I've always been a little surprised that I like
The Quiet American. I'm not a fan of Graham Greene's other stuff, for the most part, and a story about a British journalist in Vietnam trying to keep a handle on his much-younger mistress? It sounds like something I wouldn't like.
And yet, I do. I liked it when I first read it this past summer in Surabaya. I like it now. I just saw the movie version - and part of it is no doubt that Michael Caine (aka Alfred of Nolan's Batman series) plays the British journalist, Fowler. It's quite a good movie. Caine is like, beyond excellent in it. Totally captures Fowler's cynicism mixed with an old man's idealism, his doubts and wishes to stay "uninvolved," his affection for Phuong and Vietnam and even the American Hero, Pyle (played by Brendan Fraser, of all people!), whom Fowler ultimately sends to his death, for a variety of reasons - his enthusiasm for a "third force" in Vietnam is leading him to directly enable marketplace bombings, the carnage of which he then runs through, looking for photo ops and wiping blood off his pants... and of course, Pyle has managed to get Phuong to leave Fowler for him by offering her what Fowler can't because of his Catholic wife back home: marriage. Fowler's is a character that a lesser actor - or just a denser actor - could have butchered, but Caine is this perfect mix of bitter and polite, distant and vulnerable, that it works perfectly.

There's also a lot of really good directing and cinematography involved - I of course nearly cried at the bombed marketplace scene (it's a really affecting scene in the book, too, and the only one that's all that violent overall, considering of course this is pre-American involvement), but the best scenes come shortly after that. It starts when Fowler has invited Pyle to his apartment under the pretense of asking him to go to dinner. This is really to give a signal that Pyle is going to be out alone, so that some Communists can "talk" to him - and lthough Fowler's assistant Hinh is the one who finally kills Pyle, it's a graceful touch of the storyline that Hinh does so not at all for Fowler, but because he is - on his own time, in his own self - a Communist sympathizer who sees Pyle's support of the third force a major threat, since the third force plans to blame all their destruction on Communists to undercut their credibility/rapport with the people. Fowler and Pyle get into a big fight about what proper action in Vietnam is, and what lengths one should take to "save" Vietnam.... from Communism, from itself. After Pyle says that "but in the long run it will all be worth it," (it meaning the bombs, the deaths) Fowler sends the signal.
Yet right before Pyle steps out with his jovial, "I'll see you soon, Thomas," Fowler very clearly has a moment of doubt, telling him if some complication arises, to come right back to Fowler's place. God, Caine played this moment brilliantly. Of course, Pyle is ambushed and led into a dark alley, and scenes of him running panicked from his attackers are juxtaposed with scenes of Fowler sitting in an outdoor cafe, listening to an American acquaintance, a rabid and heretofore shallow womanizer, sob about his little boy back home, who has polio. "I don't care if he's a cripple," the acquaintance cries, as Pyle runs straight into Hinh's knife, "I just want him to live!" The whole thing is just perfectly rendered. Reading the book I didn't have enough compassion for Pyle, but here I did.
Aside from The Quiet American being a really satisfying work of fiction, it's of course a fairly astute allegory for this post-WWII period in colonialism - there's Fowler, the Briton at the end of his empire, clinging on to whatever compromises he can make, unwilling to pull out of a territory he's grown emotionally attached to. And then there's Pyle, the American trying to start his own empire but vowing to do it better, do it cleaner, do it for the good of the people he'll be colonizing, "strong, clear-minded and blind," to quote Michael Gira. This book about Roosevelt -
The Juggler by Kimball - calls this period "late imperial romance," which I think is quite fitting.
Lacking in The Quiet American is of course Vietnam's say in all of this, but Phuong in my opinion isn't too shabby of a representation of Vietnam, just as Fowler and Pyle are simplified representations of their home countries. Phuong wants to move to London or America and live like "the royal family, actors and actresses," but she is wary of being left behind as so many of her friends have by their French "beaus." Meanwhile, her sister, who I can only conclude is supposed to represent Thailand, is scheming to get her married off and secured. Her actress, Do Thi Hai Yen, did a nice job with her, making Phuong seem much older and wiser and more complicated than either Fowler or Pyle are comfortable admitting*. At the end Fowler gets his desired divorce (not mentioned in the movie) and stays in Vietnam with Phuong, who doesn't get to go to London but at least isn't abandoned, and they make their way clumsily to a very compromised happy ending. And it's one that does come across as happy, in the book and in the movie. Maybe it's because they're both such sympathetic characters. Maybe it's because you do get the sense they genuinely care about each other, however messy and shitty the postcolonial dynamics of their relationship. It's a rare story that manages to be simultaneously allegorical about these huge international issues and at the same time treat its characters like individual humans with individual human wants and needs.
The other thing The Quiet American reminds us of is the fact that "the Vietnam War" was much bigger and began much earlier than the standard American definition, involved a lot more actors and was driven by many, many more motivations than an international Communist conspiracy. It's the kind of stuff you'd think would be a given after all these years of staring at our metaphoric navel when it comes to "Vietnam," but these are conclusions that most Americans have not reached yet.
And due to its political complexity, and the way that ties in with the character's personal lives (much better than say,
Farewell to Arms, or more horribly,
Madame Butterfly / Miss Saigon, a God awful, hegemony-enforcing storyline which I
hate with all the fires of Dis, but that's for another day), this is the kind of book that I would recommend high schoolers read. They can seek out a more thorough novel later. But I was amused to read in
wikipedia that "After its publication in the U.S. in 1956, the novel was widely condemned as anti-American. It was criticized by
The New Yorker for portraying Americans as murderers, largely based on one scene in which a bomb explodes in a crowd of people." And of course this was an understandable reaction, especially in 1956, when most Americans considered themselves far superior, morally, to imperial Europe. But as Outkast would say, "I know you like to think your shit don't stank, but lean a little bit closer, see, roses really smell like poo." Then we launched Pax Americana and promptly decided to save Vietnam from "a fate worse than death" (Communism) by literally ripping the skin off Vietnamese people's skin.
It's fucking frightening that Greene wrote this book in 1955. And the movie, through an ending montage of headlines (ostensibly written by Fowler) about the ensuing "Vietnam War" as Americans define it, really makes this clear.
*: I make fun of yellow fever as much as anyone else, but Pyle is way worse on that spectrum - he tells Fowler that he's in love with Phuong before he tells Phuong herself - to ask for his permission to take Phuong away to America, because of course she doesn't get a say at all - and when he does tell her he's all, "I've fallen in love with you. I don't expect you to love me right away, but it'll come in time." Oh, Pyle. As you can see, the colonialism imagery in this love triangle is wonderfully pungent.
Operation Enduring Freedom, anyone?
Also, it's apparently Blogging Against/About Colonialism Week here at my livejournal.