There is a lot of Whitmanian energy surrounding Lana Del Rey’s Tropico, and I thought I would continue the conversation about this short film here for this week. I picked this piece because of Jack Spicers “Notes on Whitman”. Spicer seems to take a cynical stance on Whitman, stating his world is too idealistic. Whitman speaks for America, but what good is that if the country he speaks for is ridden with “the clap” as he says. Spicer seems to state that the world Whitman describes in his works is a Paradise Lost; a world that no longer exists.
Lana also seems to approach the seedy underbelly of American culture that Spicer references in “Notes on Whitman”; however, Lana has a much less cynical tone in reference to Whitman’s Paradise. She recognizes both the idealized individual in the film and the problematic nature of mass culture, but like Whitman, she leaves room for redemption. Lana’s work appears to have loads of Whitmanian energy, as her stage presence is one that evokes a tribute to the imagined past of Old Hollywood, while critiquing contemporary pop culture all at once. Like Whitman, her presence is one of universalism and lack of distinction between past, present, and future. Her short film, Tropico, expresses this room for redemption by depicting the Biblical story of Sin and rebirth in three different chapters. For this post, I will focus on the first chapter of the film. Chapter one exists between 0:00 and 6:32.
The ecstasy of Whitman’s Paradise is depicted in the first chapter, “Body Electric”, where Lana is depicted as Eve in the Garden of Eden. This Perfected Past is lead by John Wayne standing in as the God figure. This is representative of the past the Del Rey sees as perfected: Old Hollywood iconography in which the ideal male figure is a cowboy. John Wayne is perfect as a God figure, because Wayne’s character is known for being one of only the most upstanding morals. His image in Old Hollywood was one that was perfected and untarnished, something to be looked up to. Other figures present such as Marilyn Monroe, Elvis Presley, and Jesus become symbols of Lana’s childhood influences: “Elvis is my Daddy / Marilyn’s my mother / Jesus is my bestest friend.” Presley and Monroe offer a foiling effect to Wayne; they stand in as imperfect human roles (Mother/ Father) and represent the imperfections of Old Hollywood. Both Monroe and Presley met tragic fates due to substance abuse, which is a common theme in Del Rey’s material. Jesus, appearing as the best friend, stands for a symbol of Del Rey’s religious upbringing. Considering Lana as a stand-in for Eve, we can equate this to childhood innocence; Eve/ Lana is ignorant to the sins and evils of the world. Lana, “sing[ing] the body electric”, expresses the euphoric nature of childlike ignorance. The child operates based on this euphoric passion and has no need for material things.
This is an interesting meditation on Spicer’s piece, in relation to Whitman, as well as on how pop culture contains a similar nostalgia to that of Whitman. Spicer’s piece seems quite direct in its attack on Whitman’s perceived naiveté (e.g., the comrade you are walking with suddenly twists your hand off) and inherent trust in man. Likely, Spicer would respond to Lana Del Ray’s piece in a similar manner, as she desires to return to a time which precedes complications. This mirrors what Spicer considers as Whitman’s vision, as one which lacks complication. I think Spicer possesses a point in that one side of Whitman seems to dwell on the past, in this “lost paradise;” however, as seen in Lana Del Ray’s video, a desire for this “Oz,” or this commemoration of the past, does not dissolve in the modern age (216). In that sense one can see how Whitman’s nostalgic sentiments remain relevant today.
Also, Lana Del Ray, like Spicer, does not seem to see this “Oz” as a possible world, and I would argue that Whitman does not either. Although he provides a vision which addresses the past with nostalgia, his transcendent sentiments do not seem to contain roots in this past, but to draw confidence from his “avatars ascending,” and his vision for the future (612). From that, one can surmise that Whitman’s vision contains more room for development, on a personal and societal level, than Spicer recognizes. In Spicer’s piece he neglects the numerous sides of Whitman; Whitman’s expansiveness, as a writer, proves inclusive, not only in terms of the people he discusses, but in his own psychological development (612). While one might consider his early sentiments idyllic in regards to the past, his vision for the future, as it develops, does not serve as a simple ode to a “lost paradise,” because he calls upon man to build upon his own words to spawn change (e.g., remember my words, I may again return).
Interesting post and comment–the video is a really fascinating emblem of Whitman’s influence in the contemporary world. I like Shaina’s point about the status of that visionary nostalgia. Del Ray and Whitman seem to understand that this is a paradise deferred, impossible yet an ideal to strive for. Spicer’s sense of a “lost paradise” seems to reject not only the possibility of recovery, but the very act or effort towards recovery. Can’t wait to spend some more time with this video!