On the Sullen American Teen

The sullen disposition of the American teen is not a mystery:  He/She senses, looking around at the adults, that what lies ahead is a rigged game where something called "happiness" is chased, but never realized. He/She observes that well-being cannot be realized within a pressure-fueled complex consumer-driven society.  The American teen knows all of this intuitively and resents the adults above who seem to have accepted this state of affairs. Most adults that the teen sees appear as sad figures resigned to a grim fate, as cowardly & broken souls.  And this is why the teens are depressed. This is why they are rageful.  In fact, the teens' depression and anger are a sign of health. They indicate that the youth yet retain the original life spark -- that it has not yet been extinguished. Their withdrawn and often gloomy temperament should actually give us hope:  it is a form of resistance, a posture of rejection of The Lie. 

Two Movie Scenes

1. The scene in "The Departed" when Jack Nicholson as the gangster Costello sits down beside Leonardo DiCaprio as the deep undercover agent William Costagin for the first time. It is at a lunch counter in a corner store in South Boston. One of the most melancholy yet joyful songs ever written, "Let It Loose," by the Rolling Stones plays -- the ragged sounding electric guitar wavers through an effects pedal like a prizefighter bloodied but not beaten. The piano engages the guitar almost as a dance partner – a step forward, one backward, locking arms, an embrace, a release. We feel, at this moment, all the longing of these two men crystallized to a point. Each has pursued his own truth by means of a lie.

2. The scene in "Heat," directed by Michael Mann, when the criminal Robert De Niro sits down to speak with the detective Al Pacino for the first and only time. They share a cup of coffee at a large roadside diner outside of Los Angeles. We sense that there is, somehow, love and respect between these two men. It is tragic they will never be able to become friends; their destiny is to live as enemies and, we sense, to pursue the logical end of this enmity: the death of the other. Their contrasting destinies are shown in their exchange --

Pacino: Don't you want to live a normal type life?

DeNiro: What do you mean by a normal type life? Ballgames and barbecues?

Pacino: Yeah. Ballgames and barbecues.

DeNiro: No. No.