Aaron Isaacson
English 102
Mrs. Cline
12 April 2012
Reitman
Breathes Life into Bingham
The film, Up in the Air, is an adaptation of
Walter Kirn’s novel, Up in the Air.
The novel was written in 2001, and eight years later the film was produced.
Kirn comments about the film in an interview: “… the finished product,
though it bears the distinct genetic imprint of the novel, is quite different
in some details” (Siegel). During the time elapsed, between the novel and the
film, business practices have evolved substantially. Vast changes in American
economics and technology have remolded businessmen and changed cultural
perception of how business is conducted. The rat race continues to grow and
progress exponentially. Ryan Bingham, the main character in the novel and film,
is a classic stereotypical businessman. He is disconnected and self-absorbed. The
contextual changes inspired the film producer, Jason Reitman, to create a
compassionate and charismatic character in Bingham. The differences portrayed
in the film reflect a humanization of Ryan Bingham. Reitman’s humanization
allows the film to lend itself to a more
sympathetic, family-based audience in difficult financial times.
One of the major changes that
occurred in the United States from 2001 to 2009 was a massive economic downturn.
Many refer to this catastrophe as the Great Recession, reminiscent of the Great
Depression. The United States Department of Labor – Bureau of Labor Statistics
provides a graph that reveals devastating effects on unemployment. At the end
of 2001 the national unemployment rate was 5.7%, and in 2009 it soared, peaking
at 10% (Graph: Unemployment Rate). As a result, Bingham’s profession, career
transition counseling (CTC), has dramatically changed. A
great sense of historical irony is apparent when a corporation designed for
corporate downsizing is ultimately forced to downsize itself.
In the novel Bingham’s thoughts
concerning CTC are: “It’s divided against itself and numb and circular and
feels, to someone who does it for a living, like some ingenious suspended
animation scheme designed to inject you with embalming fluid while still
allowing you to breathe and speak” (Kirn 209). He further states that his
clients are not worthy of being committed to memory (Kirn 205). Basically, the
novel’s Bingham is clearly disconnected and resorts to a disgracefully robotic
approach. In contrast, Reitman portrays no such negative
characterization of CTC in the film where Bingham demonstrates concern
and sensitivity towards those he must terminate (Reitman). As he carries out
his odious task of discharging employees, he makes a notable effort to provide
inspiration, motivation and a boost of confidence. Reitman also includes clips
of interviews where the victims of corporate downsizing discuss their
fate. The clips portray the level of
devastation accompanying corporate downsizing on a deep and personal level not
shown in the novel (Reitman). The novel also discusses Bingham’s intentions to move
on to a new company, declared in a letter of resignation he has left on his
supervisor’s desk (Kirn 4). Reitman’s Bingham is determined to continue his
more humanized way of life, and to do so he must tenaciously combat the many
technological obstacles blocking his path.
Reitman
depicts Bingham’s disapproval of the pervasive infiltration of
impersonality into the business realm to further humanize his character. Deborah S. Hildebrand, a writer for
Suite101.com, analyzes the effects of a decline in face-to-face communication
in the workplace. She concludes, “…relying solely on
technology to share information, communicate ideas and grow relationships seems
to have become a common workplace phenomenon” (Hildebrand np.). The use of technology fosters impersonal
relationships that lack sincere bonding and genuine partnership. Three major
forms of technology, which had yet to be developed or incorporated into the
business world in 2001, are shown in the film. These include text-messaging,
Skype and Bluetooth. While these technologies enhance one’s ability to have
contact with others, the quality of this contact is often questionable. The
increasing demands of the ubiquitous availability of technology for
communication may paradoxically result in impoverished communication and frenetic,
unsatisfying lifestyles.
Reitman’s film
introduces a new character, Natalie, who challenges “business-as-usual” and
represents the driving force behind the aforementioned technologies. Natalie
suggests the use of Skype as an appropriate replacement for traveling CTC
employees. In this pursuit, she creates an algorithm for Skype that, in effect,
allows any dullard (completely lacking in counseling skills) to terminate
employees through an automated process (Reitman). Natalie is also seen using
Bluetooth in the film. The use of Bluetooth, in business, is impersonal because
it allows the individual to multitask instead of devoting his full attention to
the person on the phone. In the end, Natalie decides CTC is not her “cup of
tea.” Not surprisingly, she resigns via
text-message (Reitman). Personal communication
is vital to the business of CTC. Many experts are growing increasingly
concerned with the lack of personal commitment
and real-life interaction in business (Hildebrand np.). While the use of
technology in some circumstances may be suitable, becoming over-dependent on it
will certainly dehumanize any business (Hildebrand np.). One-on-one contact is
essential to inspiring those losing their careers in times of economic crisis.
Reitman’s Bingham refrains from using Skype, text-messaging and Bluetooth in a
business context throughout the film. He strives to preserve the small
amount of humanity he brings to his role of severing a stranger’s livelihood.
Family values
have also been affected considerably by the Great Recession. The film
emphasizes love and family intimacy more than the novel because hard economic
times require more interdependence. Judith Warner, a writer
for the New York Times, analyzes the effect of the Great Recession on
middle-class families In trying financial times, “togetherness” is a fresh
source of happiness; it sparks solidarity and a new spirit of cooperation
(Warner np.). Instead of going out and frivolously spending money, families opt
to stay at home, finding strength and sustenance in one another while embracing
simple pleasures such as board games (Warner np.).
In the novel,
Bingham distances himself from his family to a great extent. His sister, Julie’s, wedding is a prime example. Bingham is
determined to be drunk from beginning to end (Kirn 30). He describes the day of
the wedding, “when Julie, my kid sister, will try again to camouflage her multiple
addictions and general pathological dependency long enough to formalize a bond
with a man who has no idea what he’s up against” (Kirn 32). He displays an
utter lack of respect and compassion for his own kin. In the film, Bingham’s
actions indicate quite the opposite. Just before the wedding, Julie’s fiancé gets
cold feet. Bingham seizes the opportunity with a successful one-on-one
motivational speech. He says, “Life’s better with company, everybody needs a
copilot” (Reitman). Reitman’s Bingham is disheartened when he learns that Julie
cannot afford a honeymoon. When he reaches his goal of ten million
frequent-flier miles, he generously gifts the newlyweds with two tickets for
around-the-world travel (Reitman). Reitman creates a more sympathetic Bingham
by depicting him as a loving, devoted family member.
Families cannot afford to break up their
households in such trying times (Warner np.). Consequently, the divorce rate is
declining (Warner np.). Kirn’s Bingham places little to no value in
long-lasting, romantic relationships. Instead, he alludes to casual and often promiscuous rendezvous with a
multitude of women throughout the country: “I
suppose that it’s time to explain about women. There are lots of them. I credit
my looks” (Kirn 33). In the film, he spends the majority of his free time with
Alex, his newest fling (Reitman). Ultimately, what begins as a shallow
relationship, results in Bingham letting his guard down and falling in love.
Reitman, once again, humanizes Bingham by showing he is capable of genuine
love.
Americans’ motivation to attend movies has been
significantly affected by changes in the economy. Misty Faucheux, a writer for
Brighthub.com, describes how Americans viewing films are longing for a brief
escape from stressful economic circumstances (Faucheux np.) They desire a story reflecting
common ground. A. O. Scott, a writer for the New York Times, observes a change
in Hollywood character archetypes (np). He describes a paradigm shift where films that, prior to the
Great Recession, featured affluence, now tend to include a theme where “Middle-classness is a
norm, an ideal and a default setting” (Scott np.) The characters are simpler and
are portrayed as hard-working common folk (Scott np.). Consequently, the audience
experiences more empathy and identification with them (Scott np.)
The film version of Up in the Air demonstrates this trend of
incorporating the middle-class into cinema, with the concept of materialism. Warner
concludes that families with depreciated income gravitate less towards
materialism (np.). “A craving for a simpler, slower, more centered life, one
less consumed by the soul-emptying crush of getting and spending, runs deep
within our culture right now” (Warner np). As a result, Reitman must adapt his
production. For the most part, there is less materialism
illustrated in the film when compared to the novel. Bingham’s itinerary, in the
novel, confirms his preference for premium import rental cars. In addition, he
is very particular about hotel accommodations, staying at the plush Homestead
Suites whenever possible. He describes particular rooms he favors that include
kitchenettes and conference tables (Kirn 5). In contrast, the Bingham of film displays
no penchant for upscale hotels or fashionable sedans; a quality that resonates with
middle-class viewers. In the novel, Kara, Bingham’s older sister, requests that
he order and inspect twelve pounds of
top-dollar, alder-smoked king salmon for the wedding of Julie, Bingham’s
younger sister (Kirn 36). She also requests that Bingham cash in his precious
frequent-flier miles to fly Julie’s maid of honor to the wedding (Kirn 37). In
contrast, Reitman’s Kara requests nothing of material value for the wedding.
Instead, she asks only that Bingham take photos of himself, holding a poster
board of the married couple, in various settings throughout his travels
(Reitman). It is a much more humble request; one to which the struggling
middle-class may better relate.
Reitman
brilliantly infuses new life into the Ryan Bingham of the novel, thus transforming
him into a more personable and likeable character. Of course, the smooth,
charismatic performance of George Clooney assists remarkably in this
revitalization. Reitman achieves humanization by creating a character that discards
impersonal technology and shows legitimate concern for those he must dispatch.
Although he lives life in the air, Reitman’s Bingham maintains a dedicated
family relationship and earnestly safeguards their well-being. By skillfully removing materialist values, in
order to achieve a middle-class milieu, Reitman attains his goal of drawing in
the audience. Hence, he is able to appeal to a new generation of recession-afflicted
families who might otherwise seek a lighter form of entertainment.
Work Cited
Faucheux, Misty. "Is Hollywood in Crisis
Mode?." Bright Hub.
http://www.brighthub.com, 02 September, 2011. Web. 16 Apr 2012.
"Graph: Unemployment Rate." Labor Force Statistics. United
States Department of Labor, n.d. Web. 14 Apr 2012. <http://data.bls.gov>.
Hildebrand, Deborah S. "Decline in
Face-to-Face Communication at Work - The Impersonal Side of Technology and its
Impact on the Workplace."Career Advice. Suite 101, January 6, 2010.
Web. 16 Apr 2012.
Kirn, Walter. Up
in the Air. New York: Anchor Novels, 2001. Print.
Reitman, Jason, dir. Up in the Air. Perf. George
Clooney, and Vera Farmiga. Paramount Pictures, 2009. Film.
Scott, A. O. "Hollywood’s Class
Warfare." New York Times[New
York] 22 10 2010, AR1. Web. 20 Apr. 2012. (Scott np.)
Siegel, Robert. "Author Interview." For 'Up In The Air' Writer, Novel,
Film Different. NPR.org, December 30, 2009. Web. 13 Apr 2012.
Warner, Judith. "What the Great Recession
Has Done to Family Life." New
York Times [New York] 6 8
2010, MM9. Web. 16 Apr. 2012.
