Academic journal article The Mailer Review

Some Dirt in the Talk

Academic journal article The Mailer Review

Some Dirt in the Talk

Article excerpt

[ILLUSTRATION OMITTED]

This essay appeared in Existential Errands (Boston, Little Brown, i972). It was first published in New American Review, No. 12 is (August 1971) and reprinted with small changes a few months later in Maidstone: A Mystery (New York: New American Library, 1971). Reprinted with the permission of The Norman Mailer Estate.

Wild 90 is the name of a full-length underground movie which a few of us, soon to be cited, filmed on four consecutive nights in March this year. It was done in 16-millimeter and recorded on magnetic sound tape, and since the raw stock costs of processing 16-millimeter sound and film run about thirty cents a foot or ten dollars a minute of shooting, we shot only two and a half hours in all, or $1,500 worth of film. Obviously we couldn't afford to shoot more.

Still, for reasons one may yet be able to elucidate, the two and a half hours were not so very bad, and from them was extracted a feature film which runs for ninety minutes. It is a very odd film, indeed I know no moving picture quite like it since there are times when Wild 90 seems close to nothing so much as the Marx Brothers doing improvisations on Little Caesar with the addition of a free run of obscenity equal to Naked Lunch or Why Are We in Vietnam? It has the most repetitive pervasive obscenity of any film ever made for public or even underground consumption, and so half of the ladies are fascinated because it is the first time in their life they have had an opportunity to appreciate how soldiers might talk to each other in a barracks or what big-city cowboys might find to chat about at street corners. But then the ladies are not the only sex to be polarized by Wild 90. While the reactions of men in the audience are more unpredictable, a rough rule of thumb presents itself--bona fide tough guys, invited for nothing, usually laugh their heads off at the film; white-collar workers and intellectual technicians of the communications industries also invited for nothing tend to regard the picture in a vault of silence. All the while we were cutting Wild 90, we would try to have a preview once a week. Since the projection room was small, audiences were kept to ten, twelve, or fifteen people. That is an odd number to see a film. It is a few too many to watch with the freedom to move about and talk aloud that you get from watching television; it is on the other hand a painful number too small to feel the anonymity of a movie audience. Therefore, reactions from preview night to preview night were extreme. We had banquet filmings when an audience would start to laugh in the first minute and never stop--other nights not a sound of happiness could be heard for the first forty minutes--embarrassing to a producer who thought just yesterday that he had a comedy on his hands. Finally we had a formula: get the hard guys in, get the experts out.

That makes sense. There is hardly a guy alive who is not an actor to the Hilt--for the simplest of reasons. He cannot be tough all the time. There are days when he is hung over, months when he is out of condition, weeks when he is in love and soft all over. Still, his rep is to be tough. So he acts to fill the gaps. A comedy of adopted manners surrounds the probing each tough guy is forever giving his brother. Wild 90, which is filled with nothing so much as these vanities, bluffs, ego-supports, and downright collapses of front is therefore hilarious to such people. They thought the picture was manna. You could cool riots with it, everybody was laughing so hard.

Whereas intellectual technicians had to hate it. Because the tip of the tablecloth was being tilted, the soup was encouraged to spill. There was a self-indulgence in the smashing of Hollywood icons which spoke not only of an aesthetic rebellion (which some of the media technicians would doubtless approve) but Wild 90 hinted also of some barbarity back of it--the Goths had come to Hollywood. Based on the gangster movies of the thirties, the movie nonetheless had a quasi-Martian flavor, a primitive pleasure in itself, as if it had discovered the wheel which made all film go round. …

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