SPOILER ALERT! The plot of the movie will be discussed.
I think the music by Elmer Bernstein adds so much to this
movie. It ranges from simple nursery rhyme-like sounds to lush instrumental
orchestration which mirrors the duality of the narration by an adult telling
the story through the eyes of her childhood. The triumph of the story is how
well it puts the audience into the perspective of the children and chronicles
the confrontation of their, as William Blake would say, youthful innocence with
the experience of the fallen-from-grace adult world.
The grown-up character
of Scout provides the setting. It is in the fictional Alabama
town of Macomb
in 1932, during The Great Depression. Thus, we know these are desperate times,
which can exacerbate the problems that already exist in society. That is why
the narrator tells us that the summer seemed hotter and the days longer. (Of
course, time seems to speed up as we age and get closer to our own demise). In
the year in which the story takes place, Scout (Mary Badham) is six years old. Her
nickname implies that she is on the lookout for a path to follow, in this case
the road to adulthood. Her father, lawyer Atticus Finch (Gregory Peck, in an
Oscar winning role, and the character voted by the American Film Institute as
the greatest hero ever in motion pictures), is forced to expose his uncorrupted
children to the evils of the world. It is ironic that by trying to do the right
thing that he places his family in jeopardy. Scout learns that they are poor,
but a town resident, Mr. Cunningham, is so impoverished he can only pay Atticus
with hickory nuts. Her father must explain to Scout that bringing attention to
Mr. Cunningham’s repayment visits only embarrasses the man by emphasizing his
deprived state. The anger that poverty engenders needs an outlet and the
venting of this rage may be misdirected at a convenient target, in this case an
African American.
By introducing the character of Dill (John Megna
playing the role inspired by author Harper Lee’s childhood friend Truman
Capote), we learn by way of explanation the supposed story of neighbor Boo
Radley. Scout’s older brother, Jem (Phillip Alford), says Boo’s father is the
meanest man on earth, locking up his son, who is described as a maniac. This
rumor is supported by Dill’s aunt (Alice Ghostley). The children play “dare”
games that involve touching the Radley porch. When Scout, rolling in a tire,
crashes onto the porch, we see a distorted huge shadow of Boo that looks ominous,
approaching Jem. But, a shadow, no matter how surreally large, can’t hurt
anyone, and this image emphasizes the falsehoods surrounding Boo’s supposedly
menacing personality. We see the shadow retreat when the fear of the children
is obvious to him. Later, when they are sneaking around the Radley house, Jem’s
pants get caught on a wire fence, and he must remove them to escape being
caught. When he goes back to retrieve them, they are folded, as if “waiting for
him.” Jem also finds objects such as a pocket knife, pocket watch, marbles, and
carved wooden dolls that are images of Jem and Scout. They are placed in a hole in a tree. Mr. Radley (Richard
Hale), cements the hole, symbolically emphasizing how he has stopped the world
from knowing the truth about Boo. The latter is ironically named, since he is
the one giving the children the gifts. He is the made-up monster of the
children, whose form and house are seen in dark shots suggesting the nightmare
realm of the imagination. But, they
learn that he is their guardian against the real evil that exists in the supposed
safety of the civilized world of the town.
That evil is incarnate in the figure of Bob Ewell (James
Anderson), the father of his allegedly raped daughter, Mayella (Collin Wilcox
Paxton). He is a drunkard who beats his daughter and puts the blame of his
brutality on the innocent African American, Tom Robinson (Brock Peters), who
Atticus defends out of his sense of morality in the face of the viral-like
bigotry spread by patient zero, Ewell. As Atticus says in his court summation,
Mayella tells lies about Tom assaulting her to cover up her “guilty” act of
kissing a black man. The town spreads its false stories about black men not
being trustworthy around white women just as the occupants have propagated
falsehoods about Boo. But even in the face of facts about Tom’s inability to
strike Mayella because of his paralyzed left hand, the jurors, having been so
indoctrinated that they believe their bigoted lies, convict Tom. He is driven
to despair, and is killed trying to escape. Thus, justice has been inverted, as the guilty are free and the innocent punished.
Atticus is the true Christian in this tale, as he does not retaliate
against the confrontational Ewell when the latter spits in his face for
defending the “immoral” black man. Morality is turned upside down when
prejudice rules, since Ewell preaches earlier to Atticus that he “has children
of his own” and should realize the threat that people like Tom Robinson pose.
That scene is ironic, since it is Ewell who tries to attack the children later.
Atticus is able to shoot a mad dog because it is a threat to his children,
because the animal has a disease it can’t control. But he can’t hurt Ewell,
because Atticus is a civilized man of the law, who is supposed to respect human
life. However, the long shot of Ewell from Atticus’ car as he drives away from
the Robinson home makes Ewell remind us of the rabid dog.
And that is why the character of Boo is a complicated
figure. Atticus earlier tells a story about how his father said that he should
never shoot at a mockingbird, because they do nothing but sing and bring
goodness into the world. Later Boo (Robert Duvall in his film debut) is
directly likened by Scout to the mockingbird, which becomes the symbol for
innocence. If they reveal that Boo saved the children, then he will be brought
into the limelight, which will also expose him to the corruption of the adult
world. He is a before-the-fall-character, in the Biblical sense, existing
outside of the society’s law. Atticus cannot eliminate the evil Ewell, but Boo
can kill him because he is an instrument of divine retribution, used to protect
the innocent children from the evil of the grown-up world. It is ironic that Ewell receives justice only outside of the courtroom, which is supposed to protect the innocent.
There are nice directorial and script touches in this film.
The empty, rickety swaying swing on the Radley porch, which appears desolate
and ghost-like early on in the story, is replaced at the end of the film by the
Finch porch swing which is inviting, and on which Scout sits with her non-apparition
hero, Boo. When Jem is parked outside the Robinson home
while Atticus is inside the house, Ewell approaches the car in a menacing way.
His hands press against the window glass of the automobile, as if threatening
to crack through the protective enclosure of the child’s pure state. This image
is later echoed when hands attempt to get at Scout in her shell-like Halloween
costume. All we see are the groping hands, which produce a visceral fear, again
placing us emotionally in the vulnerable position of the child whose innocence
is being attacked.
Innocence also becomes a weapon against narrow-minded
bigotry since it brings the men bent on lynching Tom Robinson at the jail back
to their pre-fallen state as Scout addresses Mr. Cunningham as a human being, and
talks about his son. It is difficult to be part of a mob when you are forced to
confront the basic human decency of an individual child.
Another scene which emphasizes the above theme of the positive
nature of innocence takes place when the children want to see their father
participating in the Robinson trial. There is no room for them on the first
floor where the white people sit. They must go to the balcony where the Black folks
are relegated. But, to the children, there is no stigma about where they sit.
They just want to see the proceedings. But, while watching the events unfold,
they become initiated into the ugliness of the prejudice which resides where
they live. Scout at first is behind the slats of the balcony railing, and she appears like a child in a crib. But when Atticus walks out of the courtroom, she is told that she should stand up as her father passes by, because he has stood up for the innocent Tom Robinson. As she rises above the slats, the image suggests emerging out of the womb-like safety of childhood into the harsh realities of the adult world.
So, to kill a mockingbird, in the context of this tale, is
to destroy the purity of innocence.
Next week’s movie is Psycho.
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