WHY IS MURDER SUCH FUN?

25 Sep

Next year, 2014, we will be commemorating the centenary of the First World War. Most commentators agree that it was a terrible waste of millions of lives on both sides of the conflict. It was war on an unprecedented industrial scale. Some claim, with justification that the mass slaughter and destruction that ensued was nothing less than a catastrophe.
One would think that after such a horrific event, lessons would have been learnt and the powers that be would have made sure that it was never repeated. After all, wasn’t this supposed to be “the war to end all wars”? Yet the League of Nations failed in it’s efforts to replace fighting with talking, and just 20 years after the treaty that ended the First World War, the Second World War broke out. It was really the First World War, part 2, as the losers of the first conflict sought to get their own back on the winners and alleviate their grievances. If it had been on the big screen ( as it was many times, later), World War 2 would have had all the ingredients of a classic revenge movie. So, another nightmare ensued with millions more lives wasted in the new slaughter and all that capped by the horrors of the Holocaust, the genocide of 6 million Jews in the Nazi Concentration camps.
Surely this double dose of death and suffering would have put the human race off war for ever? Unfortunately, surprisingly and shockingly, the wars have kept coming. The United Nations has proved just as weak and ineffective as its predecessor the League in preventing conflict and preserving peace. What is wrong with people? Why is brutality and murder still seen as the main “solution” to our problems and disputes, rather than negotiation and arbitration? I hate to suggest this, but could it be that instead of abhorring and denouncing violence, many of us are actually fascinated, or even mesmerised by it?
Even a casual look at our entertainment industry reveals that much of it is steeped in violence. I don’t play video games but cannot help noticing that many of them involve simulated killing. This industry generated sales of £42billion in 2012, and many of its games are based on violent scenarios where one is: at war, committing a crime or hunting down criminals. New releases of such games often attract massive, midnight queues. “Grand Theft Auto V” for instance, sold £500 million worth of copies in one day, vindicating one reviewers confident prediction that ” this game will sell by the blood-filled bucket load.” I don’t know about you, but I find this very depressing. The player, poising as a ruthless criminal, has to execute up to 6 large, armed heists employing: “melee attacks” ( whatever they are), firearms, weapons and explosives to fight enemies. The names of other popular games — “Call of Duty”, “Killzone” and “Battlefield” — reveal their violent and warlike content. Not much recollection of the tragedy of war here. I wonder if any of the players pause, in the midst of their simulated killing spree, to reflect on the mass slaughter and suffering of the two World Wars or their successors in Korea, Vietnam, the Gulf, Afghanistan, Libya, Syria, the Congo and the rest?
The American Psychological Association has concluded that violent video games are significantly associated with “increased aggressive behaviour and thoughts.” Critics claim that they desensitise players to violence, reward players for simulating violence and teach children that violence is an acceptable way to resolve conflict. They seem to have a very strong case. Those who defend the games say they are an important safety valve for natural aggression. However, even this argument seems to admit that violence is an inherent part of human nature and the debate is about how we deal with it.
The video games industry boasts that it is eclipsing the cinema in terms of revenue and participation figures. Cinema in turn seems to be aping the violent nature of its rival. Increasingly we are presented with so-called “Blockbusters.” Plot, proper characterisation, meaningful dialogue and good acting are sacrificed to make way for: fights, battles, murders, car chases and explosions on an increasingly epic scale. Steven Spielberg has recently complained that subtlety and sophistication in film making is giving way to spectacle and action as Hollywood courts the popularity of video games. Modern film makers often present violence as an acceptable and “normal” form of entertainment. The James Bond franchise ( now little to do with Ian Fleming), is a prime example of this trend. I remember one reviewer commenting with apparent approval, that in “Casino Royale”, a film praised for its more gritty realism, Bond ( Daniel Craig) has to change his white tuxedo after the killing spree of the opening scene, because it is drenched in blood. I am repelled by such films especially as they are presented as light, “escapist” entertainment. I don’t mind violence when it is presented in a proper context and in a film trying to get across a serious message such as “Schindler’s List”. However as far as the Bond Films, the “Die-hard” films, the Jack Reacher films and the rest, I am in the minority by a long way, judging by their takings at the box office.
One notable director, famous for his use of violence as entertainment is Quenton Tarantino. His last film ” Django Unchained”, highly praised as presenting a new angle on the subject of slavery in America, is largely about a black, bounty hunter murdering one person after another in graphic detail on the big screen. One reviewer noted that whenever Django had a problem, he solved it by killing someone. What type of message does that give out to impressionable young people? This film was watched and enjoyed by millions and was actually nominated for an Oscar. It seems that acts of violence, so terrible when they occur in real life, are accepted on screen as an entertaining diversion.
I went to see a Tarantino film once. In the 1990’s his “Reservoir Dogs” was regarded as a cult movie, constantly brought back to my local arts cinema in Newcastle by popular request, and playing to packed houses. It’s about an armed bank robbery that goes horribly wrong. I got carried away by all the hype and went along to find out what all the fuss was about. After about half an hour I started to experience an increasingly loud buzzing sound in my ears. I had a dry feeling in the back of my throat and then began to feel nauseous. I could then hear my heart thudding loudly. This was my body’s reaction to the sickening scene of drawn-out sadism that was happening in front of me. Nobody else seemed to be affected — they all carried on eating their crisps or passing around the sweet packets, while at the same time being glued to the screen. I had already endured a robber half bleeding to death but now I was witnessing a tense and nasty torture scene. A policeman had been captured and tied up in a chair. He was now being threatened and taunted by a psychopath wielding a long cut-throat razor, who was apparently preparing to slice off his ear. I never found out what happened, because, unable to stand it any longer, I walked out. I’d decided that such bloodthirsty sadism was not my idea of a Saturday night’s entertainment. However, the rest of the audience remained engrossed and I later got into trouble with my girlfriend for spoiling her evening!
I remember the uproar caused by the shockingly violent climax of Arthur Penn’s “Bonnie and Clyde” in the late 1960’s. The protagonists are strafed with a prolonged burst of machine gun fire. We see bullets ripping into their flesh in horrific slow motion and their bodies contorting into grotesque shapes. Many people walked out, some were sick and many others protested or boycotted it. I watched what was actually a very good film in my opinion, and survived the ending even though it was pretty shocking. Other films of the late 60’s and early 70’s such as “The Wild Bunch”, “Straw Dogs” and “Soldier Blue” all courted controversy because of their scenes of extreme violence. They were generally seen by film critics though, as signs of a welcome relaxation of censorship. This time the reviews were enough to warn me off. It was not my idea of enjoyment. Another famously violent film of that era was Stanley Kubrick’s “A Clockwork Orange”, based on the novel by Anthony Burgess. It was actually withdrawn from public release by the director himself because of all the controversy. I watched it at the time and stuck it out as I knew it had a serious message to transmit. However, I recall being disturbed by the scene of a violent gang of youths stylistically beating up an old couple in their own home to the music of Beethovan. I also remember a tramp being savagely beaten. I don’t think the more sensitive, older version of myself would enjoy watching such scenes today.
Well, over 50 years has passed since those controversies, and graphic horror and violence on the big screen is now commonplace. It’s almost regarded as “normal”. Audiences don’t walk out. Nobody is sick in the aisle. Violence has now become a staple of mainstream, cinematic entertainment. Describing what he considered to be a funny scene in Tarantino’s “Inglourious Basterds” ( Jewish hit men hunting down and killing Nazis), a friend of mine concluded with the phrase:” and then the usual mayhem broke out.” What he meant was a horrifying scene ensued, in which we see people being maimed and murdered. He was so casual about this that I realised that violence is not only accepted but expected these days. Audiences feel short-changed if it doesn’t occur. They should have been pleased with this one as I believe Tarantino appeared in it himself — as a scalped Nazi!
I am not trying to claim that violence on film or in a video game necessarily leads to violent behaviour in real life, although I believe there is a distinct possibility of such a cross-over. All I’m trying to highlight is the massive irony: that society condemns loss of life in wars, terrorist attacks or mass shootings by “lone gunmen”, yet, simultaneously laps- up similar scenes of carnage and brutality as a form of light relief.
In literature and television we get more, much more of the same. The British public seem to have an insatiable desire for murder mysteries both on the page and on the screen. Crime novels, often including gruesome murders, make up a huge and extremely popular genre of literature. Every bookshop has a large dedicated section to it. Writers of murder mysteries such as: Agatha Christie, Dorothy L Sayers, Margery Allingham, P D James, Ruth Rendall, Ellery Queen, Ian Rankin and many others, entertain their readers with their idiosyncratic detectives, convoluted plots, lists of colourful suspects, red herrings and puzzling clues. They vary enormously but the one sure thing in all of these novels is that there will be a murder ( or murders) in their early chapters. Imagine how disappointed their fans would be if no character was killed! The message here is that murders are fun, providing a rich source of pleasure and distraction.
TV programmes, such as “Murder She Wrote” and “Midsomer Murders” have capitalised on the popularity of these whodunnits and reproduced them on screen. I have watched some myself such as Peter Falk’s shambling detective “Columbo” and the Danish crime thriller “The Killing”. I’m not trying to claim the moral high ground here. I often get sucked in. But I’m unable to stomach one after the other. There is even a best-selling board game “Cluedo” ( which I have played many times), which is structured around an Agatha Christie-style country house murder. I wonder how many children playing “Cluedo” actually imagine crushing Miss Scarlett’s skull with the lead piping or stabbing Colonel Mustard in the back? It’s all good “fun” but it’s underpinned by the premise of violence.
I’ve lost count of the number of murder mysteries that have appeared on the British TV screens just this year. Some such as “New Tricks” ( currently BBC 1’s most popular programme), are fairly superficial with the actual violence sanitised or edited out. Others make a point of revelling in the horror, the terror and the shocking details of the murder. In recent months, audiences have been treated to: a serial killer in Northern Ireland sadistically taunting his victims as well as the police ( “The Fall”), an investigation into a dead, desiccated woman who had been left mouldering in an attic for 2 years ( “What Remains”), a man stabbed to death in a dark alley outside a Newcastle night club ( “Vera”), another deranged serial killer terrorising a seaside town ( “Whitecliffe”), a town torn apart by the murder of a teenager ( “Broadchurch”) and so on and so forth. The list is endless. There is even a dedicated TV channel to murder mysteries — “Alibi.” It presents around 19 murders a day, 7 days a week. Where has this voracious appetite for death come from? I have no answer, except to say that human beings are clearly a very violent species, much as they pretend not to be. History shows this very clearly.
Our past is dominated by wars, executions, murders and torture. You don’t need me to list them all. Just recently we have all been rightly appalled by : The Boston Marathon Bombing, the American School shootings and the Kenyan shopping- mall massacre. Yet similar violence is endemic in mainstream entertainment. This entertainment factor is not a new phenomenon. Until about 1870, crowds gathered on London’s Tyburn Hill to watch and revel in public executions. It was possibly when state killings stopped taking place in public, that lurid crime stories in pamphlets and novels began to become very popular. People didn’t want to be denied their regular dose of blood and death. In an earlier age King Charles I was beheaded before a vast crowd in front of Whitehall Palace. ( in January, 1649.) As the gory, severed head of the former king was held up, many surged forward to dip their handkerchiefs in royal blood in order to have a souvenir.
Yes, history saturated in blood but so, sadly is our world of entertainment. Watching the occasional good quality crime drama is fine of course, but I think this constant, relentless obsession with violence and death is pretty disturbing. I certainly don’t regard it as normal. Why do so many people regard murder as fun?

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2 Responses to “WHY IS MURDER SUCH FUN?”

  1. Gerry Fenge September 25, 2013 at 4:57 pm #

    I’m with you here, Stuart. Imagine a visiting Martian or Alpha Centaurian trying to work out why humans enjoy killing so much. What would their guidebook to ‘Life on Earth’ say? (Dolphins are okay. So are bonobos. But watch out for humans [and some chimpanzees] – they’re a right bunch of nutters.)

    I particularly resent the idea that gritty realism = unrealistic amounts of nastiness and blood. I’ve lived amongst a Kenyan civil war and Zimbabwean post-conflict reprisals, yet I was surrounded all the time by lovely peace-loving people. (Watch out for cops with guns, though. Give a boy a toy and he might use it.)

    As for media influence, why do advertisers spend such huge amounts if people are unaffected by what they see or hear? An obvious argument – so obvious it gets ignored.

    I might defend ‘cosy murders’ though (say, Lewis or Foyle). These are arguably about the righting of wrongs. If there are no wrongs there can be no rightings. You might go further and say they encapsulate the human dilemma: we know there are imperfections and we grow as people by dealing with them.

    Do we grow as a human race, though? It would be hard to argue against a sceptic.

    • scrapstu1949 September 25, 2013 at 7:21 pm #

      Some excellent points here Gerry. However I disagree with the term “cosy murders.” I know what you mean but is any murder, even a pretend one, “cosy”? The righting of wrongs is a good aim but why do we have to constantly revel in the wrongs?

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