There are many films which have been said to be metaphors for a religious searching, a quest, if you will, in which the constraints of the modern world
part, albeit momentarily, to allow a character access to a more pure reality, one in which his or her perceptions are rerouted like a Customer Service phone call
and rewritten to see that which is not often seen. Many of these films involve a disheartened character whose life has become difficult because of modern "convenience."
The character begins to grasp toward a higher truth, a truth which is needed for survival. These films also often involve a second character, a spiritual foil, if you will,
to represent the pull of reality on the searcher, to give him a view of that which is real. These aspects are put out, albeit in a rather experimental fashion, in the cult
film, "Carrot-Bird."
The Searcher in the film would have to be Jay Turner's character, also named "Jay." The character of Jay is seen from the very beginning as a distracted and flakey character,
which implies that something is missing from his life. Various things from offscreen catch his attention, and he begins to walk toward them until he is called back by Mr. Paglia's
character, who is named "Tony." This brings up to Mr. Paglia's role in the film, that of Truth-Anchor or Reality-Base, if you will. Whenever Jay begins to stray or wander off,
Tony is there to call his attention back to the task at hand, namely the discovery of the "true nature" of the object before them, which is claimed to be either a Carrot-Bird or a tree.
The point of the film, therefore, is to figure out the "true nature" of the so-called Carrot-Bird, and in so doing, to discover something about our heroes as they embark upon this
spiritual journey.
As they begin their quest for truth, it is clear that Jay is seeing a different tree than Tony. Tony declares that the tree has large wings and many "feathers," but Jay replies that
there are no "feathers." Originally, it is Jay who suggests that the pair use the scientific method to discover the "true nature" of the tree. Using the "scientific method," which is
characterized in the film by an experiment using their sense of smell, Tony and Jay discover that the tree is a bird, a scientific falsehood upon which is based the facts used in searching
for the tree's "true nature." This oversight of logic is meant to represent the fallacy of using scientific "fact" in philosophical searching, a truth which is stated in a particularly
creative manner in the film.
Soon after the "facts" are discovered, however, Tony makes up his mind that the bird is a tree, based on little or no personal experiment, but rather on preconceived notions as to what a tree is.
This is stated as the pair approach the tree with audience in tow. As Jay sets up the ingenius single-shot which defines the reality of the rest of the film, commentary is going on as to their
concept of what the tree is. Upon reaching the final destination, Jay, the larger of the two, begins to approach the tree, with the cautious steps one would use in approaching a religious truth.
Soon Tony goes down to join him. Here we see another difference in the way the two characters envision the tree. Jay remarks that it could be a lizard, based on his sense of smell. Tony, on the other hand,
finds a discarded beer can, which to him represents that the tree is a member of a fraternity. This represents Tony's more concrete manner of truth-seeking, versus Jay's more abstract method.
The pair try many methods to bring the tree to life. At first they try to leave it alone, as many attempt to do in their spiritual life. When that doesn't work, they try talking to the tree, in a particularly ingenius bit
in which Tony's character attempts "bird calls." When the tree still does not respond, Jay, grasping at straws, picks a leaf from the tree and declares that it is not in fact a "feather," but a carrot. This leads to his assumption
that the tree is in fact a carrot-bird, an assumption which begins the true spiritual controversy in the film.
This author will pass over the incredibly significant "tree-kicking" scene in favor of brevity, but that scene alone is enough for a serious analysis. Another theologically important moment comes later, when the two decide that the
"Carrot-Bird must be dead, since it did not react to their singing. This is a common theme in modern religion, and perhaps the meaning behind Nietzche's declaration that God is dead. Simply because the Carrot-Bird did not react to their
raised voices, the pair assume that it is dead. Obviously it should listen to its favored sons.
Whether the tree is dead or not, Jay begins to praise its name, in a display of blind faith. Tony also begins to call out its name, but his heart is less into it, simply because his more reality-rooted mind feels that something
is missing. Eventually Tony begins to suspect that the carrot-bird is, in fact, a tree, and the rest of the film is spent trying to figure out if it is or not. Jay proposes a bet: if the tree teaches the two of them to count, then
it is a tree (based upon the previously stated "fact" that Big Bird on Sesame Street was a tree, and he taught youngsters to count), and if not, it is the Almighty Carrot-Bird. Jay's spiritual world comes crashing down upon him as he
learns to count by counting the leaves which fall from the tree. It is proven that the Carrot-Bird is not the Carrot-Bird, but it is in fact a tree. And yet the two manage to find spiritual satisfaction in the tree, as shown by their song and dance
under the tree's protective branches.
The film "Carrot-Bird" is a brilliant film for showing man's quest for a religious icon. It's simplicity, as well as its abstract parallels to real issues, mask a deeper issue and make it easy to swallow, all the while entertaining the
audience. This is the perfect mixture of entertainment and philosophical nourishment for the soul. Watch the film, live it, love it. It is a film with which we all may identify.
© 1997 The Unofficial Carrot-Bird Fan Page.
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