article

Being There is a political, satirical 1971 novel by Jerzy Kosiński and a 1979 film directed by Hal Ashby. The film stars Peter Sellers, Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard A. Dysart and Richard Basehart. The screenplay was adapted by Kosiński and Robert C. Jones (uncredited). It won the Academy Award for Best Supporting Actor (Melvyn Douglas) and was nominated for Best Actor in a Leading Role (Peter Sellers).

Synopsis

Being There depicts the story of a gardener named Chance/Chauncey Gardiner who grew up living as an employee in the townhouse of a wealthy man in Washington, D.C. with virtually no contact with the outside world and no social interaction. Apart from his limited relationship with Louise, the maid, Chance's cultural and social education is derived entirely from what he watches on the televisions provided by his employer.

When his employer dies, Chance is forced to leave his sheltered existence in the house and discover the world outside for himself. His simplistic, deliberative speaking style is interpreted by those he encounters as a sign of deep wisdom, and after a car accident which leads him into the company of a wealthy and powerful businessman, Chance quickly rises to national public prominence.

Though well-dressed and appearing capable of deep thoughts, Chance is mentally limited, stunted by his sheltered upbringing. The people he meets almost all see qualities in him that are not there, but instead reflect qualities and needs of their own. Kosiński uses Chance to satirize our media-driven society in a merciless yet cunningly subtle way.

Memorable scenes in the film version include Chance being confronted early on by a street gang, and pulling out his TV remote control to "change the channel" in self-defense, then being surprised when it doesn't work; repeating several times to important people the famous "All is well...and all will be well...in the garden," and having that interpreted as an uplifting economic and political comment; MacLaine's character writhing in long-suppressed sexual pleasure on a bear rug while Chance obliviously channel-surfs; and in the final scene, walking across the surface of a lake because his attention is not caught by the funeral that's going on, as the most important movers and shakers in the USA discuss running him for President.

That final scene continues to generate discussion and controversy. Is there a prosaic explanation, such as hidden stepping-stones? Was Chance in fact a supernatural being, was it a purely symbolic abstraction, or did he truly possess some special grace, given his simple innocence and simply being present to each moment without filters and ideas? In his 2001 book The Great Movies, Roger Ebert argues for the latter interpretation. Another view is that the director (and the author) are simply asking the audience "how much more would you have believed? We've been kidding you all along you know!"

Use of television

The film makes continued use of actual television clips throughout. These clips are part of the ambient visual and audio background, presented as a natural occurrence of a television being on in the room where the scene is taking place. The clips were chosen by Dianne Schroeder, and are referenced in the film credits as "Special Television Effects."

These clips are an essential element of the film. They provide a window into the mind of Chance, who knows nothing of the world outside the old man's home except from what he's learned on television.

Clips are also included which were made especially for the film and not taken from actual programs, such as Chance's appearance on the Gary Burns Show, and the president (Jack Warden) appearing on television.

Use of Music

The small amount of original music in the film (i.e. written for the film) is by Johnny Mandel and primarily features two recurring piano themes. These are both based on (but not the same as) two Gnossiennes by Eric Satie (No. 4, which is very haunting, and No. 5 which is slightly jovial). The other major piece of music used is the Eumir Deodato arrangement of the opening fanfare from Also Sprach Zarathustra by Richard Strauss, in the scene where Chance leaves the house and ventures out into the world for the first time. In all cases, Being There is one of the best cinematic examples of music being so perfectly selected to match a respective scene.

Famous quotes

  • I like to watch.
  • Life is a state of mind.
  • All is well...and all will be well...in the garden.
  • Now, get this, honky. You go tell Raphael that I ain't taking no jive from no Western Union messenger.
  • Are you going to die now?
  • That's a very small room.

External links

1971 novels | 1979 films | Films featuring a Best Actor Academy Award nominated performance | Films featuring a Best Supporting Actor Academy Award winning performance | Films based on fiction books

Bienvenue, Mister Chance | Dobrodošli, g. Chance | להיות שם | Эффект присутствия (фильм) | Välkommen Mr. Chance

 

This article is licensed under the GNU Free Documentation License. It uses material from the "Being There".

Home Page • arts • business • computers • games • health • hospitals • home • kids & teens • news • physicians • recreation• reference • regional • science • shopping • society • sports • world