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In Being There, the audience's feelings toward characters are quite complex and shift throughout the film, largely due to the film's satirical and ironic nature. Here's a breakdown:
Character the Audience Roots For:
Chance/Chauncey Gardiner: Despite his intellectual simplicity, Chance is arguably the character the audience most often roots for. Several factors contribute to this:
However, it's important to note that this "rooting" is laced with irony. We are aware that Chance's success is based on misinterpretation and that he is essentially a blank slate onto which others project their own needs and desires. The audience experiences a mixture of amusement and discomfort with his ascent.
Character the Audience Roots Against:
The Powers That Be (Indirectly): There isn't one specific character we actively root against, but rather the system itself, represented by the wealthy and powerful figures like Benjamin Rand and his associates.
Ambiguous Characters:
Eve Rand: While she initially seems sympathetic, even motherly, toward Chance, her actions become more questionable as the film progresses. Her blatant attempts to seduce him are disturbing, particularly given Chance's mental state. While the audience might pity her loneliness, her behavior can also be seen as predatory and insensitive. Therefore, she is neither someone we fully root for nor against. Her actions and decisions are questionable and open to interpretation.
The Russian Ambassador: In a similar way to the Eve Rand character, the Russian ambassador serves as an ambiguous character in that the audience can see the positive in his actions as he is merely seeking to take advantage of a political situation for the betterment of his country. Likewise, the negative perception is that he seems rather opportunistic in the situation.
Ultimately, Being There is not a film with clear heroes and villains. It's a satire that exposes the follies of human nature, the absurdity of societal expectations, and the power of perception. The audience's shifting allegiances and emotional responses are a testament to the film's complex and thought-provoking nature.
Dr. Allenby is the only character who discovers Chance's true identity. He acts as the audience's moral compass, deciding to keep the secret to protect the dying Benjamin Rand's peace of mind. Missing him is a major oversight in an analysis of audience 'rooting.'
The AI summary characterizes Rand as a villainous 'ruthless power player.' In reality, he is one of the most sympathetic characters, and the audience roots for his peaceful passing and his friendship with Chance.
The final scene where Chance walks on water significantly impacts audience perception, suggesting he might be a 'holy fool' or a literal miracle, which complicates the 'rooting' for him as just a simple man.
In Being There (1979), the audience primarily roots for Chance (Chauncey Gardiner) and Dr. Robert Allenby, while 'rooting against' the vapidity of the political/media system rather than specific individuals.
Chance (Peter Sellers): The audience roots for him as a 'holy fool.' His actions—literalism, kindness, and lack of ego—make him a sympathetic blank slate. We root for him to remain safe in a world he doesn't understand, though this is tempered by the irony that his 'success' is a total accident.
Dr. Robert Allenby (Richard Dysart): He is the audience surrogate. He is the only character who investigates and discovers that Chance is just a gardener. The audience roots for him to make the 'right' choice; he ultimately decides not to expose Chance because he sees the genuine comfort Chance provides to the dying Benjamin Rand. This makes Allenby the moral heart of the film.
Benjamin Rand (Melvyn Douglas): Contrary to being a villain, Rand is a deeply sympathetic figure. He is a powerful man facing death with dignity. His action of befriending Chance and finding peace in Chance's simple words makes the audience root for his comfort, not his downfall.
Eve Rand (Shirley MacLaine): She is an object of pathos. Her actions, including her awkward sexual advances, stem from profound loneliness and a life of artifice. The audience roots for her to find the genuine connection she believes she has found in Chance.
The 'Villains': The audience roots against the cynical political handlers and the vapid media personalities who don't care about the truth, only about how Chance can be used to bolster their own power or ratings. The system of projection and superficiality is the true antagonist.