A while ago I was
watching a "thriller" on TV. The name of the film isn't important.
The subject was the host of a crime show, a bit like the popular BBC
“Crimewatch” programme. Every week the show would re-enact crimes in
the hope of bringing the perpetrators to justice. During this
particular season there
was a serial killer on the loose. We saw in the film his handiwork.
He picked up a woman, who was not a prostitute but what might be
described as a good time girl, and the two of them walked down a
dark alleyway where she would quite likely have had sex with him
willingly. He though
had other ideas; he stabbed her in the stomach, and cut her eye out
as a "trophy".
It was the
task of the crime show host to re-enact such crimes, and the serial
killer made him a big star. Then the killings stopped, and his fame
began to evaporate, so in order to boost his show's ratings, he took
up where the anonymous killer had left off, and started killing
innocent women at
random.
I don't know how the
film ended, because at this point I switched off. It had taken me
this long to realise that this was not my idea of entertainment. Who
in his right mind would want to watch a film about a psychopath who
lures totally innocent women down dark alleyways, murders
them, then mutilates
them in such an horrific fashion? If I hadn't been hardened by
watching such "thrillers" from my teens I would surely have switched
off sooner, but it is frightening how quickly all of us become
hardened to this sort of senseless brutality, sadism and
inhumanity.
It is frightening too
that a large percentage of the population of the Western world
considers this sort of garbage to be entertainment. It is even more
frightening that by presenting such horrific crimes in a Gothic or
almost a romantic fashion, that some people are indeed "inspired" to
follow in the footsteps
of fiends who snuff out the lives of innocent men, women and
children just for kicks.
The recently convicted
Brixton, Brick Lane and Soho bomber, David Copeland, has been widely
described as a Nazi and a White Supremacist. Copeland himself said
he wanted to start a race war. However, it is clear from his own
pronouncements that he didn't really understand politics. One
of the senior police
officers responsible for Copeland's arrest summed up his real motive
in a nutshell: he wanted his fifteen minutes of fame.
A film that depicts the
murders of innocent people is not necessarily a bad thing. In most
such films the bad guy is caught, symbolising the triumph of good
over evil, if nothing else. Some such films can even be didactic, or
useful social documentaries, monuments to the victims, or warnings
to us that serial killers and mass murderers such as Pohl Pot and
other tyrants are ordinary men like us, and that absolute power
makes tyrants of everyone. But far too often, films of this nature
degrade the human spirit.
They teach us that it
is natural for a woman to walk down a dark alleyway and have sex
with a total stranger. That "punch-ups" and car crashes can be fun.
That murder can be a form of entertainment, and that the
entertainment content of a film is to be measured by the "body
count".
Even those films in
which the bad guys are vanquished are often disguised triumphs of
evil over good. In the 1970s in particular there was an entire genre
of films in which criminal procedure was depicted as being a mere
technicality standing in the way of bringing obviously guilty and
sadistic
perpetrators to
justice. In these films – “Dirty Harry” and “Taxi Driver” are
probably the most notorious - we see maverick police officers
torture suspects to extract confessions from them, and in the case
of “Taxi Driver”, a man on a mission sets out to rescue a young girl
who has beenentrapped in
prostitution, and in the process shoots dead her pimp and anyone
else who stands in his way.
The message of such
films is clear; it's all right for the police, or for your local
vigilante, to act as judge, jury and executioner. Crime is
perpetrated by evil men who can and should be shot or disposed of in
some other equally Draconian manner. And if only the police had the
power to "clean up the streets", life would be so much better for
the rest of us.
The reality though is
very different. Although we each and every one of us has free will,
some have more free will than others, and crime and inhumanity are
caused by deprivation and other social evils as much as by
wantonness. As Islam points out, when poverty enters a city,
theDevil is close
behind.
"Cleaning up the
streets" involves far more than shooting dead suspected killers and
torturing suspects in order to obtain confessions. If the state
abandons the rule of law, there remains only tyranny. And we all
suffer. Although murderers and rapists must be brought to book and
made to
pay for their evil
deeds, the majority of people - men and women - who end up serving
"hard time" are not inherently evil and can be rehabilitated if they
can be removed from the vicious circle of prison, offending,
homelessness, unemployment, drug abuse, etc.
In the film “Taxi
Driver”, the "hero" was little better and maybe worse than the pimp
he shot; earlier in the film he plotted the assassination of a
politician, not because he considered this man to be evil - the
Senator was actually a good guy - but because like David Copeland
and sundry others, he wanted his
fifteen minutes of fame.
This is not a plea for
censorship, or even for self-censorship. Censorship of any kind is
the thin edge of the wedge, and once it is accepted in principle it
is quietly extended into more and more areas and more and more
subjects until no one may unbutton his lip without the
express
permission of the
state. There can be no doubt though that just as we are influenced
by news and other reports, so too are we influenced by the films and
other fictionalised dramatisations we watch. In some cases,
particularly those of the young and vulnerable, this can have
drastic consequences - the
Columbine High School massacre, for example.
We
should always think twice before watching a film in which murder and
inhumanity are portrayed as run of the mill, where the entertainment
value of a film is supposedly enhanced by the body count, or films
in which entire groups of people are stereotyped, and perhaps most
dangerous of all, where the forces of law and order adopt the
morality of the outlaws they are trying to bring to book. When the
ends are used to justify the means, evil always triumphs.
Author: Alexander Baron |
Date Published: October
2000 |