A few weekends back I watched the new Ghostbusters in the theater. Since tuition bills loom larger than life, it takes a powerful draw to get me to spend the money to see a movie in its natural setting. As my regular readers know, I loved it. Critics have tended to, well, criticize the movie, largely for its main drawing feature—the female leads. A thoughtful piece in by Colin Dickey in New Republic points out some of the unusual dynamics at play here. Looking at the history of Spiritualism as the basis for the modern interest in ghosts, Dickey suggests that women have been involved in the long-term fascination with the dead from the beginning. Their motive, however, was generally communication. Women wanted to relate with ghosts to make a connection. The original Ghostbusters movie represented a male, rationalistic approach to ghosts. As Dickey points out, instead of communicating, the men hunt and trap rather than trance and rap.
Ghostbusters, in all three cinematic presentations, is for laughs. Sometimes classified as supernatural comedy, the film is meant as humor while, admittedly, leaving the door creaking open for some serious thought about the implications. In a reductionistic world there’s no room for ghosts. It’s not possible to say, scientifically, what they might be. From the perspective of traditional belief, however, ghosts are the lost spirits of the departed. Traditional Christian theology places the dead squarely in Heaven or Hell, and they shouldn’t be wandering around down here. That hasn’t stopped people from reporting ghosts. They’ve been recorded almost as long as there has been writing. Today “Ghosthunters,” arms defiantly crossed, use “science” to try to prove the entities exist. This is lightyears from the traditional seance. A ghost under a microscope isn’t very scary.
One of the reasons I found the new Ghostbusters so compelling is that it managed to tiptoe that line between science and spirit that is so rare in the real world. The women, downgraded though they are in the story, are academics. They know, and experience, the dangers of taking haunting seriously. The movie is seriously funny. Like most truly funny efforts, there is a great deal of truth hidden in the humor. Dan Aykroyd’s cameo is one of the scenes that plays on its own loop in my head. “I ain’t afraid of no ghosts,” he says before he drives off toward Downtown. Women, in the film, have a healthy respect for the departed. Not exactly afraid, but not exactly unafraid, they handle ghosts as persons. This may be one of the points Dickey is making in his article. To understand a human one must be human. Spiritualist or Ghostbuster, women have always been superior guides to what is truly important. If only men could learn to listen.
