MAN FRIDAY
UK, 1975, 115 minutes, Colour.
Peter O'Toole, Richard Roundtree, Peter Cellier, Christopher Cabot, Joel Fluellen.
Directed by Jack Gold.
What would Daniel Defoe have said to find 20th century pessimists about Western civilisation (and optimists about Third World cultural succession) taking his story about noble survival and telling it from Friday's (Richard Roundtree) puzzled and sometimes amused viewpoint? And what if he saw Peter O'Toole (mixing La Mancha and The Ruling Class) maintaining the eccentricities of English tradition on his remote island? At time, a very funny film in its satire and British self flagellation: at times, too hopeful in Friday's brand of authentic being oneself; but the film is worth seeing by those who appreciate a questioning and critical look at British self importance.
1. Audience interest in the Robinson Crusoe story? Its fable value? Initial response to the reversal of point of view? The 18th century as seen by a 20th century black man? The critique of the 18th century? Critique of 19th and early 20th century English optimism? The blending of the character of Crusoe and of Friday with this reversal of expectations?
2. Audience presuppositions about heroes? The screenplay's presentation of Friday as hero in contrast with Robinson Crusoe? Expectations of British outlook on hero and British heroics, empire, superiority? The contrast in presenting Friday as hero? Is he a modern black hero? Or, as some have suggested, a simple reversal of a black hero with white presuppositions? How does this alter response to the film?
3. The irony of seeing Friday first and concentrating on him? How does this jolt expectations? The flashback and the narrative from Friday's point of view rather than Robinson Crusoe's? Is the audience easily able to share Friday's point of view? his story to his fellow islanders, his plea for their acceptance of Crusoe, his comments on what has happened, his puzzle over Robinson Crusoe's ideas, behaviour, Christianity, standards?
4. How important was the colour photography, Panavision, the atmosphere of the island, Robinson Crusoe's home, way of work, clothing, games, rafts and wings? A realistic picture of the 18th century? Symbolic?
5. Was the structure of the film evidently based on a play or not? Friday's flashbacks, Friday's viewpoint? The general confining of the action to two characters? The strength of the dialogue and its ironies? Farcical and comic sequences? Stances taken? The role of the intruding natives, of the intruding slave ship crew?
6. Peter O'Toole's performance as Robinson Crusoe? O'Toole's style, madness, masochism, the Englishman? His tall and lean appearance? His being dressed as a hermit? A satirical presentation of Crusoe? A critique of the pretensions of the 18th century? His being visualized doing 18th century things but his more modern language and approach? His initial response in shooting all the animals, in preserving Friday's life, in naming him? His attitude towards Friday and colonial outlook? Teaching him English and the humour consequent on this, Christianity and its not being understood, the symbolism of teaching him games? Crusoe's determination to win at running, swimming? His effort and Friday's enjoyment? The mock of the big games prize giving? The ironies about Christianity? The teaching, the application and the hypocrisy? The importance of building the raft and the need to escape, the comedy in trying to fly? Treating Friday as a slave, the wages, shutting him up in a cave, chaining him? The irony of Friday buying him out and the reversal of roles? (symbol of the downfall of 20th century colonialism?). The possibility of a bond between them with the intrusion of the slaver and the captain? The discovery and their combined effort of saving Friday?
7. Richard Roundtree, the modern American black star, as Friday? A convincing Friday character? The background of the island, cannibal, savagery? His puzzle as to his survival? His puzzle as regards Crusoe's work ethic, win ethic, Christian predestination? His joy in winning? Participation in lessons, puzzle about Christianity, British styles and manners? The poking fun at English manners by Friday's trying to ape them? The house? The cave and his reaction, the money, his outsmarting Crusoe and reversing roles?
8. The dramatic importance of the arrival of the slaver? The intrusion of the captain? The callous attitudes towards slavery and the critique of these? The bond between the two, the deaths of the intruders yet no lasting success between the two? (the irony that a common enemy does not create lasting bonds?)
9. The detailed preparation of wings, the comic attempts at flying, the building of the raft and setting sail?
10. Crusoe's desire to leave the island, Friday's, Crusoe's wanting to join? His wanting to become part of the tribe? The reasons for their refusal?
11. The film had two endings in production: Crusoe killing himself, the ending with Crusoe going back alone and reading Genesis and some kind of ironic communication of being alone with God? Which the more appropriate ending?
12. How much did the film rely on the detail of satire on the island, the ironies of the dialogue?
13. An allegory of the 18th century, the noble savage idea, British success and colonialism? An allegorical tracing of the British going down with their own inner pride, the education of the natives and their eagerness and smartness in overthrowing their masters? How accurate a portrayal of what happened over the last 200 years?
14. The fable value of the Crusoe story, its being used as a symbol for myths about culture, race, human nature?
