Nationhood (1): Fiddler on the Roof

I recently watched a television broadcast of Norman Jewison's 1971 movie Fiddler on the Roof. I have the VHS video, which I have watched several times, and I am wondering whether to buy the DVD. I often watch on television movies that I have on video. Not only is the quality of the broadcast picture superior - we have a Freeview digibox (digital television signal) box - but the inability to pause and rewind, which I do a lot in order to reflect on what I am watching, much to the mounting annoyance of my wife and daughter - we do not have TiVo - gives the viewing experience an edginess that whilst usually less intellectually satisfying, with the inevitable risk of disengagement between awareness and an integrated cognitive/conative/affective and imaginal response, can be emotionally more gratifying.

I was concerned, having watched the movie for the nth time, to discover what some of the critics have written about it. Roger Ebert was mildly scathing, whereas others have been more generous, although generous is probably what they intended. I find it helpful to read critics' reviews because they inevitably confirm some of my own thoughts and responses, and suggest others that had not occurred to me. I do not fully trust my own judgment. Most obviously for me, a good movie is one that I wish to watch many times. I feel cheated if the movie is not worth watching more than once. For this reason I rarely watch made-for-television movies. I am also likely to feel cheated if the only differences between the first and second viewings are that I know the plot twists and the denouement. On this basis I have learned that I have little interest in watching Ocean's Xteen. I was intrigued to find out whether I would find watching Memento as satisfying for the second time. The jury is still out on whether I should buy the DVD (the issue of memory is important to me). At the other end of the spectrum, the movies I like best are one's that, every time, take me on a journey, if I am up for it, into an even deeper understanding of what it is for me to be human in this world. This is what makes the movies of Andrei Tarkovsky, Akira Kurosawa, Peter Greenaway and Godfrey Regio so compelling for me, and also why I have a fascination for dystopias. In a 'good movie' there will always be the opportunity to discover more. Sometimes this involves seeing/hearing more clearly. My best analogue for this concerns a CD of music by Peter Maxwell Davies. I did not 'understand' what I was listening to the first time I heard it. The dissonances sounded like a cacophony, and the broken rhythms sounded like chaos. Only from many repeated playings have I come to hear the beauty and poise, accompanied by a progressive appreciation of his music. I care what critics write about Peter Maxwell Davies, or about Tarkovsky, Kurosawa, Greenaway or Regio, because I wish to 'understand' more. I am not required to agree with the evaluations of critics. A case in point is the movie I Heart Huckabees. I took the movie at face value albeit on three levels: 1) the level of plot / story / entertainment, etc.; 2) the movie-making level - script, acting, characterisation, filming, editing, etc.; 3) a philosophical level. On the first two of these levels the movie is terrible, and nothing on earth would induce me to watch it again. However, on the philosophical level the movie has something to say, and I shall watch it again. Naturally the critics slammed the movie. I also discovered from the reviews is that the movie is considered to be a spoof, the director intentionally mocking intellectual movies. Maybe, therefore, unlike the Peter Maxwell Davies CD, the movie has little so say - a second viewing and I shall be done with it - maybe. The idea of an existential detective agency interests me, even if the director intended it as a joke.

What does Fiddler on the Roof offer me in repeated viewings? There are major issues of personal, social and national identity, of cultural tradition ("Tradition"), and of spirituality. During the most recent viewing I felt challenged by the concept of personal, cultural and spiritual identity determining national identity. I like the globalised world in which we now live, and the breakdown of a one-to-one mapping between cultural and spiritual identity on the one hand and nationality (whether it be where I live or what is written in my passport) on the other. Whilst I understand something about Israel and about Kosovo, I also understand something about early twentieth century Japan, about Nazi Germany, about Afghanistan's Taleban, about aspects of Putin's Russia. I applaud the European Union both for its programme of smudging the statehood of nations, and for its support of cultural and spiritual diversity. These kinds of articulated insights are gold dust. I wonder what Fiddler on the Roof will offer me next time.