[This post contains spoilers for the film, The Neon Demon.]
Hollywood excels at masking the shallow as profound. It is fitting, then, that a film offering a profound critique of Hollywood is widely seen as shallow. The film is Nicolas Winding Refn’s The Neon Demon, and its surface is so stunning that some critics assume that’s all there is. Yet, as the grotesque lay beneath the seductive glitz and glamour of Jay Gatsby's decadent parties, there is a familiar alienation and darkness beneath this film's skin. In fact, Refn's stylized portrait of Hollywood is strongly reminiscent of F. Scott Fitzgerald's classic literary vision of New York City. Like The Great Gatsby, The Neon Demon uses metaphor, imagery and symbolism, as well as an unreliable narrative point of view, to explore the romanticization of a corrupt narcissist while exposing the depraved society that consumes him--or her, as the case may be.
At the beginning of Fitzgerald's novel, Nick says of Gatsby:
If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with flabby impressionability which is dignified under the name of the "creative temperament"--it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No--Gatsby turned out alright at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men. (Chapter 1)We can imagine those same lines (with minor alterations) spoken in voice-over by Dean (Karl Glusman), The Neon Demon's aspiring photographer, about the film's ostensible heroine, Jesse (Elle Fanning). Though he is discarded before the final act of the film, Dean's point of view is central to how we understand the story. Dean frames the film at the outset with his foreboding photographic vision of Jesse, defining her as an innocent face and nubile body to be consumed, a dreamer destined to perish under the gazing moon.
Dean (Karl Glusman) creates a tragically romantic portrait of Jesse.
Introducing Jesse (Elle Fanning). Are these the eyes of Dr. T. J. Eckleburg?
The parallels between Jesse and Jay Gatsby are also striking. James Gatz, the youth who would become Jay Gatsby, took his good looks and charm for granted. At the age of 17, Gatz used his innate gifts to redefine himself: He devoted himself to “a vast, vulgar, and meretricious beauty,” inventing “just the sort of Jay Gatsby that a seventeen-year-old boy would be likely to invent, and to this conception he was faithful to the end” (Chapter 6). In The Neon Demon, Jesse falls in love with her own image at the age of 16, and is faithful to it until the end. Jesse's raw materials are the same as Gatsby’s: good looks and an innocence that captivate everyone in the fashion world. They are all taken in by Jesse, and it is not long before she is confidently using her image to her advantage--or so she thinks. Yet, like Gatsby, her persona is a fabrication. We cannot be sure where she came from or how she got to Hollywood. She could be a runaway, though she is happy to let others assume that her parents are dead. What matters is that her parents are dead to her, and she will forge their signature to get what she wants. And it's not just money and fame. Jesse wants glamour, to be the brightest star in every room she enters, and she is willing to cheat and turn her back on humanity to get there.
|Jesse (Elle Fanning) falls in love with her reflection.|
|Jesse (Elle Fanning) completing the incarnation.|
I have an idea that Gatsby himself didn’t believe it would come, and perhaps he no longer cared. If that was true he must have felt that he had lost the old warm world, paid a high price for living too long with a single dream. He must have looked up at an unfamiliar sky through frightening leaves and shivered as he found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass. A new world, material without being real, where poor ghosts, breathing dreams like air, drifted fortuitously about (Chapter 8).These words could be used to describe Jesse as she, like Gatsby, hovers above a swimming pool moments before her death. In Jesse's case, the pool in which she is murdered is empty. The blue of her dress replaces the reflective blue of the water. She has become no more than her own image.
|Jesse (Elle Fanning) hovers above the emptiness.|
|Norma Desmond (Gloria Swanson), ready for her close-up.|
The opposition between natural and artificial beauty is a red herring. We are never shown that Gigi has had any work done, and, despite what the fashion designer (Alessandro Nivola) says, there is nothing in the way she looks that suggests cosmetic surgery or treatments of any kind. We can only take Gigi at her word that she is the “Bionic Woman.” Similarly, we can only take Jesse at her word that she has not had any work done. What if Gigi has never had any work done on her body, but lies because she thinks it will earn her respect? What if she is just trying to fit in? What if Jesse, on the other hand, is too afraid to tell people that she’s had work done, because she wants to preserve the image of her own purity? What is important in the conflict between Jesse and Gigi is not who has had work done, but who has the better image.
|Gigi (Bella Heathcote) does not like to be challenged.|
Jesse's love of artifice is manifest in her relationship to Ruby (Jena Malone). Ruby is the master of artifice, the maker of outward beauty, who longs for purity but lives only through reflections. She craves Jesse, either for sex or food, or both. Ruby thrives in emptiness, makes love to make-up, be it on living flesh or a corpse. As the scene revealing Ruby's necrophiliac depravity is interlaced with images of Jesse's self-love, we are invited to question the relationship between them. When Jesse touches herself, is she, like Ruby, making love to a corpse? Is Jesse dead beneath her skin? Is Ruby Jesse's alter-ego? Are they reflections of each other?
When Ruby and Jesse meet for the first time, they are looking in opposing mirrors with their backs to each other. Ruby apologizes to Jesse for staring at her, but it seems as if they were only staring at themselves. It is as if they each exist inside of the other. Of course, we can take their relationship at face value, as one between a model and a predatory make-up artist; however, we can take it as a metaphor for something deeper. We can see Ruby as the demon taking possession of Jesse; conversely, we can see Jesse as the haunting image of purity within a depraved Ruby.
|Ruby (Jena Malone) through the looking glass.|
Right after the masturbation scene, Jesse changes into the blue dress and stands above the empty pool. Just as a "ghost" named George Wilson comes to haunt and murder Jay Gatsby in his swimming pool, a ghost-like Ruby appears to Jesse in the emptiness of the pool beneath her. When Jesse sees Ruby, she sees the truth about herself: Ruby has already consumed her, because Jesse has consumed herself. It is possible to read the murder sequence as a metaphor for Jesse’s suicide: She was not pushed into the empty pool; she let herself fall in after she saw the falsity of the image with which she had fallen in love. On the other hand, we can take it as a scene of literal murder. It does not matter. Ruby killed her either way, and either way, Jesse was already dead inside.
Like Jesse, Gigi also dies after she sees the falsity of her own image. She (literally or metaphorically?) cannot stomach what happened. Her body violently rejects her actions. She claims to be the Bionic Woman, but she cannot exorcise her conscience. In the end, it is her humanity that kills her.
The Neon Demon is ultimately about beauty and how we relate to it. The true conflict in The Neon Demon is not between natural and artificial beauty. Those are false idols which we only followed, if we ever did, because we were told to. No, the conflict at the heart of the film is between ways of relating to beauty--between compassion and consumption. It is telling that we are never told whether or not Sarah (Abbey Lee), the only model that survives in the end, has ever had any cosmetic surgery. Jesse, Gigi and Sarah are more alike than they may realize. They all relate to beauty in terms of consumption. They long to be shot and consumed. Yet, only Sarah survives, because only Sarah accepts the grotesque for what it is. Jesse and Gigi’s deaths don’t faze Sarah. She consumes Jesse and watches Gigi’s suicide with detached curiosity and understanding. She swallows the eye of conscience whole. It doesn't matter if Sarah has had cosmetic surgery or not. Sarah survives because she is unhindered by compassion and she knows it. She exemplifies what Hollywood rewards: sociopathic consumption.
|Sarah (Abbey Lee) triumphant.|
Gatsby’s and Jesse's stories can be seen as two versions of the same cautionary tale: This is what happens when American individualism runs amok. It is hard to shake the American Dream, the capitalistic conviction that all you need are the raw materials and the drive, and you can become whoever you want to be. Refn and Fitzgerald warn that, if you devote yourself entirely to that dream and follow it to its logical conclusion, you end up living and dying alone, and all for an illusion. Jesse and Gatsby are themselves more illusion than reality, and their deaths are less tragic than their lives. We can balk at their deaths as affronts to human dignity. Alternatively, we can see them as trite, as inevitabilities: standard set pieces in the story of American depravity. The most compelling interpretation might be this: The deaths of Gatsby and Jesse are theatricalities, performances meant to draw the curtain on a depraved illusion. They are not tragic heroes in the Romantic mold. They are the constructions of morally compromised yet tragically romantic imaginations. We are invited to partake in this imagination by witnessing their downfalls through Nick Carraway's and Dean's hypocritical eyes. Dean is a stand-in for the audience and frames our vision of Jesse and the broader conflicts between the Hollywood haves and have-nots, much the way Nick curates the reader's experience of Gatsby and class conflict in the Roaring Twenties. And like Dean and Nick, audiences are likely to balk at what they see without learning from it.
For The Neon Demon, as for The Great Gatsby, there is no path to happiness. There is only hypocrisy, cruelty and isolation. The irony at the heart of the film is that the fashion designer may be right when he says, "Beauty is not everything. It's the only thing.” All creation is the same, he says, be it a line of clothing or a dramatic character. Art is a unity and beauty is an indivisible, all-encompassing whole, the monistic God of Spinoza, the one, supreme substance of which all else is made. Thus, what we see in the film depends on how we define ourselves in relation to beauty. We can laugh at the film, embrace narcissism and celebrate ourselves as beautiful products to be consumed. Yet, can humanity--the lived compassion for other people--survive in the process? What the designer does not understand is that compassion is also beautiful. The fashion designer's Hollywood is a reflection of our world, where consumption is rewarded over compassion and children grow up embracing narcissism, longing to be mass-consumed. This is the profound dilemma at the heart of The Neon Demon. If it is shallow, it is no shallower than the pool in which we see our own reflection.