“Ah, he should have business-managed us through China and Mongolia,” said Andreyev, to me, as if speaking of an absent Kennerly. “After that, Mexico could never disturb him.”
“The altitude!” said Kennerly. “My heart skips every other beat. I can’t sleep a wink!”
“There was no altitude at all in Tehuantepec,” said Andreyev, with stubborn gayety, “and you should have been there to see him.”
Kennerly spewed up his afflictions like a child being sick.
“It’s these Mexicans,” he said as if it were an outrage to find them in Mexico. “They would drive any man crazy in no time. In Tehuantepec it was frightful.” It would take him a week to tell the whole story; and, besides, he was keeping notes and was going to write a book about it some day; but “Just for example, they don’t know the meaning of time and they have absolutely no regard for their word.” They had to bribe every step of the way. Graft, bribe, graft, bribe it was from morning to night, anything from fifty pesos to the Wise Boys in the municipal councils to a bag of candy for a provincial mayor before they were even allowed to set up their cameras. The mosquitoes ate him alive. And with the bugs and cockroaches and the food and the heat and the water, everybody got sick: Stepanov, the camera-man, was sick; Andreyev was sick. . .
“Not seriously,” said Andreyev.
The immortal Uspensky even got sick; and as for himself, Kennerly, he thought more than once he’d never live through it. Amoebic dysentery. You couldn’t tell him. Why, it was a miracle they hadn’t all died or had their throats cut. Why, it was worse than Africa. . . .
“Were you in Africa, too?” asked Andreyev. “Why do you always choose these inconvenient countries?”
Well, no, he had not been there, but he had friends who made a film among the pygmies and you wouldn’t believe what they had gone through. As for him, Kennerly, give him pygmies or headhunters or cannibals outright, every time. At least you knew where you stood with them. Now take for example: they had lost ten thousand dollars flat by obeying the laws of the country—something nobody else does!—by passing their film of the Oaxaca earthquake before the board of censorship in Mexico City. Meanwhile, some unscrupulous native scoundrels who knew the ropes had beaten them to it and sent a complete newsreel to New York. It doesn’t pay to have a conscience, but if you’ve got one what can you do about it? Just throw away your time and your money, that’s all. He had written and protested to the censors, charging them with letting the Mexican film company get away with murder, accusing them of favoritism and deliberate malice in holding up the Russian film—everything, in a five-page typewritten letter. They hadn’t even answered it. Now what can you do with people like that? Graft, bribe, bribe, graft, that’s the way it went. Well, he had been learning, too. “Whatever they ask for, I give ’em half the amount, straight across the board,” he said. “I tell ’em, ‘Look here, I’ll give you just half that amount, and anything more than that is bribery and corruption, d’you understand?’ Do they take it? Like a shot. Ha!”
His overwhelming unmodulated voice brayed on agonizingly, his staring eyes accused everything they looked upon. Crickle crackle went the dried twigs of his nerve ends at every slightest jog of memory, every present touch, every cold wing from the future. He talked on. . . . He was afraid of his brother-in-law, a violent prohibitionist who would be furious if he ever heard that Kennerly had gone back to drinking beer openly the minute he got out of California. In a way, his job was at stake, for his brother-in-law had raised most of the money among his friends for this expedition and might just fire him out, though how the fellow expected to get along without him Kennerly could not imagine. He was the best friend his brother-in-law had in the world. If the man could only realize it. Moreover, the friends would be soon, if they were not already, shouting to have some money back on their investment. Nobody but himself ever gave a thought to that side of the business!. . . He glared outright at Andreyev at this point.
Andreyev said: “I did not ask them to invest!”
Beer was the only thing Kennerly could trust—it was food and medicine and a thirst-quencher all in one, and everything else around him, fruit, meat, air, water, bread, were poisoned. . . . The picture was to have been finished in three months and now they’d been there eight months and God knew how much longer they’d have to go. He was afraid the picture would be a failure, now it hadn’t been finished on time.
“What time?” asked Andreyev, as if he had made this answer many times before. “When it is finished it is finished.”
“Yes, but it isn’t merely enough to finish a job just when you please. The public must be prepared for it on the dot.” He went on to explain that making good involves all sorts of mysterious interlocking schedules: it must be done by a certain date, it must be art, of course, that’s taken for granted, and it must he a hit. Half the chance of making a hit depends upon having your stuff ready to go at the psychological moment. There are thousands of things to be thought of, and if they miss one point, bang goes everything!. . . He sighted along an imaginary rifle, pulled the trigger, and fell back exhausted. His whole life of effort and despair flickered like a film across his relaxed face, a life of putting things over in spite of hell, of keeping up a good front, of lying awake nights fuming with schemes and frothing with beer, rising of mornings gray-faced, stupefied, pushing himself under cold showers and filling himself up on hot coffee and slamming himself into a fight in which there are no rules and no referee and the antagonist is everywhere. “God,” he said to me, “you don’t know. But I’m going to write a book about it. . . .”
As he sat there, talking about his book, eating American chocolate bars and drinking his third bottle of beer, sleep took him suddenly, upright as he was, in the midst of a sentence. Assertion failed, sleep took him mercifully by the nape and quelled him. His body cradled itself in the tweed, the collar rose above his neck, his closed eyes and limp mouth looked ready to cry.
Andreyev went on showing me pictures from that part of the film they were making at the pulque hacienda. . . . They had chosen it carefully, he said; it was really an old-fashioned feudal estate with the right kind of architecture, no modern improvements to speak of, and with the purest type of peons. Naturally a pulque hacienda would be just such a place. Pulque-making had not changed from the beginning, since the time the first Indian set up a rawhide vat to ferment the liquor and pierced and hollowed the first gourd to draw with his mouth the juice from the heart of the maguey. Nothing had happened since, nothing could happen. Apparently there was no better way to make pulque. The whole thing, he said, was almost too good to be true. An old Spanish gentleman had revisited the hacienda after an absence of fifty years, and had gone about looking at everything with delight. “Nothing has changed,” he said, “nothing at all!”
The camera had seen this unchanged world as a landscape with figures, but figures under a doom imposed by the landscape. The closed dark faces were full of instinctive suffering, without individual memory, or only the kind of memory animals may have, who when they feel the whip know they suffer but do not know why and cannot imagine a remedy. . . . Death in these pictures was a procession with lighted candles, love a matter of vague gravity, of clasped hands and two sculptured figures inclining towards each other. Even the figure of the Indian in his ragged loose white clothing, weathered and molded to his flat-hipped, narrow-waisted body, leaning between the horns of the maguey, his mouth to the gourd, his burro with the casks on either side waiting with hanging head for his load, had this formal traditional tragedy, beautiful and hollow. There were rows of girls, like dark statues walking, their mantles streaming from their smooth brows, water jars on their shoulders; women kneeling at washing stones, their blouses slipping from their shoulders—“so picturesque, all this,” said Andreyev, “we shall be accused of dressing them up.” The camera had caught and fixed in moments of violence and senseless excitement, of cruel living and tortured death, the almost ecstatic death-expectancy which is in the
air of Mexico. The Mexican may know when the danger is real, or may not care whether the thrill is false or true, but strangers feel the acid of death in their bones whether or not any real danger is near them. It was this terror that Kennerly had translated into fear of food, water, and air around him. In the Indian the love of death had become a habit of the spirit. It had smoothed out and polished the faces to a repose so absolute it seemed studied, though studied for so long it was now held without effort; and in them all was a common memory of defeat. The pride of their bodily posture was the mere outward shade of passive, profound resistance; the lifted, arrogant features were a mockery of the servants who lived within.
We looked at many scenes from the life of the master’s house, with the characters dressed in the fashion of 1898. They were quite perfect. One girl was especially clever. She was the typical Mexican mixed-blood beauty, her mask-like face powdered white, with a round hard full mouth, and hard slanting dark eyes. Her black waved hair was combed back from a low forehead, and she wore her balloon sleeves and small stiff sailor hat with marvelous elegance.
“But this must be an actress,” I said.
“Oh, yes,” said Andreyev, “the only one. For that rôle we needed an actress. That is Lolita. We found her at the Jewel Theater.”
The story of Lolita and doña Julia was very gay. It had begun by being a very usual story about Lolita and don Genaro, the master of the pulque hacienda. Doña Julia, his wife, was furious with him for bringing a fancy woman into the house. She herself was modern, she said, very modern, she had no old-fashioned ideas at all, but she still considered that she was being insulted. On the contrary, don Genaro was very old-fashioned in his taste for ladies of the theater. He had thought he was being discreet, besides, and was truly apologetic when he was found out. But little doña Julia was fearfully jealous. She screamed and wept and made scenes at night, first. Then she began making don Genaro jealous with other men. So that the men grew very frightened of doña Julia and almost ran when they saw her. Imagine all the things that might happen! There was the picture to think of, after all. . . . And then doña Julia threatened to kill Lolita—to cut her throat, to stab her, to poison her. . . . Don Genaro simply ran away at this, and left everything in the air. He went up to the capital and stayed two days.
When he came back, the first sight that greeted his eyes was his wife and his mistress strolling, arms about each other’s waists, on the upper terrace, while a whole scene was being delayed because Lolita would not leave doña Julia and get to work.
Don Genaro, who prided himself on his speed, was thunderstruck by the suddenness of this change. He had borne with his wife’s scenes because he really respected her rights and privileges as a wife. A wife’s first right is to be jealous and threaten to kill her husband’s mistress. Lolita also had her definite prerogatives. Everything, until he left, had gone with automatic precision exactly as it should have. This was thoroughly outrageous. He could not get them separated, either. They continued to walk and talk on the terrace under the trees all morning, affectionately entwined, heads together, one a cinema Chinese—doña Julia loved Chinese dress made by a Hollywood costumer—the other in the stiff elegance of 1898. They remained oblivious to the summons from the embattled males: Uspensky calling for Lolita to get into the scene at once, don Genaro sending messages by an Indian boy that the master had returned and wished to see doña Julia on a matter of the utmost importance. . . .
The women still strolled, or sat on the edge of the fountain, whispering together, arms lying at ease about each other’s waists, for all the world to see. When Lolita finally came down the steps and took her place in the scene, doña Julia sat nearby, making up her face by her round mirror in the blinding sunlight, getting in the way, smiling at Lolita whenever their eyes met. When they asked her to sit somewhere else, a little out of camera range, she pouted, moved three feet away, and said, “I want to be in this scene too, with Lolita.”
Lolita’s deep throaty voice cooed at doña Julia. She tossed strange glances at her from under her heavy eyelids, and when she mounted her horse, she forgot her rôle, and swung her leg over the saddle in a gesture unknown to ladies of 1898. . . . Doña Julia greeted her husband with soft affection, and don Genaro, who had no precedent whatever for a husband’s conduct in such a situation, made a terrible scene, and pretended he was jealous of Betancourt, one of the Mexican advisers to Uspensky.
We turned over the pictures again, looked at some of them twice. In the fields, among the maguey, the Indian in his hopeless rags; in the hacienda house, theatrically luxurious persons, posed usually with a large chromo portrait of Porfirio Díaz looming from a gaudy frame on the walls. “That is to show,” said Andreyev, “that all this really happened in the time of Díaz, and that all this,” he tapped the pictures of the Indians, “has been swept away by the revolution. It was the first requirement of our agreement here.” This without cracking a smile or meeting my eye. “We have, in spite of everything, arrived at the third part of our picture.”
I wondered how they had managed it. They had arrived from California under a cloud as politically subversive characters. Wild rumor ran before them. It was said they had been invited by the government to make a picture. It was said they had not been so invited, but were being sponsored by Communists and various other shady organizations. The Mexican government was paying them heavily; Moscow was paying Mexico for the privilege of making the film: Uspensky was the most dangerous agent Moscow had ever sent on a mission; Moscow was on the point of repudiating him altogether, it was doubtful he would be allowed to return to Russia. He was not really a Communist at all, but a German spy. American Communists were paying for the film; the Mexican anti-government party was at heart in sympathy with Russia and had paid secretly an enormous sum to the Russians for a picture that would disgrace the present régime. The government officials themselves did not seem to know what was going on. They took all sides at once. A delegation of officials met the Russians at the boat and escorted them to jail. The jail was hot and uncomfortable. Uspensky, Andreyev, and Stepanov worried about their equipment, which was being turned over very thoroughly at the customs: and Kennerly worried about his reputation. Accustomed as he was to the clean, four-square business methods of God’s own Hollywood, he trembled to think what he might be getting into. He had, so far as he had been able to see, helped to make all the arrangments before they left California. But he was no longer certain of anything. It was he who started the rumor that Uspensky was not a Party Member, and that one of the three was not even a Russian. He hoped this made the whole business sound more respectable. After a night of confusion another set of officials, more important than the first, arrived, all smiles, explanations and apologies, and set them free. Someone then started a rumor that the whole episode was invented for the sake of publicity.
The government officials still took no chance. They wanted to improve this opportunity to film a glorious history of Mexico, her wrongs and sufferings and her final triumph through the latest revolution; and the Russians found themselves surrounded and insulated from their material by the entire staff of professional propagandists, which had been put at their disposal for the duration of their visit. Dozens of helpful observers, art experts, photographers, literary talents, and travel guides swarmed about them to lead them aright, and to show them all the most beautiful, significant, and characteristic things in the national life and soul: if by chance anything not beautiful got in the way of the camera, there was a very instructed and sharp-eyed committee of censors whose duty it was to see that the scandal went no further than the cutting room.
“It has been astonishing,” said Andreyev, “to see how devoted all of them are to art.”
Kennerly stirred and muttered; he opened his eyes, closed them again. His head rolled uneasily.
“Wait. He is going to wake up,” I whispered.
We sat still watching him.
“Maybe not yet,” said Andreyev. “Everything,” he added,
“is pretty mixed up, and it’s going to be worse.”
We sat a few moments in silence, Andreyev still watching Kennerly impersonally.
“He would be something nice in a zoo,” he said, with no particular malice, “but it is terrible to carry him around this way, all the time, without a cage.” After a pause, he went on telling about Russia.
At the last station before we reached the hacienda, the Indian boy who was playing the leading rôle in the film came in looking for us. He entered as if on the stage, followed by several of his hero-worshipers, underfed, shabby youths, living happily in reflected glory. To be an actor in the cinema was enough for him to capture them utterly; but he was already famous in his village, being a pugilist and a good one. Bullfighting is a little out of fashion; pugilism is the newest and smartest thing, and a really ambitious young man of the sporting set will, if God sends him the strength, take to boxing rather than to bulls. Fame added to fame had given this boy a brilliant air of self-confidence and he approached us, brows drawn together, with the easy self-possession of a man of the world accustomed to boarding trains and meeting his friends.
Flowering Judas and Other Stories: A Library of America eBook Classic Page 17