The Englishman’s Boy

the age to which they are confined. That I was determined to do.”

Chance hesitates briefly, a lecturer marshalling his forces for the next onslaught upon the topic. I wait, perplexed. I have no idea what this “spirit of the age” talk is all about. It sounds a bit like the spiritualist, table- knocking-to-get-in-touch-with-the-dearly-departed, Madame Blavatsky, Hindu swami bullshit which finds such a warm welcome in Hollywood. But I’m not sure. Somehow this is different.

“Which brings me to the present,” he says. “Before and after the war I travelled extensively in Europe. It was evident to me that the war had unravelled the nineteenth century and everything it stood for. But America has not realized this. In America, business continues as usual. One year of war was not enough to teach us the stern lessons learned by Europe. America’s supremacy in the field of industrial production has made her blind to the facts. The war racked Europe with a creative suffering, the travails of a hard and agonizing birth, the parturition of a quickening spirit. While bigger business, bigger armies, more coal, more steel gave the advantages necessary for survival in the nineteenth century, these alone will not be sufficient for success in the new century. In the twentieth century, survival can only be insured by a consolidation of spiritual forces.” Chance leans forward eagerly in his chair as he delivers this remarkable statement.

Eccentricity is the privilege of rich men. They can afford it. I set my glass down carefully on the table. “Spiritual forces, Mr. Chance? I’m not sure what you mean. Are you talking about the League of Nations? Ethical principles ruling the conduct of states?”

He smiles condescendingly. “No, Harry, the League of Nations is the furthest thing from my mind – Voltaire arguing that primitive impulses and bloodlust can be curbed by an appeal to reason. When I speak of spiritual forces, I am speaking of that side of man which the nineteenth century denied because of its worship of reason and science.”

“What side would that be?”

“Intuition, the life force, what Bergson calls the elan vital, the irrational. The night world of visions and fantasies and the waking world of fructifying daydreams. The lost primitive. Sudden insight, inspiration, impulse, imagination. Instinct, Harry! The flexing, the liberation of the will. The rich, chaotic, creative stew of the unconscious! But I speak only words, Harry, bare nouns, mere shadows of rich and complex impulses which words fail to properly describe.” He smiles, as if realizing he is getting too carried away, speaks more quietly. “I don’t want you to mistake my meaning, Harry. I am not suggesting we turn our back on the benefits science has conferred. Far from it. The question is not the rejection of technological and material innovations; the question is whether we Americans will summon up our as yet unawakened spiritual forces and employ them for proper ends.”

“What ends are these, Mr. Chance?”

Chance is not ready to answer my question. He leans back in his chair, relaxing in the warmth of a memory. “Can I describe for you one of the most momentous events in my life, Harry? It occurred in August of 1907 when I bought my first ticket to a nickelodeon. Do you remember what nickelodeons were like in those days? A couple of hundred folding chairs in a failed grocery store, pool room, bankrupt hardware store. Filled with poor immigrants – Irishmen, Poles, Russians, Scandinavians, Italians. Cheap entertainment for a nickel. The foreigners loved the new picture stories because you didn’t have to be able to speak English to understand them, pictures told the tale. The nickelodeons had a bad reputation among respectable people; they were rumoured to be dens of vice; people of my background spoke sneeringly of them as amusement for idiots. But one afternoon on a visit to New York my curiosity got the better of me; I paid my nickel and took my seat among the crowd in the dark. The stench was unbelievable! Week-old sweat, unwashed underpants, a cloud of garlic. Sickening. When the picture began, I was convinced it was nothing but idiotic tomfoolery, mind-numbing sentiment, crapulous melodrama. But then something happened, Harry. The hall was mesmerized, and I do not use the word loosely. They were moved. They wept over innocence outraged, they blazed with hatred for the unrepenting wicked. You recall what happened to Erich von Strpheim after playing so many evil Prussians during the war? It wasn’t safe for him to go out in the streets. When he was recognized, stones were thrown at his automobile. It was no different that afternoon. If the villain had appeared in the flesh, they would have torn him to pieces, limb from bleeding limb.

“I’d never experienced anything like it. They roared with laughter, rocking back and forth on their gimcrack seats, heaving like the body of some great beast, mindful of nothing but the flickering on the bed-sheets nailed to the wall. And as I sat there among them, something began to move in me as well, Harry. I began to feel the wordless pressure of the crowd, the deep desire of the crowd to encompass, to swallow everyone up in a surge of feeling, to bespeak itself with a single voice. And as the minutes flew by, I could feel arise in me a deep longing to lose myself in the shielding darkness, to lose myself in the featureless crowd! And in the end I did let myself go, all the Puritan reserve and self-possession I had been taught from childhood dissolved, gave way like a rotten dam. I found myself laughing, laughing like I had never laughed before in my life! I shook with it, I rocked back and forth in my chair, banging my heels against the floor! Seconds later I wept, tears streaming down my face! When the crowd hissed their hatred, I hissed my hatred too! Hissed like a snake! A great release of feeling in the darkness, feeling which touched the lost primitive.”

He looks pale now, drawn. His fingers toy with a forgotten champagne glass. Another log collapses in the fireplace, releasing a train of sparks, a cataract of glowing embers. He takes out a cigar, places it between his lips, and Yukio is there with a match. Chance takes a few tranquillizing puffs.

“When I left that nickelodeon, I took something important away with me. The knowledge that the new century was going to be a century governed by images, that the spirit of the age would express itself in an endless train of images, one following upon the other with the speed of the steam locomotive that was the darling of the last century and symbolized all its aspirations. I knew that all those Boston Brahmins I had been raised among, the Cabots, Lodges, and Lowells who held themselves aloof from childish photoplays and who forbade their children to attend them, were nothing more than dumb fish insensible to currents which were capable of sweeping them to their destruction. And while they clung blindly to the past, their Irish chauffeurs and gardeners were learning the language of the new century in the nickelodeon, were learning to think and feel in the language of pictures. Have you noticed how many Irishmen direct pictures?”

I don’t contradict him and state the obvious, that the Cabots, Lowells, and Lodges still seem very much securely in the seats of power, and that the Irish are still cleaning the Cabot crystal and driving the Lodges around in their swanky automobiles. All I say is, “The only Irishman I know in pictures is Mr. Fitzsimmons.”

Chance doesn’t register this comment; he’s already pressing on. “When President Woodrow Wilson was given a private screening of The Birth of a Nation, he declared it was ‘History written in lightning.’ The metaphor is fitting. Think of what we all remember of that picture. Battle scenes. The assassination of Lincoln. Lee surrendering to Grant. The stirring ride of the Ku Klux Klan. Sitting through Griffith’s picture is like sitting through one of those dark summer nights when a thunderstorm breaks: instants of brilliant illumination when the things which flash before your eyes – a tree waving in the wind, a river in spate, your bedroom chair – burn into your brain in a way they never would in the steady, even light of day. There is no logical explanation as to why or how this happens. Images take root in your mind, hot and bright, like an image on a photoplate. Once they etch themselves there, they can’t be obliterated, can’t be scratched out. They burn themselves in the mind. Because there’s no arguing with pictures. You simply accept or reject them. What’s up there on the screen moves too fast to permit analysis or argument. You can’t control the flow of images the way you can control a book – by rereading a chapter, rereading a paragraph, rereading a sentence. A book invites argument, invites reconsideration, invites thought. A moving picture is beyond thought. Like feeling, it simply is. The principle of a book is persuasion; the principle of a movie is revelation. Martin Luther was converted in a lightning storm, a conversion accomplished in the bowels and not the mind. A lesson for all of us in this business to remember.”

I am getting interested in what Chance has to say. It must show in my face; he leans forward in his chair, lowering his voice. “Birth became America’s history lesson on the Civil War. For the first time, everybody, rich and poor, Northerner and Southerner, native and immigrant, found themselves pupils in the same history class. A class conducted in Philadelphia and New York, in little Iowa theatres and converted saloons in Wyoming. The movie theatre became the biggest night school any teacher had ever dreamed of; one big classroom stretching from Maine to California, an entire nation sitting at Griffith’s feet. In New York alone, eight hundred thousand people saw Birth, more people than there are students in all the colleges in all the states of the Union. Think about it, Harry. If Lincoln was the Great Emancipator, Griffith is the Great Educator. Whatever bits of history the average American knows, he’s learned from Griffith. Griffith marks the birth of spiritual Americanism.”