Is the American political system really as soulless and empty as it seems? Are the elite really corrupt and selfish? According to Hal Ashby, definitely. Ashby comments on these topics in his film Being There (1979) through the characterization of Chance, an uneducated and foolish man capable of rising to the top of the American economic and political ladder. Having effectively grown up on television, Chance lacks personality and identity and is extremely ignorant of the real world. While these may not sound like the characteristics of an elite individual, these attributes are actually what most help Chance succeed. It acts as a “mirror” to the individuals around it, telling them what they want to hear and extinguishing their fears of uncertainty. Ashby thus comments on the emptiness of American politics and the way in which citizens must criticize those they put in power. Additionally, through Chance's undeserved success as a white man, Ashby comments on racial inequality in 1970s America. Although he begins with low economic status on the streets of Washington, D.C., he quickly sees several opportunities for success. Additionally, at the end of the film, as white elites decide the future of the presidency, Ashby suggests that America is run by self-interested individuals and not all groups have a say. Thus, in his film Being There, Ashby uses Chance Gardener to offer a critique of American culture that prioritizes appearance over substance, self-interest, and the maintenance of societal domination. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Additionally, Chance's education through television leaves him completely ignorant of the world around him. Chance has a very unique relationship with television throughout the film. Without much parental guidance or education, Chance uses television to learn about the world. By imitating television in several scenes, it can be suggested that Chance is using television to learn how to be "human." His attachment to television is evident from the very first scene of the film. When Chance wakes up, the first thing he does is sit and watch an orchestra playing on the television in his bedroom. So it is clear how important a role television plays in one's daily life. So, due to his mostly television upbringing, Chance lacks real-world knowledge. This is mainly seen when he leaves his home for the first time after the death of his benefactor. He approaches a black lady and asks her if she would prepare him lunch. Because he had been taken care of by another black woman named Louise, he assumes that this lady will also take care of him. Another awkward interaction occurs when he approaches a gang of African-American teenagers, asking them if there is a garden nearby that he could work in. One of the teens, Abbaz, pulls a switchblade on him and Chance responds by trying to put it out. pointing a remote control at him. These interactions demonstrate Chance's lack of common sense and the way he views the world as a kind of television. He tries to “turn off” situations he doesn’t like, like he does on television. Through this, Ashby asserts that Chance possesses no true knowledge of the world, as he is able to turn away from the harsh realities facing the nation with the press of a button. Thus, Ashby warns of the dangers of letting television be a substitute form of educationof authentic personal interaction. Additionally, Chance appears to lack an identity due to his television upbringing and lack of personal interaction. He copies everything people say or do on television and he seems to have no real character or personality. Often during a conversation he will simply respond in agreement with what the other party is saying. He even changes his name from Chance to "Chauncey" without hesitation if Eve mishears him when they first meet. Here, through this theme of television, Ashby suggests two things. First, television distorts individuals' worldviews by letting viewers decide what they want to see. In this way, individuals choose to look at positive, idealistic versions of society, and not the difficulties of those living in such a society. This rings especially true in the America of the 1970s and 1980s, where television was more censored and only 6% of characters on television were African-American. Ashby also warns against getting too caught up in the media for fear of losing your true identity. He suggests that identity is not formed by looking at people on a screen, but by interacting with them on a personal level. Additionally, through his lack of personal identity, Chance is able to succeed in the political and economic world by being a "mirror" to people. people's wants and needs. Much like television itself, Chance presents individuals with the idealism and positivity they want to see. He agrees with everything people say to him and buys into everything people think about his character. At the time of the film, in the 1970s, American society was at a time of economic and political uncertainty. There was a huge lack of trust in political figures after Watergate and the formation of the conservative "New Right" in the face of the liberal boom of the 1960s. Faced with this uncertainty, the characters in Being There just want someone tells them everything will be okay – and Chance fills that role. As Americans desire economic recovery, they interpret Chance's gardener rhetoric as a metaphor for economic success. So, by reflecting what people want to hear, he begins to receive respect and admiration from those around him. This “mirror” theme also appears in his love story with Eve. With her husband, Ben, considerably older than her and near the end of his life, Eve desires someone to fill the void that Ben's death will leave her. This is where Chance comes in. Despite her mediocre romantic interactions with Eve, Eve wants a new lover so desperately that she considers him the man of her dreams. So, Chance's success lies in being a blank canvas for people's wants and needs. Additionally, Chance's success is most certainly cemented at the very end of the film, where several of Ben's colleagues suggest promoting him as a candidate in the upcoming US elections. president. Since he agrees with everything people think about him, they indicate that he "said nothing that could be held against him" and that he essentially has no past that could demonize him. In this way, Chance arises from what others want him to be, not from what he actually is. Here, Ashby suggests that Americans are more interested in appearance than substance. Chance has no education, he can't read or write, but that doesn't matter. Because he appears intelligent and knowledgeable, people around him do not analyze his words and actions and simply accept him for what others think he is. As the title suggests, the simple fact that Chance "is there".