Af Bathos 5


FUN (1994) ****

D: Rafal Zielinski
S: James Bosley
C: Alicia Witt, Renee Humphrey, William R. Moses, Leslie Hope

There are of course two sides to procreation, the sex and the children. Once the sex was in focus, an addition to a family of seven not making that much of a difference.

As most of them died early on, not much attention was paid to them, until they were big enough to relieve their parents of the tedious chores of housekeeping. Then came industrialism, stripping us of our humanity, our manhood and womanhood, turning us into sexless slaves.

Without sexes, there can of course be no sex, it becomes a tedious, dreadful routine that everybody shuns, the male retreating into pornography, the female into child care. Thus relieved of the burden of sexuality, everyone could agree that the children were really all that mattered, and the Child became the Modern Idol, at the same time losing all real value.

The Proletarian being totally dispossessed, there was no farm to run or take over, and so no need for sons or daughters. Understandably disgusted with their useless offspring, the main object of the modern parents is to get rid of the child, send it to school.

At home it has its own cage, oops, room, filled with entertainment, to keep it from being bored with itself. When it comes to hate and despise itself, this of course only constitutes the natural pangs of growing up.

Soon it will be a slave like its parents. Considering that we are still born Human (even though of course a certain amount of obedience has been bred into the lower classes) it is indeed a wonder that so few children murder their parents – it would seem the logical thing to do.

FUN is the name of this picture, since FUN to the modern youngster is the only release from the horror of everyday suburban existence. What the girls (girls just want to have fun) really mean, is LIFE. And so they kill, just to feel anything, all the while philosophizing that it must have been FUN in the old days, when people starved and froze.

They meet each other one morning and fall in love. After all, that is what nubile girls do, and since there are no men around (although they fantasise about having sex with their fathers) only boys (little girls with dicks) they naturally fall in love with each other.

They suddenly find themselves alive in a dead world and proceed to stake the undead. Of course, their victim is a kindly old woman, and killing her an act of undiluted insanity.

But the rhetorical WHY of such films is either hypocritical or downright stupid. It’s like asking why the victims of Fascism or Neo-colonialism bomb buildings.

Of course, when we understand, we condone. If we understand our neighbours, we can’t kill them.

I don’t know why, it seems to me that it would be easier to kill a fox, if you knew how he thinks. Of course, we can’t kill people for moral reasons, they have to be evil and depraved for that.

It might also mean relinquishing middle-class puritan capitalism as the Truth, the Way, and the Life. And that’s where Art comes in.

Our hearts bleed for that old woman, mistaking those two misshapen monsters for children, and it bleeds for those two star-crossed lovers. For a while there, it almost looks as if the social worker and the reporter, for totally unselfish reasons trying to rehabilitate them and tell their story, are the villains of the piece, but of course that can’t be.

The newspaperman even gets one of the girls’ poetry published. What a waste!

Why did she have to do what she did, why couldn’t she just have submitted her poetry to that publisher in the first place, gaining the celebrity she wanted, by fair means. Maybe she had the crazy notion that the public is only interested in young girls that kill people.

You see, the artist can neither sit on the fence nor take sides (yes Virginia, this review IS written by an artist, and not a critic) he has to try on every skin. And so he does.

These girls may be supposed to be angry, bitter and miserable, but they’re not. For the first time they have some sort of life, however pitiful.

They did SOMETHING. Isn’t that what we’re always told?

You have to do SOMETHING, however absurd. Well, they did, and it was an act as absurd as they come.

Of course, this is all just a chilling indication of the moral decay of Western society (pass the popcorn) morals obviously being the cure for the cancer of Modern Life. Here, the point is doing NOTHING.

You see, Ethics no longer means taking from the rich and giving to the poor. It means falling into the choir.

If these young girls had become lawyers, their whole existence being dedicated to caging and executing their fellow man, all would have been well. Government officials are elected killers (elected mainly by the Military Industrial Complex, of course) and so they’re not killers at all, no matter how many children they slaughter.

As opposed to what is usually the case, the movie is black and white, the flash-backs being in colour, perhaps marking the protagonists’ return to “reality” as they enter the penal system. At the very end, the colours return.

If this is an equivalent of the hero of A CLOCKWORK ORANGE being “cured”, it isn’t very convincing. But the movie as a whole is.

It’s (a kind of) art. The public and critics undoubtedly found it “shocking” (yawn).

And so it’s safe to go back to the factory. For a while, anyway.