Wesley Morris

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Presidential used to mean roughly the same thing to the majority of Americans, Democrat or Republican. It was a code of behavior that meant that if you wanted to hold the highest office in the land it would be really helpful if you didn’t embarrass the rest of us. We were worried about the neighbors might think, so you needed to be a stuffed shirt who kept it in your pants–in public, at least. This behavior was just as important as being competent at the job, maybe more. Merely playing wind instruments in close proximity to Arsenio Hall could make you suspicious. In this Baba Booey of an election season, the word presidential has clearly come to mean something far different than it previously has.

President Obama can park himself in Marc Maron’s garage or bro it up with urine-drinking Bear Grylls and still maintain his dignity, but that trait is quaint today, almost an anachronism. It’s an extra coat of paint that doesn’t raise the value of the house, even if it’s the White House. Donald Trump’s disgusting bumfight of a campaign is more modern, resonating with a public prepared for it by our decentralized media and Reality TV landscape. For a large minority (at the minimum), his behavior is the new normal. The fly’s come undone.

In a smart New York Times essay, Wesley Morris looks for the true meaning of the word presidential. There are great observations like this one: “The Obama era is also our Hamilton moment, in which the state of being ‘presidential’ can belong to whomever we say it does.” The opening:

Of the many words Donald Trump has uttered over the last nine months — all the insightful insults and blustery boasts, all the syntax-slaying murk that sometimes boomerangs back into sense and all the hateful hate that doesn’t — last month brought a new flash of negative élan. Trump was speaking at a rally in Harrisburg, Pa., when he took stock of his own demeanor as a candidate.

“Now, my wife is constantly saying, ‘Darling, be more presidential.’ I just don’t know that I want to do it quite yet,” he told a packed, ready-to-rock house. “At some point I’m going to be so presidential that you people will be so bored. And I’ll come back as a presidential person, and instead of 10,000 people, I’ll have about 150 people, and they’ll say, ‘But, boy, he really looks presidential!’ ”

When we’re thinking about voting for president, we’re also thinking about what’s “presidential.” I never know quite what that means, except that, like the sitcom-wife version of Melania Trump in her husband’s anecdote, I kind of do. It connotes carriage and posture and intelligence. It captures dignified comportment and a degree of knowledge. It’s the ability to depict leadership, from lecterns to tarmacs. It’s partly cosmetic — is this person tall, passably fit, loosely attractive, warm? — and almost entirely presentational. It’s the seriousness a candidate has to project in order to be taken seriously, only without seeming dour or battery-operated. “Presidential” used to be something to aspire to. All of that authority, know-how, gravitas, good posture and moral rectitude — it seemed so important, so adult, so American.

But Trump has tapped into something else about “presidential”: If it’s a performance, then it can be switched on and off as needed.•

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That excellent Wesley Morris writes for Grantland about the new Brando documentary, Listen to Me Marlon, which uses a digital version of the actor’s head–a decapitation of sorts, as the writer notes–which is an apt metaphor for an actor who spent his later years trying to tear his flesh from fame and the burden of his own talent–a self-induced sparagmos in Greek-tragedy terms, and one that seemed to rob him of his sanity.

Brando created his 3-D doppelganger because he dreamed of completely detaching himself from his work. He was often barely there in his later performances, even great ones–reading cue cards from Robert Duvall’s chest in The Godfather, clearly showing up solely for the paycheck in Superman. As Morris notes, the performer was making a mockery of the process and himself. Was that because his excellence hadn’t made him happy? Or was he a deconstructionist child, breaking to pieces a formerly favorite toy to understand what it had been? Maybe both.

Morris’ opening:

Maybe you’ve already heard, but in the future, actors will all just be holograms that directors will use as they see fit. That’s what Marlon Brando thought, anyway. In the 1980s, he went ahead and made a digital version of his face and head at a place called Cyberware. At the time, it was a state-of-the-art rendering. That 3-D heads haunts Listen to Me Marlon, a documentary by Stevan Riley that opens Wednesday in New York. The film is guided by Brando’s ruminative regret — about his fame, his talent, his worth as a father, about a life he felt he wasted.1 It combines news and on-set footage with material from Brando’s private archive, including the many hours of audio recordings Brando made before he died in 2004. The recordings were attempts at therapy. More than once the movie cuts to the spinning gears of cassette tapes with titles like “Self-Hypnosis #7” and so on.

Listen to Me’s wacky, spiritual power seems to emanate from that floating, rotating, mathematical arrangement of digital lasers that form Brando’s visage, which an effects team has re-created from the Cyberware scans. It’s a ghostly effect, intentionally incomplete — dated but hypnotically so.•

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