Love's Labors Lost: what is it about some villains . . . ?

July 24, 2010

what is it about some villains . . . ?

When I think of truly great villains, it's not the Emperor Palpatine, the Joker, or the Hannibal Lecter who gives me the chills. It's Dolores Umbridge, HAL 9000, Grand Moff Tarkin, Nurse Ratched, Annie Wilkes and Noah Cross who make me feel like the world is a scary fucking place.

Why is that? Why is it that I can enjoy the Joker's theatricality but still go to sleep at night but hope to God that I never come across a Dolores Umbridge? Why does Hannibal Lecter delight me while HAL terrifies me? Why does a rich old man like Noah Cross scare me more than the Dark Lord of the Sith?

Even though iconic villains kill more people and spread more mayhem, why does it feel like these more unassuming characters do more damage? Is it because what they do seems more real somehow? Is it because these examples of ordinary evil are closer and more widespread than we often like to admit? I don't mean these questions rhetorically, either. I'm genuinely interested in figuring this out.

What do you think?

3 comments:

Joshua James7/24/2010 7:21 PM
There's a quote from someone (I don't remember who) which read "one murder makes a villain, millions a hero" ... which may explain that.

A lot of people identify with Lector and Freddie Krueger and the Joker ... they said and did things many of us wish we could do to people we don't like who we feel "deserve" it (and it's a reason Dexter is so popular) ... the smaller criminals, on the other hand, are scarier for precisely the opposite reason ... it's closer to home, and it could be us who will be next.
ReplyDelete
Replies
Motorboat7/28/2010 1:24 PM
There is an extra level of creepiness to them. I think all of those character will do whatever it takes to get what they want and they all know what they want. Nurse Ratched and Noah Cross are the worst in my opinion because they succeed. All those characters have charisma but its a fake kind of charisma--not in a snake charmer way--but in a way that they can fool most people while causing extreme damage to certain people. They are the kind of people that you do not want to engage in battle with because they have no moral code.
ReplyDelete
Replies
Jamespeak7/28/2010 2:07 PM
Michael Palin's portrayal of Jack in "Brazil" is another good example of a frightening villain who you could believe exists in the real world (the best friend who will torture you to death when push comes to shove). He's frightening because you don't see him coming, so to speak. He's jocular and friendly until things go wrong, then he turns on you (and can do so without hesitation).

That the role is played with such joviality by a known comedian makes him all the more unnerving.
ReplyDelete
Replies

Add comment

Words, Words, Words

. . . a lot of it [fostering rather than smothering students' playwriting] has to do with finding a way to construct a dialogue about ongoing work that empowers the writer. A lot of it has to do with making sure there's a diversity of voices around you. A lot of it has to do with thinking of the writing program as a brain trust for writers, not as some infantilization in which the dramaturg gets the power. And basically trying to find a place where everyone's aesthetic in the room grows larger rather than smaller. There are many ways to do that. It's really not a hard thing to do.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Here is what seems to me an elementary truth that must precede any other: namely, that the theater, an independent and autonomous art, must, in order to revive or simply to live, realize what differentiates it from text, pure speech, literature, and all other fixed and written means.
--Antonin Artaud, letter, 9/15/1931

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all I need for an act of theatre to be engaged.
--Peter Brook, The Empty Space

My work is characterized by one thing above all --- invention. In theatre we imagine the world, we do not record it, we are not documentary makers. I hold all social realism and journalistic theatre in contempt. It is a sordid habit. And the social realists have the impertinence to pretend they are 'telling the truth…'
--Howard Barker, interview

Women and writers of color are still seen as threats because, in essence, when a woman or writer of color is defining a play world, there's another definition of what our society is, and that's very threatening.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Through this experience [working on " . . . and last week it was a mountain"] I learned the importance of the life and the dynamics under the words, and began to see the power of working from the silent space within - the emotions, the images, the experience and the feelings - rather than relying on the words.
--Sande Shurin, Transformational Acting: A Step Beyond

How does it happen that . . . the Occidental theater does not see theater under any other aspect than as a theater of dialogue?
--Antonin Artaud, Theater and Its Double

All conventions are imaginable, but they depend on the absence of rigid forms.
--Peter Brook, The Open Door

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'. Nor do I claim to tell the truth or enlighten people. We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets. That is also its politics, if it has any politics at all. And modern democracies hate secrets, they want everything transparent. Obviously the critics collaborate in this desire to expose everything to the light of day, they are the police force, after all.
--Howard Barker, interview

I think that form is content . . . I've always been more interested . . . in the formal devices and the structure rather than in the subject matter . . . I really am a follower of Viktor Shklovsky, who said that in some ways the subject matter doesn't even matter. It's whether or not we see the subject matter anew that matters.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

I am well aware that the language of gestures and postures, dance and music, is less capable of analyzing a character, revealing a man's thoughts, or elucidating states of consciousness clearly and precisely, than is verbal language, but who ever said the theater was created to analyze a character, to resolve conflicts of love and duty, to wrestle with all the problems of a typical and psychological nature that monopolize our contemporary stage?
--Antonin Artaud, Theater and Its Double

The mediocre artist prefers not to take risks, which is why he is conventional.
--Peter Brook, The Open Door

"Transcendence became my life theme. I wanted to be lifted beyond everyday circumstances and everyday reality."
--Sande Shurin, Transformational Acting: A Step Beyond

I actually think of writing for the stage as not writing . . . It's about structuring, about gaps between the language that are really filled in by the collaborators and the process. It's all about indirection rather than a direct statement . . . It's like a three-dimensional chess game in a way. If I say this, will the director go in this direction? If I say this, will the actor respond? And one of the delights of the process is actually not having your intention fulfilled, but finding out at times that other people's interpretation or intention is actually more interesting than you originally thought of.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

The person who has an idea of what this language is will be able to understand us. We write only for him. --Antonin Artaud, letter, 9/28/1932