Of Passions, Kings and Orchid Thieves
Where time is a memory...
Maybe the ghost orchid only blooms in the minds of people who've walked too long in the swamp. Susan Orlean
'Twas in another lifetime, one of toil and blood | When blackness was a virtue and the road was full of mud | I came in from the wilderness, a creature void of form. | "Come in," she said, | "I'll give you shelter from the storm." I'm lugging several books around with me. Having revisited
Conrad and
Eliot in January, I moved on (or should that be "back") to
Camus and
Sartre. Sometimes, it's necessary to retrace your steps if you're to see where you're headed. I've trawled
The Rebel,
The Fall, and
Exile and the Kingdom, enjoying all three—even though I recognise them as old friends; mirrors on a wall. Afterwards, I felt something to be missing. Y'know the feeling... heh. So I moved across to Sartre's
Words (I loathe my childhood and all that remains of it...), distancing myself from any association with the horrible little man's subtitle... of course.
On the Powell's site,
Words is accompanied by an extract from
Paul de Man's
1964 review of it, published in
The New York Review of Books. The review is open to only those prepared to pay for it. Who said irony is dead? Anyway, I read the Sartre because he and Camus will forever be linked. I do not (as mentioned in a post below) pretend to understand or empathise with the philosophers, but I find the meaning in statements such as Sartre's "Hell is other people" in stories like Camus's
The Guest (the other telling story in that particular anthology being the first,
The Adulterous Woman).
"Boy, I'd love to find a portal into your brain." Valerie And if I pass this way again, you can rest assured | I'll always do my best for her, on that I give my word | In a world of steel-eyed death, and men who are fighting to be warm. | "Come in," she said, | "I'll give you shelter from the storm." Still I was restless...
...and so took Milan Kundera's
The Joke from the shelf. I think I've found what I'm looking for. I'm feeling more settled than I have in a long time. This edition has a foreword by the author in which he mentions the book's first publication in Paris with a foreword by Louis Aragon. I do not know the surrealists but have clung, since finding it last year, to the beauty of Aragon's short explanation of their form,
A Wave of Dreams:
Dreams, dreams, dreams, the domain of dreams extends further at each step. Dreams, dreams, dreams, the blue sun of dreams at last drives the steel-eyed beasts back to their lairs. Dreams, dreams, dreams on the lips of love, on the figures of happiness, on the sobs of attention, on the signals of hope, in the yards where a people resign themselves to serving pickaxes. Dreams, dreams, dreams, nothing but dreams where the wind wanders and the barking dogs go out into the road. O great Dream, in the pale morning of buildings, don't be led off again by the first sophisms of dawn, those chalk cornices where, leaning over, you mingle your pure, weak strokes with the miraculous immobility of the Statues! Scatter these intolerable clarities, these bleedings of heaven that for too long have bespattered my eyes. Your bedroom slipper is in my hair, genie with the smoky face, stunning shadow coiled up in my breath. Take over the rest of my life, take over all lives, tide rising with a foam of flowers. Omens above the houses, visions at the bottom of pools of ink and in the coffee-grounds, migrations of birds on the laterality of soothsayers, hearts consulted by bloody fingers, announce-the times unwrap themselves from their draperies-your reign and your cyclone, adorable siren, incomparable clown of the caverns, o vision leaning back on the coral, color of falls, odor of the wind! more...
Yeah... rest easy,
Allen Ginsberg, great
voice of the darkling night.
I guess life
is more about memory and forgetting than anything else. If memory serves me at all, Kundera wrote about this best in
Immortality, wherein a poolside gesture by a woman named Agnes drives his
reflections on passion and desire. But for me, now, most things have to do with Ludvic's insight while walking along the banks of the Ostrava:
"I was well aware that the nightmarish phantasmagoria of the landscape was merely a metaphor for everything I had tried not to recall after my encounter with Lucie; I seemed to be projecting suppressed memories onto everything I saw around me; the desolation of the fields and courtyards and warehouses, the murk of the river, and the pervasive chill that gave the landscape its unity. But I understood there was no escaping those memories; they were all around me."
Ever had that feeling? That realisation of your projection? It's decidedly weird, almost hallucinogenic. I project a great deal, but then I get
Meryl Streep to act things out for me.
"You are what you love, not what loves you." Donald Kaufman R.I.P. Not a word was spoke between us, there was little risk involved | Everything up to that point had been left unresolved. | Try imagining a place where it's always safe and warm. | "Come in," she said, | "I'll give you shelter from the storm." Last week, Wendy and I watched
Adaptation on the box. Based on
Susan Orlean's book,
The Orchid Thief, which I have not read, I found it fascinating. Orlean developed the book from her 1995 article in
The New Yorker,
Orchid Fever, a piece that hints at far more than orchid-collector John Laroche's eccentric obsessions. A film is what you make of it and perhaps I make
too much of this one. Be that as it may, I reckon David Denby's
New Yorker review is a bucket of shite. He ends his critique thus:
But the distraught Charlie, to our amazement, is impressed by McKee's platitudes, and abruptly turns the orchid story into a violent melodrama after all. What then envelops Orlean and Laroche and Charlie (who writes himself into the story) is awful nonsense. Drugs, guns, car crashes, alligators—the movie becomes a complete shambles, and far more desperate than anything conventional filmmakers would fall into. It's hard to know how to read this mess of an ending. Is it a way of throwing in the towel after a long struggle and "adapting" to Hollywood? Or is it meant to be taken as a savage parody of selling out? The first possibility is sad, the second condescending to the audience. The trouble with experimental comedies is that it's often impossible to figure out how to end them. But at least this one is intricate fun before it blows itself up.
Crap. It's one of the best movies I've seen in a long time and, as time goes on, it gets even better. As I've said, I've not read Orlean's book and had not read
Orchid Fever until starting this blog entry.
I came to the movie cold, expecting that which the blurb gave me, insight into the fucked-up lives of orchid collectors, a demented species of horticulturists, adventurers, crooks, smugglers, deviants and seed gatherers of an exotic type. I also expected to learn something of the plants. Orlean doesn't tell us much about orchids, epitomised by the elusive
Ghost Orchid (polyrrhiza lindenii). The Ghost Orchid, in its role as the
Holy Grail, is both the star and the villain of the piece.
The people tracking these elusive plants in Governor Jeb Bush's state of oppressive heat and tropical dis-ease
are decidedly twisted but, just as Hunter Thompson's
Fear and Loathing in Las Vegas had little to do with desert-bike races, high-octane drugs and crew-cut police conventions and everything to do with Dr. Johnson's quote prefacing it, "He who makes a beast of himself gets rid of the pain of being a man,"
Adaptation has little to say of the plant and its latter-day hunter gatherers and much to say of the greater collector, i.e. people—whoever and wherever they may be. It is not only the John Laroches (Chris Cooper) who get to inherit the Earth. We too are "other people".
"Cut it down, Russell." John Laroche I was burned out from exhaustion, buried in the hail, | Poisoned in the bushes an' blown out on the trail, | Hunted like a crocodile, ravaged in the corn. | "Come in," she said, | "I'll give you shelter from the storm." Adaptation is a love story. What else? What else works? Nothing. It had to be a love story, but it's an intelligent love story, where self-absorption, passion and obsession dominate a love relegated to fleeting moments of unseen beauty deep in the Fakahatchee swamps and its characters' strangled hearts. It's intelligent because, through the shambles of its evolution, it retains the strength and thrust of its frequently misguided human intensity.
It's not the usual love story because it has to do with one person, the viewer. No, not the stars nor even the abiding presence of that elusive state of delicate completion, the
Ghost Orchid. Charlie Kaufman (Nicolas Cage), the scriptwriter from hell who eventually
gets it and the girl, Laroche the toothless swamp-monkey, orchid devourer and main love interest, and Orlean, the fucked-up, repressed writer whose inability to express herself blows the movie to its conclusion are bit players, scrambling for their scattered lives.
In
Adaptation, Orlean tells the story of her love-lost life. Okay, what the hell is passion? What is obsession? What is lust? I don't know, but I do know they're linked. We need all three and it's sometimes bloody difficult to tell them apart. To do so takes an insight and self-awareness that cannot descend into any of them. Lacking passion, Orlean certainly can't help herself falling into it. Bored and over-privileged (working for
The New Yorker helps), she heads off—without a suitcase full of drugs and bats outside of Barstow—to find fulfilment in her character's opposite (Laroche), a cranked orchid collector with a bad case of life. As portrayed, Orlean (awareness) and Laroche (passion) are one-dimensional characters in dire need of each other if they are to realise themselves. "There you go. We're twins" says Orlean. Once plugged into the toothless obsessive, she definitely wants more and sets about rearranging everybody's psyches.
Laroche is a compulsive dilettante who flits—much like the insects that pollinate his flowers—from one interest to another. His saving grace is that, unlike Orlean, he's been whacked by tragedy to an acceptance of life as it presents itself to him. He therefore moves comfortably from one passion fest to another. But he lacks awareness or a sense of his quests. Orlean, aware of her sterility but as oblivious to others' needs or shortcomings as Laroche, is fascinated by the serial loser determined to crack the big time (cloning the rare Ghost Orchid) and life in general. But she tries, as he observes, to ride his passion to her fulfilment.
A normal person stuck in a rut where passion is another country and her husband has become a drag, she is desperate to claim a thoughtless zest for life similar to Laroche's. Her chief flaw is to see more in the flower hunter (he reminds me of John Fowles's
The Collector) than a low-rent horticulturist or pointing finger. Before looking at herself, Orlean takes Laroche for the real deal, a toothless flower guru capable of cloning a million Nirvanas, and sets herself up to take a fall as hard as any Laroche has experienced. Orlean's redemptive potential lies in her intuitive grasp of Laroche's dumb acceptance of our need to seek a coming into being as magnificent as that of the Ghost Orchid, which flowers once in a blue moon.
"Nothing happens in the world? Are you out of your fucking mind?" Robert Mckee Suddenly I turned around and she was standin' there | With silver bracelets on her wrists and flowers in her hair. | She walked up to me so gracefully and took my crown of thorns. | "Come in," she said, | "I'll give you shelter from the storm." That's where the story might have ended. However, movie rights to Orlean's book result in the obsessively neurotic Charlie 'Being John Malkovitch' Kaufman being assigned to script it. Kaufman, charged with translating a passion for flowers to the screen, tries to mirror Orlean's written reflection of an indeterminate inner reality. With a writer's integrity, naked authenticity and indomitable will (and without contacting Orlean and Laroche), Kaufman immediately spends half the film screwing his anxieties into a box with his brash but generally likeable alter ego, his lame-brain twin brother Donald. "Julius and Philip Epstein, who wrote Casablanca were twins," writing lecturer Peter Mckee tells Charlie, who is torn between himself and himself.
They weren't twins, of course. But then, neither are Charlie and Donald.
Kaufman's insertion of himself into the movie as a third, composite character—containing attributes common to both Orlean and Laroche—is a twist of genius. It doesn't show immediately. He gets nothing done fast and grows desperate just as quickly. His quest, seemingly altogether different from Orlean's or Laroche's, is no different to theirs. All three seek the Holy Grail, the fleeting purity of the Ghost Orchid. At least Charlie is honest. His desperation is obvious and, dragging his shadow behind him, he's as selfish as all hell.
To break the impasse—his inability to script Orlean's story (a fiction), Kaufman throws the three characters together for the second half of the movie and all hell breaks lose. This is a funny film, and Streep is a funny lady. "We'll have to kill him," she says, speaking to Laroche of Charlie when the latter discovers the lady and the tramp deciding to settle for lust.
Yeah, well, once Charlie, his brother Donald, Orlean and Laroche finish with each other, two characters are history and the other two indulge in some serious soul-searching. Cineplex idiots (for example,
The New Yorker's David Denby) might find the going difficult when the movie takes off as it appears to descend into farce. It does not. Instead, it becomes a black-humoured journey to the heart of darkness and "the way things are around here", the end of the road for Laroche and, for Orlean, disillusionment and a return to the beat at
The New Yorker. For a newly integrated, invigorated Charlie Kaufman, there is a brief flowering of the Ghost Orchid in a promise of some reciprocal sex and, who knows... perhaps love.
"I'm probably the smartest person I know." John Laroche Now there's a wall between us, somethin' there's been lost | I took too much for granted, got my signals crossed. | Just to think that it all began on a long-forgotten morn. | "Come in," she said, | "I'll give you shelter from the storm." Laroche loved orchids but I came to believe he loved the difficulty and fatality of getting them almost as much as he loved the orchids themselves. Susan Orlean
The Ghost Orchid (Holy Grail, choices not taken, possible futures left unmade, or that for which we invariably long) retains its form throughout the film—even as it morphs during the second half in and out of the characters and they in and out of it. In having arrived at a level of adaptation balancing a swift flowering and reproduction with a seductive memory of its beauty, it has reached the taunting stasis of perfection. Hence our desire to possess it and, given our vile natures, kill it. Herein lies a delicious irony. The movie's characters, fictions of real people we take as being true, contrast sharply with the Ghost Orchid, a flower of which little is said but which we immediately endow with as much myth and mysticism as we have in us. Why? Because its perceived beauty and sexual significance mock our messy humanity.
It's only through neurotics, frauds and failures like Charlie Kaufman and ourselves and through realising the ultimate sterility and lifelessness of the Ghost Orchid itself that we come to understand that there is no redemption in perfection. Like our gods, we either adapt or we die. Ultimately, with death always answering life's immutability, both come together.
What's the message? I dunno... Can you realise yourself without other people? I guess… if you realise yourself in them. I guess too, the thing is to maintain the tension between our competing selves, between passion and obsession, ecstasy and boredom, fantasy and reality, being and nothingness. Yeah... in so many ways, this film is about the boundaries or limits we either do or do not set for ourselves. Charlie is all about boundaries and confining himself to them, so much so that, twisted with angst, he explodes into his doppelganger before finding himself a mix of the two. Laroche knows no boundaries and pays the price through social and legal boundaries imposed on him.
Orlean is the writer, the boundary rider. Knowing they're out there, but not having set hers appropriately, she explores the unknown and, in doing so, takes a fall but lives to tell the tale and mend fences.
"We have to kill him." Susan Orlean Well, the deputy walks on hard nails and the preacher rides a mount | But nothing really matters much, it's doom alone that counts | And the one-eyed undertaker, he blows a futile horn. | "Come in," she said, | "I'll give you shelter from the storm." We all have our desired Ghost Orchids and, damn it, we need them. I'm all for orchids. But the stronger our passions, the more we project them and the larger our shopping baskets become. Sometimes, we're given opportunity to fill them. But I sometimes find myself hoping that, if confronted by one of my Ghost Orchids, I'd duck and run. Well, maybe not run; I'll just play things cool... thinking things through, you understand. Either way, there was no way Orlean should've opted for an affair with Laroche. She dropped her husband like a sack of shit and without explanation.
Orchids, perhaps of different species and types, can be grown, but they demand care and nurturing. A potential for love, fuelled by passion, is always unlikely to amount to much more than sex. Should it in fact be love, a love laid bare can tear the stars from the sky and render our and other loves meaningless. Common sense and a modicum of intelligence should tell one that messing with passion is a dangerous thing. It's
the force that through the green fuse drives the flower and is sacred. Orlean and Laroche mess too easily with its power. We're not speaking self-castration here either. Restraint has become an altogether too uncommon word.
Nowhere is this more evident in the movie than in the mixing of Orlean's and Laroche's chemistries. He becomes her Ghost Orchid, she his collector. By plucking him from his natural habitat, she destroys him and a part of herself. And the scriptwriter gets the girl. An infinitely better alternative. Yup...
were I given the chance to find that orchid, I'd probably step back... for all the right reasons, of course. Left untouched, unblemished and forever unreal, it remains out there and, in memory, always in bloom. Were I to change that (no matter the reality—even if dormant or dead, it lives), it'd surely die in me and, for the flower or myself, what would remain? It's a bastard, but I prefer the quiet life.
Passion is not a choice; it is a curse. I'd rather die on the road to Jerusalem or Camelot, or live forever at the edge of the lake than watch an orchid wilt.
"I'm sorry I have to do this, dude." John Laroche I've heard newborn babies wailin' like a mournin' dove | And old men with broken teeth stranded without love. | Do I understand your question, man, is it hopeless and forlorn? | "Come in," she said, | "I'll give you shelter from the storm." Passions? Having ridden them to ground, we are all crucified on our passions. I'd rather have Susan Orlean and Meryl Streep tell me that than an asshole like
Mel Gibson. Given their chosen subjects and their treatment of them, I reckon Orlean has, for better or worse, a far greater appreciation of religion and humanity than does Gibson. The God from Down Under is a fucking bore, another God killer. After reading
several good articles on his film, I took the matter to
Father Christopher.
For those who know me, this will come as no surprise. Father Christopher, my mentor and spiritual advisor, is well acquainted with orchids, gods, and sins of the flesh. He sees angels too, but we won't go into that now. The last time I brought it up, he beat me about the head with a stolen mitre and sprayed mace into my eyes. "You fucking amoeba," he screamed, "What the hell do you know of angels?"
Nothing, I suppose, so I left it at that. On gods, orchids and sins of the flesh, though, he is more forthcoming.
"Some think I'm a fucking misogynist," he giggled.
"I wonder why," I sneered.
"You little shit," he retorted. "They don't understand me."
"For once," I agreed, "You may have a point."
They say a prophet remains unrecognized in his own country. Well, somebody said it... But I'm no Boulder-ite and can recognize a prophet at thirty paces. And I can state, with a straight face and without equivocation, that I reckon Father Christopher has nothing but the utmost respect for people, whatever their sex, gender or proclivity. Why? Because he has known and overcome evil. More than that, he continues—despite insuperable odds (himself)—his quest to hunt down his Ghost Orchid.
I hope he never finds it.
We were spraying plants in the orchid house while
Brother Marek squeezed potatoes into bottles outside in the rain. "So what's his buzz?" I asked, nodding in the direction of Gibson, crucified to the main gate of the perimeter fence surrounding the
Jesus Bunker.
Father Christopher's face grew dark. "I found him breaking into the orchid house. We had a little chat."
"Eh?"
"Eh... what?"
"About what?"
"About why he'd want to pinch my orchids."
"And?"
And what?" People grow decidedly testy when it comes to discussing God or orchids.
"And what was the result of your bloody conversation?"
"He crucified himself to the gate." Father Christopher snickered. "But I just ignore him. He thinks he can take everyone along for the ride, poor sap. But it's his trip and his trip alone."
"You sure about that?"
"Well, yes. Besides a small amount of psilocybin. But that was only to loosen his tongue."
"And?"
"Like everybody, he spoke a lot of crap. His is what one might call a futile passion."
We could see Brother Marek finishing his work. After slipping three bottles into his pocket, he called the dogs and headed for the perimeter gate, passing Gibson on the way out. He threw him a bone.
"Peekaboo, Mel. I'm going out to exercise my anguish."
Gibson groaned. Fake blood seeped from his mouth.
Brother Marek stopped. He turned slowly to stare at the figure crucified to the gate of the perimeter fence. He shivered. The sky grew dark and the rain turned to a scarlet mist. Marek's eyes narrowed angrily. Father Christopher and I could hear the strains of
Lord Randall drift in on a quickening wind.
"What did you say, Mel?"
"I asked God to forgive you," mumbled the Australian millionaire.
We barely saw the bottle pass from the pocket of Brother Marek's cossack to his hand. It arced through the rain and exploded to a shower of fireworks against Gibson's head.
Marek was angry.
"You want me forgiven, Mel? Hey, fuck, who killed God, Mel? You killed God, Mel. And you're still doing it, you sick fuck. You're doing it over and over again in cinemas around the world. And you're doing so in a vile and disgusting manner, you crass boor. Hey, look, no blame, we understand that. The King is dead, Mel, long live the King... It was ever thus."
Marek gathered himself and turned as if to walk away. He paused, turned back, and then marched on Gibson's spread-eagled figure.
"But why choose God, Mel? Have you no fucking self-respect? No self-esteem?"
He stepped back. He was shaking with rage. He moved forward quickly, slapping Gibson across the face, one, two, three times. And once more for luck.
"And now that you're killing Him, Mel, can you stop doing it? Are you sure He's going to live forever now that you've laid your grubby hands on Him? Nah, you can't, can you, because to you God's a collector's item, a fucking Florida orchid you hope will survive. You have to carry on killing him, don't you, Mel? Why? Because to you there is nothing but the violence, the brutality, and the gore. Why's that Mel? Because you're an orchid collector, Mel, that's why. You come like a thief in the night."
Marek spat on the ground. "You can kill your God as often as you like, but even a dumb bastard like you knows that you haven't the power to raise Him from the dead."
Lightening flickered in the East, illuminating a crucifix against the sky. In the far distance, a wildcat growled. The drumbeat hooves of four approaching riders sounded against a wind that began to howl.
Brother Marek appeared tired but content. He turned from the figure on the fence. "For an orchid thief, Mel, you're a dumb sap. Now that you've killed your God, you have nothing left. And I have nothing to say to you."
I turned to Father Christopher and smiled. "He's okay, that Brother Marek. I always did like him. Is he going to fetch the girls now?"
"Yes," answered Father Christopher quietly, a particular flower on his mind. "It grows only in the Andes, you know." He walked to the window, tracing a shadow on its pane.
"I just wanted. That's all." Susan Orlean In a little hilltop village, they gambled for my clothes | I bargained for salvation an' they gave me a lethal dose. | I offered up my innocence and got repaid with scorn. | "Come in," she said, | "I'll give you shelter from the storm." In his preface to
The Joke, Kundera writes:
If a man loses the paradise of the future, he still has the paradise of the past, paradise lost. From childhood I have been fascinated by the folk tradition called The Ride of the Kings: a singularly beautiful ceremony whose meaning has long been lost and which survives only as a string of obscure gestures. This rite frames the action of the novel; it is a frame of forgetting. Yesterday's action is obscured by today, and the strongest link binding us to a life constantly eaten away by forgetting is nostalgia. Remorseful nostalgia and remorseless skepticism are the two pans of the scales that give the novel its equilibrium.
It is in this equilibrium that we find our Ghost Orchid, not crucified but suspended. "Since the ghost orchid's roots blend so well with the tree bark, the striking white flower looks as if it is suspended in midair."
In
The Book of Laughter and Forgetting, Kundera's character Mirek says: "The struggle of man against power is the struggle of memory against forgetting." This observation became little more than a fashionable aphorism, but it has always stayed with me. My struggle is not so much against forgetting as it is against
what,
why,
how and, perhaps,
who I choose to remember. Just as it is easy to confuse passion, obsession and lust, it is all too easy to confuse remorseful nostalgia and remorseless skepticism with their cousins, remorseless nostalgia and remorseful skepticism.
Perhaps that's why, with Camus's haunting words and visions absorbed, I have orchids and fences on my mind... a level of adaptation balancing a swift flowering and reproduction with a seductive memory of beauty and the possible attainment of a static and perfect peace. Ah well, screw that... I gotta go. The Union Central's pullin' out and the orchids are in bloom. I've only got me one good shirt left and it smells of stale perfume.
And there be orchids out there...
We're all one thing, Lieutenant. That's what I've come to realize. Like cells in a body. 'Cept we can't see the body. The way fish can't see the ocean. And so we envy each other. Hurt each other. Hate each other. How silly is that? A heart cell hating a lung cell. Cassie —
The 3 | Screenplay by
Donald Kaufman R.I.P.
Well, I'm livin' in a foreign country but I'm bound to cross the line | Beauty walks a razor's edge, someday I'll make it mine. | If I could only turn back the clock to when God and her were born. | "Come in," she said, | "I'll give you shelter from the storm." Bob Dylan |
Shelter from the StormNote Posted in March 2004 but, what the hell...