Mixed Media: ‘Kill Your Darlings’ (2014)

The Mixed Media Column from the September 2014 issue of the Socialist Standard

Kill Your Darlings by Austin Bunn

Director John Krokidas and writer Austin Bunn’s 2013 film Kill Your Darlings draws on Jack Kerouac’s novel Vanity of Duluoz, portraying the early years (1943-44) of the ‘Beat Generation’ in New York City of Allen Ginsberg (Daniel Radcliffe), William Burroughs (Ben Foster), Jack Kerouac (Jack Huston) and Lucien Carr (Dane DeHaan).

We meet Allen Ginsberg at home in New Jersey with his poet father Louis and his mother Naomi. Louis was a socialist, his parents had been active in the Yiddish Arbeiter Circle, and he went with his father to lectures by Eugene Debs, IWW founder and Socialist Party of America Presidential candidate. Louis named his first son after Debs: ‘He was magnificent. All the ironies of the capitalist system came blazing forth. He was a brilliant man.’ Allen’s mother was a member of the Communist Party.

Allen goes to Columbia University studying to be a Labor Lawyer, meets Lucien Carr (‘blond, eighteen, of fantastic male beauty’ (Vanity of Duluoz), William Burroughs (Harvard educated St Louis patrician), and Jack Kerouac, ‘the stocky Breton with blue eyes and coal black hair’ (Gerald Nicosia, 1983), football player, poet, Merchant Marine, and originator of ‘First Thought Best Thought.’ Jack and Lucien liked to sing together folk songs, Leadbelly’s country blues, communist work songs, and with Ginsberg and Burroughs ‘they would have Dostoyevskian confrontations, endure horrors out of Kafka’ (Nicosia). Their artistic endeavours are inspired by Yeats, Whitman, Rimbaud, Baudelaire, the pleasures and wild sensations of marijuana, alcohol, Benzedrine and the Bebop Jazz music revolution of Charlie Parker (Bird).

Kerouac was a ‘Canuck’, a French-Canadian from the textile manufacturing mill-town of Lowell in Massachusetts, 13 miles north of Thoreau’s Walden Pond. Ann Charters described Lowell as ‘poor, dirty and rundown, both working-class and obstinately bourgeois, belligerently provincial.’ In the 1920s and 1930s Lowell entered economic decline when companies relocated to the South where labour was cheaper, and in 1931 Harpers Magazine called it a ‘depressed industrial desert.’

Kerouac’s first language was ‘joual’ the French of the ‘Canucks’, a dialect of working-class Quebec French, and he would overcome the handicaps of his working-class ‘Canuck’ origins to become the greatest writer since James Joyce, ‘not even 72 hours a week of underpaid mill work could keep these people in their place’ wrote Nicosia. Ginsberg overcame being a ‘spindly Jewish kid with horn-rimmed glasses’ (Vanity of Duluoz) to become the poetical heir to William Blake, a 1960s Counter-Cultural guru and New Left icon. As Dave Kammerer says in the film ‘under the right circumstances he might change the world.’

Steve Clayton

'On the Road' (2012)

Film Review from the December 2012 issue of the Socialist Standard 

Jack Kerouac's seminal 'beat' novel On the Road was first published in 1957. It has finally made it to the silver screen in a faithful adaptation by Walter Salles (director of The Motorcycle Diaries about the young Che Guevara). Salles captures the excitement of youth in search of ‘kicks’ in the shape of sex, drugs, jazz and travel in the early years of the ‘beat’ generation. The story is autobiographical and concerns the adventures of would-be writers and poets Jack Kerouac, Allen Ginsberg and William S. Burroughs, their involvement with Neal Cassady in the years 1947-50 in New York City, Denver, New Orleans, Mexico and their transcontinental journeys.

Kerouac is sensitively portrayed by Mancunian actor Sam Riley who was excellent as Ian Curtis in the Joy Division film, Control, while Cassady is played to the hilt by Garrett Hedlund who was Patroculus in Troy.

Cassady represents for Kerouac the lust for life which he described as ‘the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars’.

In the film Cassady is reading Proust's Swann's Way which is given him by Kerouac. Proust and Joyce were major influences on Kerouac as a writer, while Blake, Celine's Journey to the End of the Night, and Dostoyevsky's Notes from Underground were literary influences on all the ‘beat’ writers. Philosophically, they were influenced by Nietzsche and Spengler's Decline of the West, and advocated Rimbaud's ‘New Vision’ for their writings and his ‘derangement of the senses’ through drugs. Salles film includes scenes of marijuana smoking and ‘speeding’ on Benzedrine plus straight and gay sex scenes.

The outstanding performance is by Kristen Stewart as Mary-Lou, and her performance in this film is in stark contrast to her role in the right-wing teen vampire films of the Twilight series. Viggo Mortensen as Burroughs has only a brief cameo performance, but watch for Joan Burroughs sweeping the lizards out of the tree!

Jazz, particularly the be-bop revolution of the 1940's as personified by Charlie Parker, was an influence on the ‘beats’. In the film there is a ‘scat’ jazz vocal performance by Slim Gaillard portrayed by Coati Mundi.

The ‘beat’ generation was a reaction against the consumerism and materialism of post-war American capitalism, the puritanism of bourgeois morality, the conformity of middle-class life, the fear endemic in a post-Hiroshima world of the military-industrial complex, the racism and prejudice in society, and the general lack of spirituality. The ‘beats’ advocated a ‘second religiousness’ and pursued alternatives to Judeo-Christianity in eastern religions such as Buddhism.

In On the Road, Salles and Kerouac's sensitive portrayal of the Mexican fellaheen is fundamental to Kerouac's statement about land and indigenous peoples: ‘The Earth is an Indian Thing.’ 

Steve Clayton