Being There (1979)

Introduction: A Subtle Satire on Society and Media

Being There is an enigmatic, poignant, and darkly comic exploration of identity, media manipulation, and the human search for meaning. Directed by Hal Ashby, the film is based on the 1970 novel by Jerzy Kosiński, who also wrote the screenplay. The story revolves around Chance the Gardener (played by Peter Sellers), a simple-minded, socially isolated man who has spent his entire life in the confines of a wealthy but reclusive household. With no formal education or knowledge of the outside world, Chance's life consists of tending to the garden, watching television, and imitating what he sees on screen.

When the elderly man who employs him dies, Chance is forced to leave the estate and inadvertently stumbles into a world that completely misinterprets his simple demeanour and naïve behaviour as profound wisdom. Through a series of misunderstandings, Chance's inadvertent remarks about gardening and nature are taken as metaphors for economic policy and global affairs. Eventually, he becomes a media sensation, an unwitting figure of political importance who rises to prominence despite having no true understanding of the world.

Being There uses this premise to explore themes of perception, media manipulation, and the absurdity of societal structures. With its sharp satire and philosophical undercurrents, the film has become an enduring classic, celebrated for its nuanced performances, biting social commentary, and its ability to provoke thought about the nature of reality and fame.

Plot Summary

Chance, a middle-aged man with no formal education or understanding of the real world, has lived his entire life as a gardener for an affluent, elderly man in a large estate. His world is simple, revolving around planting and maintaining the garden, while watching television as his primary means of entertainment and education. Upon the death of his employer, Chance is left without a home and is forced to navigate the unfamiliar and intimidating outside world. He is driven into the streets of Washington, D.C., where an encounter with the wealthy widow Eve Rand (Shirley MacLaine) changes the course of his life.

Eve, who misinterprets Chance’s simple and literal statements about gardening as deep, metaphorical commentary on life and politics, takes him under her wing. She believes he is a profound thinker and introduces him to her powerful husband, Benjamin Rand (Melvyn Douglas), an influential businessman and former political figure in poor health. As Chance speaks more about gardening in vague, innocuous terms, everyone around him interprets his statements as philosophical insights, drawing comparisons between his “ideas” and the state of the economy and political landscape.

Despite Chance’s total lack of understanding of these topics, his interactions with influential figures elevate him to a position of immense influence. The public, the media, and even the political elite see him as a wise and contemplative figure. His innocence and straightforwardness make him an enigmatic and "authentic" figure in an otherwise complex, cynical world. The film ultimately explores how a man with no real knowledge can become a symbol of hope, power, and influence in a society that is desperate for guidance, clarity, and answers.

Themes and Analysis

The Absurdity of Fame and Media Manipulation

At its core, Being There is a pointed satire on the absurdity of fame and the power of the media. Chance, with his innocent and literal-minded persona, is elevated by society as an intellectual giant, despite having no meaningful thoughts about politics, economics, or global issues. This phenomenon exposes the fragility of the media and political systems in which appearances often outweigh substance. His “wisdom” is not a result of deep thinking, but of the projections and interpretations placed on his words by those around him.

This theme resonates powerfully in today’s media-driven world, where figures are often elevated to positions of influence based on their ability to perform or maintain a particular image rather than their actual knowledge or expertise. Chance's rise to political prominence is both absurd and darkly humorous, making a statement about how society can place unwarranted trust in individuals who may not even understand the concepts they are discussing.

The Nature of Identity and Perception

The film also delves into questions of identity and how individuals are shaped by the perceptions of others. Chance does not have a clear identity of his own, as he has been defined only by his role as a gardener in the estate. His isolation from the world has kept him from developing any meaningful personal beliefs or a clear sense of self. He is shaped entirely by his environment and by the images and narratives that the media projects.

When Chance enters the world beyond the estate, he is caught in a whirlwind of projections. The people around him see him as a figure of great wisdom and insight, interpreting his words through their own biases. This creates a sense of dramatic irony, where the audience understands that Chance is, in fact, a simple, naïve man with no real understanding of the political, social, or economic world around him. This highlights the discrepancy between reality and perception—a central theme in the film.

Chance’s identity is malleable, and his ascent into fame is a metaphor for the constructed nature of identity in the modern world, where media and public opinion can shape an individual’s place in society with little regard for their true qualities. He becomes what others want him to be, rather than developing into his own person.

The Innocence of the Protagonist

The character of Chance can be seen as a naive, blank slate—a man devoid of the complexities and cynicism of the modern world. His simplicity and innocence are key to the film’s tragicomic tone. Chance’s literal interpretations of the world around him are in stark contrast to the complex, often manipulative forces of the social and political systems he becomes a part of. His innocence makes him an anomaly in a world driven by power struggles, media spin, and greed.

This innocence, however, is also a source of the film’s critique. Chance does not seek power or fame; he simply exists in a world that projects onto him what it wants to see. This raises questions about the nature of power and how often those who wield it are unqualified or unaware of the consequences of their actions. Chance becomes a tool of the political elite, who view him as a symbol of hope, but they never question the validity of his "ideas." His rise to prominence reflects a society more concerned with image and the superficial than with true substance.

The Disconnect Between Appearance and Reality

Another key theme is the disconnect between appearance and reality, which is a central point of critique in the film. In the world of Being There, everyone is caught in a world of illusion—where people appear to have knowledge, power, or wisdom based on the projections and manipulations of others. Chance’s very nature—his simplicity, his innocence—becomes something that society transforms into something it desires: a symbol of truth and authenticity.

The film critiques the hollow nature of politics, media, and social constructs that thrive on appearances rather than actual substance. Chance, through no merit of his own, is deemed a man of great insight. This absurdity reflects the broader critique of social systems that rely on surface-level attributes (like charisma, appearance, and spectacle) to determine the worth of a person in society.

Performances

Peter Sellers gives a career-defining performance as Chance, playing a character who is innocent, naïve, and completely out of touch with the world. Sellers’ portrayal of Chance is a masterclass in subtlety, using physicality and silence to convey the character’s internal state. The complexity of his performance lies in his ability to remain emotionally withdrawn while still engaging with those around him, making Chance an enigmatic and oddly sympathetic figure.

Shirley MacLaine shines as Eve, the widow who becomes enchanted by Chance. MacLaine’s performance is both tender and comedic, capturing Eve’s vulnerability and emotional complexity. Her interactions with Chance evolve from pity to genuine affection, and her relationship with him forms an emotional core for the film.

Melvyn Douglas gives a standout performance as Benjamin Rand, the ailing businessman who interprets Chance’s simplicity as profound wisdom. Douglas’s portrayal of Rand is dignified yet somewhat tragic, as he, too, is taken in by the myth of Chance’s intelligence and sincerity.

Direction and Cinematic Style

Hal Ashby’s direction in Being There is restrained and subtle, allowing the performances to take centre stage. Ashby uses long takes and careful framing to highlight Chance’s isolation, often placing him in the centre of the frame to emphasize his disconnection from the world around him. The pacing is deliberate, allowing the absurdity of the situation to unfold slowly, creating both humour and discomfort as the audience watches Chance’s rise to prominence.

Caleb Deschanel’s cinematography is beautiful, utilizing light and shadow to highlight the emotional tone of the film. The use of simple, clean visuals reinforces the starkness of Chance’s character and the contrast between the simple man and the complex world he is thrust into.

Johnny Mandel’s score provides a fitting backdrop, with its understated jazz melodies adding to the film's sense of melancholy and absurdity.

Cultural Impact and Legacy

Being There has become a cult classic and is widely regarded as one of the most significant films of the late 1970s. Its sharp satire and philosophical musings about the nature of identity, fame, and media manipulation remain as relevant today as they were at the time of its release. The film was praised for its intelligence, wit, and for offering a poignant commentary on the superficiality of the world around us.

Peter Sellers’ performance is universally regarded as one of his finest, earning him widespread acclaim and posthumous recognition. The film also marked the final collaboration between Ashby and the late 1970s countercultural cinema, which often explored themes of alienation and disillusionment.

Final Thoughts

Being There is a profound, darkly comic meditation on the absurdity of fame, the power of perception, and the complexity of identity in a media-driven society. With its brilliant performances, sharp satire, and philosophical depth, the film remains a timeless exploration of how individuals are shaped, defined, and manipulated by the world around them.