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ter>Sam Vaknin's Psychology, Philosophy, Economics and Foreign Affairs Web Sites The Truman Show is a profoundly disturbing movie. On the surface, it deals with the worn out issue of the intermingling of life and the media. Examples for such incestuous relationships abound: Ronald Reagan, the cinematic president was also a presidential movie star. In another movie (The Philadelphia Experiment) a defrosted Rip Van Winkle exclaims upon seeing Reagan on television (40 years after his forced hibernation started): I know this guy, he used to play Cowboys in the movies. Candid cameras monitor the lives of webmasters (website owners) almost 24 hours a day. The resulting images are continuously posted on the Web and are available to anyone with a computer.
The last decade witnessed a spate of films, all concerned with the confusion between life and the imitations of life, the media. The ingenious Capitan Fracasse, Capricorn One, Sliver, Wag the Dog and many lesser films have all tried to tackle this (un) fortunate state of things and its moral and practical implications. The blurring line between life and its representation in the arts is arguably the main theme of The Truman Show. The hero, Truman, lives in an artificial world, constructed especially for him. He was born and raised there. He knows no other place.
The people around him unbeknownst to him are all actors. His life is monitored by 5000 cameras and broadcast live to the world, 24 hours a day, every day. He is spontaneous and funny because he is unaware of the monstrosity of which he is the main cogwheel. But Peter Weir, the movies director, takes this issue one step further by perpetrating a massive act of immorality on screen. Truman is lied to, cheated, deprived of his ability to make choices, controlled and manipulated by sinister, half-mad Shylock's.
As I said, he is unwittingly the only spontaneous, non-scripted, actor in the on-going super of his own life. All the other figures in his life, including his parents, are actors. Hundreds of millions of viewers and voyeurs plug in to take a peep, to intrude upon what Truman innocently and honestly believes to be his privacy. They are shown responding to various dramatic or anti-climactic events in Truman's life. That we are the moral equivalent of these viewers-voyeurs, accomplices to the same crimes, comes as a shocking realization to us.
We are (live) viewers and they are (celluloid) viewers. We both enjoy Truman's inadvertent, non-consenting, exhibitionism. We know the truth about Truman and so do they. Of course, we are in a privileged moral position because we know it is a movie and they know it is a piece of raw life that they are watching. But moviegoers throughout Hollywood's history have willingly and insatiably participated in numerous Truman Shows.
The lives (real or concocted) of the studio stars were brutally exploited and incorporated in their films. Jean Harlow, Barbara Stanwyck, James Cagney all were forced to spill their guts in cathartic acts of on camera repentance and not so symbolic humiliation. Truman Shows is the more common phenomenon in the movie industry. Then there is the question of the director of the movie as God and of God as the director of a movie. The members of his team technical and non-technical alike obey Christoff, the director, almost blindly. They suspend their better moral judgement and succumb to his whims and to the brutal and vulgar aspects of his pervasive dishonesty and sadism.
The torturer loves his victims. They define him and infuse his life with meaning. Caught in a narrative, the movie says, people act immorally. (IN) famous psychological experiments support this assertion. Students were led to administer what they thought were deadly electric shocks to their colleagues or to treat them bestially in simulated prisons.
They obeyed orders. So did all the hideous genocidal criminals in history. The Director Weir asks: should God be allowed to be immoral or should he be bound by morality and ethics? Should his decisions and actions be constrained by an over-riding code of right and wrong? Should we obey his commandments blindly or should we exercise judgement? If we do exercise judgement are we then being immoral because God (and the Director Christoff) know more (about the world, about us, the viewers and about Truman), know better, are omnipotent?
Is the exercise of judgement the usurpation of divine powers and attributes? Isnt this act of rebelliousness bound to lead us down the path of apocalypse? It all boils down to the question of free choice and free will versus the benevolent determinism imposed by an omniscient and omnipotent being. What is better: to have the choice and be damned (almost inevitably, as in the biblical narrative of the Garden of Eden) or to succumb to the superior wisdom of a supreme being? A choice always involves a dilemma. It is the conflict between two equivalent states, two weighty decisions whose outcomes are equally desirable and two identically-preferable courses of action.
Where there is no such equivalence there is no choice, merely the pre-ordained (given full knowledge) exercise of a preference or inclination. Bees do not choose to make honey. A fan of football does not choose to watch a football game. He is motivated by a clear inequity between the choices that he faces. He can read a book or go to the game. His decision is clear and pre-determined by his predilection and by the inevitable and invariable implementation of the principle of pleasure.
There is no choice here. It is all rather automatic. But compare this to the choice some victims had to make between two of their children in the face of Nazi brutality. Which child to sentence to death which one to sentence to life? Now, this is a real choice. It involves conflicting emotions of equal strength.
One must not confuse decisions, opportunities and choice. Decisions are the mere selection of courses of action. This selection can be the result of a choice or the result of a tendency (conscious, unconscious, or biological-genetic). Opportunities are current states of the world, which allow for a decision to be made and to affect the future state of the world.
Choices are our conscious experience of moral or other dilemmas. Christoff finds it strange that Truman having discovered the truth insists upon his right to make choices, i. e. , upon his right to experience dilemmas. To the Director, dilemmas are painful, unnecessary, destructive, or at best disruptive. His utopian world the one he constructed for Truman is choice-free and dilemma-free. Truman is programmed not in the sense that his spontaneity is extinguished.
Truman is wrong when, in one of the scenes, he keeps shouting: Be careful, I am spontaneous. The Director and fat-cat capitalistic producers want him to be spontaneous, they want him to make decisions. But they do not want him to make choices. So they influence his preferences and predilections by pr...
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