The gallant South, on the edge of the great betrayal by the Northern brethren: this is the pastoral and yet doom-laden weight of the early images. Two brothers, robust, two sisters, fair, a handsome house, a loving and united family, and happy, loyal slaves.
Unhappily, however, for the South, and for us all, a certain eminent Southern politician has a mulatto slave mistress—a house nigger, whose cot he shares when the sun goes down: she does not share his bed, to which he returns shortly before the sun comes up: and the baleful effect of this carnal creature on the eminent Southern politician helps bring about the ruin of the South. I cannot tell you exactly how she brings about so devastating a fate, and I defy anyone to tell me: but she does. Without attempting to track my way through any more of what we will call the pre-plot: the War comes. The South is shamefully defeated—or, not so much defeated, it would appear, as betrayed: by the influence of the mulattoes. For the previously noted eminent and now renegade Southern politician has also, as it turns out, a mulatto protégé (we do not know how this happened, but we are allowed to suspect the worst) and this mulatto protégé is maneuvered into the previously all-white Congress of the United States. At which point the Carpetbaggers arrive, and the movie begins. For the film is concerned with the Reconstruction, and how the birth of the Ku Klux Klan overcame that dismal and mistaken chapter in our—American—history.
The first image of the film is of the African slave’s arrival. The image and the title both convey the European terror before the idea of the black and white, red and white, saved and pagan, confrontation. I think that it was Freud who suggested that the presence of the black man in America foreshadowed America’s doom—which America, if it could not civilize these savages, would deserve: it is certainly the testimony of such disparate witnesses as William Faulkner and Isadora Duncan. For Marx and Engels, the presence of the black man in America was simply a useful crowbar for the liberation of whites: an idea which has had its issue in the history of American labor unions. The Founding Fathers shared this view, eminently, Thomas Jefferson, and The Great Emancipator freed those slaves he could not reach, in order to create, hopefully, a fifth column behind the Confederate lines. This ambivalence contains the key to American literature—all the way from The Scarlet Letter to The Big Sleep. In any case, what Europe really felt about the black presence in America is revealed by the stratagems the European-Americans have used, and use, to avoid it: that is, by American history, or the actual, present condition of any American city.
The first image, then, of The Birth of a Nation is immensely and unconsciously revealing. Were it not for their swarthy color—or not even that, so many immigrants having been transformed into white men only upon arrival, and, as it were, by decree—were it not for the title preceding the image: they would look exactly like European passengers, huddled, silent, patient, and hopeful, in the shadow of the Statue of Liberty. (Give us your poor! Many of the poor, not only in America, but all over the world, are beginning to find that these famous lines have a somewhat sinister ring.) These slaves look as though they want to enter the Promised Land, and are regarding their imminent masters in the hope of being bought.
This is not exactly the way blacks looked, of course, as they entered America, nor were they yet covered by European clothes. Blacks got here nearly as naked as the day they were born, and were sold that way, every inch of their anatomy exposed and examined, teeth to testicles, breast to bottom. That’s how darkies were born: more to the point, here, it is certainly how mulattoes were born.
For, the most striking thing about the merciless plot on which The Birth of a Nation depends is that, although the legend of the nigger controls it the way the day may be controlled by threat of rain, there are really no niggers in it. The plot is entirely controlled by the image of the mulatto, and there are two of them, one male and one female. All of the energy of the film is siphoned off into these two dreadful and improbable creatures. It might have made sense—that is, might have made a story—if these two mulattoes had been related to each other, or to the renegade politician, whose wards they are: but, no, he seems to have dreamed them up (they are like creatures in a nightmare someone is having) and they are related to each other only by their envy of white people. The renegade politician, I should already have told you—but this is one of the difficulties of trying to follow a plot—is also the heroine’s father. This fact brings about his belated enlightenment, the final victory of the Klan, the film’s denouement, and a double wedding.
I am leaving a great deal out, but, in any case, the renegade politician is brought brutally to his senses when his mulatto ward, now a rising congressman, so far forgets himself as to offer himself in marriage to the renegade politician’s beautiful daughter, Miss Lillian Gish. The Klan rides out in fury, making short work of the ruffian, and others like him. The niggers are last seen, heads averted and eyes down, returning to their cabins—none of which have been burned, apparently, there being no point in burning empty cabins—and the South rises triumphantly to its feet.
It is not clear what happens to the one presumably remaining mulatto, the female. Neither of the two mulattoes had any sexual interest in the other; given what we see of their charms, this is quite understandable. Both are driven by a hideous lust for whites, she for the master, he for the maid: they are, at least, thank heaven, heterosexual, due, probably, to their lack of imagination.
Their lust for the whites, however, is of such a nature that it suffers from all the manifestations of hysterical hatred. And this is not quite so understandable, except in the gaudy light of the film’s intention. The film presents us, after all, with the spectacle of a noble planet, brought to such a pass that even their loyal slaves are subverted. For the sake of the dignity of this temporarily defeated people, and out of a vivid and loving concern for their betrayed and endangered slaves, the violated social order must, at all costs, be re-established. And it is re-established by the vision and heroism of the noblest (and, in future, overt), has been brought about, not through any fault of their own, and not because of any defection among their slaves, but by the weak and misguided among them who have given the mulattoes ideas above their station.
But how did so ungodly a creature as the mulatto enter this Eden, and where did he come from?
The film cannot concern itself with this inconvenient and impertinent question, any more than can Governor Wallace, or the bulk of his confreres, North or South. We need not pursue it, except to observe that almost all mulattoes, and especially at that time, were produced by white men, and rarely indeed by an act of love. The mildest possible word is coercion: which is why white men invented the crime of rape, with the specific intention (and effect) of castrating and hanging the nigger. Neither did black men fasten on the word, mulatto, to describe the issue of their loins. But white men did—as follows:
The root of the word, mulatto, is Spanish, according to Webster, from mulo, a mule. The word refers to: (1) a person, one of whose parents is Negro and the other Caucasian, or white; and (2) popularly, any person with mixed Negro and Caucasian ancestry.
A mule is defined as (1) the offspring of a donkey and a horse, especially the offspring of a jackass and a mare—mules are usually sterile. And, a further definition: in biology, a hybrid, especially a sterile hybrid. (Italics mine.)
The idea of producing a child, on condition, and under the guarantee, that the child cannot reproduce must, after all, be relatively rare: no matter how dim a view one may take of the human race. It argues an extraordinary spiritual condition, or an unspeakable spiritual poverty: to produce a child with the intention of using it to gain a lease on limbo, or, failing that, on purgatory: to produce a child with the extinction of the child as one’s hope of heaven. Mulatto: for that outpost of Christianity, that segment of the race which called itself white, which found itself stranded among the heathen on the North American continent, under the necessity of destroying all evidence of sin, including, if need be, those children who were proof
of abandonment to savage, heathen passion, and under the absolute necessity of preserving its idea of itself by any means necessary, the use of the word, mulatto, was by no means inadvertent. It was one of the keys to American history, present, and past. Americans are still destroying their own children: and, infanticide being but a step away from genocide, not only theirs. If we do not know where the mulatto came from, we certainly know where a multitude went, dispatched by their own fathers, and we know where multitudes are, until today, plotting death, plotting life, groaning in the chains in which their fathers have bound them.
Our fathers, indeed, for here we all are: and we encounter an invitation to discover the essential decency of this history (this is known as progress) in the person of the Sheriff in a film made some fifty-odd years later, In the Heat of the Night.
This film has no mulattoes: unless one wishes to examine, with a certain rigor, the roles played by some of the townspeople: we will return to this speculation: and, apart from the brief cotton-picking sequence, seen from the window of the Sheriff’s moving car, it is hard to locate the niggers. (This, also, is progress.) The man who lodges the black detective comes close to being a nigger. The lady who arranges abortions is dark indeed, but is clearly passing—through; and Mr. Virgil Tibbs comes from freedom-loving Philadelphia, the city of brotherly love. To this haven, he will return, if he lives. But we know that he will live. The star of a film is rarely put to death, and certainly not this star, and certainly not in this film.
The entire burden, therefore, of such suspense as the film may claim to have falls squarely on the shoulders of the Sheriff (Rod Steiger). The life of Virgil Tibbs (Sidney Poitier) is endangered precisely to the extent that we are concerned about the salvation of the Sheriff’s soul. One ought, indeed, I suppose, to be concerned about the soul of any descendant of The Birth of a Nation, and the Sheriff is certainly such a descendant, as is the film itself. On the other hand, it is difficult to sustain such a concern when the concern is not reciprocal, and if this concern demands one’s complicity in a lie: which state of affairs, having gone beyond progress, is sometimes called brotherhood, the achievement of which state of grace is exactly what In the Heat of the Night imagines itself to be about.
The film is breathtaking, not to say vertiginous, in the speed with which it moves from one preposterous proposition to another. We are asked to believe that a grown black man, who knows the South, and who, being a policeman, must know something about his colleagues, both South and North, would elect to change trains in a Southern backwater at that hour of the early morning and sit alone in the waiting room; that the Sheriff imagines that he needs a confession from this black Northern vagrant, and so elects to converse with him before locking him up, turning him over to his deputies, and closing the case. (Of course, it is suggested, at that moment—and quite helplessly, the truth of the white and black male meeting living far beneath the moment of this manipulated scene—that the Sheriff is being something of a sadist, and is playing cat and mouse.) And the film betrays itself, in the early sequences, in quite a curious way. One might suppose, after all, since the film was made after the 1964 Civil Rights Act, that the Sheriff might be concerned about the pressure which might be brought to bear by the Federal Government: but this possibility, astoundingly enough, does not appear to enter his mind. He reacts to the fact that the black man makes more money than he does which has the effect of eliciting our sympathy for this doubly poor white man. Virgil’s continued presence on the case is due entirely to the reaction of the widow of the murdered man; this man, conveniently enough (as concerns the necessities of the plot) was in the process of bringing new industry to the town when he was murdered. As the man’s widow, she now has the power to transfer this potential wealth to another town, which she will do if Virgil is not allowed to continue his investigation of her husband’s murder. This convolution of the plot really demands a separate essay: it contains so many oblique and unconscious confessions concerning the roles of money, sex, marriage, greed, and guilt and power. In any case, the widow, having done her bit, disappears, and the town is stuck with Virgil. So is the Sheriff: and the Sheriff just don’t know, now, if he glad or if he bad: but he got to do his best to look bad.
What kind of people are you? the widow cries out at one point in the film: as well she might. There is something really stunning—cunning is too loaded a word—in the casting of this film. Poitier’s presence gives the film its only real virility, and so emphatically indeed that the emotional climate of the film is that of a mysteriously choked and baffled—and yet compulsive—act of contrition. This virility is not in the least compromised by the fact that he has no woman, visibly: on the contrary, it is thus reinforced, since we know that he is saving himself for Philadelphia, where “they call me Mr. Tibbs!” The wealth of his health is presented in very powerful contrast to the poverty and infirmity of the white men by whom he is surrounded, and is the only genuinely positive element the film contains. It coats the film lightly, so to speak, with a kind of desperately boyish, unadmitted anguish. But that the film cannot or dare not pursue the implications of this sorrow is made very clear in that choked and opaque scene between the black detective and the Sheriff, in the latter’s living room, over bourbon. The chief deputy, Sam (Warren Oates), in terms of the weights and balances of the film has the best assignment, his role allowing him to be absolutely truthful, though never deep. Sam drives his patrol car, each night, off his route to watch a naked girl through the windows of her house. She is to be found thus, apparently, every night, at the hour that Sam drives by: and, so far as the film informs us, this is their only connection—a rather horrifying thought, when one considers how much of the truth it contains, for lives like that, and in such a town.
The girl is a poor white, and is as marked by this misfortune as are the mulattoes of The Birth of a Nation, and she has a poor white brother, who appears to know nothing at all about his sister. There is the white boy, picked up for the murder after Virgil Tibbs’s credentials have been established, and Virgil has agreed to remain on the case, or been coerced into doing so: this boy first hates, then learns to love the black cop who clears him, and saves his life. And there is the waiter in the diner, who refuses to serve Virgil Tibbs. This is an utterly grotesque creature, as hysterical as Nation’s mulatto maid, presented as being virtually biologically inferior to everyone else. He, it turns out, is the lover of the exhibitionistic girl—a circumstance which one does not believe for a moment, not even in that sleepy little town—and he is the father of the child she is expecting. He is, also, the murderer. He committed the murder because (I think) he needed money for an abortion. The climactic scene, anyway, takes place outside the establishment of the lady who deals in abortions. This is an exciting scene indeed, but before I try to deal with this excitement, there are a couple of other scenes we should consider.
One is the scene in the hothouse of the wealthy horticulturist, who is presented as being one of the most powerful men of the region. In this scene, Tibbs exhibits a somewhat unexpected knowledge of varieties of plant life. This allows his host to make clear his racial bias. (“These plants are delicate. They like the nigras. They need care.”) One thing leads to another, so to speak, and, eventually, the wealthy horticulturist slaps Tibbs in the face. Under the eyes of the Sheriff, Tibbs slaps him back. The wealthy host is astonished that the Sheriff does not shoot Tibbs on the spot: the Sheriff, furious that anyone should suppose him capable of so base an action, throws his chewing gum on the ground (of the powerful host) and stalks out, after Virgil. The wealthy landowner (“There was a day when I could have had you shot!”) looks on in disbelief, and we leave him weeping, possibly because his day has passed. End of joke.
Then, there is the scene with the lady who deals in abortions. I have described this lady somewhat rudely; she may have passed through the West Indies, or Africa, and, at that, speedily; but she surely do not come from around here. She appears to be looking for a home, and, from the wa
y Virgil Tibbs treats her, no wonder—I would, too. Demanding to know who, in the town, is paying for an abortion, he informs her (speaking of the prison sentence with which he is threatening her) that “there’s white time and black time—and ain’t nothing worse than black time!” The lady who deals in abortions appears to be utterly astounded and downcast by this news and rolls her eyes toward (I suppose) her suitcase. But she is saved by the arrival of the exhibitionistic girl: who, seeing Virgil Tibbs (they have met before), runs out into the night.
Virgil runs after her (while the lady who deals in abortions flees into the back room, to pack, and book passage to Canada, or Algeria) and picks up the fleeing poor white chick in his arms. In this unlucky posture he is found as headlights flash, before, and behind, and all around him, and white men leap out of their cars: into the heat of the night.
This is the penultimate, exciting scene. One of the white men is the poor white brother of the poor white girl, and, naturally, he intends to lynch the nigger, whose black hands are still on the body of his white sister. With great presence of mind, Mr. Tibbs drops the sister and points to the real killer, who has the money for the abortion in his pocket. The attention of the murderous mob is thus distracted, naturally, from the nigger and the white chick to this creep, who promptly shoots the brother, dead: end of exciting scene.
There remains the obligatory, fade-out kiss. I am aware that men do not kiss each other in American films, nor, for the most part, in America, nor do the black detective and the white Sheriff kiss here. But the obligatory, fade-out kiss, in the classic American film, did not really speak of love, and, still less, of sex: it spoke of reconciliation, of all things now becoming possible. It was a device desperately needed among a people for whom so much had to be made possible. And, no matter how inept one must judge this film to be, in spite of its absolutely appalling distance from reality, in spite of my own helplessly sardonic tone when discussing it, and even in spite of the fact that the effect of such a film is to increase and not lessen white confusion and complacency, and black rage and despair, I still do not wish to be guilty of the gratuitous injustice of seeming to impute base motives to the people responsible for its existence. Our situation would be far more coherent if it were possible to categorize, or dismiss, In the Heat of the Night so painlessly. No: the film helplessly conveys—without confronting—the anguish of people trapped in a legend. They cannot live within this legend; neither can they step out of it. The film gave me the impression, according to my notes the day I saw it, of “something strangling, alive, struggling to get out.” And I certainly felt this during the final scene, when the white Sheriff takes the black detective’s bag as they walk to the train. It is not that the creators of the film were inspired by base motives, but that they could not understand their motives, nor be responsible for the effect of their exceedingly complex motives, in action. (All motives are complex, and it is just as well to remember this: including, or perhaps especially, one’s own.) The history which produces such a film cannot, after all, be swiftly understood, nor can the effects of this history be easily resolved. Nor can this history be blamed on any single individual; but, at the same time, no one can be let off the hook. It is a terrible thing, simply, to be trapped in one’s history, and attempt, in the same motion (and in this, our life!) to accept, deny, reject, and redeem it—and, also, on whatever level, to profit from it. And: with one’s head in the fetid jaws of this lion’s mouth, attempt to love and be loved, and raise one’s children, and pay the rent, and wrestle with one’s mortality. In the final scene at the station, there is something choked and moving, something sensed through a thick glass, dimly, in the Sheriff’s sweet, boyish, Southern injunction, to Virgil, “take care, you hear?” and something equally choked and rigid in the black detective’s reaction. It reminded me of nothing so much as William Blake’s Little Black Boy—that remote, that romantic, and that hopeless. Virgil Tibbs goes to where they call him Mister, far away, presumably, from South Street, and the Sheriff has gone back to the niggers, who are really his only assignment. And nothing, alas, has been made possible by this obligatory, fade-out kiss, this preposterous adventure: except that white Americans have been encouraged to continue dreaming, and black Americans have been alerted to the necessity of waking up. People who cannot escape thinking of themselves as white are poorly equipped, if equipped at all, to consider the meaning of black: people who know so little about themselves can face very little in another: and one dare hope for nothing from friends like these. This cruel observation is implicit in the script: for what would have happened to our Mr. Tibbs, or, indeed, to our Sheriff, had the widow demanded the black man’s blood as the price for the wealth she was bringing into the town? Who, among that manly crew, would have resisted the widow’s might? The people of In the Heat of the Night can be considered moving and pathetic only if one has the luxury of the assurance that one will never be at their mercy. And that no one in the world has the luxury of this assurance is beginning to be clear: all over the world.
The Devil Finds Work Page 5
