On the greatness of Tommy Wiseau's The Room

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“You must be kidding, underwear – I got the picture!”

The Room is a celebrated cult phenomenon (the latest in a long line of movies dubbed the ‘worst ever’) and, as such, has unsurprisingly spawned a great deal of discussion. I want to take a slightly different approach to it than many, however. Rather than focussing on a run-down of its countless dreadful pleasures or the participatory culture that has sprung up around it, I want to look in detail at one short sequence to try to explain something of how it works, and what this can tell us about the film as a whole. I have a few reasons for doing this.

Firstly: although one of the great things about the kind of cult fandom The Room has attracted is that it encourages a focus on details (The spoons! The football!), I haven’t read many accounts of the movie that try to discuss how these details add up to form patterns of (wonderfully absurd) meaning within sequences or the film as a whole. Secondly, one thing I find slightly offputting about fan screenings of the film is that they tend to fetishise these marvellous individual details to the point where noticing them (and yelling out the traditional responses to indicate that they have been noticed) drowns out any sense of the peculiarly unorganically-organic flow of their scenes, and of the movie more generally. The extreme oddness of how The Room’s scenes feel as scenes (not merely as successions of quirks) is one of the things that makes the film so brilliant, and I think a close analysis should allow me to capture some of the feeling of this.


Finally, I want to look at The Room in this way partly simply to reward it for being the extraordinarily entertaining and fascinating thing that it is. In her excellent blog entry about teaching the film to students, Amanda Ann Klein suggests that watching ‘bad’ films like this one “makes us feel better about ourselves”, arguing that “when we watch The Room and mock it we are essentially saying ‘I am better than this. I am superior to this’.” There is doubtless an element of truth to this: the very act of enjoying something for its ‘failings’ does necessarily involve a kind of assumption about one’s own superiority. Yet a part of me also wants to resist this characterisation of my relationship to the film. I can honestly say that I deeply love this movie in no less a sense than I deeply love, say, Vertigo (which, incidentally, as another San Francisco-set tale of romantic obsession, has its parallels in The Room: the two even share some locations!). The nature of this love is certainly different, but it is no less real. This is an important point to make about cult pleasure in general. As with Trapped in the Closet, I value The Room not because it is ‘bad’, but because it is ‘bad’ in very special and very strange ways – ways that are unique to it alone, and which, even after multiple viewings, I still can’t quite master. In order to feel superior to something one must first feel one understands it; I am far from being able to say this of The Room. Close analysis is a way for a critic to show that s/he is not above a film, passing judgment from on high, but rather wants to live up to it by briefly existing within it, exploring its intricate workings, honouring it with time and attention. For me, The Room most certainly deserves such treatment.

So – to begin.

Some context: the film tells the story of Johnny (Tommy Wiseau - also the writer and director) and the way in which his life unravels after discovering that his fiancé (or, as she is only ever called, “future wife”), Lisa (Juliette Daniel), is cheating on him with his best friend, Mark (Gregg Sestero). From this basic set-up Wiseau is able to weave a rich tapestry of confusing secondary characters, sub-plots, and superfluous scenes; I want to look in detail at one of these scenes. It’s approximately two minutes long, takes place around forty-five minutes into the film, and is structured around Johnny’s friend Mike (Mike Homes) recounting to Johnny something we saw in an earlier scene about fifteen minutes previously – specifically: that (a) he and his girlfriend were caught almost in flagrante by Lisa’s mother (Carolyn Minnott), (b) they left quickly, only for Mike to realise that he had left behind his underwear, upon which he (c) embarrassedly returned to retrieve it, only for (d) Lisa's mother to embarrass him by snatching the boxers from his hand and holding them up to inspect them publicly.

It is a scene whose many glorious mysteries I have (despite the grandiloquence of my build-up and the length of what follows!) only begun to get to grips with. Let’s break our consideration of this scene down into a few parts. First:

Redundancy

The first thing to say about the scene is that it is entirely redundant to the plot. This is also partly why it can stand as a beautifully representative moment of the film, since excessive narrative redundancy is one of The Room’s defining and most endearing characteristics. This scene, however, is not merely redundant in the way that, say, Denny’s dramatic encounter with a drug dealer is (which, like Claudette’s revelation that “I definitely have breast cancer”, establishes a major sub-plot that is never to be revisited) – no: this scene takes redundancy to the next level by existing solely in order that we may be retold of something which we have already witnessed: Mike’s “underwear issue”. To pile inconsequence upon yet further inconsequence, the original event to which the anecdote refers was itself wholly surplus to narrative requirement, a moment of ‘comic relief’ whose relevance we have already likely had cause to wonder at. Indeed, since Mike takes part in no other significant action throughout the entire film, the whole reason for his character existing – as difficult as this is to countenance – seems to be solely to take part in the original incident, and then tell us about it again.

As such, one of the most magnificent things about the sequence is that it forces us to grapple with the question of why, in a film so prepared to summarily drop what in any other movie would be major plot points, are we being subjected to such a lengthy reminder of something this meaningless? Our bewilderment is only heightened as the scene continues: we are already initially surprised when Mike begins to tell Johnny about the incident, and grow moreso the longer he goes on (“Go on, I’m listening,” urges Johnny, and later, “Tell me more…”); then, when Denny enters the discussion continues, our surprise now heightening to become incredulity; finally Mark arrives and the characters are, somehow, still talking about Mike’s underwear. By this point our inner Aristotlean, who craves order and motivation in our art, is screaming, “NO! NO!! NOOOO!!!” while at the same time the mischievous part of us that desires precisely this kind of assault on storytelling logic – the part that deeply loves The Room – is satisfyingly murmuring, “Yes, oh yes, OH MY, YES…”


So why is this scene in the movie? One answer seems to be that it is an attempt to show day-to-day life, and, as such, needs to be understood in the context of the way in which The Room constantly seeks – and spectacularly fails – to achieve a sense of naturalism.

Naturalism and performance style

On one level the scene is clearly meant to be a demonstration of the minutiae of everyday life, which here consists of friends chatting about the funny things that have happened to them lately, and – crucially – a casual catch-and-throw football session. This activity famously crops up an awful lot in The Room (leading to the ubiquity of American footballs at fan screenings). Indeed, throwing a football around seems intended by Wiseau to almost be a basic signifier of ‘normality’: this is, the film suggests, simply what men do when they get together. Unfortunately (by which I of course mean fortunately), two things significantly scupper this sense. Firstly, there is the fact that it happens quite so emphatically often, thus highlighting the extent to which it is being used as a flashing sign that reads “This Is Usual, This Is Real Life – You Probably Do This Too”. Secondly, there is the notorious tininess of the distances that the ball is always being thrown, which draws attention to the fact that the action’s other function is to serve as a strikingly strange answer to the perennial question faced by film directors: what should characters be doing whilst talking? (The games of catch don’t just accompany throwaway ‘comic’ sequences like this: at other points it also goes hand-in-hand with serious heart-to-hearts.) First and foremost, the characters need to be close to each other when throwing a ball so that dialogue can take place; the resulting oddness is merely a brilliant side-effect.


What the attempted naturalism also causes is an awkwardness brought on by what appears to be the extensive improvisation going on in the scene, leading to odd, mis-chosen words and phrases. For example: Mike setting up his story by saying “I’ve got a little bit of a – a tragedy on my hands…”; the bizarre wonderfulness of “me underwears” (that strange mis-hitting of casualness again); Mark’s weird questioning, “Underwear? What’s that? Underwear, man…?”, and so on. Of course, what makes all this quite so peculiar is the clash with the extreme un-naturalism of everything surrounding such statements. It would be difficult to find many melodramas that fail harder than The Room does at convincing us that they are presenting a credible world, yet here its actors are, visibly straining to replicate the messiness of real-life conversation. Maybe in another film, with other actors, lines like “I don’t study like that” / “He doesn’t” might convey the awkwardness of speech, but here they convey the awkwardness of Tommy Wiseau’s unique conception of filmed drama. If it has not been felt already, the unbridgeable gulf between these two modes – ‘naturalism’ and whatever it is that The Room offers – comes crashing spectacularly and deliriously into focus when Mark somehow manages to send Mike flying into the trash can, supposedly causing him to be hurt badly enough for someone to ask whether he needs a doctor.

Ending scenes

Speaking of the ‘accident’, this needs to be seen in relation to the great difficulty The Room has with ending its scenes. Apparently completely unwilling to indulge in (or perhaps functionally unaware of) the accepted convention of cutting away from a scene which has run its course, Wiseau instead seems to feel the need to have characters exit the space where a scene has taken place. As well as the ubiquitous “Oh, hi!” which will often begin sequences, “I gotta go” is one of the most repeated phrases of the movie (as this montage makes clear). It is almost as if Wiseau is afraid that the viewer will be confused unless s/he has been explicitly told scenes have begun and finished. Occasionally, as in this scene (as well as in another entirely extraneous football-throwing-gone-awry sequence) Wiseau even resorts to an act of unexpected violence to bring the action to a close. These mini climaxes come at the expense of earthly motivation, and have precisely the opposite effect to the one intended: far from providing closure for the scenes they belong to, such moments open up whole new sets of questions – “For what conceivable reason did that just happen?” being chief among them. (The confusion is even more extreme here because of the shift in tone caused by the music, which changes in the final seconds from the comic oompah-pah that helpfully underlined the joviality of the football-throwing, into the dark, moody strings that accompany Mike’s treacherous tumble. How seriously are we being encouraged to take this injury?)


The wonderfulness of Johnny

So why does this ‘accident’ take place? One answer comes in the scene’s final moments. “Mike, listen,” says Johnny as he helps his friend up from the floor, “if you need anything call me – anytime, alright?” With this it becomes clear that this moment is another of many in the film which serve to reinforce quite what an outstandingly great guy Johnny is. Mike needs to be hurt, in part, so that Johnny can show him compassion. The same thing motivates the whole discussion of the underwear: it is Johnny’s desire to be a good friend that prompts Mike to keep talking (“I’m listening…”), as well as Tommy’s exclamation “That’s life,” which is delivered with a mysterious and undue emphasis on the word “life”, transforming throwaway platitude into wistful philosophical observation. (In retrospect it might remind us of his later pained cry to Lisa, “Do you understand LIFE? DO you?!” Clearly Johnny does understand life only too well, and knows that it sadly necessarily consists of such things as underwear “tragedies”.)

One the most fundamental pleasures of The Room is the way in which it unsuccessfully tries to be a bizarre paean from Wiseau to himself, presenting him as a great and loving man who becomes the undeserving victim of all around him (“Everybody betrayed me!” is his later anguished exclamation). Yet, as this scene shows, his character’s goodness is often expressed in ways that are by turns unimpressively conventional (buying Lisa red roses and calling her his “princess”), awkwardly expressed (being a good customer and kind to animals, always being interested in friends’ problems), and deeply weird (sort-of adopting a teenage boy [Denny], letting friends [like Mike] use his apartment for sex). The ultimate result of this is that the film comes to feel like a parody of the masculinist narcissism that lies at the heart of its conscious project, exposing the fact that this troubling ideology is troubling, and opening it to ridicule. This is one of the many things that contributes to making The Room not just a ‘failure’ but a fascinating “passionate failure” (one of Sontag’s descriptions of camp). Wiseau has poured his heart and soul into this fevered tribute to himself, and it is a mark of his specialness as an artist that his heart and soul can produce a tribute that ended up feeling this consistently baffling, and this unintentionally self-critical. I do not say this ironically.


Intention and the greatness of Wiseau

As I have suggested before, trying to work out a filmmaker’s intentions is a very important part of the process of cult pleasure; but the matter doesn’t stop there. We certainly need to assume that Wiseau was not intending to make a self-parodic comedy in order to laugh at The Room in the way that we do, but does appreciating the film for reasons other than those intended necessarily mean that we should automatically call Wiseau a ‘bad’ artist? Although the wholesale removal of the ‘intentional fallacy’ from our critical appreciation of art can certainly go too far (causing us to forget that artworks are indeed made up of a series of decisions) we are nevertheless surely long past the point at which we consider greatness to reside wholly in an artist’s conscious intentions.

To return briefly to Vertigo, my earlier example of a film which I love in a more ‘straightforward’ way: most of my admiration for this film comes from my appreciation for what I take to be Hitchcock’s extreme skill as a filmmaker, but by no means all (ignoring, too, any arguments we might want to make about collaboration). I don't know, for instance, to what extent Vertigo is the product of Hitchcock consciously working through his troubling psychological issues with women, or precisely how aware he was of the extent of the damning critique the film offers of masculine possessiveness and domination – nor, importantly, do I need to know. The film is a great work of art regardless of such matters, and Hitchcock is a great artist for having made it. In order to appreciate The Room as a great work of art, and Wiseau as a great artist for having made it, I would admittedly need to disregard the link between greatness and intention to a significantly larger extent than I do in the case of Vertigo. The principle, however, appears to be the same, and the judgment could seem to require me simply to place the two films at different ends of one single, sliding scale – not to use two different scales altogether (say, one scale charting ‘happy accidents’ and their beneficiaries, and another measuring ‘great artworks’ and their creators). As with Hitchcock and Vertigo, whether intentional or not, the endless complexity, fascination and enjoyment that I gain from The Room would, finally, simply not be there were it not for Wiseau - and, while I have no doubt that it will seem to many (perhaps most?!) that I am already giving this film far too much credit, I would maintain that I still haven’t managed to get very far in explaining the beauties of even this scene.

When I am this sure of the hidden treasures a film holds – when I feel a desire this strong to rewatch, discuss and explore – I find it hard to resist the temptation to say that I am in the presence of great art. Those who don't agree are invited either to leave their stupid comments in their pockets, or alternatively write them below.
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“Crazier than a fish with titties”: Naïve and deliberate cult in Trapped in the Closet

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[This is part two of a series of posts on and around the idea of cult pleasure; part one is here, and I have written more on Trapped in the Closet here. ]

Trapped in the Closet is the name collectively given to a bizarre (to put it mildly) series of music videos created by and starring the R & B lothario R. Kelly. It began life as a cycle of songs which together told a slowly unfolding story, divided into chapters, and featuring the same backing track and sung melody. It was later developed into a 41 minute video called Trapped in the Closet Chapters 1-12, released in the Summer of 2005. The songs and video told the dramatic saga of a group of couples whose lives are gradually revealed to be intertwined by one another’s infidelities. Each chapter ended with a pointed cliffhanger – a surprising revelation intended to keep the viewer eager to know what will happen next. Kelly is both star and narrator of the video, and all other characters are also voiced by him.

The apparently unintentional hilarity of Chapters 1-12 caused the video to quickly become a viral cult hit on the internet. It was widely viewed and shared through the then-newly-created Youtube, blogged about by enthusiasts, screened at sing-along parties, championed by pop culture commentators like Adam and Joe and Charlie Brooker, and repeatedly spoofed (never quite successfully, in my opinion) both by fans, and professionally by Weird Al Yankovich, Jimmy Kimmel, Saturday Night Live, The Daily Show, Mad TV, and South Park. In short: its reputation as an enjoyable cult object was clearly very much built around its seeming naïveté and the idea that Kelly didn’t, for the most part, intend the video to be comic.


In 2007, ten more chapters were released on the independent film website IFC.com. The tone of these chapters seemed different, and there was apparently little doubt that Kelly now seemed to be often attempting a broad comic style. I liked them far less.

In this post I will both detail some of the pleasures that make Chapters 1-12 so enjoyable, and also suggest that their lack makes Chapters 13-22 less successful. I will argue too that the cult pleasures afforded by the first group of chapters, and resisted by the second, are deeply tied up with assumptions about authorial intention. As such, I will be claiming that the difficult question of intention can often have a very important role to play in the success or failure of cult pleasure.

The particular kind of cult pleasure I’m concerned with can be linked with Susan Sontag’s famous definition of camp as usually constituting a “failed seriousness”, specifically one marked by “the proper mix of the exaggerated, the fantastic, the passionate and the naïve”. Also relevant is Sontag’s distinction between ‘naïve’ and ‘deliberate’ camp; as she puts it:

Pure camp is always naïve. Camp which knows itself to be camp is usually less satisfying.

These points are important not only because I think we can see Trapped in the Closet as straddling both these forms of camp, but also because of their implicit claim that intention – even if only imaginary – can play a major role in how we respond to cult objects.

Chapters 1-12

Before I get into this, though, you will need to see at least some of Trapped in the Closet for yourself, if you haven’t before, since it is almost impossible to describe to the uninitiated (personally, I would strongly endorse watching the first 12 chapters in full). The moment below comes from Chapter 2, and takes place after Sylvester, played by Kelly, has been found hiding in a closet by the man whose wife he slept with the night before.



This scene is fairly representative of the tone of the first batch of chapters: although the action is over-dramatic, there are no overt gags, and emphasis seems to generally be firmly placed upon trying to convey the emotions of the characters. By and large, chapters 1-12 are are played, as we might say, with a straight face. For one thing, the acting is relatively naturalistic throughout: indeed, one of the incredible things about the first half is that the actors actually manage to look rather convincing whilst ‘speaking’ Kelly’s words - as if their characters were merely talking normally and believably, but their real-life soundtrack has for some reason been dubbed over with a melodramatic R & B track that is synchronised perfectly to their words. There is little mugging, little over-the-top comic physicality, and little campy caricature.

Secondly, there are very few 'gags', and when jokes are made, they tend to be jokes shared between characters in the world of the fiction, which are then laughed about. The fact that these jokes aren’t funny, yet the characters think they are, is actually one of the sources of pleasure of the first half. For example, Kelly and his wife fall about laughing when he adds that, on top of a whole list of other traumas he’s experienced that day, he was also given a speeding ticket:

"Baby, first of all: I got a hangover, been trapped in a closet, slept with who-knows, threatened to kill a pastor..."/ She says "What?!"/ "Baby this is no lie: he had a lover, turns out to be a gay guy!"/ She says "Damn, you've been through a lot of shit..."/"Plus I got a ticket!"

Finally, the story itself is relatively naturalistic: it takes place mainly in domestic spaces, involves conventional themes of family drama like adultery and marital jealousy, and – although full of surprises and excessively violence-prone characters – stays just about within the bounds of believable fiction.

Overall, its intention seems primarily to be to tell an engaging, surprising story, full of twists and turns – not to mock the telling of that story. Although the infamous appearance of a midget hiding in a cabinet in Chapter 10 stretches plausibility, and is certainly intended to be funny and shocking, we have to ask for what reason he is supposed to be funny.


'Big Man' isn’t intended, I don’t think, as a device that shatters the illusion that what we are seeing is a believable drama – though this, coupled with a hysterically un-PC laugh of disbelief, is precisely his effect. His appearance doesn’t seem to be in quotation marks; instead he seems meant to be surprising first and comic second – and this comedy, far from seeming ironic or self-conscious about its offensiveness, instead feels raucous and excitable. This plot development is, I think, intended to be ‘crazy’ in the sense of ‘wild’ or ‘unforeseeable’ rather than ‘insane’ – or, put another way: it is meant to make us think that it is the characters’ situation, rather than the film we’re watching, that is crazy.

Chapters 13-22

Now let's look at a quick clip from Chapter 13, the first chapter of the second crop, in which Kelly is now playing both Sylvester and the previously unseen character of an elderly husband, Randolph. (Note: the clip is preceded by a framing device that I'll be addressing in a moment).


The contrast with the first clip is, I think, obvious: we now have Kelly wearing an abundantly fake belly, and a beard that seems to almost fall off; we have the use of exaggerated voices and physical comedy; we have pauses in the dialogue being used for comic effect; we have the sometimes almost surreal comedy dialogue; furthermore, the whole scene with Rosie and Randolph is almost entirely irrelevant to the plot, so can be seen mainly as an independent comic set-piece.

Admittedly, this scene is a relatively extreme example of the kind of comedy in the second lot of chapters; but, in Chapters 1-12, even where overt comedy exists – and it does exist – it is nowhere as broad as it is here; by contrast, recognisably comic details such as those I just outlined are inserted continually throughout Chapters 13-22.

The second batch of chapters takes the raucousness that appeared so late in the first (with the midget) and runs with it. We now meet aggressively over-the-top characters (like the one Kelly plays here), wishing birds would shit on their wive’s faces, and a stuttering, massively caricatured, pimp (also played by Kelly) who vows to never stop “p-p-p-pimpin’ all these hoes”. We have other highly stylised characters too, like a fat Sicilian mob boss eating a giant plate of pasta, a James-Brown-in-Blues-Brothers-esque preacher, and a gold-toothed ‘gangsta’ named Streets.

As these characters suggest, the plot too becomes far less naturalistic, taking in mob movies, urban 'gangsta' pictures, and even film noir – each of which are pastiched for all their genres are worth. Also, while the story of the first half was, for all its inspired madness, actually very tight and focused, the second half constantly diverges from its main plot for unconnected comic set pieces like Rosie and Randolph’s or Pimp Lucious's.


Finally, the music and lyrics themselves are often used for clearly comic effect, the beat sometimes cutting out at moments to add to comic timing, and the 'dialogue' now containing lines like “You must be crazier than a fish with titties if you think I’m gonna let you smoke that shit up in my car...!”

There were a number of reasons why these new chapters disappointed much of Trapped’s cult fan base, myself included, but an important one was the sense that much of it had been created with comic intent due to the cult appreciation of the first chapters. In short, it seemed to be attempting to create ‘deliberate cult’. Speaking as a fan, I wasn’t disappointed because the comedy of the second half somehow suggested that the first half was also intended as comedy – I was disappointed that this intentional comedy wasn’t nearly as entertaining as the apparently unintentional comedy of the first 12 chapters. Kelly seemed to have tried to give us what he thought we wanted, but instead made Trapped into a parody of itself.

Intention

However, following the release of Chapters 13-22, a number of journalists began suggesting that Kelly had always intended the series to be intentional parody, and that those cult fans who believed it to be unintentionally funny were (a) missing the point, and (b) merely expressing a condescendingly superior attitude. The fact that the second batch of chapters were released on IFC.com, and that each was preceded by an interview between Kelly and a white, bespectacled, 20-something host, also made commentators uncomfortable – some essentially accusing those who wished to see the video as naïve of a veiled form of racism being practiced by, as one writer put it, “silver-spoon hipsters”.

One of the arguments used to back up this view is that Kelly is known, within the R & B community, as an artist who does sometimes use humour as a tool within his music – something that might not be known by many fans of Trapped who weren’t previously R & B fans. Another is that, at least in the second batch of chapters, it often seems as if Kelly is trying to ape the style of what’s sometimes known as 'chitlin’ circuit' theatre: a style of broad comic theatre, created mainly by and for African Americans, which often uses instantly recognisable archetypal characters and an exaggeratedly comic performance style.


These debates are clearly centred around the question of intention. It has often been argued that it doesn’t matter what the intention behind a work is – or, equally, that we can never know it for certain, so it’s meaningless to debate it. Discussions of authorial intention have become increasingly unfashionable within the academic study of the humanities ever since the publication of ‘The Intentional Fallacy’ in 1946, and the concept has received more and more apparently deadly blows over the last forty years, from Barthes’ ‘The Death of the Author’ to postmodernism’s challenges to the very concept of coherent textual meaning. Nevertheless, I think that there are still many contexts in which the issue of intention can still be seen to be relevant – if never simple – and one of these is in the area of cult.

I say this because it is very common indeed for a film to achieve cult status through the reception of fans who see their appreciation of the film as being opposed to, or in some sense other than, the work’s original intentions. In the introduction to their Cult Film Reader, Ernest Mathius and Xavier Mendick write that

Traditional fandom remains largely respectful to a film’s interpretive integrity, but other ways of commitment involve challenges to its interpretation, either by robbing it of its meaning, or replacing it with one that may counter its intentions.

While this talk of challenges to interpretive integrity has the ring of a reader-response criticism and the rejection of singular textual meaning, it also in an important sense assumes that we can know – or presume to know – what the authorial intention of a work is in the first place.

I must confess that I’m not an expert on cult theory, but it seems to me from the research I’ve done that the issue of intention may be an under-explored area in cult studies. I say this because, speaking as a ‘fan-critic’ (to use I. Q. Hunter’s term), it is important for me – as it is for other fans of Trapped in the Closet – to be able to see Kelly as 'naïve' in order for the cult pleasure I gain from chapters 1-12 to feel valid.


Seeing Kelly as 'naive' means, for one thing, that I can construct an image of him as a fascinating and rampant egoist based on the evidence of Trapped. He wrote, produced, co-directed, sings, and stars in the video, giving him Ed Wood-level of creative control, and thus potential self-absorption. On top of this there is the fact that in chapters 1-12 he appears not merely as one character, but two: the main protagonist, Sylvester (which is, incidentally, Kelly’s middle name) and the story’s nameless narrator who comments on the action from chapter 8 onwards. Combine with these factors the film’s main conceit, that he also sings every other character’s part too, and Trapped thus consists of one R. Kelly relating to us a narrative in which another R. Kelly comments of the actions of a third R. Kelly, who is constantly having arguments with characters who all sing with the voice of R. Kelly. One seeming byproduct of this is that he seems to become confused by all this himself at times, since he will sometimes refer to his protagonist in the third person, as Sylvester, and sometimes in the first person, as “Me”.

It’s also important that I see Kelly as 'naïve' for Trapped to appear to be, as Sontag puts it, a “passionate failure”. In the commentary, Kelly tells us that, the more he delved into the story and its themes, the more he realised how profound they are – how we are all, in a sense, trapped in closets, and that there exists, in his words, “this global closet thing…” Such vague delusions of grandeur seem unbelievable and instantly comical; they also, however make me love the man a little too. In much the same way as, say, Glen or Glenda’s confessional nature makes it into a strangely moving experience, so does Trapped in the Closet’s apparent basis in an attempt to say something meaningful make it seem charmingly, touchingly, bad.

It's particularly vital for my appreciation of chapters 1-12 that I am able to assume that its plot is not calculatedly ridiculous, but that it relies upon a mesmerizingly child-like conception of storytelling, character-motivation and tone - one that values surprise over cause-and-effect, and action over traditional forms of plausibility. It’s important that I am able to conclude that drama in Kelly’s mind appears to be synonymous with potential danger, and that, in order to achieve potential danger, he must create characters who are unimaginably highly-strung, constantly on the edge of launching into violent frenzy, and who perennially own and carry weapons. The first example of this bizarre narrative tendency comes at the end of the very first Chapter, when Kelly is about to be discovered hiding in the closet: his immediate reaction is to “pull my Beretta out”. At this point we didn’t yet know that he even had a Beretta, let alone can we see why it should be appropriate to instinctively brandish it now. This continues to happen throughout, usually at hilariously unnecessary moments: when Sylvester learns that Rufus is gay, when James thinks he hears Gwendolyn crying, when Sylvester hears an apparently inoffensive knock at his front door, and so on, and so on…


Even more than this, it's important that I am able to assume that the chain of events in 1-12 shows that Kelly has never thought particularly hard about how to tell a story that flows in conventional narrative terms - or is even physically possible. There are numerous instances that seem to display a bizarre grasp of storytelling basics, containing many incidents that are simply impossibilities (such as a policeman flashing down Kelly from behind when it later transpires that he must just have come from the direction Kelly is driving), or unfeasible, such as Bridget’s decision to call a random telephone number she found in her husband’s pocket at a moment of crisis.

Being trapped in a world that operates in this bizarre way – a way that suggests not mere bad writing, but rather an entirely different conception of our world’s logic – is addictive, intriguing, and thrilling. One of the main things that makes chapters 1-12 so fascinating is that they seem to be not just another example of something that is so-bad-it’s-good: rather the specific ways in which they seem to be ‘bad’ are so peculiar, so unique, and so baffling, that they practically require judgment by a whole new set of criteria. As a fan, I have put a lot of stock in the idea that this must be because it is the brainchild of a man whose mind works in a very different way to the kind of person who we usually find telling stories. This seems to be a man who doesn’t consider the very concept of a 41 minute hip-hopera voiced entirely by one person a funny concept, but does think that calling a decrepit, spatula-weilding old woman “a G, no doubt” is hilarious. It is important that Kelly’s mind appears to be a twilight zone – one that it is infinitely entertaining to feel one is getting a glimpse into.

So have I just had my elitist, condescending cult fun stopped and am petulantly aggrieved? Have the new chapters simply made plain what was always there – an essentially spoof-like nature – and I just don’t want to admit this fact? Because of the huge cult pleasure I’ve derived from the first 12 chapters, I have a great deal emotionally and intellectually invested in answering No, since this would not only irretrievably alter the way in which I’m able to enjoy chapters 1-12, but would also suggest that my original pleasure was not only misguided, but also rather arrogant and distasteful.

I also, however, genuinely believe that this isn’t the case, and that I can demonstrate this by pointing to things such as Kelly’s director’s commentary, in which he talks about the “intensity” and “realism” of the video far more than its comedy – and when he does discuss comedy, he’s usually claiming that he had to lighten the mood with a comic set-piece because we’ve just undergone a particularly "intense" series of scenes.


More important for my broader argument, though, is the very fact that I feel I need to convince you of this at all. This is because whether Trapped is an instance of naïve or deliberate camp makes a huge difference both to the ways in which I can value it, and to the validity of that judgment. I want to be able to treat it as naïve camp because I gain so much pleasure, fascination, and excitement from understanding that its brilliance is at least partly accidental. I appreciate the idea that it is akin to the poignant unintentional camp of Ed Wood much more than the notion that it’s a lesser version of the intentional camp of, say, John Waters – to which it has also been compared. If the latter were the case, I wouldn’t be able to love it nearly as much as I do (and camp taste is always, as Sontag says, “a kind of love”). Equally, if I am mistaking a work of deliberate camp for naïve camp then that opens me up to accusations of, not just critical narrowness, but cultural insensitivity – or even racial prejudice. I strongly believe I’m not making this mistake, but it’s nevertheless important that I have been forced to address the possibility that I could be.

I believe that it is sometimes imperative to try to deduce the intentions of a work – if not necessarily the intention of the author, then at least what Umberto Eco called the “intention of the text”. As Eco warns us in The Limits of Interpretation, even if we admit that texts are open to multiple readings – as we must – we must simultaneously acknowledge that these potential readings aren’t unbounded, and we can’t make a text mean simply anything. We can at the very least often see what kinds of meanings a text discourages; for example, it would be rather meaningless to argue that, say, Double Indemnity is a musical, or that Singin’ in the Rain is a film noir, because we can plainly judge that their intentions are unconcerned with these genres. This is a caricatured example, but it illustrates that we are in fact making assumptions about intention in different ways and on different levels all the time. Whether it’s possible to ever come to a definitive conclusion in a particular case or not, attempting to do so is sometimes inescapable, since confronting intention is often an important, indeed necessary, part of the process of cult pleasure.
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Thoughts on cult pleasure

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This will be the first of a series of entries on and around the idea of cult pleasure. As an earlier post about the brilliance of an incidental element of Twilight: New Moon may have hinted, I am someone who is periodically drawn to a kind of film appreciation that could be called cult – specifically: I occasionally praise the joys of the perplexingly terrible, the thrillingly awful. My desire to write about this subject comes, in one sense, simply from the fact that I feel a need to share my deep enthusiasm for a few things that most people would likely agree are ‘bad’. Another reason, however, is that I find cult pleasure a fascinating phenomenon in itself, and believe it has the potential to encourage film criticism to address a number of important issues. For instance…

Evaluation

Value is too often the unacknowledged spectre at the film studies feast. Regularly functioning implicitly (sometimes seemingly unconsciously) rather than being openly engaged with, the question of artistic value will often be ignored in favour of a supposedly more ‘objective’ tone. Yet, try as we might, we can – of course – never wholly avoid it. One benefit of the kind of cult pleasure I’m concerned with is that it manages to place evaluation front and centre, demanding we address and interrogate the concept. Firstly, if we are calling something ‘bad’ then we immediately face the responsibility of justifying why: for whom? according to what criteria? Secondly, if we then wish to claim that something is pleasurable (or interesting, or valuable) despite being ‘bad’, our reassessment will be based around matters that were clearly not taken into account by the original evaluation. Given that cults are by definition grounded in taste communities, they also require that we acknowledge the irreducibly personal (and indeed social) nature of value. This leads me on to another issue...

Passion

Although it would hypothetically be possible to write about a cult object which you yourself didn’t share in the cult of, I would imagine that it would be both rather difficult and rather tedious. Given this, cult pleasure has the power to inject passion and love into the critical act – particularly since the pleasure of the so-bad-it’s-good also seems absolutely to require explanation and elaboration. In the same way as cult fans construct communities in order to share their passion with like-minded people, so can cult pleasure push the critic to be similarly generous.

Intention

Finally, another supposedly hoary critical concept with the potential to be revitalised by thinking about cult pleasure is artistic intention – a concept that has been unfashionable in the academic discussion of the arts for around half a century. While the idea of gay audiences reappropriating Rock Hudson movies or college students getting stoned in front of anti-drug morality tales may seem to fly the flag for the instability of textual meaning, what such cult appreciation also quite obviously presupposes is that we can accurately gauge the original intention of these films. This should by rights make us revisit this most fundamental – and, again, largely ignored – issue for criticism: to what extent can we presume to prove or infer intention, given that we clearly and necessarily do so regularly?

Over the next week or two I will be trying to probe some of these questions and issues. I should say that I’m choosing to do this now since, coming up, I’m scheduled to attend screenings of two of my own favourite pieces of cult phenomena: The Room and After Last Season. My next post, though, will be about R. Kelly’s infamous Trapped in the Closet, so for now I will simply leave you with a clip from this masterpiece of absurdity. Enjoy.