In Cohen’s article, “The Spy in The
Gray Flannel Suit,” he analyzes Roger as a symbol for “masculinity in crisis.”
While Cohen dissects this symbol in a variety of ways – I’m most interested in
the ways in Cohen discusses Roger’s masculinity in terms of his relationship
with Eve and heroism. Early in the film, Roger is introduced to us as a man with
slippery masculinity and male power. We hear Roger’s past failed marriages. We
see his dependency on his mother. We see how effortlessly and quickly he falls for Eve
Kendall. Throughout the film, Roger moves from emasculated victim to
independent, powerful hero. He does this by claiming agency. In the beginning
of the film, he’s completely in the dark about what is happening to him. The first
night when he is taken to Phillip Vandamm’s house, he’s completely over taken
by the enemy and eternal forces. He ends up bulgingly drunk, in a jail, calling
his mother for help. This ties into what Cohen discuses as the “emotional
immaturity of American male” in post-World War II life for returning soldiers. (5)
Despite his attempts to find answers, Roger is the victim of everyone and at
the will of Vandamm and his men. He wants to be protected, to move
responsibility – and in quite literally run away from the terror. Someone else
can help clean that up. This is used for humor in North by Northwest. Roger’s
weakness and annoyance contrasts the courage and seriousness of other male
protagonists from the past. This kind of male emotional immaturity used in
movies is used everywhere today – particularly in male-dominated Apatow comedies such as Knocked Up and Superbad.
When Roger meets his love interest
of the film, Eve Kendall, he still doesn’t show agency over his life. He falls
for charms, generosity, and wit. After
meeting Eve, her actions increasingly affect control of his trajectory in the
film. She gets him to hide in her room, she tells him what to do, where/when to
go, how to get there. And it isn’t until the ending of the film, does Roger
take control. He decides to sneak out of his locked hospital room (against CIA orders)
and rescue Eve from Vandamm. This completes his transformation – through
claiming the title of hero of his own story.
Of course, at the same time, as
Roger gains agency and reclaims his masculinity – other characters loose
agency. The narrative of Roger and Eve’s relationship shifts. Eve becomes more
and more helpless. The last scene in the film in which Eve and Roger are
running away from Phillip Vandamm– most of their obstacles come from Eve’s
clothing (and her femininity.) First her shawl gets stuck on a tree. Then her
heel breaks at the most unfortunate time when they’re climbing down Mount
Rushmore. (I always hate it when that happens.) The ending – we see Roger
pulling Eve up into bed and then of course, the famous and kind of gross sot of
a train going through a tunnel cementing their sexual relationship and Roger’s
sexual dominance over Eve. The ending of the film “confirms Roger’s maturation
as a man through his redemption his redemption as a lover and a hero.” (7) By
the end, the audience is meant to feel that Roger has found the right woman to make
a marriage last and gained some sort of maturity/responsibility.
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.