Tag Archives: Scarlett Johansson

Lucy

I decided to see the movie Lucy today because the commercials I’d seen for it made it look like it would raise some interesting philosophical questions about what it means to be human rather than simply being a stereotypical action film, and I was not disappointed. I enjoyed it thoroughly; it was one of those rare art pieces that helps me touch the sublime. My mind is still buzzing from it.

I won’t go into too much detail about the film here because I don’t want to spoil it, but I will say that the major reason I liked it was because it dealt rather explicitly with two of my favorite theories: Walt Whitman’s idea that everything is connected and thus life is in a sense eternal (though not in a religious way) and Donna Haraway’s idea of humans as cyborgs, beings that extend beyond the boundaries of their physical bodies to encompass other elements of the world. At one point Lucy says “we never really die,” and this idea is never explained clearly within the context of the movie itself (I fear that most viewers will miss its significance), but in light of Whitman’s constant assertions throughout “Song of Myself” that we continue to exist after our bodies die in the natural world, the statement makes perfect sense. At the end of the film a character asks of Lucy “where is she?,” and she, for lack of a better term, texts “I am everywhere,” just as the 1855 version of “Song of Myself” ends “I stop some where waiting for you.” Likewise, the film explores Whitman’s idea of universal divinity as Lucy becomes a kind of secular Christ figure, connecting humanity back to the Big Bang and reconnecting with the first human, “Lucy” (for whom the title character is, of course, named), reminding us that we are all interconnected.

Similarly, with regard to Haraway’s idea of what it means to be “post-human,” Lucy literally becomes a cyborg in the RoboCop sense of the word, melding with a super computer before her ultimate meld with the universe. This post-humanness is the saddest part of the film, and is acknowledged by Lucy as such, because even though she breaks the restrictive bonds of what it is to be human, in doing so she loses her humanity, her selfhood, and is not given a choice in the matter. She is impregnated with her powers in a way reminiscent of the virgin Mary (i.e., it is not literal rape, but it is very close, and yes, Lucy is both a Jesus figure and a Marian one, but the film manages this double symbolism quite nicely), forced to do her best with her lot. Scarlett Johansson does an excellent job portraying Lucy’s other-than-humanness in heart-breaking, compelling fashion. By the end of the film, her character makes the viewer uncomfortable because as a post-human she has become objectified, and this objectification verges on exploitation, but at the same time Lucy recognizes her objectification and uses it for the good of humanity, so maybe it is okay. I’m still trying to process it. But that is a good thing because the best art refuses to offer easy answers, and this is why Lucy succeeds.

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Books Acquired Recently: Gary Leising Edition

Leising, Gary. Fastened to a Dying Animal. Columbus: Pudding House, 2010.

—. Temple of Bones. Georgetown: Finishing Line, 2013.

I bought these two chapbooks at a poetry reading by my colleague Gary Leising last night. I had never read any of his poetry before, and was thus happy to discover that I really enjoy it. Leising’s poetry reminds me of work from the New York School in that it elevates everyday occurences to the level of the profound, and also smoothly incorporates elements of pop culture into its narratives. For example, my favorite poem from the reading, which is brand new and thus not included in Temple of Bones, is about Scarlett Johansson suing a French novelist for including a character named “Scarlett Johansson” in one of his books (which is obviously a ridiculously frivolous lawsuit. Good job being on the side of censorship, Scarlett.). The narrator of the poem then goes on to use Johansson’s name repeatedly, openly hoping that she will sue him and his work will get some free publicity. Many of Leising’s poems include this kind of well-crafted playfulness, which is refreshing rather than gimmicky. I look forward to reading more of them!

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