With a sincere bitterness, Orson Welles got his Either/Or moment upon the release of 1942’s The Magnificent Ambersons. Welles, most widely known for his 1941 masterstroke, Citizen Kane, had the opportunity just a year later to curate his mystique by delving into the canonical review of massive tech and social changes around the turn of the last century. Welles, like all of us, like George Amberson Minifer, continued to have an infinite amount of choice, and with either choice or no choice, the choice was wrong. One can be tempted to call this kind of distinction fate, but instead it seems like inevitability.
Either/Or, of course, is Søren Kierkegaard’s long manifesto on the rumination of choice, love, marriage and aesthetics. Written almost a full century before the jumble that was The Magnificent Ambersons, Either/Or outlines that choice is not really a choice, but rather a blurry distinction between a set of other distinctions. Inevitably each person will make some “right” choices and some “wrong” choices (really no choices), but none of these choices should lead to any sort of marriage – whether it be convenience or love/lust. This same affliction haunts George Amberson, our stories main antagonist and thematic driving point. The man himself is a caricature of indecision – he seems determined to make no choices, which in and of itself is a choice, concerning his life, his mother’s life or his lover’s life. Left to his own desires, munitions and a lackadaisical boredom, this man is a broken shell of a comeuppance-to-be. Kierkegaard writes:
…then, that the world goes from bad to worse, and that its evils increase more and more, as boredom increases, as boredom is the root of all evil.
Unfortunately, this sort of proliferation of boredom and mediocrity also haunted the release of this film. Continue reading