Studies at the University of Michigan specialising in gender and media, studied women’s responses to “stalking myths” after watching a series of films of different genres.

Women who watched There’s Something About Mary and Management were more likely to be accepting aggressive romantic pursuit than those who watched films featuring “a scary depiction of persistent pursuit” like Sleeping With the Enemy and Enough – or benign nature documentaries such as March of the Penguins and Winged Migration.

Are we really that surprised? The male-dominated film industry has a long tradition of neutralising and romanticising controlling or harassing behaviour from men, from its beginnings to today. I present to you: a history of Hollywood romance, unromanticised.

It Happened One Night (1934)

Often credited with the birth of the romcom, the story is as follows: a newspaper reporter blackmails a celebrity on the run from her family into speaking to him for a story, threatening to turn her in to her father for reward money if she doesn’t comply with his wishes. After dangling this threat over her head over days, he hunts her down on her wedding day, and accepts slightly less than the agreed reward money from her father, arguing that he did what he did for love, not money. On hearing of this noble deed, our heroine swoons, cancels her wedding, and runs off with the reporter instead.

Seven Brides for Seven Brothers (1954)

A group of brothers kidnap six attractive women by causing a life-threatening avalanche that keeps them imprisoned all winter. The women play pranks on the men in revenge, and, in a shocking case of Stockholm syndrome, everyone has an all-round jolly time. They pair off and are all married by summer.  

Some Like It Hot (1959)

Two men disguise themselves as women to trick a young woman into trusting them. One continues his attempts to seduce her by disguising himself as a billionaire and faking severe psychological traumas to gain her sympathy. They eventually sail into the sunset together.

Breakfast at Tiffany’s (1961)

A man becomes enamoured by a pretty young woman, but is angered by her repeated attempts to marry richer men. He investigates her past relationships, without her permission. When she is abandoned by her fiancé, the man follows the pretty young woman to a New York library, insisting she confess her love for him, telling her, “I love you. You belong to me.” When she tells him “people don’t belong to people” he becomes enraged, lecturing and patronising her. They kiss in the rain.

My Fair Lady (1964)

Two men attempt to assert their control over a pretty young woman: one by promising her the career of her dreams if she promises to change her entire personality according to his strict preferences, one by stalking her, lurking constantly on the street where she lives. She almost marries one, and falls for the other.

The Graduate (1967)

A young man intentionally upsets his ex’s daughter by taking her on a date, where he is horrible to her, and forces her to go to a strip club. He hides his affair with her mother from her, and, when she discovers it and rejects him, follows her across America, spends days on end harassing her, and ruins her wedding. They elope, via the world’s most awkward bus journey.

Back to the Future (1985)

A teenager goes back in time to aid his creepy, peeping Tom father achieve his dream of marrying the woman he watches undress from a tree outside her house.

Say Anything (1989)

A young man wins back the heart of his ex-girlfriend by turning up uninvited at her family’s home and intentionally disturbing them all by holding a boombox aloft, humiliating her by blasting out the song she lost her virginity to.

Pretty Woman (1990)

A man manipulates a sex worker to overhaul her entire personality in order to conform to his idea of womanhood.

Edward Scissorhands (1990)

An outcast becomes obsessed with a popular young woman after staring at her childhood pictures in her family home, watches her from a distance, carves an enormous, angelic statue of her, then murders her boyfriend. They kiss, feet from the boyfriend’s lifeless corpse.

Beauty and the Beast (1991)

A man who knows a young woman is not attracted to him kidnaps her father as a way to lure her into his home. He imprisons her and uses his legion of servants and magical home to manipulate her into falling for her captor, all so he can get a sexy makeover. In a shocking case of Stockholm syndrome, she falls for him.

Something About Mary (1998)

Thirteen years after his advances were first rejected, a man travels all the way from Rhode Island to Florida and pays a private investigator to stalk his childhood crush. He lies to her and everyone who knows her in order to win her affections. When she becomes aware of his deceit, she shrugs it off, as everyone else she knows has been stalking her, too. His excuse? “I did it because I never stopped thinking about you. And if I didn’t find you, I knew that my life would never ever be good again.”

American Beauty (1999)

A young man follows an attractive young woman to her house and videos her getting undressed. She gives in to his advances.

High Fidelity (2000)

A man tracks down every one of his ex-girlfriends to harass them over why they left him. He stalks his most recent ex’s boyfriend, standing outside his house in the pouring rain. She goes back to him.

50 First Dates (2004)

A man discovers an attractive woman’s amnesia leaves her vulnerable, so spends every day trying to manipulate her condition to his advantage. After studying her every move, he engineers “chance meetings”, essentially kidnapping her without her consent by the film’s end.

The Notebook (2004)

A woman falls for a man after he writes several hundred letters to her without receiving any replies, stalks her hometown, and restores an entire house based on the fact they had sex there once.

Love Actually (2004)

A man of enormous privilege and power falls for his secretary, comments on her physical appearance to colleagues, has her fired, turns up on her family doorstep on Christmas Eve, and bundles her into his car. She kisses him.

Also, a sullen young man resents his best friend’s wife for being good-looking, is horrible to her, films her obsessively on her wedding day, then arrives on her doorstep on Christmas eve, threateningly brandishing a picture of what he imagines her decaying corpse will one day look like. She kisses him.

Time Traveller’s Wife (2009)

A man uses his time-travelling powers to groom a pre-teen version of the adult woman he loves into falling for him.

Twilight (2008)

A centuries-old man disguised as a teenager infiltrates a school and becomes obsessed with a teenager, stalking her and watching her sleep, all the while making clear to her that he is “dangerous”. She gives in to his advances.

Also, a violent man pursues a teenage woman long after she has rejected him, usually in a state of semi-nudity.

Management (2008)

A man develops an obsession with a married woman when she checks into the motel where he works. She does not return his affections, so he follows her around the country: first to Maryland, then to Washington State, where she is engaged to a man whose baby she is carrying; then back to Maryland. She eventually gives in to his advances.

Crazy Stupid Love (2011)

A teenage boy stalks his female classmate, sneaking into her room at night to watch her sleep.

Fifty Shades of Grey (2015)

A billionaire uses his money and power to hunt down a student journalist who interviewed him at her place of work. He kidnaps her when she is drunk, and blames her for drinking. He manipulates her with gifts and encourages her to sign away her independence. When she tries to leave him, he follows her 3,000 miles to her mother’s home. She gives in to his advances and he assaults her. 

Anna Leszkiewicz is a pop culture writer at the New Statesman.