Judith Merril - The Year's Greatest Science Fiction & Fantasy 6

aspects of thirteenth century tantric sculpture.

“Don’t be alarmed,” Hartford chuckled, above the whir of the projector. ‘That title saves me having trouble with inquisitive Customs inspectors. It’s perfectly accurate, but we’ll change it to something with a bigger box-office appeal when the time comes.”

A couple of hundred feet later, after some innocuous architectural long-shots, I saw what he meant....

You may know that there are certain temples in India, covered with superbly executed carvings of a kind that we in the west scarcely associate with religion. To say that they are frank is a laughable understatement; they leave nothing, to the imagination— any imagination. Yet at the same time they are genuine works of art. And so was Hartford’s movie.

It had been shot, in case you’re interested, at the Temple of the Sun, Konarak. “An awkward place to reach,” Hartford told me, “but decidedly worth the trouble.” I’ve since looked it up; it’s on the Orissa coast, about twenty-five miles northeast of Puri. The reference books are pretty mealy-mouthed; some apologize for the “obvious” impossibility of providing illustrations, but Percy Brown’s Indian Architecture minces no words. The carvings, it says primly, are of “a shamelessly erotic character that have no parallel in any known building.” A sweeping claim, but I can believe it after seeing that movie.

Camera work and editing were brilliant, the ancient stones coming to life beneath the roving lens. There were breathtaking time-lapse shots as the rising sun chased the shadows from bodies intertwined in ecstasy; sudden startling close-ups of scenes which at first the mind refused to recognize; soft-focus studies of stone shaped by a master’s hand in all the fantasies and aberrations of love; restless zooms and pans whose meaning eluded the eye until they froze into patterns of timeless desire, eternal fulfillment. The music— mostly percussion, with a thin, high thread of sound from some stringed instrument that I could not identify—perfectly fitted the tempo of the cutting. At one moment it would be languorously slow, like the opening bars of Debussy’s L’Après-midi; then the drums would swiftly work themselves up to a frenzied, almost unendurable climax. The art of the ancient sculptors, and the skill of the modern cameraman, had combined across the centuries to create a poem of rapture, an orgasm on celluloid which I would defy any man to watch unmoved.

There was a long silence when the screen flooded with light and the lascivious music ebbed into exhaustion.

“My God!” I said, when I had recovered some of my composure. “Are you going to telecast that?”

Hartford laughed.

“Believe me,” he answered, “that’s nothing; it just happens to be the only reel I can carry round safely. We’re prepared to defend it any day on grounds of genuine art, historic interest, religious tolerance—oh, we’ve thought of all the angles. But it doesn’t really matter; no one can stop us. For the first time in history, any form of censorship’s become utterly impossible. There’s simply no way of enforcing it; the customer can get what he wants, right in his own home. Lock the door, switch on the TV set to our—dare I call it our blue network?—and settle back. Friends and family will never know.”

“Very clever,” I said, “but don’t you think such a diet will soon pall?”

“Of course; variety is the spice of life. Well have plenty of conventional entertainment; let me worry about that. And every so often we’ll have information programs—I hate that word propaganda—to tell the cloistered American public what’s really happening in the world. Our special features will just be the bait.”

“Mind if I have some fresh air?” I said. “It’s getting stuffy in here.”

Hartford drew the curtains and let daylight back into the room. Below us lay that long curve of beach, with the outrigger fishing boats drawn up beneath the palms, and the little waves falling in foam at the end of their weary march from Africa. One of the loveliest sights in the world, but I couldn’t focus on it now. I was still seeing those writhing stone limbs, those faces frozen with passions which the centuries could not slake.

That slick voice continued behind my back.

“You’d be astonished if you knew just how much material there is. Remember, we’ve absolutely no taboos. If you can film it, we can telecast it.” He walked over to his bureau and picked up a heavy, dog-eared volume. “This has been my bible,” he said, “or my Sears, Roebuck, if you prefer. Without it, I’d never have sold the series to my sponsors. They’re great believers in science, and they swallowed the whole thing, down to the last decimal point. Recognize it?”

I nodded; whenever I enter a room, I always monitor my host’s literary tastes. “Dr. Kinsey, I presume.”

“I guess I’m the only man who’s read it from cover to cover, and not just looked up his own vital statistics. You see, it’s the only piece of market research in its field. Until something better comes along, we’re making the most of it. It tells us what the customer wants, and we’re going to supply it.”

“All of it? Some people have odd tastes.”

“That’s the beauty of the movie you just saw—it appeals to just about every taste.”

“You can say that again,” I muttered.

He saw that I was beginning to get bored; there are some kinds of single-mindedness that I find depressing. But I had done Hartford an injustice, as he hastened to prove.

“Please don’t think,” he said anxiously, “that sex is our only weapon. Expose is almost as good. Ever see the job Ed Murrow did on the late sainted Joe McCarthy? That was milk and water compared with the profiles we’re planning in Washington Confidential.

“And there’s our Can You Take It? series, designed to separate the men from the milksops. We’ll issue so many advance warnings that every red-blooded American will feel he has to watch the show. It will start innocently enough, on ground nicely prepared by Hemingway. You’ll see some bullfighting sequences that will really lift you out of your seat—or send you running to the bathroom—because they show all the little details you never get in those cleaned-up Hollywood movies.

“We’ll follow that with some really unique material that cost us exactly nothing. Do you remember the photographic evidence the Nurnberg war trials turned up? You’ve never seen it, because it wasn’t publishable. There were quite a few amateur photographers in the concentration Camps, who made the most of opportunities they’d never get again. Some of them were hanged on the testimony of their own cameras, but their work wasn’t wasted. It will lead nicely into our series Torture Through the Ages —very scholarly and thorough, yet with a remarkably wide appeal...

“And there are dozens of other angles, but by now you’ll have the general picture. The Avenue thinks it knows all about Hidden Persuasion—believe me, it doesn’t. The world’s best practical psychologists are in the east these days. Remember Korea, and brainwashing? We’ve learned a lot since then. There’s no need for violence any more; people enjoy being brainwashed, if you set about it the right way.”

“And you,” I said, “are going to brainwash the United States. Quite an order.”

“Exactly—and the country will love it, despite all the screams from Congress and the churches. Not to mention the networks, of course. They’ll make the biggest fuss of all, when they find they can’t compete with us.”

Hartford glanced at his watch, and gave a whistle of alarm. “Time to pack,” he said. “I’ve got to be at that unpronounceable airport of yours by six. There’s no chance, I suppose, that you can fly over to Macao and see us sometime?”