When I think of movies that illustrate well the existential predicament of modern man, a couple come to mind. I think of the emptiness and sordidness of contemporary life portrayed in American Beauty, or the absurdity of life reflected in A Serious Man. And, henceforth, I'll think of a 2008 film I saw for the first time this weekend which stunningly captures all of these elements - emptiness, sordidness, and absurdity. The movie is Synecdoche, New York featuring Philip Seymour Hoffman as the pathetic playwright Caden Cotard.
I'm not recommending the film, even though I wish I could, because it's R-rated, and although there's no violence, there's plenty of other unfortunate stuff in it that makes it inappropriate, especially for younger viewers. Nevertheless, there are few films which present to their audience in starker accents what I believe is this movie's chief message: Life without God is a pretty pointless and joyless affair.
Cotard spends fifty years of his life trying to fill the emptiness of his miserable existence with sex and his art, but none of it is fulfilling. His wife, an artist herself, leaves him early on, taking their daughter with her to Europe. Cotard then tries to replace the emotional loss with a series of implausible sexual relationships - implausible given the attractiveness of the women drawn to this very unattractive loser.
He wants to produce an autobiographical play, but because his life keeps dragging on he never gets the play completed. Fifty years later he's still conducting rehearsals. In the meantime he's beset with a series of physical ailments that range from the bizarre to the disgusting and a series of emotional calamities that make his life agonizingly sad.
The story is mesmerizing, and the viewer can't help but feel pity for Cotard, played magnificently by Hoffman, as he endures one blow after another. Throughout the film the message that comes through, whether intentionally or not, is that modern, secular man is lost in space, to borrow Walker Percy's phrase. He's alienated from everything and everyone around him, he's all alone, forlorn, and his life is empty, paltry, pointless, sleazy and absurd. Cotard keeps plodding resolutely, even bravely, on but the only progress he makes is toward the senescence of old age, and then his life ends. None of his relationships, none of what he has striven to accomplish, amount to anything. Cotard's life serves as an artfully crafted synecdoche for human existence in the age of metaphysical naturalism.