ETHICS AMONG THE SUBCOMBATIVES PT. 4

In previous installments I've attempted to examine various subcombative works in terms of their relation to the overall concept of heroism. In brief, my previous estimations have been as follows:

(1) JUDEX the film is not only subcombative, but its titular character also bears little relation to the model of heroism I have constructed in essays such as 2013's RETURN OF THE MASTERY MASTER PT. 3. 

(2) MOANA is subcombative but the characters show heroism despite their inability to meet their foe in equal combat.

(3) Mark Twain's PERSONAL RECOLLECTIONS OF JOAN OF ARC, though a subcombative drama focused on the purgative sacrifice of the main character, shows a fascination with her ability to inspire men to "exalting activities," which Twain describes with a passion for their invigorating qualities ("the soul is overflowing with life and energy," et al).

(4) Parenthetically, I mentioned that even though Shakespere's TROILUS AND CRESSIDA centered on struggles of physical combat, just like Twain's JOAN, there's no sense in TROILUS that warfare brings forth any invigorating qualities. I did not say so previously, but I tend to view the two main characters of TROILUS to be demiheroes for the same reason that Judex is: their acts reflect no more than the "existential will" of persistence, rather than the "idealizing will" of glory.

The film I'll now discuss, 1955's THE COURT JESTER, is closest in structure to MOANA. The VHS cover seen above, whether it's original or derived from earlier art, capsulizes the inner conflict of the title character. Hubert Hawkins desires to be a hero, and for that reason, he joins a revolutionary movement led by an older crusader, "the Black Fox," who seeks to unseat the current usurper of the English throne. The rebels' ace in the hole is that they have custody of an infant whose proper legitimacy is a birthmark: a purple pimpernel on the baby's tush. The movie's opening number shows Hubert staging a complicated dance-scenario in which he appears to be the masked, Robin Hood-like leader of the rebels.

However, the viewer is quickly disabused of this illusion when the real Black Fox shows up. It's established that Hubert is not a fighter, only a performer, and that his main duty is that of caring for the infant heir to the throne. Not only is Hubert not the equal of the Fox, even the rebels' sole female member, Maid Jean, is given more trust than Hubert as a respected soldier in the cause.

Hubert's one compensation is that this female crusader (played by Glynis Johns) is not the inamorata of the Fox, the way that Maid Marian was to Robin Hood, and it turns out that she rather likes Hubert in spite of his lack of demonstrable manliness. For reasons too complicated to explain, the two of them end up forced to take the infant heir into the castle of the usurper-king, while Hubert poses as the king's new court jester. Thus, the protagonist who wants to be a hero ends up "playing the fool" for his enemies.

Hubert does get a shot at megadynamic heroism. The king's daughter takes a fancy to Hubert, and demands of her witchy servant to give Hubert protection. The witch uses hypnotism to convince Hubert that he's a great swordsman. Thus the witch, though she knows nothing of Hubert's desire for heroism, gives him the very persona he desires, even though, as I've observed elsewhere, Hubert remains subcombative because he never gains "mastery" of his other self, and only wins against his enemies by dumb luck and trickery.

However, jumping ahead to the film's end, it's interesting that when Hubert does save the day-- averting combat between the Fox and loyal supporters of the usurper-- it's through a manipulation of psychological factors. In short, Hubert figures out that the supporters will turn on the usurper if it can be proven that the rightful heir still exists-- and Hubert wins them over by showing them the "purple pimpernel" on the baby's butt.

Clearly, though the filmmakers could have allowed Hubert the opportunity to become conscious of his buried sword-skill, they probably felt that giving Hubert real fighting-skill obviated the comic persona of star Danny Kaye, the good-hearted bumbler, one who is almost likable here for his "feminine" qualities. However, even though Hubert is a bumbler for much of the film, he's still a protagonist struggling for a higher ideal, and so he, like the starring characters of Moana, qualifies for the status of the subcombative hero.