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“I’ve been thinking about numbers.” Stuart poked his fork into a pile of pasta in front of him and twirled. 

“Mostly, we think of numbers in terms of mathematics,” he said. “Or arithmetic. All very abstract. But I’m looking at them in terms of the humanities.”

Genevieve had spent the afternoon cooking up a Pasta all’Assassina, something she had just learned from YouTube. It piled up on our plates in small pyramids of spaghetti. 

“You know how there are these sequences of numbers in math? Like 2, 4, 8, 16, 32, 64, 128, 256 and so on. Or the Fibonacci Series: 1, 2, 3, 5, 8, 13 — you know. Logical sequences that seem to have some meaning outside mere math.”

“You mean like the spiral in a seashell or the arrangement of seeds in a sunflower…”

“Exactly. Well, these patterns, as patterns, are purely mathematical, in other words, they only exist in the Platonic ideal of mathematical thinking. I was looking for a sequence that made sense without arithmetic, that English majors could grasp at a gander.”

“And did you find one?” I asked.

“Absolutely. I considered the mythic or symbolic punch of numbers and came up with a sequence something like: 1, 2, 3, 4, 7, 9, 12, 21, 40, 42 — that’s kind of a ringer in this — 101, 1,001, one million, and finally, ‘billions and billions.’ That last, thanks to Carl Sagan.”

“If I understand you, these numbers carry significant weight in folktales, mythology, religion and popular culture. But don’t all numbers carry some kind of baggage? I mean, you left out eight from your list, but there is the Noble Eightfold Path of Buddhism.”

“You are right, most numbers have something, but my list considers only the big boys in the number-myth world. The ones that carry the heaviest weight. 

“One, of course, is the unity. It is the prime singularity out of which all else evolves or explodes, like in the Big Bang, or the One-True-God. Two is the duality of yin and yang, of pairs of opposites, of Yoruba twins, of Castor and Pollux, of the Navajo twins Monster-Slayer and Born-of-Water. Or of the salt and pepper shaker or even the right and left hands. Two is big in the Sequentia Stuartii. Yes, that’s what I’m calling it.” 

“Three is a quantum jump, though, I think,” I said. “Three is everywhere, from the Three Little Pigs to the Holy Trinity. Goldilocks and the Three Bears, in Greek mythology, the three Furies, Graces, and in Norse, the three Norns. In joke telling, there is the rule of threes, and in photography, we hear of the rule of thirds. Omni Gallia en tres partes divisi est.

“Yes, three is big,” said Stuart. “Four is a little smaller in the mix, but still, there are the four seasons and the four directions, the four Classic humors and elements, the Four Noble Truths of Buddhism…”

“The Four Horsemen of the Apocalypse. Let’s not forget my favorite. But I notice five and six don’t make your list.”

“Again, there are some references, but they thin out with five and six, and thus fly under my significance bar. Five has the pentagram, but most other associations are a bit more arcane, and therefore don’t have the currency of the big-number power. Six has what? Six sides to a die. Or if you want to go really esoteric, the Zoroastrian god Ahura Mazda has Six Immortal Holy Ones to attend him. I had to look that one up.

“Ah, but seven. Seven is king. It is the big kahuna of numbers. If I make a graph of number significance, seven is off the charts. The home run of numbers. Seven days in a week; seven seas; seven continents; seven hills of Rome; Seven Wonders of the Ancient World.”

“Seven Deadly Sins, again, let’s not forget my favorites.”

“And the Seven Cardinal Virtues,” said Stuart. “Seven planets in the Ptolemaic universe, seven notes in the diatonic scale. The seven liberal arts. Break a mirror and get seven years of bad luck.”

“And the number is so persuasive, someone decided there were seven colors in the rainbow. What is ‘indigo,’ after all, but just another blue. They added it so they could have seven colors.”

“God created the world in seven days. Six plus a day of rest. The Bible is full of sevens. Seven years of fat and seven of lean in the Pharaoh’s dream. Seven days of Passover. Seven year Jubilee cycle. Jericho was conquered on the seventh day after seven priests with seven trumpets marched around the city seven times. King David had seven elder brothers. After Elisha raised the child from the dead, the kid sneezed seven times. There are seven pillars in the House of Wisdom. 

“In the New Testament, seven demons are cast out of Mary Magdalene, seven loaves to feed the multitude in Mark and Matthew, the seven last words of Christ on the Cross. And Revelations is filthy with sevens. Seven golden lampstands, seven stars, seven torches of fire, seven seals, seven angels and their trumpets, seven last plagues, seven golden bowls, seven thunders, horns and eyes, diadems and kings.”

Genevieve had been mostly silent through all this, letting the boys blow their steam, but she joined in. “I was raised Catholic,” she said. “And I was brought up with seven sacraments, the Seven Joys of the Virgin and the Seven Sorrows of the Virgin, the Seven Gifts of the Holy Spirit. There were Seven Corporal and Seven Spiritual Acts of Mercy.”

“Sevens out the wazoo,” Stuart said. “And it isn’t just Christianity. There are seven chakras in Hinduism. And seven great saints, seven worlds in the universe and seven gurus. Agni, the fire god, has seven wives, seven mothers and seven sisters and can produce seven flames. The sun god has seven horses to pull his chariot. In the Rig Veda, there are seven parts of the world, seven seasons and seven heavenly fortresses. I could go on.”

And he does. 

“In Islam, there are seven heavens and seven hells. You make seven trips around the Kaaba. A baby is named on the seventh day of life. The seven sins of polytheism. 

“In the Baha’i faith the text is The Seven Valleys the soul traverses. It is the number of islands in Atlantis, the Seven Cities of Gold that the conquistadors searched for.”

“Gandhi had his list of the Seven Blunders of the World that cause violence,” said Genevieve. “Wealth without work, pleasure without conscience, knowledge without character, commerce without morality, science without humanity, religion without sacrifice, and — “

“I know this one,” said Stuart. “It’s in the news daily: politics without principle.” (And “men without shutting up,” thought Genevieve, but who was too polite to say it out loud.)

 

 “In China, there are the Seven Sages of the Bamboo Grove,” Stuart went on. “There are the seven lucky gods in Japanese mythology, and the seven-branched sword. The Buddha supposedly took seven steps at his birth. And believe, me, we’ve only scratched the surface of seven.”

“There are seven holes in the human head,” said Genevieve.

“And my favorite,” I said. I have a lot of favorites. “The seven directions. Some American Indian mythologies recognize seven: the four normal ones, plus up and down, and most importantly, the seventh direction — in. The inner world is one of the directions.”

“Let’s not forget The Seven Samurai and Bergman’s Seventh Seal,” I said. “Or Se7en.”

“Or Lina Wertmuller’s Seven Beauties, or Seven Brides for Seven Brothers. Or the 7 Faces of Dr. Lao.”

“Or The Magnificent Seven,” I said. “Or Seven Years in Tibet or Six Days and Seven Nights. Or The Seven Year Itch.”

It was becoming a contest. 

Return of the Secaucus Seven,” Stuart added. “And Snow White and the Seven Dwarfs. Seven Days in May. House of Seven Gables…”

The Seven Little Foys. The Seven Percent Solution. Seven Up! from Michael Apted’s Up series…”

“Stop it. Stop it now,” Genevieve said. “Boys,” she spit out, as a short summing up of an entire gender. 

“Eight pretty well disappears,” said Stuart, “but nine makes up for it. A stitch in time saves nine. Cloud nine is the ultimate in happiness. A cat has nine lives. Possession is nine points of the law. There are nine muses. The Norse god Odin hanged himself on the World Ash Tree for nine days to gain wisdom. In Christianity, there are nine fruits of the Holy Spirit. The Aztec and Mayan underworlds both had nine levels. Nine justices on the Supreme Court. Nine circles in Dante’s Hell. In J.R.R. Tolkien’s Middle-earth, there are nine rings of power given to nine ring-wraiths. Buddha had nine virtues.”

“There used to be nine planets,” I said. 

“Pregnancy lasts nine months,” said Genevieve.

“Nine players on a baseball team and nine innings in a game,” said Stuart. “And classical composers often had a superstition that their ninth symphony would be their last. Yes, nine is a pretty full number, contrasted with ten — the most bureaucratic of numbers. Yes, there are the Ten Commandments, but the number 10 is the least charismatic of numbers. It is the basis of the decimalization of the world. And you both know how I feel about that. Base 10 — Pfui.”

We both knew the antipathy Stuart harbored for metrification and the inhuman procrustification of the division of things into tens. Everyone familiar with Stuart knew. The next number in his sequence is 12.

“Twelve is a dozen,” he said. “It is 12 signs of the Zodiac, 12 hours of day and 12 of night. There were 12 disciples of Jesus and 12 tribes of Israel. Hercules had 12 labors. There are 12 Olympian Gods, 12 months in a year. Twelve notes in a dodecaphonic tone series. Twelve days of Christmas. Twelve jurors in a panel. Twelve knights of the Round Table. Twelve steps for Alcoholics Anonymous. Paradise Lost is in 12 books.”

“I can think of a bunch of movies with 12 in the titles: 12 Angry Men; Ocean’s  Twelve; 12 Monkeys; The Dirty Dozen; Cheaper by the Dozen; Twelve Years a Slave.”

“And Shakespeare’s Twelfth Night,” said Genevieve.

“Thirteen has plenty of mojo,” said Stuart, “but it is negative. Bad luck. There are at least three numbers with bad magic. Thirteen is one everyone knows. And 666 is the “mark of the beast.” And poor number 17 used to have no juice at all — one of the emptiest numbers, but now has quickly dropped from null to negative with the advent of Q. Nutjobs are going bananas every time they hear a number 17. 

“Then, there is 21, the points of blackjack and the minimum age to enter a casino and play blackjack. In many places, it’s the minimum age for a lot of things. The 21st Amendment ended prohibition, and when it did, you had to be 21 to buy hooch. Which you could do at the 21 Club in New York.”

“There are 21 guns in a 21-gun salute,” I said. “And the TV game show that was rigged, Twenty-One. There have been four movies with that name. Add up the dots on a die and you get 21. It’s the number of shillings in a guinea. Or was. 

“And according to Duncan McDougall in 1907, the human soul weighs 21 grams. I didn’t know they used metric back then.”

“Next is 40,” said Stuart. “It rained for 40 days and 40 nights. Christ spent 40 days in the wilderness. There are 40 Norse Valkyries and ‘Life begins at 40.’ Muhammad was 40 years old when he received his revelation. For Russians, the ghosts of the dead remain at the site of their deaths for 40 days. We listen to ‘Top 40’ radio stations. A short nap is ’40 winks.’ The number of Ali Baba’s thieves. ’40 acres and a mule.’ And the average work week, in hours.”

“I take it that 42 is in your list as a nod to Douglas Adams.”

“Absolutely. It is also Jackie Robinson’s uniform number, the number of lines in a page of the Gutenberg Bible, and the number on the back of the spider who bit Miles Morales, turning him into Spider-Man. It is also the number of the third most famous street in Manhattan (I give primacy to Wall Street and Broadway).

“A hundred is a useful number, but doesn’t carry much mythological weight,” Stuart continued. “But a hundred and one rises in power. It is the college course number of introduction. It is a book title more popular by far than ‘100.’ There are 101 Dalmations and the 101st Airborne Division is ‘the tip of the spear.’ There was a sappy recordings of the 101 Strings. Simon Bond’s 101 Uses for a Dead Cat. The George Orwell’s truly horrifying Room 101.” 

“Doesn’t that mean that 1984 is a number in your sequence?”

“Yes, I guess so. I hadn’t thought of it. My next number is 1,001. From the Thousand and One Nights of Scheherazade.  It is one of the 1001 Books You Must Read Before You Die. Buckminster Fuller called it a Scheherazade number in his book, Synergetics, meaning it is palindromic and a factor of any other Scheherazade number. But that is math, and my galoshes get stuck in the mud of math. Don’t ask me about it.” 

The number, million, said Stuart, used to have more meaning, when it was the largest number most people thought in terms of. Being a millionaire meant something back then. 

“But it still has some cache. In popular usage, a million means a lot. ‘You’re one in a million,’ ‘a million-dollar smile,’ ‘not in a million years,’ ‘a million-dollar question.’ And ‘I’d walk a million miles for one of your smiles.’ 

“The million has largely been replaced the the billion, ‘with a B.’ To be rich nowadays requires being a billionaire. Everett Dirksen reportedly observed, ‘A billion here, a billion there, and pretty soon you’re talking real money.’ Although he denied ever saying that, it was quoted in The New York Times in 1938. Also, Carl Sagan never actually said ‘Billions and billions,’ he did use it for the title of his last book. It was actually coined as a catchphrase on the Johnny Carson show. But the concept has now become a  name for a vague but large number, the Sagan. It joins other ‘indefinite hyperbolic numerals’ such as ‘gazillion’ ‘bazillion,’ and ‘umpteen.’ Since it is ‘billions’ plural and ‘billions’ plural, logically that would require that ‘billions and billions’ be at the very least four billion whatevers.”

At this point, Genevieve brought out the Ile Flottante and after we ate it, we sat at the table for a moment and looked at all the empty bowls and dishes. And the wine glasses calling out for refills. 

“We forgot the sequel, Guns of the Magnificent Seven,” said Stuart.

purple rose 2

Most people, when they go to the movies, go to see aliens blow up the world, or they go to see the lovers win out over odds, or to see the superheroes beat out the supervillains.

end of ricoThat is not much different from why they went to see the movies 80 years ago, except then they might have gone to see the chorus girl become a star, Fred and Ginger glide over the dance floor, or the end of Rico.

In other words, the initial satisfaction of moviegoing is the story, setting up characters and then seeing what happens next. And next after that. We think of them as having happy endings, but such endings are not necessary; some movies end in tragedy.

One is reminded of director Sam Fuller, when asked “what makes a good movie?”

sam fuller“A story,” he said.

“And what makes a good story?”

“A story!”

There is, however, another level of satisfaction that comes from watching a film, and that is an awareness of how the film is made. Not everyone understands the process by which the story is told, and not everyone cares. If a story is well-told, it is enough that the story is appreciated.

But there is a separate class of film buff who are moment-by-moment aware of how the pieces of film are put together to tell that story. They are aware of the lighting, the editing, the camera angles, the camera movement, the point of view — and are aware of how all these things are used to manipulate the story and the emotions of the filmgoer. An entire critical apparatus is brought to bear on a film, and especially if it is a film made by a director known to be innovative or astute at using these elements of film. For these people, watching a film is always a dual-track affair, as if they were reading a book in translation, seeing not only the story, but how it has been constructed at the same time.stagecoach

One can look at the studio films of Hollywood’s golden age and dissect them and notice how well made they are, and one can catalog the special habits of some of the better movie directors of the time — William Wellman’s overlapping dialog, Hitchcock’s time distortion, John Ford’s landscapes — and, indeed, whole books have been written (to say nothing about doctoral dissertations, and worse: books made from doctoral dissertations) about what makes Woody Van Dyke different from Gregory La Cava, but this is film-school subculture grist. The people who paid their pennies and dimes to watch those films in the grand movie palaces of the 1930s seldom considered the problems of reverse shots in editing dialog. They just wanted to know what happens next.

citizen kane low angleNowadays, one can hardly turn over a stone and not find someone spotting the use of camera angle in Citizen Kane or yanking our lapels to point out the amazing tracking shot that begins A Touch of Evil.

There is a subset of this sensibility that brings to bear the whole history of cinema — especially genre film — when viewing a film. I call this the Tarantino effect; it is that if we want to truly appreciate what is going on in, say, Kill Bill, one needs to know who Sonny Chiba is, what are the differences between Hong Kong martial arts films and those made in mainland China, and what is more, individual scenes from individual movies that are quoted or referenced in Tarantino’s opus.sonny chiba

This is the foundation of the current bumper crop of superhero movies, too. Fans know the backstory of each character, and the full weight of the “Marvel universe,” or the “DC universe.” The fact that all comic-book superhero movies are basically the same hardly matters if fans argue minutia of the worlds inhabited by these cliches.

The problem with all this is that it becomes a form of in-joke, or worse, a shibboleth separating those who “get it,” from those who don’t. And in this eddy of thought, the references become the subject of the film and the plot becomes incidental. One of the results is that it fosters cliche, with a wink and a nod, and negates original ideas, or at least glibly assumes that original thought is no longer possible. In this it buys into the Postmodern mentality, wherein it is held everything worth saying has been said, and now our job is just to rearrange the game pieces in clever ways. This conveniently forgets the fact that it has always been hard to be original, even for Raphael or Goya.

So, in our film culture now we have two strata of movie appreciation. There are still those who go the movie theater to enjoy a good story, but there is another class that blogs endlessly about the subtext, meta-theory and the film-school techniques of their favorite movies.

However there is a third level to be considered when assessing a film.  If most films don’t aspire to more than story and technique, in the greatest films both story and technique are just tools for for a further end: Expressing something real about life. These are films made by people who have something important to say, something to tell us. They are films that investigate our humanity.

Stories alone can be entertaining, and the meta-view can be engrossing to those whose minds are attuned to “what’s really happening underneath,” but when I make a list of the best movies ever made, it is neither of these levels I care about. Or rather, I assume them as given. No, what I look for is whether the movies have something to say about human existence, that I can weigh against my experience and decide if it is true or not, whether it has something to say about the experience of being alive.

battle of algiers

That is why my Top 10 list does not feature The Dark Knight or Star Trek II: The Wrath of Khan. Such films may be diverting, but they don’t say much about the real world. Instead, my list contains films such as Rules of the Game, The Battle of Algiers, and La Dolce Vita. I learn more about love and sex from My Night at Maud’s than from all the Wedding Crashers and Knocked Ups combined. It is this third dimension that is missing from most popular movies. Content to be clever or scary or thrilling, they forget to be human.

Such films put me in touch with the deepest well of my being, remind me that such depth is shared by all of humanity, and that all our lives are complex and what is most important to us is not our jobs or our automobiles, but the emotional connection we have with the earth. One leaves such films profoundly moved and deeply shaken.

uma pulp fiction

Pulp Fiction, to take one example, is certainly a cleverly told story, beautifully written and just scrambled enough to keep us attentive. Yet, unlike Tarantino’s more recent films, it has a third dimension. In Pulp Fiction, death has human meaning and aftermath. There are consequences. When Mia overdoses and Vincent rushes her to Lance’s house for an antidote, her immanent death is something felt by the audience and when Marvin is blown away in the back seat of the car, there is blood everywhere. Yes, it’s a joke, but it’s also very real. In Pulp Fiction, each of the characters is a believable human being. Compare those episodes with the fight scene in Kill Bill where a comic-book Uma Thurman slices and dices her way through “The Crazy 88.” Nowhere is anyone mourning the death of a father or brother. They are tin ducks in a shooting gallery.

Most truly great films have these three dimensions. I don’t want to denigrate a good story, and surely a badly made film won’t move us, no matter how profound the content. But of these three levels, the only one that can elevate a film to classic status is its humanity. Stories and film technique create patterns we recognize and respond to, but what we really need from patterns is more than mere recognition; what we need is meaning.

Of course, it isn’t only in film we need meaning, but in all of art. And so, we search paintings or poetry not just for pretty pictures or clever rhymes, but for what answers that need in us to understand, to find or create meaning.

cassattNone of this is to deny you the pleasure you may get from Captain America or from paintings of pretty flowers. There’s room for that, too. Such things are fine on days when your ambition is cooling out, but the real satisfactions of art come when you are challenged by something more substantive, where you find your life reflected back at you, and you are forced to confront moral dilemmas, the inevitability of death and loss, the complexities of ideas, and the ultimate interconnectedness of all life on the planet. More ambition is good.

So, when we look to justify art in a world increasingly dominated by technology and STEM disciplines on one hand, and an increasing reaction into superstition and tribalism on the other (nativism, fundamentalism, bigotry and its retinue), it is important to make a case for looking inward with a piercing eye to find what is there, at the bottom of the human well.