clevermanka (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
clevermanka) wrote2020-06-26 03:30 pm
clevermanka) wrote2020-06-26 03:30 pm
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John Wick as Fairytale
Writing was going absolutely terrible so y'all get this today. Spoilers for the entire series!
So, the John Wick world as a Fairytale.
I mean, All The Rules. All those glorious, gorgeous, delicious rules. Mmmm, RULES y’all. I’m such a fiend for rules, I can’t even tell you. Not the rules themselves, although I’m in the camp that thinks rules in general are Very Good Things Indeed and any entity whether singular or multitudinous is better served by having (and following) at least few of them.
A Brief Manifesto on Rules: Barring the development of some truly incredible technology, we’ll never be able to truly experience the world as someone else does. So the only way to safely and successfully communicate is to agree upon a shared reality. Rules are, imo, the best means for agreeing upon shared realities. /manifesto
Sometimes the rules are terrible, and sometimes the rule-enforcers are unjust (Justice—another one of My Things so y’all understand why Benton Fraser and Shen Wei are very precious to me). But that’s when we get Interesting Stories About Rules and what genre has the most Interesting Stories About Rules? Fairytales!
I think the only Hard and Fast rule in the first one is No Business at the Continental (correct me if I’m wrong! please! I’d love it if there are more). But that one’s so crucial to the second half of the movie (and the rest of the series) it’s all I needed to start forming this hypothesis. Well before I got to the more esoteric stuff in the sequels.
The way Rules (and the breaking of them) start and end the second movie is just *chef’s kiss*. When John refused the marker I screamed at and shook my fist because What A Stupid Move! And then he wound up agreeing to do it anyway so what was the point, John? You’d think he’d have learned from that, but nope, he breaks ANOTHER major, huge, big-big deal rule when he breaks the no-business rule at the Continental.
Side note: as a diligent thwarter of bureaucrats, I immediately thought of a potential loophole for either of those things and can talk about that in comments if anyone is interested God sometimes I really miss my job in the bureaucracy of academia, y’all.
So yeah. Rules. Major point toward this being a fairytale.
Next, and perhaps more obvious, the constant references to John being Baba Yaga. It didn’t occur to me when I was watching this that maybe most people don’t know Baba Yaga? but after the third movie wrapped up McKitterick said he didn’t. In case you’re not aware, Baba Yaga is a witch (sometimes a trio of them) in Slavic folklore. So, yeah, pretty obvious connection, there.
While we’re here, I want to briefly mention the illustration covering John’s secret stash in the library book. That’s a very famous drawing for the story Vasilisa the Beautiful. In the background, you can see the Baba Yaga’s house (a cottage that runs around on chicken legs). Now that skull Vasilisa is carrying? It’s full of coals she managed to get from Baba Yaga (because she is smart as well as beautiful) and when she returns home, the coals burn her (wicked of course) stepmother and stepsisters to death. To keep it from hurting anyone else, Vasilisa buries the skull. Hmm. Just a few parallels! Also, please note the full title of the story, Vasilisa the Beautiful. John’s wife’s name was Helen. Just… putting that out there.
Sidenote that I’m not getting into here because it’s a whole essay on its own that I’m not going to write: Unlike the way it’s translated onscreen, Baba Yaga does not mean “Bogeyman” or any sort of man. Baba Yaga is most definitely feminine. John Wick is named after a being who represents the most socially-damned/hideous aspects of being a woman. I love that.
Then there’s the hierarchy. Oh good lord, the hierarchy. An inflexible dedication to a set of masters who don’t seem to care (much) how those below a certain station squabble amongst themselves for power. As long as it doesn’t disrupt their own rule (and Rules), they really don’t give a shit. Want to set yourself up as King of the Bowery? That’s cool as long as you play by the Rules and don’t get too uppity. When you do get uppity, they curse you with an Adjudicator who will fix your shit (i.e. fuck you up). Why curse someone with bad luck or a spinal deformation when you can just undermine their authority or revoke their business license? Brilliant.
Which brings us to retribution—always a big deal in fairy tales. Whether you did something bad or got something good, unless you followed their rules (designed to ensure maximum chance of failure) to a T, they’re gonna make you pay for it. The Bowery King’s seven cuts are the most in line with standard fairy punishment. It’s something he can’t hide and something others can judge him for. I’m not sure what piercing the Director’s hands could signify, although I did like the symbolism of it, what with their emphasis on Eastern Orthodoxy symbolism (I find the martyrdom connotations interesting though). The removal of Winston’s authority as the only non-physical penalty was interesting, as is the fact that The White Man doesn’t receive corporal punishment.
There’s also a lot to be pondered about How Many Men there are in these movies. Especially in roles that would’ve been wonderful for women. The Sommelier, for example. Or the archivist. I was hoping against hope that the woman in the sewing shop who took John’s coin and led him to the back would wind up being the tailor. And then in Casablanca, there’s a white man in charge? I hope that was a comment on colonialism? But concerning some of their other casting choices (both people we see serving as Concierge in two different Continentals are Black) I'm not making assumptions. But I’m not getting into that although I’d be happy to talk about in comments if anyone wants to start the discussion.
Finally, the thing that makes me think Fairytale is the way these beings interact with the world and the other (human) beings in it. Unless they’re doing something truly egregious (blowing up a house, shooting up a club, getting in a fight on a subway car), the mundanes just don’t notice them. I mean New York is New York and yes, people in big cities generally mind their own damn business but come on. They must be operating under some sort of glamour at all times.
Of course there are all the little sprinkled-in things: the doctor’s miraculous energy pills, the seamless mix of old and new and in-between technology of the clearinghouse (or whatever you want to call the place where people call in their orders and hits), John’s literally miraculous abilities; but I think those can be indicative of any urban fantasy story.
It’s the insistence on Rules, Hierarchy, and Retribution that make me feel these films are a Fairytale with a capital F. Now we just wait for the fourth one to come blow my theories out of the water!
So, the John Wick world as a Fairytale.
I mean, All The Rules. All those glorious, gorgeous, delicious rules. Mmmm, RULES y’all. I’m such a fiend for rules, I can’t even tell you. Not the rules themselves, although I’m in the camp that thinks rules in general are Very Good Things Indeed and any entity whether singular or multitudinous is better served by having (and following) at least few of them.
A Brief Manifesto on Rules: Barring the development of some truly incredible technology, we’ll never be able to truly experience the world as someone else does. So the only way to safely and successfully communicate is to agree upon a shared reality. Rules are, imo, the best means for agreeing upon shared realities. /manifesto
Sometimes the rules are terrible, and sometimes the rule-enforcers are unjust (Justice—another one of My Things so y’all understand why Benton Fraser and Shen Wei are very precious to me). But that’s when we get Interesting Stories About Rules and what genre has the most Interesting Stories About Rules? Fairytales!
I think the only Hard and Fast rule in the first one is No Business at the Continental (correct me if I’m wrong! please! I’d love it if there are more). But that one’s so crucial to the second half of the movie (and the rest of the series) it’s all I needed to start forming this hypothesis. Well before I got to the more esoteric stuff in the sequels.
The way Rules (and the breaking of them) start and end the second movie is just *chef’s kiss*. When John refused the marker I screamed at and shook my fist because What A Stupid Move! And then he wound up agreeing to do it anyway so what was the point, John? You’d think he’d have learned from that, but nope, he breaks ANOTHER major, huge, big-big deal rule when he breaks the no-business rule at the Continental.
Side note: as a diligent thwarter of bureaucrats, I immediately thought of a potential loophole for either of those things and can talk about that in comments if anyone is interested God sometimes I really miss my job in the bureaucracy of academia, y’all.
So yeah. Rules. Major point toward this being a fairytale.
Next, and perhaps more obvious, the constant references to John being Baba Yaga. It didn’t occur to me when I was watching this that maybe most people don’t know Baba Yaga? but after the third movie wrapped up McKitterick said he didn’t. In case you’re not aware, Baba Yaga is a witch (sometimes a trio of them) in Slavic folklore. So, yeah, pretty obvious connection, there.
While we’re here, I want to briefly mention the illustration covering John’s secret stash in the library book. That’s a very famous drawing for the story Vasilisa the Beautiful. In the background, you can see the Baba Yaga’s house (a cottage that runs around on chicken legs). Now that skull Vasilisa is carrying? It’s full of coals she managed to get from Baba Yaga (because she is smart as well as beautiful) and when she returns home, the coals burn her (wicked of course) stepmother and stepsisters to death. To keep it from hurting anyone else, Vasilisa buries the skull. Hmm. Just a few parallels! Also, please note the full title of the story, Vasilisa the Beautiful. John’s wife’s name was Helen. Just… putting that out there.
Sidenote that I’m not getting into here because it’s a whole essay on its own that I’m not going to write: Unlike the way it’s translated onscreen, Baba Yaga does not mean “Bogeyman” or any sort of man. Baba Yaga is most definitely feminine. John Wick is named after a being who represents the most socially-damned/hideous aspects of being a woman. I love that.
Then there’s the hierarchy. Oh good lord, the hierarchy. An inflexible dedication to a set of masters who don’t seem to care (much) how those below a certain station squabble amongst themselves for power. As long as it doesn’t disrupt their own rule (and Rules), they really don’t give a shit. Want to set yourself up as King of the Bowery? That’s cool as long as you play by the Rules and don’t get too uppity. When you do get uppity, they curse you with an Adjudicator who will fix your shit (i.e. fuck you up). Why curse someone with bad luck or a spinal deformation when you can just undermine their authority or revoke their business license? Brilliant.
Which brings us to retribution—always a big deal in fairy tales. Whether you did something bad or got something good, unless you followed their rules (designed to ensure maximum chance of failure) to a T, they’re gonna make you pay for it. The Bowery King’s seven cuts are the most in line with standard fairy punishment. It’s something he can’t hide and something others can judge him for. I’m not sure what piercing the Director’s hands could signify, although I did like the symbolism of it, what with their emphasis on Eastern Orthodoxy symbolism (I find the martyrdom connotations interesting though). The removal of Winston’s authority as the only non-physical penalty was interesting, as is the fact that The White Man doesn’t receive corporal punishment.
There’s also a lot to be pondered about How Many Men there are in these movies. Especially in roles that would’ve been wonderful for women. The Sommelier, for example. Or the archivist. I was hoping against hope that the woman in the sewing shop who took John’s coin and led him to the back would wind up being the tailor. And then in Casablanca, there’s a white man in charge? I hope that was a comment on colonialism? But concerning some of their other casting choices (both people we see serving as Concierge in two different Continentals are Black) I'm not making assumptions. But I’m not getting into that although I’d be happy to talk about in comments if anyone wants to start the discussion.
Finally, the thing that makes me think Fairytale is the way these beings interact with the world and the other (human) beings in it. Unless they’re doing something truly egregious (blowing up a house, shooting up a club, getting in a fight on a subway car), the mundanes just don’t notice them. I mean New York is New York and yes, people in big cities generally mind their own damn business but come on. They must be operating under some sort of glamour at all times.
Of course there are all the little sprinkled-in things: the doctor’s miraculous energy pills, the seamless mix of old and new and in-between technology of the clearinghouse (or whatever you want to call the place where people call in their orders and hits), John’s literally miraculous abilities; but I think those can be indicative of any urban fantasy story.
It’s the insistence on Rules, Hierarchy, and Retribution that make me feel these films are a Fairytale with a capital F. Now we just wait for the fourth one to come blow my theories out of the water!
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If you aren't put off by a truly staggering body count in each film, I highly recommend them. Let me know if you want any other warnings.
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Clevermanka, I LOVE this analysis.
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I love fairy tales and I appreciate people letting me yell about them!
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THE WAY THINGS ARE DONE. It matters so much how the rules and rituals are followed. But isn't how and why rules are broken also such a huge part of fairy tales... they are terribly harsh teaching lessons.
I don't know which video I saw it in but apparently John's job or hobby in the good world is restoring children's books.
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Yes yes yes! Great point! Breaking rules is definitely a part of them. Harsh lessons, indeed.
restoring children's books
😍
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https://youtu.be/i3P1ejh9pGs
https://youtu.be/xQ3qNnNDDZU
https://youtu.be/pAZtxmCRnxs
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the thing that makes me think Fairytale is the way these beings interact with the world and the other (human) beings in it. Unless they’re doing something truly egregious, the mundanes just don’t notice them
Right?? There is definitely something weird going on here. It literally feels like 2 worlds/realities overlapping.
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I think it absolutely is!
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I kinda like the idea of John being human--like, all the people who come out of the Director's school are human--and that's what makes him extra scary. He's the only human who's that successful in their world. And why he hasn't progressed in the hierarchy. He's as high up the ladder as he can get, as a human.
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I'd read that.
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Have you watched Wu Assassins on Netflix? I think you'd like it.
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I am indeed interested. *eyes emoji*
I actually didn't realize the importance of Helen's name until I read this, so, lmao. Whoops. And regarding Wick = Baba Yaga, I love it too! I don't understand why they translated it into boogeyman, but. /shrugs.
(I really like the idea of Wick as a changeling or a human who has been Influenced by the Fae to be No Longer One Of The Mundanes, and he's constantly trying to reject the world he's been brought into & failing because despite how much he tries, he Doesn't Belong to the mundane world.)
I love all your thoughts, and I read a couple of the articles you linked in your Sunday post as well! Glad to see that the theme/idea was picked up by multiple audiences.
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For the first problem, he could've just done what he wound up doing anyway, only in a way that might not have led to her death. Find a way to tell her what was going down (you can't tell me there aren't back channels for that sort of thing), have her take down the brother, and now you've got someone who owes you sitting at the High Table. If nothing else, agreeing to it immediately would have bought him some time (and saved the house).
For the second, all he would've had to do was WAIT. D'Antonio would've fucked up at some point, or they could have easily orchestrated something. Of course, that's not really John's character, but everybody knows that, especially Winston, and his weak attempts to get John to stop rang a little hollow to me. I feel like Winston and Charon set John up to fail here, and that fascinates me. But for the loophole aspect, he coulda shot Winston (like he did the doctor) and hightailed it outta there before the contract could be called in. That would have at least saved Winston's having to deal with the Adjudicator.
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I agree with 1, and 2 I didn't think of but yeah! D'Antonio really would have fucked up eventually, he was so unstable. I guess I bought into the narrative enough that it didn't even occur to me.
Honestly, I don't remember a lot of the plot points in this series so much as individual shots or fight scenes. I should really go and rewatch, 2 and 3 are prime entertainment (I was less enthused about 1). Thinking back I think 2 is my favorite because it has just he right balance of choreography in the fight -- enough to be awesome, not so much that it all feels extremely staged. I mean, the fight scenes in 3 were absolutely beautiful, but every move of them was so perfect that I just couldn't get into it. It became an appreciate of the choreography instead of enjoyment of the action, if that makes any sense?
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The first movie definitely has less of an unearthly/magical feel to it, which makes me love the series more (excellent way to build tension without just making everything "bigger"), but it does have less soul. Appreciation of choreography vs. enjoyment of the action = yes, that makes perfect sense. I hadn't thought of it that way, but I agree with you it's a very different aesthetic when it comes to fight scenes.
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Must rewatch! And soon!
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