Opening

Laurey is pictured with a bird in a cage because she's like a bird in a cage, singing beautiful songs from inside her enclosed and confining world.

The First Love Triangle

The haunting quality of Curly's song has to be heard to be appreciated. In lyrics that echo Nietzsche's statement that joy wants eternity, Curly sings: "The river will ripple out a whispered song and whisper it over and over: 'don't you wished you'd go on forever; don't you wished you'd go on forever; don't you wished you'd go on forever' and a never stop, in that shiny little surrey with the fringe on the top." The fact that the phrase is sung in a whispered tone in which Curly seems to play the river whispering and the fact that it is repeated so it seems like it may well go on forever adds to the evocative quality of the lyrics.

The lyrics express Laurey's desire to escape from time into a state of endless bliss in which she can remain a child and avoid the progress that will lead to the maturity of both herself and society. In one sense, they are in contrast to the lyrics Will sings about Kansas City, which are about the newness, progress and daring associated with modernity in which the city goes about as far as it can go. But both songs present idealized visions of wonderful worlds that transcend the mundane world the listeners live in. 

Jud's Hovel

The anality of Jud's home is also seen in its function: it is a smokehouse. Smoke, which is associated with anality because of its olfactory and other qualities, is used to cure dead meat. As discussed in the essay on Dracula, dead bodies, as the remains of life, are also anal in character.

The Dream, 1

Laurey says: "I like the looks of the prairie outside my window and the thicket where the possums live and the way we set round in the evenings in thrashing time eatin muskmelons and a singin and lots of things." I'm not certain if the word she is using is "muskmelons". According to Encyclopędia Britannica Online, "Muskmelons are noted for their sweet, juicy, musky-scented, orange flesh, which accounts for their ranking as probably the most important commercial melons. In North America these melons are sometimes inaccurately referred to as cantaloupe, a term that should properly be reserved for other melons, C. melo of the Cantalupensis group." All of which raises another question: Is the fruit we buy in the grocery store muskmelons or cantaloupe?

The Dream, 3

Interestingly, one of the female dancers in the dream looks like a man in drag.

The Dream, 4

The tornado funnel, which is Jud's anus, is another dream image that depicts a body cavity as a dominant element of the landscape, like the demonic birth canals. The stairway, hall, gated path and entryways as birth canals and birth openings leading to entrapment; the haunted-looking house as the body of the malevolent mother that gives birth to Laurey into her entrapment; and the tornado funnel as Jud's anus, threatening to suck everything up and wreak destruction, all make clear that the dream is full of images of human anatomy that can engulf, entrap and destroy.

Perhaps the stairway to nowhere, with the sudden drop, also represents an erect phallus, and a castrated phallus that is broken off and unable to bridge over into a woman. It implants Laurey into the demonic mother of the haunted house, which then gives birth to her.

The Second Love Triangle

* Both love triangles have a similar pattern of unrequited love. In the primary love triangle, Jud wants Laurey but Laurey wants Curly, even though she is afraid to show it. In the second love triangle, Annie is interested in both Will and the peddler and conflicted about it, so both could win her hand if they were so inclined. But she is more interested in the peddler so Will pursues her as she unsuccessfully pursues the peddler.

* The peddler manifests a traditionally masculine form of manipulation in which he uses trickery to get pleasure and profit while remain uncommitted. The polar opposite is a traditionally feminine form of manipulation in which a woman is depicted as conniving and controlling to entrap a man. We see an example when Annie, disappointed that the peddler doesn't want to marry her, tells her father of the romantic things the peddler has said to her, to manipulate her father into forcing the peddler to agree to marriage. Whether Gertie finally gets the peddler through similar means is an open question.

Matriarchy & Human Fulfillment

The growing prominence, as the movie progresses, of the older male characters, Mr. Carnes, and Mr. Skidmore, who tells the marshal to "shut up about bein federal marshal", makes clear that the humane values embodied in Oklahoma! are by no means entirely identified with the idea of a matriarchy or the positive characteristics associated with women.

But the combination of Aunt Eller's role containing conflict, and overseeing events in a way that ensures they embody her values, when combined with all the imagery of fertile, idyllic, nature, and happy childlike residents under her watchful eye, makes clear that a benevolent matriarchy is being depicted.

Since Mr. Carnes is a farmer and Mr. Skidmore is a rancher, the movie offers an older male character from each of the two groups. The two function as father figures, as counterpart to Aunt Eller as the mother. The benevolent and accepting Mr. Skidmore is similar to Aunt Eller and, in terms of underlying symbolism, he can be considered her spouse. She is a farmer; he a rancher. 

* The movie consistently deflates authority figures, which is, of course, an essential role of comedy. The father trying to push Annie into the wrong marriage and insisting that he has to pronounce Jud innocent, and the puffed up marshal, all look foolish to one degree or another. By contrast, Aunt Eller is authoritative and wise without being authoritarian.

* It is interesting to compare the society depicted in Oklahoma! to two other well-known depictions of country bumpkins -- the benevolent "patriarchy" in The Beverly Hillbillies and Li'l Abner, the comic-strip-turned-musical. Both include a number of similar characters. We are clearly looking at a fictional archetype, here, that deserves attention and has probably received it somewhere. I believe the depiction of the rube or bumpkin goes back to the ancient Greeks.

Being Born Into Adulthood

* Regarding growth being represented by the stages of birth, I believe there is anthropological theory that describes rites of passage as using birth symbolism. More on that another time.

* Re: " the young person's growth into adulthood... which may then be resolved by entering an adult relationship that represents a new stage of life and brings feelings of deliverance and salvation." The new stage of life typically involves entering the world of work as well as love. 

Trials of Worthiness & innocence

* Will's participation in the steer-roping contest is a test of his role as breadwinner, since he must come up with a nest egg of fifty dollars to win Annie. Having passed the test, because of his competence, he subsequently fails by spending the money and almost spending it a second time after he gets it back. But he gets an assist from the peddler and special dispensation because the requirement that he come up with fifty dollars wasn't fair to begin with, and because he is so well motivated. He does also, ultimately, figure out the math and learns to hold on to his money, although only in a very dimwitted way.

Temptation & the Social Order

Jud, the peddler and Gertie are like free radicals looking for a partner to unite with. 

Oklahoma! & Exogamy

* The farms and ranches represent female and male, and they also represent being domesticated and growing up versus remaining a bachelor. The idea that the farms represent growing up is best represented by Aunt Eller and Annie's father, and by Curly's plans to settle down on the farm.

* The farms and ranches are also two, divided, parts of society. This depiction is part of a larger depiction of the society of the Oklahoma territory. We see its economy and social structure, and we hear tales of a modern city that is something new. We see this society's rituals and culture and its ideology of farmers and ranchers living together, which is intended to keep the peace, despite the fact that farmers are dividing up the range.

Resolving Oedipus complexes, 1

* I'm guessing as to whether we are looking at geese or ducks. The one's that move out of the way for the surrey look like geese.

* Pending contradictory evidence from a dictionary (or a change of mind) the word "phallicly" will be used instead of "phallically".

The Parts of the Self

* The movie tells us the characters are connected to each other through all kinds of similarities and contrasts. For example, Jud and the peddler are both connivers who are referred to as rats; Laurey is depicted as light and sunshine, Jud as darkness and dirtiness; Annie's father and Curly both know how to use guns to intimidate ratlike connivers, and so on. Through these similarities and contrasts, the movie creates a web of connections in which characterization significantly overlaps with symbolism.

Ultimately, the movie creates so many symmetries, contrasts, similarities, parallels and connections, between characters, plot sequences, settings, dances, music, lyrics and so on, it is like an intricate complex structure that fully exploits the potential of musical comedy. This makes it ideal for a structural or semiotic analysis although the analyst may be disappointed in the end, having ferreted out all the hidden connections, to discover that many were what the creators consciously intended.

* Will and Annie accept the good and bad in life, as well, since they accept the freeing and limiting aspects of monogamy. And Annie's father accepts a son-in-law who is good but not too bright.

Oklahoma! as Myth

* Curly refers to Jud as a rat in one of his sly putdowns when he sings sarcastically that Jud "loved his fellow man....He loved the birds of the forests and the beasts of the field. He loved the mice and the vermin in the barn; and he treated the rats like equals -- which was right." Jud catches only the surface meaning, not the ironic comment.

* Christianity includes essential stories about temptation by the Devil, which begins with Eve and includes the temptation of Jesus, described in the Gospels, and the temptation of St. Antony. It also includes journeys into the underworld, of which Dante's descent is the most notable. This tradition includes what, I believe, is an apocryphal story about a journey by Jesus into Hell. (More on that another time.)

Here is an account in Matthew 4 of Jesus tempted by the Devil, which can be found in The Revised Standard Version of the Bible, copyright © National Council of Churches of Christ in America:

"[1] Then Jesus was led up by the Spirit into the wilderness to be tempted by the devil.
[2] And he fasted forty days and forty nights, and afterward he was hungry.
[3] And the tempter came and said to him, "If you are the Son of God, command these stones to become loaves of bread."
[4] But he answered, "It is written, `Man shall not live by bread alone,
but by every word that proceeds from the mouth of God.'"
[5] Then the devil took him to the holy city, and set him on the pinnacle of the temple,
[6] and said to him, "If you are the Son of God, throw yourself down; for it is written, `He will give his angels charge of you,'
and `On their hands they will bear you up,
lest you strike your foot against a stone.'"
[7] Jesus said to him, "Again it is written, `You shall not tempt the Lord your God.'"
[8] Again, the devil took him to a very high mountain, and showed him all the kingdoms of the world and the glory of them;
[9] and he said to him, "All these I will give you, if you will fall down and worship me."
[10] Then Jesus said to him, "Begone, Satan! for it is written, `You shall worship the Lord your God and him only shall you serve.'"
[11] Then the devil left him, and behold, angels came and ministered to him."

Here are excerpts from the Life of St. Antony, from Athanasius: Select Works and Letters, Volume IV of NICENE AND POST-NICENE FATHERS, Series II, Philip Schaff and Henry Wace, editors, which appears at the site of the The Internet Medieval Sourcebook.

"40. 'Once a demon exceeding high appeared with pomp, and dared to say, "I am the power of God and I am Providence, what dost thou wish that I shall give thee?" But I then so much the more breathed upon him [3a], and spoke the name of Christ, and set about to smite him. And I seemed to have smitten him, and forthwith he, big as he was, together with all his demons, disappeared at the name of Christ. At another time, while I was fasting, he came full of craft, under the semblance of a monk, with what seemed to be loaves, and gave me counsel, saying, "Eat and cease from thy many labours. Thou also art a man and art like to fall sick." But I, perceiving his device, rose up to pray; and he endured it not, for he departed, and through the door there seemed to go out as it were smoke. How often in the desert has he displayed what resembled gold, that I should only touch it and look on it. But I sang psalms against him, and he vanished away. Often they would beat me with stripes, and I repeated again and again, "Nothing shall separate me from the love of Christ [4]," and at this they rather fell to beating one another. Nor was it I that stayed them and destroyed their power, but it was the Lord, who said, "I beheld Satan as lightning fall from Heavens; [5]" but I, children, mindful of the Apostle's words, transferred [6] this to myself, that you might learn not to faint in discipline, nor to fear the devil nor the delusions of the demons.

"23. 'The demons, therefore, if they see all Christians, and monks especially, labouring cheerfully and advancing, first make an attack by temptation and place hindrances to hamper our way, to wit, evil thoughts. But we need not fear their suggestions, for by prayer, fasting, and faith in the Lord their attack immediately fails. But even when it does they cease not, but knavishly by subtlety come on again. For when they cannot deceive the heart openly with foul pleasures they approach in different guise, and thenceforth shaping displays they attempt to strike fear, changing their shapes, taking the forms of women, wild beasts, creeping things, gigantic bodies, and troops of soldiers."

Life & Death Versus Death-in-Life

* Interestingly, Oklahoma's theme was taken up and transformed in the 1970s cult classic, The Rocky Horror Picture Show, which is, in many ways, a contemporary replay of Oklahoma! in which all that is left is the demonic aspect. Unlike Oklahoma!, Rocky Horror celebrates transgression in its performance and staging. But at the same time, in the story, it rejects the fascination with transgression as a form of madness. In place of transgressive sex, it offers a wider but shallower definition of sexual freedom than does Oklahoma!, with a female character who is sexually freed up by her journey through an underworld of transgressive sexuality, but not tied to sexuality by compulsion and the need to act out. In Rocky Horror, this depiction is incorporated into a deeply ironic and pessimistic vision in which freedom has to contend with a demonic world where obsession, persecution and madness are dominant characteristics. The romantic musical comedy, Oklahoma!, and ironic musical comedy Rocky Horror are two of the most exceptional gothic creations found in movies. 

* The movie shows a number of demonic celebrations that take something good in life and turn it into something degrading. The most obvious instance is the transposition in the dream in which the good things of life become forms of death- in-life, and marriage gets turned into a variation on being the bride of Satan.

Another way good gets turned into bad is through mockery and irony, which seems to be embodied, not by the deadly serious Jud, but by an unexpected character, a young blond girl who is usually in the scene when there is mockery (and also when there is fantasy). These scenes seem to embody a cynical and degrading attitude toward life and the other characters that is very different from the "situational mockery" in which Curly takes his opportunity in Jud's hovel, and makes jokes at Jud's expense.

Below, we see four scenes involving mockery in which the young blond girl is on hand: 

In this scene, we see the young blond girl, on the right, and her friends, mocking the community at the social as it descends into a brawl between farmers and ranchers. To preserve the peace, the farmers and ranchers have an ideology, which they express in song at the social, with the repeated line: "The farmer and the cowman should be friends". As they sing, the peace breaks down and a fight ensues. The young girls then mockingly sing "Oh the farmer and the cowman should be friends," as fists fly. 

The song has a strong element of dishonesty and denial in it since the cowman and farmer perceive each other as natural antagonists. So the girls laughingly sing it, juxtaposing the phoniness of the lyrics with the reality of the hate that has broken out between the two groups. Their response can be contrasted with Aunt Eller who picks up a gun and stops the brawl.

Here, we see Laurey's double in the early part of the dream fulfilling her desire to at last be with her true love. But the blond girl offers an exaggerated reaction of thrill, excitement and romantic reverie, so she is really mocking them. Here mockery, once again, has some kind of truth to it, and it foreshadows what is to come, since Laurey's love is being undone by her fear and this early idyllic scene in the dream will soon give way to the demonic encounter with Jud. 

Here, we see the blond girl and a friend coming by just to tempt Will and break up him and Annie. Once again, everything in their attitude is one of mockery.

This final example is from what may be the most nuanced and interesting scene in the movie. In it, Laurey's friends join her in falsely claiming that self-involvement and serial romances can replace true love. They are in denial, of course, and it is that denial which will lead to the denial of the dream, which intensifies these scenes and makes them demonic. 

But what is so interesting about this scene is that, in their exaggerated and artificial movements, the women are also mocking themselves - and Laurey. They are taking the self-involvement and vanity that Laurey's song says can replace love and making it look unattractive, false and almost inhuman, to reveal the falsehood behind it. Once again, there is the blond girl, with her head on Laurey's shoulder.

In each instance, the blond girl and her friends come into a situation from outside it, and comment on it. They stand at a remove, corrupt things and reveal truths in degrading ways, in stark contrast to the sincerity and involvement of most of the other characters. 

In another, early, scene, when Will sings of the wonders of the big city, the blond girl's role is more straightforwardly that of being delighted by the fantasy.

The role of the blond girl, and the other young females, as a kind of chorus, deserves further exploration.

* Technically, more than three societies or ways of life are depicted in the movie, since it also shows us a little bit of the freewheeling masculine world of the ranchers, and the peddler. Both are viewed as incomplete forms of life that can be completed by embracing life and marriage. It also shows us the mockery of the female "chorus"  described above. 

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Background

Oklahoma! started out as a play, became a groundbreaking work of musical theater and then was made into a movie. Here are some excerpts and links.

Here is a recent Time magazine article on the creators of Oklahoma!, Rodgers and Hammerstein, by Andrew Lloyd Webber, and a 1947 article. (A number of other browser windows trying to market something may be spawned by opening these pages. But they were easily made to disappear on recent visits to the site.) 

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There used to be information on the origins of the play, Oklahoma!, on a site described as being by The Rodgers & Hammerstein Organization. The site is no longer accessible, but this and the next three links will be left, here, in case the site turns up again. This information hasn't (yet) been checked against other sources for accuracy:

According to the site, "Lynn Riggs was the author of Green Grow the Lilacs originally produced by the Theatre Guild in 1931 and later used by Richard Rodgers and Oscar Hammerstein II as the basis for their musical OKLAHOMA! When originally done, Lilacs had a New York run of 64 performances, while its musical adaptation had an original Broadway run of 2,202 performances.... Born in Claremore, OK, Riggs studied for three years at the University of Oklahoma....Riggs also wrote such plays as The Lonesome West, The Cream in the Well, Laughter from a Cloud, Russet Mantle and Borned in Texas.

Here is Richard Rodgers description on how they decided to open the play, from the same site: After much thought and talk we simply went to the way Lynn Riggs had opened his play, with a woman seated alone on the stage churning butter. For the lyric of the first song, Oscar developed his theme from the description that Riggs had written as an introduction to the scene:

"It is a radiant summer morning several years ago, the kind of morning which, enveloping the shape of earth -- men, cattle in a meadow, blades of young corn, streams -- makes them seem to exist now for the first time, their images giving off a visible golden emanation that is partly true and partly a trick of imagination focusing to keep alive a loveliness that may pass away..."

This was all Oscar's poetic imagination needed to produce his lines about cattle standing like statues, the corn as high as an elephant's eye, and the bright golden haze on the meadow."

If this description is reliable, it seems likely that the primary sources of the ideas in Oklahoma! are Lynn Riggs and Oscar Hammerstein. More on this another time.

A page on Oklahoma! from the same site says: "Rodgers & Hammerstein's first collaboration remains, in many ways, their most innovative, having set the standards and established the rules of musical theatre still being followed today." Here is more background.

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Compton's Interactive Encyclopedia says this about Oklahoma!, the play:

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Cast of the Movie: The cast of Oklahoma!, the movie, includes a number of actors many people will be familiar with, including Eddie Albert as Ali Hakim; James Whitmore as Annie's father; Shirley Jones as Laurey; and Rod Steiger as Jud Fry. Gordon MacRae plays Curly. Aunt Eller is played magnificently by Charlotte Greenwood who was also in the 1941 movie, Moon Over Miami.

Oklahoma! was directed by Fred Zinnemann, who also directed Julia, The Day of the Jackal, From Here to Eternity, and A Man for All Seasons.

You'll find additional information on the movie at the Internet Movie Database.

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On birth imagery: Stanislav Grof, with Hal Zina Bennett: The Holotropic Mind (New York: HarperCollins Publishers, 1992)

On seeing, in our old adversary, a friend: Norman O. Brown: Life Against Death: The Psychoanalytical Meaning of History (Middletown: Wesleyan University Press, 1959). p. 322.