Post #3 — Analyzing the Themes of Oppression from Chapter 1 of “The Pedagogy of Oppression” by Paulo Freire and the film, “Water for Elephants” (2011)
Introduction
The character August, owner of the Benzini Brothers circus, in the 2011 film, Water for Elephants vividly personifies the themes of oppression, materialism, and dehumanization theorized by Paulo Freire in Chapter 1 of The Pedagogy of Oppression. This analysis, through the lens of Freire, aims to dissect the perspectives and behaviors of August, and how he resembles the ‘oppressor’ archetype through his ruthless pursuit for success, treatment of the circus performers, and his perceptions of himself and others.
August as the Oppressor: Materialism and Dehumanization
In the film, “Water for Elephants”, the Benzini Brothers circus owner, August, embodies the oppressor Friere describes. August possesses an intense desire for success for his circus, wanting to be the best in the world. He frequently undermines and mentions his disdain for the “Ringling Brothers and Barnum & Bailey Circus,” which was the epitome for success in the circus industry at the time. He was jealous of their status. In order to achieve the success he desires, he develops a hyper controlling, possessive persona, reigning over the acts, the animals, the show members, and even his wife, Marlena. Freire asserts, “in their unrestrained eagerness to possess, the oppressors develop the conviction that it is possible for them to transform everything into objects of their purchasing power; hence their strictly materialistic concept of existence” (Freire, Chapter 1). Each one of the acts in the Benzini Brothers circus has a role to bring in a crowd and entertainment to the fans of the circus. If they aren’t doing that, August is quick to replace the animal or person. It is evident in his treatment of both the humans and animals, he views them as mere objects to be exploited for profit and entertainment. Even Marlena, the woman he “loved”, is viewed through a lens of opportunism because of her beauty. He saw her potential to bring in more crowds, so he trained her and turned her into the show’s ‘star performer’ and main act. In doing so, he objectified the women he loved and used her as an object for materialistic gain.
Not only does August want the circus to be successful, but he wants himself to be successful as well. As the ringmaster, he controls the show, including its finances. He has developed a luxurious lifestyle and routine for himself, that even when the Great Depression hit, and the circus was struggling to pay off debts, he refused to adjust his lifestyle and spending. He even continued to take big bets, such as buying an elephant for the show, knowing full well that they couldn’t afford it. This selfish, materialistic behavior is reasoned in a statement by Friere, “for the oppressors, what is worthwhile is to have more — always more — even at the cost of the oppressed having less or having nothing. For them, to be is to have and to be the class of the “haves”” (Freire, Chapter 1). The circus in itself resembles this strive to have the biggest, the best, the most incredible acts, performers, costume, experience, etc. The concept of a circus exudes extravagance. Due to the circus’ initial success, which only further supported this excessiveness, August became a part of the class of “haves”. He got accustomed to living in the presidential suite on the train, dressed in the most decadent suits and consuming fine dining and expensive spirits every night, while the circus members are bunked up in the end carts, some even crammed into little closet spaces, and consuming what could best be described as mushy slop. Since he sees the other performers as less than him, he feels content continuing the lifestyle he has, without promoting the lifestyles of those working for him — those that make the show go on. The cast members were the only ones to feel the effects of the Great Depression’s impact on the show as it was their lifestyle that was downgraded due to it. This commoditization of the circus performers and dehumanization that August exhibits is central to Freire’s concept of oppression.
August is able to commit these acts because he undoubtedly considers himself to be above, and superior to the others in the show. He is the ringmaster, the main character of the circus. He is able to treat his employees as such because he feels like it’s their role. It is especially highlighted in the circus as the cast, such as having the ‘fattest woman in the world’ and a ‘midget’, are socially perceived as ‘freaks’ and entertainingly ‘abnormal’. Freire argues its even past has a superiority complex but rather a fundamental perception of August as an oppressor. He states, “for the oppressors, “human beings” refers only to themselves; other people are ‘things.’… The oppressed, as objects, as “things,” have no purposes except those their oppressors prescribe for them” (Freire, Chapter 1). It reinforces the concept of commoditization, as completely oppressing and dehumanizing someone to the point where they are no longer viewed as a human. The prescription, in this case, is their role as filling a slot in the show as a performer, with a goal to entertain and draw crowds for the circus. August is able to rationalize his actions in his head because he has this sole goal in mind and will do whatever to achieve it, while maintaining his position in power. He only views himself, his wife, Marlena, and Jacob, the 23-year old vet which was recently brought into the circus as human.
Marlena’s beauty has given her value in August’s eyes, and Jacob’s prestigious education at Cornell University gave him value to August. Since August views both Marlena and Jacob as human, as worthy and of value, he allows both of them to join his world of the finer things, dressing up Marlena in the finest jewels, and giving Jacob preference over the other employees, by giving him fine clothes and inviting him to his usual fancy dinners. All of this stops however, when Marlena and August are perceived as threatening August’s power by disobeying him or resisting his command, which August then revokes his kindness and resorts to violence.
Overall, throughout the film, Water for Elephants, August displays acts of oppression, commoditization, and control resembling Freire’s description of an “oppressor” in Chapter 1 of The Pedagogy of Oppression.
