Reflections on “The
Manchurian Candidate” (1962)
Written by George Axelrod
(based on the book by Richard Condon)
Directed by John Frankenheimer
Starring Frank Sinatra,
Laurence Harvey and Angela Lansbury
“The Manchurian Candidate”
takes place during the Cold War, a time when two political ideologies were
pitted against one another and each tried to find effective and insidious ways
of attempting to undermine or destabilise the other.
Set shortly after the
Korean War, this is the story of Sergeant Raymond Shaw who is kidnapped, along
with several of his comrades in arms, and transported to a communist base in
Manchuria in 1952 where he is conditioned (or brainwashed) as an unknowing
assassin to be activated in civilian life after the war whenever and wherever
it pleases his communist masters. Raymond’s comrades are also conditioned to
support him in his background story on his return to the American military by
whom he is greeted as a hero for courageously saving his patrol and leading
them back to safety.
As Raymond’s mother and
step-father are actively involved in politics, indeed his step-father is a Senator
with ambitions to run for even higher political office, Raymond will be well
placed to have maximum impact on behalf of his communist handlers.
Doubtless inspired by
reports of instances of dramatic changes of mind among those opposed to Chinese
communism in the 1940s and ’50s, as well as self-critical statements made by
American POWs during the Korean War, “The Manchurian Candidate” takes the
concept of communist-inspired brainwashing to its logical conclusion if
ambitions for it are ramped up to bring about the effective elimination of its
opponents.
George Axelrod’s screenplay
and John Frankenheimer’s direction ensure that this is not restricted to being
a polished thriller, but incorporates political satire, the theme of parental influence
and responsibility, the role of ego in exercising influence, and a quasi-science
fiction foray into the realms of mind control. This is delivered through
largely sympathetic or intriguing characters who appeal to our emotions and intellect,
yet there are moments of self-awareness and humour.
Johnny Iselin, Raymond’s
step-father, engages in shameless self-promotion at the expense of others. He
makes baseless accusations of threats to American values and civilisation and
twists responses of opponents to enflame situations, all to promote himself as
the saviour of American society from a threat without clear foundation.
He accuses anyone who disagrees
with him or who may offer opposition to his rise through the political ranks of
being a communist and therefore a threat to the very fabric of American life.
He may thereby have been modelled on Senator Joseph McCarthy whose fevered and
bullish investigations into potential communist subversion in the 1950s destroyed
many lives and careers, and which are now commonly viewed as having served
principally to advance his own career.
Eleanor Iselin, Raymond’s
mother, is a Lady Macbeth figure pulling Johnny Iselin’s strings and providing
the words that come out of his mouth. She is a mistress of manipulation and an
egomaniac who is willing to use her son’s military record and apparent valour
in combat to advance her husband’s, and her own, political careers.
Eleanor is the hub around
which all things turn. She is a communist agent willing to trade integrity for
power. She does not believe in the communist cause but has chosen to ally
herself with the communists to enable and support her plan to promote her
husband’s political career. For their part, the communists are undoubtedly
delighted to use her ego-driven plot to sow the seeds of political disharmony
and discontent, while Eleanor believes herself capable of crushing the
so-called communist enemy once they have served their purpose in fulfilling her
ambitions.
An essential element and
tool in the fulfilment of these ambitions is the brainwashing and effective reprogramming
of her son. Apparently, he was chosen by Eleanor’s communist backers in an
attempt to render her more compliant to their demands, but rather than
displaying anger, guilt or despair at the destruction of her son’s life, she
shows fury at the communist underestimation of her. She fails to consider or
respect Raymond’s life except as a means of fulfilling her own ambitions and
appears incapable of feeling any guilt for the role she has played in her son’s
reduction to an instrument of her advancement.
Of course, Raymond’s
brainwashing is the culmination of a lengthy process of manipulation and
orchestration on his mother’s part. She appears to regard Raymond as her
creation to be used for her own ends as she displays a complete disregard for
him as an individual. There is even a hint at incest as she directs his life
and engineers compliance by fostering guilt and dependence in him by putting
forward persistent rationalised argument in which she is presented as the
victim constantly let down by those around her while she works tirelessly for
the benefit of others. This lifelong experience surely leaves Raymond open to suggestion
and malleability and largely unable to assert himself or indeed show much
initiative or challenge to authority. This may also go some way to explain his
attitude toward his comrades, his “unlovability” and even his immediate and
unreserved love for Jocelyn.
This also makes him the
perfect subject for in-depth brainwashing and conditioning.
Incidentally, it has been
suggested that Richard Condon, the author of the original book, modelled Eleanor
on Roy Cohn, Joseph McCarthy’s self-promoting right-hand man and “fixer”.
Raymond’s conditioning allows
for an ingenious method of infiltration and cleverly accomplishes Joseph
McCarthy’s warning of the dangers of the “enemy within”. Here, the danger, or
enemy, is within the nation, within a politically influential family and, of
course, within the very mind of the enemy’s operative.
Lack of control, and
particularly self-control is a terrifying prospect for most of us and the
premise of “The Manchurian Candidate” carries it and its potential consequences
to the extreme.
Hypnotism, conditioning
and brainwashing are used to strip Raymond of his independence, willpower and
sense of morality. In good part, this is the key to the fascination of the
whole piece. If it is possible to hijack Raymond’s soul, there is the potential
for any one of us to be transformed into an unquestioning, robotic device in
the service of some unknown third party.
In the film, the concept
and possible consequences of this transformation are introduced and developed
in a playful, fascinating and shocking sequence wherein the communist
instigators of the American troops’ brainwashing are perceived by the troops as
harmless, elderly ladies prattling on about gardening. Raymond’s “rewiring” is
put to the test and he calmly and politely does away with two of his own men,
under precise, if casual, instruction from his new masters, all provoking no
response whatsoever from his fellow soldiers.
This is a quirky,
confusing, entertaining and horrifying sequence which reveals the effectiveness
of the conditioning, the callousness and determination of the instigators and
the potential depth of the problem facing the American establishment.
Having Raymond find love
and allowing the normally aloof, unlovable and dispassionate Raymond suddenly
laugh, enjoy life and display love and devotion to Jocelyn is a stroke of
genius. Not only do we catch a glimpse of Raymond’s potential if left to his
own devices, our emotions and sympathies are doubly engaged for this tragic
character as, under orders from his American handler (his mother), he kills his
father-in-law and his new wife as part of his mother’s plan to infiltrate the
White House. Compassion and sympathy reign as Raymond’s subconscious clearly
battles his conditioning to come to terms with his actions.
Major Ben Marco, Raymond’s
Captain during the Korean conflict is also suffering subconscious attempts to
reveal the truth of the situation. His inner conflict and consequent
investigations provide the key to the unravelling of the plot, though success
is far from guaranteed and tension, suspense and anxiety are built and
maintained until the very end.
Ben is aided and
supported by Eugenie Rose, a lady he meets on a train and who falls in love
with him almost immediately after a very strange and confusing exchange of
dialogue. Her role is developed both in the book and the remake, but here she
appears to offer little more than sympathy and understanding, perhaps to contrast
with Raymond’s mother.
John Frankenheimer’s
directorial style always puts the story first, perhaps because of his
background in television. He secures convincing, earnest and touching
performances from his cast, but this is no star vehicle or hero-driven
adventure. In this film, the storyline itself is the star and every scene
builds knowledge, interest and suspense.
It is a unique
presentation in that it is a psychological thriller combined with elements of
satirical political chicanery, ego-driven familial conflict and application of
scientific theory in the field of mind control. It is extreme, quirky and fantastic,
yet it is feasible, logical and bizarrely realistic and even prophetic as it
touches on characteristics, events and strategies which some have claimed to
perceive in recent social and political history.
My thanks for taking the
time to read this page. I hope you found it of some value.
Stuart Fernie
I can be contacted at stuartfernie@yahoo.co.uk
