Robert
Zemeckis’ FORREST GUMP and American Culture and Memory
By Kevin A. Stoda
Learning
the history of the United States from the 1950s to the present helps students see how
trends in various social movements, many of which began in the in the USA, have been affecting the globe in radical ways since
before these were born. The social issues or individual concerns discussed in
the movie, Forrest Gump, make the movie a good source for introducing
culture in a motivating way. Although the issues are in some ways universal,
the special American nature of many
of the staged settings of the film Forrest Gump help Non-American students understand an even
wider range of American feature films in which many similar issues arise. This
is important because American cinema has been dominating world cinema in recent
decades leading up to this new millennium.
In
the movie Forrest Gump,
the following events and social movements are looked at in a comical--but
sensitive way: The types of movements referred to include (a) student &
youth movements, (b) movements for peace or for revolution, (c) movements for
women's rights or for rights of handicapped peoples, as well as (d) civil
rights for blacks and for other minority peoples of America. Similar struggles have existed or are continuing
to take place in all corners of the globe. Therefore, a focus on these
movements as portrayed in this particular American film, Forrest Gump by
the Director Robert Zemeckis, can be useful for
students, enabling them to learn currently internationally recognized metaphors
of life in this post-modern world. Particularly in this film, there are metaphors
on life concerning “chocolate”, “birds”, “butterflies” and ‘feathers’. In addition, students slowly acquire the
vocabulary and the idioms required to compare or contrast those social
movements in America with other movements in many other nations and
regions around the world.
GUMP AND HISTORY
Les Williams’ web site
shows the following pictures of Forrest meeting two presidents, John F. Kennedy
and Richard M. Nixon in the film.
Forrest also meets Lyndon Baines Johnson. All three of these presidents suffered rather
tragic endings to their presidencies.
Kennedy was shot. Lyndon Johnson
was forced to not run a second time for president in 1968 after the Vietnam War
was called into question by Martin Luther King, Jr. and Robert Kennedy—two men
who also faced tragic deaths by assassination in 1968—and by a growing number
of American citizens. Richard M. Nixon
was forced to resign from office in 1968.
In short, although Americans are often laughing along with the story of
Forrest, the laughter is covering up a lot of historically painful memories.
Other
famous people that the mythical Forrest Gumps meet in
the film include: Elvis Presley, George Wallace, John Lennon, and Abbey
Hoffman. He supposedly teaches Elvis to
dance. He helps the new black students
at the University of Alabam--even as the Governor of Alabama, George Wallace,
opposed these student’s entrance in that university in the early 1960s. Gump sits next to John Lennon on a famous talk
show, whereby Forrest’s own sharing of his ping pong experience in China supposedly inspires Lennon to write the song “Imagine”. Forrest also meets the leaders of the Black
Panthers, the SDS (Students for a Democratic Society), Veterans Against the
War, and the radical Abbey Hoffman at
the Lincoln Memorial, the exact location where Martin Luther King, Jr. had
given his I Have a Dream speech a few years earlier.
In
1972, while running for office, George Wallace is shot by a would-be
assassin. Lennon is assassinated by an
insane admirer some years later in 1980.
Abbey Hoffman is forced to go underground for the better part of two
decades.
DICK CAVETT
LYNDON JOHNSON - receiving the Congressional Medal of Honor.
Meanwhile
Forrest is part of the secret “ping-pong diplomatic negotiations” between the USA and China in the early 1970s.
These negotiations are part of modern China’s history; in contrast, most Americans do not recall
“ping pong diplomacy” in their studies of Modern U.S. history. The opening of modern US-China relations
dates to these original secret meetings, which took place under the guise of
the U.S. national table tennis team’s historic visit to China. These and
subsequent negotiations in the early 1970s are identified with the Cold
Warrior, Nixon’s, new positive stand
towards the former Cold-War Communist enemy.
This opening was part of Nixon’s strategy of seeking aid and influence
from China in putting pressure on North Vietnam—and thus helping to end the
20-year old involvement by the U.S. military in Vietnam.
Moreover,
Forrest’s influence on the King of Rock
‘n Roll and John Lennon were not his only means of influencing modern American
pop culture. The mythical Forrest also supposedly influenced American pop
culture in other ways. Forrest, the idiot savant, is said to have inspired Americans’ interest
in t-shirts with yellow “smiley faces” on them and he helped bumper stickers which stated popular phrases,
such “shit happens”. Finally, the
mythical Forrest leads the nation into a jogging, running, and health craze in
the late 1970s with three cross-country jaunts—as Forrest becomes inward
oriented, like the rest of the nation in those post-War years.
MOVEMENTS AND TRENDS
In addition to being part of the aforementioned modern
American health movement in the 1970s and influencing cultural icons like Elvis,
Forrest often runs into leaders of the peace and civil rights movements. Even metaphorically, through Zemeckis allusions, Forrest can be often associated with
different civil rights movements. For
example, as a little boy in Greenbo, Alabama, only one little girl, Jennie, offers him a seat on a
bus when no one else will. Similarly, in 1957 in Montgomery, Alabama one black American, named Rosa Parks, demanded and
eventually received a rightful seat on the bus.
Later, Forrest gets on a bus with other new recruits when he joins the
military. Many Americans on the bus do
not offer him a seat. However, his
soon-to-be new friend, Bubba, a black man--with
an even lower IQ than Forrest, offers him a seat. In short, both Jenny and later Bubba, invite
Forrest to take his rightful seat alongside other Americans on two different buses in two unforgettable scenes from the
movie.
Forrest is born doubly handicapped. He is born with a
crooked vertebrae (“As crooked as a politician”, according to his doctor.)
which needs to be repaired through the application of braces on his legs for
several years. Forrest, at a young age,
is also measured as having an IQ of about 75. At first, he is not allowed to
continue in regular public schools in the 1950s because of laws requiring
segregation between disabled and non-disabled students, which were in effect at
that time. Through the help of his mother, Forrest overcomes both these
disabilities in the film--as do other disabled individuals in America through the efforts of the leaders of various civil
rights groups in formerly segregated America. The Voting
Rights Act of 1965 and the Civil Rights Act of 1964 are important events in
this historical period; however, these laws and the disabled equal rights acts
of the early 1970s and later years are not specifically touched upon in the
film as was the issue of desegregation. Nonetheless, throughout the film, Forrest and
later Lt. Dan, are metaphors for this changing attitudes towards minorities and
the handicapped.
Meanwhile both Momma and Jenny provide metaphors for
other aspects of Americana in the Post WWII era.
Jennie also becomes involved in a lot of movements, including negative
ones such as the drug movement or the “tune-off, tune out, and turn on” ones. As a young college student, she gets
interested in becoming a folk singer.
However, before she can make her dream a reality, Jenny gets kicked out
of school for posing for a photo with Playboy magazine wearing her women’s
university sports teams’ jacket.
After Forrest rescues her from singing Dylan’s anti-war
song, “Blowing in the Wind” in a strip tease joint, Jennie runs off to California and later becomes involved in the peace
movement. She also is involved with
activists in the more radical groups of that era, such as the SDS and the Black Panthers. This
all occurs in a decade of the 1960s as the pill and the various social forces
revolutionize the living space of women--and empowers women to be more active
politically. Nonetheless, until some
women broke away from the main male-dominated groups of civil rights-, political-,
and student activism and formed their own programs under their own leadership,
the role of women in many of the mass movements was watered down. Even as the
women’s movement becomes stronger, this male versus female metaphor is
alluded to in the many bad relations Jennie had with male figures and leaders she
dealt with throughout the film. For
example, in Washington D.C. at a Black Panther party meeting with Jenny, Forrest once again finds himself
trying to rescue Jenny—this time from her abusive SDS boyfriend from Berkeley. Meanwhile, in
America by the mid- to late-1960s, some women have clearly begun breaking-off
from their male counterparts and have begun forming their own empowerment
organizations.
In summary, in the 1970s disabled Americans receive some
of the same desegregationist privileges won the decade earlier by other
minorities in the U.S. In turn, only in the late 1960s
and 1970s do females and many other formerly discriminated groups begin to
receive equal access to sports- and other public education funding which begins
to enable many to overcome years of oppression.
"Forrest Gump P
icture s"
METAPHOR: GUMP AND DEBATES ABOUT HISTORY IN AMERICA
Regardless of the country where certain events have taken
place, there have always been debates about historical events and how such
events should be understood and talked about by subsequent generations. Oliver Stone has been the one Hollywood director who has most-single-handedly opened the debate concerning the “American memories”,
which are alluded to or depicted in the Zemeckis’ 1994 film Forrest Gump. Beginning in the mid-1980s, Oliver Stone
brought out a series of films on memories of the 1960s and 1970s. He started with Platoon, and over the
next decade came Born on The Fourth of July, Heaven and Earth, The
Doors, JFK, and Nixon.
All of these aforementioned Oliver Stone films had
subject matter that is represented visually (as well as through sound) in Zemeckis’
Forrest Gump. In this light Forrest
Gump, the film, serves as a Hollywood dialogue or response to the critical narration of
Oliver Stone’s to the events of the 1960s and 1970s. The events referred to by Oliver Stone have
continued to influence American politics along with pop and world culture in
the subsequent decades.
Like the hyperbolic
butterfly effect, the white feather which floats down on Forrest Gump at
one Savanna, Georgia city bus stop in the beginning frames of Zemeckis film, the events of the mid-1950s through the
mid-1970s, decades later have an spiraling effect on how Americans conduct
foreign policy, homeland security, legislation, educated their children or
raise their families. Robert Zemeckis, who produced the three Back to the Future
Films, in turn, has seemed to be fascinated with the relationship between
the present, past, and future in his films. He is also focused specifically
focused on how one individual can make a difference. “How does one change history or how can one single
person in the past affect our present significantly?” is what he often seems to
be asking throughout Forrest Gump and in his Back to the Future comedies.
On the other hand, we are all somewhat like feathers floating
on the winds of history—just Jennie and
Forrest both seem to live their lives like feathers in the breeze, often bouncing from one event to another set of
events with luck—both good and bad—as their only guide. On the other hand, both
Forrest’s mother and Lt. Dan (His lieutenant in the military in Vietnam and later his friend and business partner) seem to
believe strongly that God or Destiny has a plan for everyone. However, on his mother’s death bed, when
Forrest asks her what her destiny is,
“Momma” indicates that it is up to him to find it, himself.
The tone of Robert Zemeckis’ narration of America of the late-1940s through the early 1980s and
Reagan’s presidency is lighthearted.
Meanwhile, though, very serious subject matter is just underneath the
layers of fun and the layers of memories drifting past the audience at
relatively high speed. In contrast to
Stone, Zemeckis has chosen to rewrite these four
decades of history in a very positive--and
yet very traditional or conservative tone.
In contrast, Stone’s cinematic
and hard-hitting narrations, which are based on both fact and fiction, are often
somber and lift up the dark side of American history and memory. Stone can thus be seen as the keeper of
memories. These are often memories that
many Americans no longer want themselves (or their children) to recalls. Some more reactionary critiques even charge
that Stones works are almost totally fictional--and not related to reality much
at all. On the other hand, Zemeckis’ America in Forrest Gump is more palatable to Americans,
especially to conservative Americans who like their history to be viewed
less critically and more blatantly patriotically.
In
contrast to Oliver Stone, Zemeckis narration is not supposed to be confused
much at all to reality and is to be seen as an American as apple pie. Nonetheless,
Zemeckis so often makes allusions to Stone’s movies that one cannot help
seeing that a debate is being carried out between Forrest Gump and many other
Hollywood and independently produced films
of the past 25 years. For example,
through auditory devices, like in the choosing to play four songs by the music
of “The Doors” during the Vietnam sequences, Zemeckis recalls for the viewer or
listener Jim Morrison’s band as portrayed in Stone’s film, The Doors. Other visual imagery in Vietnam plays on scenes from stones Platoon,
Born on the Fourth of July, and Heaven and Earth. The fictional Lt. Dan appears to be
especially quite similar in character to several of those, including Ron Kovic
a real figure, portrayed in Stone’s film Born on the Fourth of July and played
by Tom Cruise.
Conversely,
throughout Zemeckis film, Forrest meets all sort of people who meet
tragic ends. Despite this cknowledgement
to tragedy in America’s story, in the end the fictional (both Winston
Groom’s and Zemeckis’)
Forrest Gump has a very upbeat view of history. This is true, even after Forrest’s wife of
the 1980s, Jennie has died of AIDs. Meanwhile, Stone’s heroes seldom are
portrayed as having positive endings to their lives. Jim
Morrison dies, Nixon resigns, and JFK’s Lloyd Garrison loses his big
court case and his family. All of the main
protagonists in Platoon either die or go home quite sullen and jaded from their
Vietnam experiences.
Finally, the main character in Heaven and Earth, Le Ly Hayslip,
watches as her ex-husband, a former special operations leader in Vietnam, commits suicide after being unable to reintegrate
into post-VietnamWar America with his new family.
On
the other hand, Hayslip, a Vietnamese women who has
resettled in America after the war, remains a strong and positive character resolved to make a
better life. Similarly, Ron Kovik seems
to be an exception to the other tragic narrations of Stones. This is especially easy to note in that Kovic, played by Cruise, states at the end of the film that
he is finally feeling more welcome at home in post-Vietnam War America.
The
main point to remember from this comparison of Zemeckis
and Stone’s approach to American memory is that Stones portrayals are more
often based on true tales of Americans lives and experiences; whereas, Forrest
Gump seems to be simply a vehicle—albeit an important literary device or a
metaphor--for an America. This is
especially so in the post-Civil Rights South of Alabama. This is a
South that was in the midst of growing up or coming of age in the 1950s, 1960s,
and 1970s—as it finally shed its Jim Crow and hidebound peculiar traditions,
which had kept it separate culturally from most of the rest of the nation.
Zemeckis’
Forrest is unapologetic about the American experience while Stone’s narrations
reveal deep wounds. For Forrest, the
world is an exciting and fascinating adventure.
His mother described this sort of positive world view, by using the
metaphor: “Life is like a box of
chocolates. You’ll never know what’s
inside until you bight into it.” This is
a gung-ho or “go-get ‘em” approach based on certain
American paradigms or Americanisms. Such
a world-view supports a search for the
American Dream by and for all. On the
other hand, Stone’s pictures are not as anti-septic and reveal the real deeper darknesses and dirtiness (along with occasional glimpses of
joy and sunshine) that make up and lurk between and among the American
experiences.
DICK CAVETT