Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "A Film" masterfully juxtaposes the mundane experiences of watching a drive-in movie with the grandiosity of human aspiration and belief. Through vivid imagery and a reflective tone, Goldbarth explores themes of perception, reality, and disappointment, ultimately highlighting the thin line between our daily lives and the larger narratives we create or believe in.

The poem opens with an image of people gathered at a drive-in movie, likened to toy cars at the base of a colossal movie screen. This setting immediately establishes a sense of scale, where the individual is dwarfed by the grandiosity of the film—an allegory for how we often perceive our lives through the lens of larger-than-life stories. The "single beam of light" transforming into a world symbolizes the power of cinema and storytelling to create immersive experiences that reflect our deepest emotions and aspirations. The reference to "the oldest story" hints at the universal human desire to understand and narrate our existence.

As the poem progresses, the second stanza introduces a woman joining the man, signaling the start of "the second oldest story"—a romantic or relational narrative. The mundane dialogue and the simplistic portrayal of a house as "a sheet of cannily painted plywood" emphasize the artifice inherent in these narratives. Goldbarth suggests that while the stories we watch or tell may appear grand and significant, they are often constructed on flimsy foundations, much like the sets of a movie. The mention of the actors' real lives being potentially "convoluted and fecund" contrasts sharply with their on-screen representations, underscoring the disparity between reality and fiction.

In the third stanza, Goldbarth shifts focus to a group of believers in the mountains, waiting for "the end of the world" and their ascension, or "the Rapture." This image serves as a poignant counterpoint to the drive-in movie scene. The believers' fervent anticipation and ritualistic preparations highlight the human propensity to seek meaning and transcendence beyond the tangible world. However, the poem's concluding lines bring us back to the inevitability of disappointment. When "tomorrow comes, is snoozy, is crumpled popcorn boxes like always," the stark reality of an unremarkable morning stands in stark contrast to the dramatic expectations of the believers.

Goldbarth's use of the phrase "a film over water that's deep and abiding" in the final lines encapsulates the poem's central metaphor. Just as a film can obscure the true depth and nature of water, our grand narratives and beliefs can mask the underlying complexities and ordinariness of life. The image of the lake completely covered by the rising sun's reflection suggests that while these narratives can be all-encompassing, they are ultimately superficial layers over a more profound and enduring reality.

Overall, "A Film" is a meditation on the interplay between perception and reality, exploring how our stories and beliefs shape our understanding of the world. Goldbarth's vivid imagery and thoughtful contrasts invite readers to reflect on the thinness of the narratives we construct and the deeper truths that lie beneath the surface. Through this poem, Goldbarth reminds us that while we may seek grandeur and meaning in our lives, we must also confront the persistent and often disillusioning nature of reality.

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