What the @*$!?

WARNING: Swearing will feature prominently in this post, as will a discussion of sexual material. Children, if your parents shout at you for reading this then it is officially YOUR PROBLEM. Okay?

I feel this may also be the place to apologise for missing a week of posts; didn’t stop writing them, did stop posting them. Don’t know why

Language can enable us to do many things; articulate our ideas, express our sorrow, reveal our love, and tell somebody else’s embarrassing stories to name but a few. Every language has approached these and other practicalities of the everyday life they are designed to assist in different ways (there is one language I have heard of with no word for left or right, meaning that they refer to everything in terms of points of a compass and all members of the tribe thus have an inbuilt sense of where north is at all times), but there is one feature that every language from Japanese to Klingon has managed to incorporate, something without which a language would not be as complete and fully-fabricated as it ought, and which is almost always the first thing learnt by a student of a new language; swearing.

(Aside Note: English, partly due to its flexible nature and the fact that it didn’t really develop as a language until everyone else had rather shown it the way, has always been a particularly good language for being thoroughly foul and dirty, and since it’s the only language I have any degree of reasonable proficiency in I think I’ll stick to that for the time being. If anyone knows anything interesting about swearing in other languages, please feel free to leave them in the comments)

Swearing, swearwords and bad language itself generally have one of three sources; many of the ‘milder’ swearwords tend to have a religious origin, and more specifically refer either to content considered evil by the Church/some form of condemnation to evil (so ‘damn’, in reference to being ‘damned’ by Satan), or to stuff considered in some way blasphemous and therefore wrong (the British idiom ‘bloody’ stems from the Tudor expression ‘God’s Blood’, which along with similar references such as ‘Christ’s Passion’ suggested that the Holy Trinity was in some way fallible and human, and thus capable of human weakness and vice- this was blasphemy according to the Church and therefore wrong). The place of ‘mid-level’ swearwords is generally taken by rather crude references to excrement, egestion and bodily emissions in general (piss, shit etc.). The ‘worst swearwords’ in modern society are of course sexual in nature, be they either references to genitalia, prostitution or the act itself.

The reason for these ideas having become sweary & inappropriate is a fairly simple, but nonetheless interesting, route to track. When the Church ruled the land, anything considered blasphemous or wrong according to their literature and world view was frowned upon at best and punished severely at worst, so words connected to these ideas were simply not broached in public. People knew what they meant, of course, and in seedy or otherwise ‘underground’ places, where the Church’s reach was weak, these words found a home, instantly connecting them with this ‘dirty’ side of society. Poo and sex, of course, have always been considered ‘dirty’ among polite society, something always kept behind closed doors (I’ve done an entire post on the sex aspect of this before) and are thus equally shocking and ripe for sweary material when exposed to the real world.

A quick social analysis of these themes also reveals the reasons behind the ‘hierarchy’ of swearwords. In the past hundred years, the role of the church in everyday western society has dropped off dramatically and offending one’s local priest (or your reputation with him) has become less of a social concern. Among the many consequences of this (and I’m sure an aggressive vicar could list a hundred more) has been the increased prevalence of swearing in normal society, and the fall of Church-related swearwords in terms of how severe they are; using a word once deemed blasphemous doesn’t really seem that serious in a secular society, and the meaning it does have is almost anachronistic in nature. It helps, of course, that these words are among the oldest swearwords that have found common use, meaning that as time has gone by their original context has been somewhat lost and they have got steadily more and more tame. Perhaps in 200 years my future equivalent will be able to say dick in front of his dad for this reason.

The place of excrement and sex in our society has, however, not changed much in the last millennia or two. Both are things that are part of our everyday lives that all of us experience, but that are not done in the front room or broached in polite company- rather ugly necessities and facts of life still considered ‘wrong’ enough to become swearwords. However, whilst going to the loo is a rather inconvenient business that is only dirty because the stuff it produces is (literally), sex is something that we enjoy and often seek out. It is, therefore, a vice, something which we can form an addiction to, and addictions are something that non-addicts find slightly repulsive when observed in addicts or regular practitioners. The Church (yes, them again) has in particular found sex abhorrent if it is allowed to become rampant and undignified, historically favouring rather strict, Victorian positions and execution- all of which means that, unlike poo, sex has been actively clamped down on in one way or another at various points in history. This has, naturally, rarely done much to combat whatever has been seen as the ‘problem’, merely forcing it underground in most cases, but what it has done is put across an image of sex as something that is not just rather dirty but actively naughty and ‘wrong’. This is responsible partly for the thrill some people get when trash talking about and during sex, and the whole ‘you’ve been a naughty girl’ terminology and ideas that surround the concept of sex- but it is also responsible for making sexually explicit references even more underhand, even more to be kept out of polite spheres of movement, and thus making sexually-related swearwords the most ‘extreme’ of all those in our arsenal.

So… yeah, that’s what I got on the subject of swearing. Did anyone want a conclusion to this or something?

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The Sting

I have twice before used this blog to foray into the strange world of film reviewing; something that I enjoy, given that I enjoy cinema, but am usually unable to make a stable source of material since I don’t generally have the time (or, given a lot of the films that get released in my local cinema, inclination) to see too many of them. My first foray was a rather rambling (and decidedly rubbish) examination of The Hunger Games, with a couple of nods to the general awesomeness of The Shawshank Redemption, whilst I felt compelled to write my second just to articulate my frustration after seeing The Dark Knight Rises. Today, I wish to return to the magical fairy kingdom of the big screen, this time concerning something that I would ordinarily have never seen at all; 70s crime flick ‘The Sting’

The Sting is quite clearly a film from another era of filmmaking; I am not old enough to remember the times when a stock ‘thump’ sound byte was inserted into the footage every time an object is put onto a table, but this film contains such cinematic anachronisms in spades. Similarly, this is the first film I have ever seen starring Robert Redford and my first from director George Roy Hill, but age should be no barrier to quality entertainment if it’s there to shine through and thankfully it’s basic plot and premise lend it to a graceful aging process.

The plot can be fairly summarily described as uncomplicated; a young confidence trickster who ends up accidentally making a small fortune from a fairly routine con is pursued by the mob boss whose money he has now lost, so teams up with an experienced ‘old head’ to bring him down. So Ocean’s Eleven with a simpler character base and more realistic motivations. Where the two differ, however, is in their dedication to their subject material; whilst the Ocean’s films are generally content to follow some rather formulaic Hollywood scriptwriting, placing their emphasis heavily on interpersonal relationships and love interests, The Sting goes out of its way to be a true crime story to its very core. Set in the golden age of organised crime (1930s prohibition-era Illinois, real-life home of Al Capone) with a memorable ragtime soundtrack to match, every stage (illustrated explicitly through the use of old-fashioned title cards) of the film’s overarching ‘big con’ plot takes the form of a classic confidence trick, from an old-fashioned money switch to a large-scale rigged betting house, incorporating along the way possibly the finest played (and cheated) game of poker ever to appear on screen. Every feature, facet and subplot from the cheated cop to the seemingly out-of-place love interest all has its place in the big con, and there was nothing there that didn’t have a very good reason to be. Not only did this create a rollercoaster of a focused, central plot without unnecessary distractions, but the authenticity of the tricks, characters and terminology used built a believable, compelling world to immerse oneself in and enjoy. Combine that with a truly stellar portrayal of the seen-it-all genius conman Henry Gondorff by Paul Newman, and Robert Redford’s evident gift for building a very real, believable character in the form of naive youngster Johnny Hooker, and we have the makings of an incredibly immersive story that you often have to remind yourself isn’t actually real.

However, by putting such focus on its central con, The Sting puts itself under an awful lot of pressure, for without any extraneous components (hell, there aren’t even any proper action scenes, despite the not infrequent bouts of gunfire) it has got nowhere to fall if its central plot fails. Thus, the success of the film very much rests on the success of the con it centres around, not just in terms of execution itself but in making its execution fit its style. The Sting is not about coming up with something on the fly, about something unexpected coming up and winning through on the day- it is an homage to planning, to the skill of the con, of hooking in the mark and making them think they’ve won, before turning the ace in the hole. To turn successful planning, what was intended to happen happening, into compelling drama is a task indeed for a filmmaker.

And yet, despite all the odds, The Sting pulls it off, thanks to the extraordinary depth director Hill packs into his seemingly simplistic plot. Each subplot put into play is like adding another dot to the puzzle, and it is left to the viewer to try and join them all to formulate the finished picture- or alternatively watch to see the film do so all with staggering aplomb. Every element is laid out on the table, everyone can see the cards, and it’s simply a matter of the film being far smarter than you are in revealing how it pulls its trick, just like a conman and his mark. You, the viewer, have been stung just as much as Robert Shaw’s mob boss of a mark, except that you can walk out of the room with your wallet full and a smile on your face.

This is not to say that the film doesn’t have problems. Whilst the basic premise is simple and well-executed enough to be bulletproof, its ‘setup’ phase (as the title cards called it) spends an awful lot of time on world-, scenario- and character-building, filling the early parts of the film with enough exposition to make me feel decidedly lukewarm about it- it’s all necessary to remove plot holes and to build the wonderful air of depth and authenticity, but something about its execution strikes me as clunky. It also suffers Inception’s problem of being potentially confusing to anyone not keeping a very close track of what’s going on, and one or two of the minor characters suffer from having enough of a role to be significant but not enough characterisation to seem especially real. That said, this film won seven Oscars for a reason, and regardless of how slow it may seem to begin with, it’s definitely worth sticking it out to the end. I can promise you it will be worth it.