The Descendants: muck this for a laugh

I’ve only just got round to seeing last year’s The Descendants, directed by Alexander Payne and featuring an Oscar-nominated performance by George Clooney as a man facing up to the imminent death of his wife. And it was good; sensitive without being sentimental and peopled with flawed but ultimately sympathetic characters. But either you know that already, having seen it, or don’t care, having decided not to; I’m assuming that I’m the last person on the planet who did want to see the thing but was too idle to do anything about it. The only serious flaw was ultimately my own fault; I watched it on a plane.

It wasn’t the small screen size that disrupted my enjoyment, nor the guy in front of me experimenting with his seat incline. Nor was it even the nasty, rigid headphones. No, it was yet another example of the infantilisation that everyone has to undergo when they step on a plane these days. OK, plastic cutlery and having your toothpaste confiscated, I can grudgingly see the point of that. but censoring every film to make it suitable viewing for a Victorian maiden aunt doesn’t make me feel safer; it makes me want to commit acts of random violence, possibly involving duty free goods.

OK, let’s deal with the obvious ones. Air passengers aren’t allowed to hear the word “fuck” or variations thereon, even though I’m sure they get muttered sotto voce every time someone is told to remove his belt at security. In this version of The Descendants, there are two alternatives. When it’s used as an all-purpose modifier (eg “What’s your fucking problem?”), the syllable is replaced by “freak”. When it’s a transitive verb, however (a usage that comes into play when Clooney’s character discovers his comatose wife had been unfaithful to him) we get “Did you muck my wife?”

So far, so Harry Enfield. But the swearing in The Descendants actually serves a purpose, indicating Clooney’s clumsy attempts to impose a little discipline on his variously dysfunctional offspring. So when his younger daughter calls her sister something odd but innocuous like “motherless girl”, Clooney’s response is to berate her for her bad language; an exchange that only makes sense if you know the phrase is a stand-in for “motherfucker”. And if you know language like that, surely you’re already corrupted.

That said, it’s not just George Carlin’s seven words that cause problems for the inflight Bowdlers. They also have to contend with the warriors/worriers of political correctness, such as this blogger who objected to the use of “retarded”. Again the word becomes the subject of an exchange about appropriate usage, although Clooney’s character is the bad guy here; but because the word itself isn’t heard, the whole scene is effectively meaningless. (The dubbing is particularly inept here; I assume they tried to replace “retarded” with “repugnant” but it ends up as something like “retugnant”. Which is potentially a good word, and I must think of a meaning for it some time.)

But the best moment comes when the elder daughter is trying to convince Clooney of his wife’s infidelity, explaining that she saw her going into a house with a man. Clooney suggests there must be an innocent explanation, but the girl’s having none of it: “He had his hand on her arm,” she says. But I don’t think she really said “arm”.