I’ve wrapped up my tenure writing “Looking Back” for Movie Mezzanine with pieces on three very different movies—a silent Swedish romance, a ’60s drama, and a ’30s comedy—that nonetheless have one big thing in common: all three are about patriarchs who try to escape from the real world into artificial worlds of their own creation.
- In The Outlaw and His Wife, for example, reformed thief Ejvind is hunted to the ends of the earth by the Icelandic authorities. As a result, he retreats the mountains and starts a new life with his wife and daughter. When the law catches up with him, he retreats even farther, carving whatever measure of privacy he can out of the wilderness.
- The Swimmer’s Ned Merrill builds up an elaborate fantasy of middle-class stasis in his head, imagining himself loved by his wife, daughters, and neighbors. Ejvind may die, but he’s lucky compared to Ned—at least he still has his wife’s very real love to sustain him! Ned, meanwhile, stumbles deeper and deeper into a morass of personal tragedy, eternally alone.
- Finally, there’s W.C. Fields in It’s a Gift, who girds himself through all manner of domestic torment with dreams of owning an orange grove. Unlike the other two men in question, Fields’ Harold Bissonette actually gets his happy ending, albeit through a hilariously unlikely turn of events.
Though made across half a century, all three of these movies deal with men in positions of responsibility who are besieged by social, financial, and emotional pressures. And for all three men, the only real solution is to break away, whether mentally or physically (or both). Sometimes, these movies admit, our problems can’t be worked out; sometimes, we just have to look away.