Classic and Contemporary Poetry: Explained

Muriel Rukeyser’s "Movie" is a trenchant commentary on the artificiality and manipulative power of cinema, revealing how films can distort reality and influence public perception. Through vivid imagery and a critical narrative, Rukeyser exposes the dichotomy between the constructed cinematic world and the raw, unvarnished truth of American society.

The poem begins with the technical demands of filmmaking: "Spotlight her face her face has no light in it / touch the cheek with light inform the eyes / press meanings on those lips." These lines emphasize the artificiality involved in creating a cinematic image. The imperative tone—“touch,” “inform,” “press”—highlights the deliberate manipulation of the actress’s appearance to convey specific emotions and meanings, suggesting that what the audience sees is carefully constructed rather than authentic.

Rukeyser then transitions to grander images: "See cities from the air, / fix a cloud in the sky, one bird in the bright air, / one perfect mechanical flower in her hair." This aerial view of cities, combined with the single bird and the mechanical flower, symbolizes the cinematic tendency to romanticize and idealize reality. The bird and the mechanical flower serve as controlled elements in an otherwise chaotic world, emphasizing the film’s role in presenting a curated version of reality.

The poem continues by depicting quintessential American scenes: "Make your young men ride over the mesquite plains; / produce our country on film: here are the flaming shrubs, / the Negroes put up their hands in Hallelujahs, / the young men balance at the penthouse door." These images represent stereotypical and superficial depictions of American life, from the rugged cowboy on the plains to the religious fervor of African Americans and the glamour of urban life. The use of “produce” underscores the constructed nature of these scenes, manufactured for mass consumption.

Rukeyser’s critique sharpens with the lines: "We focus on the screen: look they tell us / you are a nation of similar whores remember the Maine / remember you have a democracy of champagne." This statement exposes the film industry's role in shaping national identity and collective memory. The reference to the Spanish-American War’s rallying cry, "remember the Maine," juxtaposed with "a democracy of champagne," critiques the shallow patriotism and consumerism promoted by cinema.

As the narrative progresses, the poem depicts a climactic romantic scene: "And slowly the female face kisses the young man, / over his face the twelve-foot female head / the yard-long mouth enlarges and yawns / The End." The exaggerated imagery of the enormous female head and mouth highlights the hyperbolic and often absurd nature of cinematic romance. The abrupt ending, "The End," signifies the conclusion of the illusion, leaving the audience to return to reality.

Rukeyser then shifts focus to the aftermath: "Here is a city here the village grows / here are the rich men standing rows on rows, / but the crowd seeps behind the cowboy the lover the king, / past the constructed sets America rises." This passage contrasts the rigid, hierarchical structures of the rich with the organic, unstoppable force of the people. The "constructed sets" are mere facades, while the true spirit of America lies in the masses rising behind them.

The poem’s climax comes with the director’s cry: "The Director cries Cut! / hoarsely CUT and the people send pistons of force / crashing against the CUT! CUT! of the straw men." This rebellion against the director’s command symbolizes a rejection of the false narratives and controlled realities imposed by cinema. The "pistons of force" represent the collective power and will of the people to dismantle the artificial constructs.

Rukeyser concludes with a powerful assertion: "Light is superfluous upon these eyes, / across our minds push new portents of strength / destroying the sets, the flat faces, the mock skies." Here, she envisions a future where the superficial light of cinema is no longer needed. The "new portents of strength" suggest a burgeoning awareness and empowerment among the people, capable of tearing down the false images and narratives perpetuated by films.

In "Movie," Muriel Rukeyser masterfully critiques the manipulative nature of cinema and its impact on society. Through her incisive imagery and narrative, she calls for a recognition of the authentic, unvarnished truths that lie beyond the screen, urging a collective awakening and resistance to the superficial realities constructed by the film industry.

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