Cognitivism and Postmodernism in Rushmore - Essay Example

?Cognitivism and Postmodernism in Rushmore Rushmore is Wes Anderson’s first venture in to a world that parallels that of J.D. Salinger. Released in 1998, the movie is certainly an attempt towards experimenting with as much of psychological theories as of the visual medium. It is interesting to note the skill with which Wes Anderson is able to depict the simple interactions between his characters in a manner that eludes other directors. There is a certain richness with which this depiction is brought to the screen and is what proves an outlet in to the character of Max Fischer. My contention is that Wes Anderson makes use of the cognitivisim and postmodernism theories in Rushmore to highlight his characters in a manner that is food for thought about placing the movie in only “teen comedy” genre. In psychology, the cognitivist hypothesis fundamentally contends that there is a need to open and critically analyse and understand the “black box” of the mind. In a way, the person undergoing this learning process is taken to be like a computer processor that processes the data provided to it. (Kracauer, 1960) While the cognitivist hypothesis took over from behaviourism in the second half of the twentieth century, it is relevant to serious students of psychology and media studies to this day. The idea is that our human mind is complex and only upon a close look at the way it functions and the thoughts and processes that actually make a person are we able to determine what drives a person and how human beings work. (Bazin, 2004) Moreover the changes that a person experiences in ones behaviour come about due to certain actions that take place and which in turn formulate the person’s thoughts. Cognitivism, hence, is essential in allowing researchers to learn about outcomes of human thoughts and experiences. Rushmore makes an interesting study of this technique, in the form of not only the protagonist, Max, but also Herman Blume, the depressed, rich, industrialist, among other characters. Early on in the movie the audience is treated to a montage of extracurricular activities that Max is involved in at Rushmore. The montage is itself quite telling of the way Max considers things to be fleeting and haphazard – even though he’s on a scholarship at Rushmore, he is one of the most unsuccessful students at this private institute and thus enrols in activities that border on the crazy. It also goes to show the disconnection Max experiences with the world he is a part of. (Kempley, 1999) Things that his fellow students and friends take seriously or consider important in life find are of little interest to him. Max goes on record to tell everyone that his father is a neurosurgeon – it may appear to be a harmless lie (his father is actually a barber) but this lie is another element that cements the fantasy world that Max participates in and would like to see as the truth. The unusual friendship that strikes between Max and Blume is extremely telling, not only in relation to the two characters but also of the American society on the whole. As earlier mentioned, Rushmore is more than just a ‘teen comedy’, it takes pains to highlight the way teenagers are acknowledged in the society as well as the consequences of issues silently eating away a person and ones inability to do anything about it. (Arnold, 1999) Anderson makes use of the postmodernist technique in this effect to give greater meaning to his film. The articulation of postmodernist ideas through visual medium is what categorizes a postmodernist film. Generally the characterization and narrative structure conventions are disrupted in a manner that also disrupts the willing ‘suspension of disbelief’ that the audience puts itself under while watching a film. (Denzin, 1991) The friendship between Max and Blume is unusual on a number of accounts. Firstly, they have a good amount of age difference in between, but that’s not everything. As the film progresses, through small telling actions, it becomes apparent that Blume seems in Max the energy of someone who is still enthusiastic about the world that he is a part of, what Blume fails to initially take in to account is the fantasy element that Max is increasingly lending himself in to. Blume is someone undergoing midlife crisis, after his arrival from the war in Vietnam, he feels his life to be a disintegrated whole with no escape in sight. Moreover, Blume seems to be unable to cope with his two children, who are the epitome of bad parenting. His unusual friendship with Max takes a turn for the worse when both characters indulge in revenge tactics to best the other. It is during the revenge montage that we come across a telling postmodernist technique. The smile that settles on Blume’s face upon learning that it was Max who let lose the bees in his room, gives us an insight in to Blume’s character – up till now he had been viewed as someone who was almost a mentor to Max, now that same mentor is going to have Max pay for what he did. Blume smile, in effect, shows that he isn’t going to exact revenge on Max just for the sake of it but because the idea of it actually appeals to him and he’ll enjoy Max’s ordeal. (Klady, 1999) Rushmore, as earlier stated is more than a movie just about the trials and tribulations of teenagers stuck in the monotony of life. The movie explores its characters by expanding the circle of people it involves within its dissection, per se. At the core is a relationship that might not appear plausible to most viewers, the age difference between Max and Herman is dissolved by having them interact on a level that two people from the same age might do. Max’s interest in Rosemary, the root of contention between him and Herman, is also one such attempt. By doing so Anderson has created a “utopian democracy” whereby his movie is not another movie about teens. As such this attempt functions as a wild card for the film, which is why at times it appears to travel in to the world of magic realism. After a while it becomes easy to accept the bond forged between Max and Herman, however, our suspension of disbelief is widely stretched upon the idea that Herman spends eight million dollars in order to construct an aquarium upon Max’s persuasion. The comic element is thus cleverly introduced in to this view of the movie where Rosemary’s affections are sought after by two unusual friends, who would go to great lengths. Apart from the core relationship in the movie, Max’s character itself is a great study for a student of the cognitive theory. While some critics may find it enough to just label Max as being funny and quirky, that would not do the character justice. The audience realized that Max is a narcissist at heart – that much becomes apparent within the first fifteen minutes of the movie. His maniacal interests in being an overachiever in extracurricular to courting Rosemary provide many a laugh during the movie. However, that’s not enough of a deduction if one fails to realize that Max’s obsessions are driven by discontent as much as self-absorption. During the first half of the movie, while discussing with Rosemary, Max tells her that he has a safety school already planned out and it’s Harvard. This is just in case he is not accepted in to either Sorbonne or Oxford. (Schwarzbaum, 1998) A casual passer-by might interpret that as another attempt by Max to impress Rosemary. However, at its depth we realize that this is what Max strongly stands by – he really does hold himself to a standard whereby he is deserving of an institute such as Oxford or Harvard. Max’s high standards stem from a sense of obligation to his mother who raised him up and encouraged his passions to become his own man – Max’s mother is now dead, a victim of cancer - her dreams for Max have colluded with Max’s dreams for himself and shaped the character of Max in numerous and important ways. The unhappiness that seems to surround Max’s character only becomes noticeable after the first half of the movie. Prior to that, the use of bold colours and various montages is perhaps a way to distract the viewer from noticing Max’s unhappiness, it is a distraction from the ground realities that even Max does not want to face at the moment. (Schickel, 1998) It is only towards the end, when Max is ready to put his old demons to rest through the performance that he puts up and invites Blume and Rosemary to that we realize his character is actually on the road to development. It also stands to reason that not all characters are afforded the opportunity to be studied cognitively through Anderson’s technique and which is why it may not be of much success in other mediums and films. Through subtle hints it is brought to fore the main motivations that drive characters to actions which they might not otherwise do. We have the example of Dirk, who upon the realization of the relationship between Rosemary and Blume, plays the role of the informant to Max – in essence, Dirk’s ratting out to Max is what causes the first chasm between the two ill-matched friends. This act by Dirk not only helps in moving the plot forward but also prepares the basis for what bringing down the characters to a ground reality once the movie reaches a climax. It is only after Dirk’s apology to Max that Max realizes he needs to do something about the way he left things with Blume. Dirk’s reason for informing Max about the relationship between Blume and Rosemary is very personal – it’s his way of ensuring a payback in retribution of the rumour floated around Rushmore regarding Dirk’s mother. Dirk’s apology comes about after his realization that the rational action would be to try for a middle ground where things have already been destroyed and ravaged. It is in such instances that the light-hearted aspect of the movie seems to be overshadowed by certain darker concepts. (Graham, 1999) One such image is that of mortality and trauma heaped by history. The use of the 60s’ British pop tunes helps in providing glimpses to the characters and the lives that they’ve led. While the movie might not be focusing on their past lives and the contribution that their past deeds and actions might have had on their present – there is a background context that cannot be ignored while watching Rushmore. Max’s apparent unhappiness and overarching attitude to life can be attributed to the missing gap in his life brought about by the death of his mother. Rosemary’s venture in to widowhood and consequently the interest she courts from both Blume and Max is resultant of the death of her husband, a Rushmore graduate. The question of Blume’s boredom with life and the sense of alienation he experiences especially with his two sons is never answered within the movie. Like Max we are forced to develop a hypothesis. Max considers Blume’s inability to fit in to the accepted social role a consequence of him being a Vietnam War veteran. Like Max we also consider that Vietnam played a huge role in Blume’s past and is overshadowing his present. (Rosenbaum, 2010) At the end of the movie, by staging a play on Vietnam, Anderson brings together the characters that seem to have undergone damage in their past and who need to face their past in order to make sure that their present is not threatened any more. Anderson’s attempt is subtle without being over the top. He conveys his message and we as audience accept it for what it is without getting carried away with the hinted implications. The ambiguity that is hinted at in the last half of the movie is also what characterizes Max’s sense of identity. It’s a constant battle between the world he knows and the world he wants to know that his character is brought to life for us. In this instance, it is a postmodernist success for Anderson. While critics might perceive postmodernist cinema to be of little value it should be noted that postmodernism has gained favour with filmmakers in the last decade or so and has become a choice method to explore characters and themes. Anderson uses it to great effect in Rushmore and coupled with the insights we receive in to the mind of the characters it becomes an important tool of character exploration. Works Cited Arnold, G. (1999). Pair on Bus Tout Rushmore and its Teen Protagonist. Washington Times, pp. C12. Bazin, A. (2004). What is Cinema. Berkely: University of California Press. Denzin, N. (1991). Images of Postmodern Society: Social Theory and Contemporary Cinema. London: Sage. Graham, R. (1999). On the Road for Rushmore. Boston Globe, 17-19. Kempley, R. (1999). At the Head of Its Class. Washington Post, pp. C1. Klady, L. (1999). Schrader's Affliction Wows Indie Spirit Noms. Variety, 40. Kracauer, S. (1960). Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press. Rosenbaum, J. (2010). In a World of His Own. Chicago Reader, 15-19. Schickel, R. (1998). Class Clowns. Time, 31. Schwarzbaum, L. (1998). Class Strugle. Entertainment Weekly, 10-11. Read More