The Answer Is Love: On Red

What are we really fighting for? The answer is love. Love is in the movies, on the streets, and in our heads—not the dead people we see today. Existence is the contagion of love. That’s why you have to speed up some scenes in it redwhere men give speeches to other men in English and Russian with expressions of confidence—not hope, but certainty—that they are right and have it all figured out.

You know those people. You’ve been in a meeting with the guy at the front—it could be a faculty meeting—the guy jabbing his fingers, less like Mick Jagger in a dance routine, more like Moses holding a tablet. People who love their voices more than love. Everyone has been to one of those meetings, or hundreds of them, wondering how they are still breathing with all the air sucked out of the room. There are quite a lot of disturbing scenes redwhich lasts over three hours and has intermissions, like Lawrence of Arabia And 2001: Space Odysseyboth are excellent films, as they are redif you gently speed up the speech and return to John Reed and Louise Bryant, a love story.

Warren Beatty is his charming self as socialist revolutionary and journalist John Reed, best known as a writer Ten Days That Shook the Worldhis eyewitness coverage of the Bolshevik revolution of 1917. No actor on screen was more convincing in playing a man who loves a woman. I don’t mean lust for them. I mean, they need them to feel at home in the world. I mean the combination of longing and peace that covers his face when he looks up from the hole in a woman’s neck. See him come in Splendor in the Grass with Natalie Wood, one of those great films about erotic attraction that’s almost too painful to watch. In all his films, Beatty exudes a confused sexual desire for women that he can understand and reject, much like a dog passes up a steak outside a restaurant.

Diane Keaton, too, plays writer and reporter Louise Bryant, and as Eugene O’Neill, who was Bryant’s one-time lover, Jack Nicholson plays Jack Nicholson—I mean, he gives the exact same performance he gave in the film. Worldly Knowledge. How can this guy get a woman in real life? He definitely has something he’s not showing on camera.

Here, more often than not, Keaton’s actions come across as more angry and indecisive than they show us as Bryant’s independent-minded feminist and suffragette. It was the performance she gave in her films with Woody Allen, in which her curly-haired neurosis worked as comic foil for Allen’s nebbishy pursuer. In the redYou feel the long arm of the men, Beatty and Trevor Griffiths, who wrote the screenplay—Beatty also directed—didn’t know how to write female characters they might not want to marry. The real Louise Bryant went to Russia with John Reed, as did Keaton’s Bryant, and was probably just as annoying as Keaton’s Louise. I don’t know. It’s still hard to be a feminist without causing a wave of confusion and hatred. This I promise.

It’s fun to watch these actors play themselves while pretending to be people living in the early 20th century. It’s fun to look back at the actors as they were forty-five years ago because you also see yourself watching the film for the first time—Richard and I both saw it when it was released. red filled with talkative “witnesses,” interviews with labor organizers and writers who knew John and Louise, among them Henry Miller, Will Durant, Adela Rogers St. Johns, William Weinstone (founder of the Communist Party USA), Rebecca West, Hugo Gellert (artist for People—Reed’s Journal), and scored more. Some of them do remember a detail here and there, but most of it is vague and imprecise, stemming from personal anecdotes and petty complaints that have nothing to do with the subject at hand and come across like annoying narratives that people clutter up social media comment threads with.

What is eternal in memory? What does a revolution want? These are the questions the film continues to ask. Reed was careful to withdraw his writing from editors who wanted to direct his words to their own ideological ends. In a moving conversation with Zinoviev (Jerzy Kosiński) on a train in Russia, he says, “Zinoviev, if you don’t think a man can be an individual and true to the collective, or speak for his own country and the International at the same time, or love his wife and remain loyal to the revolution, you have nothing to give!… When you separate a man from what he loves most, what you do is cleanse what is unique in him. And when you cleanse what is unique in him, you cleanse the differences opinion. And when you purge dissent, you kill the revolution!

This brings us back to love—to the reason why films exist and this film in particular. We’re not watching the film to argue about how this left-wing faction should separate itself from it. We don’t want the war to happen off-screen Casablanca but for the “hill of beans” love story between Rick and Ilsa. red great, with his nod Doctor Zhivago—lovers part and trudge through God knows what snow and ice to be reunited.

John only has one kidney and his remaining kidney is not functioning properly. He traveled to Russia without a US passport, and Russia barred him from returning home. Meanwhile, Louise hides on a merchant ship to contact him and does not receive the telegram he sent. He feels like he has stopped loving her, and it breaks your heart that none of this would have happened if they had a cell phone.

This film is great as Louise travels to Russia to find John and save him. This is especially great because of the influence in 1981 on the characters and events of 1915 to 1920, and the way Richard and I viewed our younger selves, who believed that social transformation could be willed into human DNA. We still have that goal but there is no navigation system to get there. The movie is good, even though Diane uses some kind of flashback Annie Hall hat in every shot and later, in Russia, one of the hats that every female character in the history of cinema had to wear as soon as they went to Russia. I’m glad Louise found John before he died of kidney failure at the age of thirty-two. I’m glad he died knowing he was loved. I love being taken to where the film takes you. Out of your life as well as into it.

Laurie Stone is the author of six books, most recently Streaming Now: Postcards of What’s Happening, long-listed for the PEN America Diamonstein-Spielvogel Award for Essay Arts. His ice Substack Everything is Private.

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