If Chance's little slogans reveal how superficial public utterance can be, his reception reveals still more. That we find in politics and religion whatever we seek? There are two sex-oriented subplots, and neither one is necessary. When I am not playing a role, I am nobody. He knows what he needs to know for his daily routine: Where his bedroom and bathroom are, and how to tend the plants of the garden. Advertisement When I taught the film, I had endless discussions with my students over this scene.
Having never cooked, ridden in a car, or visited a doctor by himself, he sees a minor automobile accident as a lucky break as the woman involved in the accident, Eve Rand Shirley MacLaine , whisks him back to the house of her rich and ailing husband Melvyn Douglas. What are we to assume? The film is not flawless. By the end of the film, Chance is being seriously proposed as a presidential candidate. Mortality, sex, and the presidency find new meaning when seen through the nearsighted eye of the mysterious stranger. Sellers's performance—as the innocent neuter figure who rises accidentally to political power on the strength of vacant homilies—is remarkable.
Since Ashby does not show a pier, there is no pier--a movie is exactly what it shows us, and nothing more,'' etc. . Sellers spent years trying to bring the story of the odd-duck gardener to the big screen, but not until the Pink Panther sequels renewed his bankability would a major studio agree to front the film. Sellers earned many nominations for his role and took home the Golden Globe. The movie's implications are alarming.
It has the appeal of an ingenious intellectual game, in which the hero survives a series of challenges he doesn't understand, using words that are both universal and meaningless. The movie provides no diagnosis of his condition. His meals are produced by Louise, the cook. Being There was not a successful film, indeed many people have never heard of it. It is sad that Sellers died just one year after completing the film, which to me stands as a testament to his talent.
Sellers plays Chance at exactly the same note for the entire film. There is no doubting Peter Sellars' genius in the dozens of comedies he lit up - but this performance is so subtle, so. And the seduction attempt by Shirley MacLaine, as the millionaire's wife, requires her to act in a less intelligent way than she should. The Rands misinterpret the oddity of Chance -- misidentified as an insightful Chauncey Gardiner -- as profound insight. My heart aches from the first time he is told he must leave the house he has lived since a child we presume and he effortlessly paints a picture of a man with difficulties understanding his world without an ounce of overstatement.
That Chance is a Christ figure? The movie argues that if you look right, sound right, speak in platitudes and have powerful friends, you can go far in our society. When the old man dies, the household is broken up and Chance is evicted, there is a famous scene where he is confronted by possible muggers, and simply points a channel changer at them, and clicks. What starts as a misunderstanding evolves into a national phenomenon. All music, images, and clips are used for the purposes of commentary in conjunction with the Fair Use Agreement under U. The question is not whether a computer will ever think like a human, but whether we choose to free ourselves from thinking like computers.
Chance, who has spent his life working as a rich man's gardener. He is surprised when they do not go away. Through a series of happy chances, he is taken into the home of a dying millionaire named Benjamin Rand. Sellers plays Chance as a man at peace with himself. In addition, parents may want to discuss this film in the context of contemporary Hollywood. Advertisement Satire is a threatened species in American film, and when it does occur, it's usually broad and slapstick, as in the films.
Of course, chess is not a game of thought but of mathematical strategy; Deep Blue has demonstrated it is possible to be very good at it without possessing consciousness. If you haven't seen it, track it down. A fantastic film, with amazing supporting roles - it is difficult to tell whether Shirley MacLaine is following the script or just following Sellars as he morphs into his role. It shows us Chance doing something that is primarily associated with only one other figure in human history. Written and edited by me, Julian Rhodes.
The result was a critically acclaimed and poignant piece. Is it possible that we are all just clever versions of Chance the gardener? MacLaine projects brains; she, like the doctor, should have caught on, and that would have created more intriguing scenes than her embarrassing poses on a bear rug. How does its rather small and understated narrative compare to films today? He is able to respond to given cues, and can, within limits, adapt and learn. The man's name is Chance. But to the degree that we are limited by our programming, neither will we. Is Chance's depiction as a simpleton politically correct or ideologically problematic? So what does it show us? It is one of the most touching films I have ever seen. We gather he has lived all of his life inside the townhouse and walled garden of a rich recluse perhaps he is his son.
Advertisement His mind has been supplied with a fund of simplistic generalizations about the world, phrased in terms of the garden where he has worked all his adult life. Upon the death of his employer, a confused Chance is cast out into the big world. We can see that he is really walking on the water, because he leans over curiously and sticks his umbrella down into it. What emerges in the end is a strange ambiguity of attitude to the American political system and a hollow humour about cultural values. That the wisdom of great leaders only has the appearance of meaning? Although the film has been touted as a classic, some people may find it too esoteric. When I rule the world, and own a quiet hotel in a noisy city with basement bar, there is one film to play silently on a loop in the far corner.