MICHAEL PARENTI

Class and Virtue

From: Signs of Life in the U.S.A.: Readings on Popular Culture for Writers, Sonia Maasik and Jack Solomon, eds. (Boston: Bedford Books, 1994) pp. 283-286.

[Copy-edited, spell-checked, tagged in html by Scott Atkins, October 1995]

The entertainment media present working people not only as unlettered and uncouth but also as less desirable and less moral than other people. Conversely, virtue is more likely to be ascribed to those characters whose speech and appearance are soundly middle- or upper-middle class.

Even a simple adventure story like Treasure Island (1934, 1950, 1972) manifests this implicit class perspective. There are two groups of acquisitive persons searching for a lost treasure. One, headed by a squire, has money enough to hire a ship and crew. The other, led by the rascal Long John Silver, has no money--so they sign up as part of the crew. The narrative implicitly assumes from the beginning that the squire has a moral claim to the treasure, while Long John Silver's gang does not. After all, it is the squire who puts up the venture capital for the ship. Having no investment in the undertaking other than their labor, Long John and his men, by definition, will be "stealing" the treasure, while the squire will be "discovering" it.

To be sure, there are other differences. Long John's men are cutthroats. The squire is not. Yet, one wonders if the difference between a bad pirate and a good squire is itself not preeminently a matter of having the right amount of disposable income. The squire is no less acquisitive than the conspirators. He just does with money what they must achieve with cutlasses. The squire and his associates dress in fine clothes, speak an educated diction, and drink brandy. Long John and his men dress slovenly, speak in guttural accents, and drink rum. From these indications alone, the viewer knows who are the good guys and who are the bad. Virtue is visually measured by one's approximation to proper class appearances.

Sometimes class contrasts are juxtaposed within one person, as in The Three Faces of Eve (1957), a movie about a woman who suffers from multiple personalities. When we first meet Eve (Joanne Woodward), she is a disturbed, strongly repressed, puritanically religious person, who speaks with a rural, poor-Southern accent. Her second personality is that of a wild, flirtatious woman who also speaks with a rural, poor-Southern accent. After much treatment by her psychiatrist, she is cured of these schizoid personalities and emerges with a healthy third one, the real Eve, a poised, self-possessed, pleasant woman. What is intriguing is that she now speaks with a cultivated, affluent, Smith College accent, free of any low-income regionalism or ruralism, much like Joanne Woodward herself This transformation in class style and speech is used to indicate mental health without any awareness of the class bias thusly expressed.

Mental health is also the question in A Woman Under the Influence (1974), the story of a disturbed woman who is married to a hard-hat husband. He cannot handle--and inadvertently contributes to--her emotional deterioration. She is victimized by a spouse who is nothing more than an insensitive, working-class bull in a china shop. One comes away convinced that every unstable woman needs a kinder, gentler, and above all, more middle-class hubby if she wishes to avoid a mental crack- up.

Class prototypes abound in the 1980s television series The A- Team. In each episode, a Vietnam-era commando unit helps an underdog, be it a Latino immigrant or a disabled veteran, by vanquishing some menacing force such as organized crime, a business competitor, or corrupt government officials. As always with the make-believe media, the A-Team does good work on an individualized rather than collectively organized basis, helping particular victims by thwarting particular villains. The A-Team's leaders are two white males of privileged background. The lowest ranking members of the team, who do none of the thinking nor the leading, are working-class palookas. They show they are good with their hands, both by punching out the bad guys and by doing the maintenance work on the team's flying vehicles and cars. One of them, "B.A." (bad ass), played by the African-American Mr. T., is visceral, tough, and purposely bad-mannered toward those he doesn't like. He projects an image of crudeness and ignorance and is associated with the physical side of things. In sum, the team has a brain (the intelligent white leaders) and a body with its simpler physical functions (the working-class characters), a hierarchy that corresponds to the social structure itself.1

Sometimes class bigotry is interwoven with gender bigotry, as in Pretty Woman(1990). A dreamboat millionaire corporate raider finds himself all alone for an extended stay in Hollywood (his girlfriend is unwilling to join him), so he quickly recruits a beautiful prostitute as his playmate of the month. She is paid three thousand dollars a week to wait around his superposh hotel penthouse ready to perform the usual services and accompany him to business dinners at top restaurants. As prostitution goes, it is a dream gig. But there is one cloud on the horizon. She is low- class. She doesn't know which fork to use at those CEO power feasts, and she's bothersomely fidgety, wears tacky clothes, chews gum, and, y'know, doesn't talk so good. But with some tips from the hotel manager, she proves to be a veritable Eliza Doolittle in her class metamorphosis. She dresses in proper attire, sticks the gum away forever, and starts picking the right utensils at dinner. She also figures out how to speak a little more like Joanne Woodward without the benefit of a multiple personality syndrome, and she develops the capacity to sit in a poised, wordless, empty-headed fashion, every inch the expensive female ornament.

She is still a prostitute but a classy one. It is enough of a distinction for the handsome young corporate raider. Having liked her because she was charmingly cheap, he now loves her all the more because she has real polish and is a more suitable companion. So suitable that he decides to do the right thing by her: set her up in an apartment so he can make regular visits at regular prices. But now she wants the better things in life, like manage, a nice house, and, above all, a different occupation, one that would allow her to use less of herself. She is furious at him for treating her like, well, a prostitute. She decides to give up her profession and get a high-school diploma so that she might make a better life for herself-- perhaps as a filing clerk or receptionist or some other of the entry-level jobs awaiting young women with high school diplomas.2

After the usual girl-breaks-off-with-boy scenes, the millionaire prince returns. It seems he can't concentrate on making money without her. He even abandons his cutthroat schemes and enters into a less lucrative but supposedly more productive, canny business venture with a struggling old- time entrepreneur. The bad capitalist is transformed into a good capitalist. He then carries off his ex-prostitute for a lifetime of bliss. The moral is a familiar one, updated for post-Reagan yuppiedom: A woman can escape from economic and gender exploitation by winning the love and career advantages offered by a rich male. Sexual allure goes only so far unless it develops a material base and becomes a class act.3

1. Gina Marchetti, "Class, Ideology and Commercial Television: An Analysis of 'The A-Team'," Joumal of Film and Video, 39, Spring 1987, pp. 19-28.

2. See the excellent review by Lydia Sargent, Z Magazine, April 1990, pp. 43-45.

3. Ibid.