Lars and the Real Girl, a romantic comedy from 2007 directed by Craig Gillespie, brings together two dolls for the lead parts signalled in the title of the film. One is the ‘Lars’ played, if that is the word, by Ryan Gosling in a typically blank performance, perfect for the role; the other lead is the ‘Real Girl’ Bianca who doesn’t do much acting either but we don’t expect her to do much. There is really no single lead, no hero in this film, but a blank robotic space, Lars responds in what is supposed to be stereotypic autistic fashion to encounters with others – this is supposed to be part of the comedy – is looking for a companion, which is the romantic hook of the film. There is some cod-psychobabble in the film; we learn that after Lars’ mother died all that he had left of her was her scarf which he clutches against his mouth as a kind of comfort-blanket, and it his loss of mother which, we are led to believe, is at the core of his refusal of relationship with a woman, with others, with community.
Bianca is an anatomically-correct life-size doll that Lars gets mail order after shrinking from a romantic approach by a real real girl Margo (Kelli Garner). Lars backs off from real relationships, he does not like being touched, and we are quickly cued in to some pathological stuff. When Bianca arrives in town and is introduced to the family – key players here are his brother Gus (Paul Schneider) and pregnant sister-in-law Karin (Emily Mortimer) – and to the local parish he is taken on a pretext to a doctor who diagnoses his ‘delusion’, the way he fabricates a new reality around the doll. He is isolated, and the community is encouraged to humour him. Pretty predictably, Lars and Margo will get together by the end of the film in what was touted in the reviews as a heart-warming life-affirming paean to the good Christian communities of the US mid-West.
‘Bianca is a missionary’ Lars tells bewildered friends and family, says she is half Danish and half Brazilian. The narrative runs on two tracks: as his sister-in-law comes closer to giving birth, gruff heartless brother Gus who thinks that humouring Lars over his life-size doll is crazy comes around and he turns out to have a heart of gold just in time for him to mature into his impending role as a good father; doll Bianca gets ‘sick’, ends up in hospital, ‘dies’, and her exit opens the way for Lars to let go of her and find a place in his heart for Margo. Some of the Christian commentaries on the film were a little worried about the anatomically-correct doll stuff but reassured that Lars was doing the decent thing and that it was clear that he wasn’t having sex with Bianca, and so they eventually declared it a perfect example of what a loving embrace by a god-fearing community should look like; Lars is spiritually pure, no threat. And, on top of that, of course, once Bianca was in the ground his deviant behaviour eventually gave way to a double heteronormative embrace as Lars matured enough to move onto a concluding tentative relationship with Margo.
Lars is a good boy who grows up and might then connect with others. There is no prospect yet of that happening to what has become known to its detractors and ex-members as ‘the small party of good boys’, the Socialist Party of Great Britain (SPGB). The SPGB pops into the media from time to time, sometimes when journalists confuse them with SPEW (the Socialist Party of England and Wales), and then the party operates as a stand-in for a real Trotskyist group. This is weird because the SPGB are not at all Trotskyist, wary even of calling themselves Marxist. Their ‘revolution’ will come by way of a parliamentary majority, they claim, more than that, a parliamentary majority in every country in the world. They’ve been round the block for longer than most British left groups, mostly around Hyde Park Corner where they hone their skills in winning the working class to socialism, winning one member at a time, recruiting very carefully, and only, the satirist ex-member John Bird disclosed, after passing a test. The SPGB split from the Socialist Democratic Federation back in 1904, and has maintained itself in splendid isolation from the rest of the left ever since, insisting that any other group that wants to engage in joint activity has to sign up to its own complete programme.
Their socialism is ‘real socialism’ in much the same way as Bianca is a ‘real girl’ – that is, not at all – constructed as a delusory fantasy which harms no one else around them, and that because it has absolutely no effect on the world. It is an ideal construct completely uncontaminated by anything that actually happens in the real world, and their dwindling membership keeps itself busy evangelising to those who will listen, and writing letters to newspapers about why the solution to this or that problem is socialism now. They have no leader, that is a blank space which means that even Ryan Gosling won’t be up for the part, and are governed instead by a ten-man council, and every split away gives rise to another little group – the short-lived ‘Movement for Social Integration’ being one case in point – that itself has absolutely nothing to do with the rest of the left and stumbles along in its own little world before it expires (though Joan Lestor, who left during the ‘Turner Controversy’ in the mid-1950s, did end up as a Labour MP).
The SPGB and a miniscule collection of like-minded parties in other countries (in the World Socialist Movement) are very protective of their Bianca doll-like image of socialism, and have kept with her far longer than Lars did, and along the way they’ve been able to keep her pure; we can be sure they’ve never done anything unseemly to her or with her. Like Lars, they don’t like to be touched, and they cut themselves off from revolutionary politics over a century ago when they refused to have anything to do with the Russian Revolution, it was a coup they say. Instead they cling onto their programme as their little comfort blanket when faced with reality.
Even before the death of the mother of all revolutions in October 1917, which was also the mother of all of the other Marxist groups, the SPGB had condemned the Irish Easter Rising against British imperialism in 1916 on the basis that it was a violent fragmentation of the unity of the world working class. They opposed the Suffragettes because that movement, they claimed, pitted women against men (the SPGB is mainly composed of men). They’ve been true to form ever since, refusing to be involved in anti-fascist struggle (nothing so special about fascism when capitalism is the underlying problem, they say, and anyway if the fascists were elected by the working-class who are they to poo-poo it), against the Campaign for Nuclear Disarmament (ditto, get rid of capitalism and you deal with the real problem). They, like Lars, are proudly ‘impossibilist’, that is, they won’t have anything to do with reforms to the capitalist system – any reforms will only strengthen and validate capitalism – and the only possible route to socialism is to win everyone over to their ideas, to recruit them into their own view of the world. There is no Margo on the horizon for them.
One of the nice things about the SPGB is that they are about as endearing as Ryan Gosling if you just face up to the fact that there is nothing beneath the blank face; they don’t run front organisations to draw potential members in, they are playing the long game. What you see is what you get, there is nothing else beneath the surface of their programme – you can take it or leave it – and if you humour them and leave them alone they will be happy with their entirely self-constructed ideal ‘real socialism’, a threat to no one, and no threat at all to the capitalist state.
This is part of the FIIMG Mapping the British Left through Film project.