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Justified and the dream of bourgeois life

Walton Goggins as Boyd Crowder in <I>Justified</I> (FX Productions)



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Conversion stories go wrong in one of two ways, both of them resulting from credulousness: They either may be presented as necessarily phony and delusional or, conversely, they may be presented with too generous a dose of crepuscular sunlight and too little attention to the unpleasant material realities of life. Justified navigates these poles cleverly. Rather than indulging our cynicism or attempting to overwhelm it, the writers harness it for their own narrative use. There is no sweetness and light, and no easy road to redemption. As Boyd tells an appropriately named criminal colleague: “You see, Devil, I can’t discard my past any more than I can these tattoos.” He retreats into the woods, establishing a primitive church and working against his father’s plans to flood the community with methamphetamine. It is far from clear that Boyd would know the road of righteousness if it were laid out in front of him in yellow bricks — he manages to murder a hapless meth cook in the course of doing the Lord’s work. But Boyd’s rebirth is brilliantly scripted in that the audience, like Boyd’s gangster father and practically everybody else around him, expects eventually to learn that it was all part of some elaborate ruse. The sincerity of Boyd’s newfound faith is not absolutely established until the moment it is crushed, and his little flock is put to the sword. It is a very skillful piece of plot construction.

Boyd retreats to the coal mines, where he can make legal and profitable use of his pyrotechnic talents, and in his free time applies himself to anesthetizing his spiritual anguish with Wild Turkey. He forswears crime and seeks shelter in the home of his former sister-in-law, a self-made widow.

But those tattoos are still there, and so is his criminal instinct. Boyd eventually returns to organized crime, but with another unexpected twist. While shaking down some well-connected, high-class criminals for a great deal of money, Boyd throws in an out-of-left-field demand: “Gentlemen, what you do may make you criminals, but you are not outlaws. I am the outlaw, and this is my world — and my world has a high cost of living. . . . I want you men to help me get a Dairy Queen franchise.” It is a strange request from a man whose other business negotiations are mainly centered on control of the local heroin trade. He proposes marriage to his girlfriend and grabs a briefcase full of money — to buy a house on Clover Hill, where the respectable folk live. In a particularly poignant scene, his fiancée realizes that she knows intimately the back rooms of a house they are considering, because as a little girl she was there with her mother, a housemaid.

Boyd’s great criminal master plan, as he finally reveals, is to join the middle class. A Dairy Queen is great for laundering money, but it’s also a good business, a foothold on respectability: “In three generations’ time,” he explains, “we’ll be an old family name. Nobody’d think twice about their kid and a Crowder kid playing together after school. This is how we see our grandkids grow up bona fide.” His fiancée expresses well-grounded doubts that they’ll survive long enough to see that happy day, and Boyd responds with a look that says: “Of course not, but why would that matter?” There is a saying, usually attributed to the Greeks, that a civilization reaches greatness when old men plant trees knowing full well that they will not live to sit in the shade of them. And that is Boyd’s design: After war and prison, a near-death experience, the discovery of faith and its loss, what our villain aspires to is bourgeois respectability, a wife and children, a home in the suburbs, and a clean name — if not for himself, then for his grandkids, even if he will not live to see it.

With his resourceful mind, perverse sense of humor, and flamboyantly Biblical cadences, Boyd Crowder is a great villain. There is something inescapably conservative about great villains, and not just because Darth Vader finds your lack of faith disturbing. In the progressive imagination, there is no sin, only a world in which the social engineering remains imperfectly executed. But a world without sin is a world without villains, petty or great, and therefore a world without heroes, too. It is a dead world. Though the cast of Justified features Nick Searcy, one of the most entertainingly out-and-proud conservatives in Hollywood and a ruthless mocker of that town’s official pieties, the show offers no evidence of being constructed along self-consciously conservative lines, and that is an excellent thing: Self-consciously conservative attempts at entertainment can be every bit as dreary as their sanctimonious counterparts from the left. Conservatives do not need their politics validated by rock concerts or movie stars. We know that human life contains a great many indigestible, immutable nuggets, those facts of life reminding us that, as Thomas Sowell once put it, reality is not optional, even on television.


Contents
April 8, 2013    |     Volume LXV, No. 6

Articles
  • Congress can limit drone strikes, but the Constitution does not.
  • The alarming scope of the power President Obama claims.
  • Reagan’s vision is not a national priority, but should be.
  • At South by Southwest, the politics are as conventional as the technology is innovative.
  • Justified and the dream of bourgeois life.
Features
  • Obamacare cannot succeed while remaining Obamacare.
  • Catholic reform through evangelical purification.
  • At retirement, the Heritage Foundation’s leader is optimistic, as ever.
  • Prisoners should work and learn rather than be idle.
Books, Arts & Manners
  • Vincent J. Cannato reviews Ike and Dick: Portrait of a Strange Political Marriage by Jeffrey Frank.
  • Kelly Jane Torrance reviews In Sunlight and in Shadow by Mark Helprin.
  • Emmy Chang reviews The PBS American Masters program Philip Roth: Unmasked, written and directed by William Karel and Livia Manera.
  • Bruce Cole discusses many of the notable works on display in the Smithsonian American Art Museum’s The Civil War and American Art exhibit.
Sections
The Long View  .  .  .  .  .  .  .  .  
Athwart  .  .  .  .  .  .  .  .  
Poetry  .  .  .  .  .  .  .  .  
Happy Warrior  .  .  .  .  .  .  .  .