What’s Wrong With Old-Fashioned Hope?

Times film critic Kenneth Turan’s review of “The Postman” was pertinent in ways he possibly never meant. Deriding the earnest, “gee-whiz” goodness of Kevin Costner’s epic, Turan compares its poignant love of civilization to “ ‘Mad Max’ directed by Frank Capra” (“Aw Shucks, He’s Just ‘The Postman,’ ” Calendar, Dec. 24).

Good parallel! Alas, Turan never remarks on his own reaction--a snarl of ridicule aimed not at the film’s quality or effectiveness but toward “The Postman’s” overall theme of hope.

In fact, Costner deliberately aimed his tale (based generally on my novel) at the pervasive mood of stylish cynicism that Turan’s review represents--a modern habit of sneering at anything like enthusiasm, or belief in a civilization capable of rising above its faults.

Today’s hyper-cynicism is rooted in relentless propaganda--a flood of films and books that adhere to one paramount rule of plotting: “No American institution may ever be shown having value or functioning decently or well.” This trend originally began as healthy suspicion of authority--a theme that underlays many classics like “Mr. Smith Goes to Washington.” But lately, this useful suspicion of authority has metastasized into something else--hatred of the things that unite us.

Hope is the rebel outlook nowadays, in a society where politicized cynics never notice how hackneyed their theme has become. Others who are sure to hate Costner’s textured ode to citizenship will be the extreme right, because he slaps down militia-solipsism, and the far left, because he depicts tolerance, courage and cooperation sheltered by an American flag.

While dealing with dark subjects, the story unabashedly resists dour, cliched pessimism.

Do I have reservations about the film? Had Costner ever consulted me, I would have suggested changes. There are slow parts and self-indulgences. While some scenes overlap with the book, there are also major differences. Many authors wash their hands when that happens.

Yet, Costner’s version captures the rebel message rather well, for instance, by pointing out that we would miss a lot of life’s little things if they were gone. (Even postmen.) And if America vanished, we would miss it most of all.

Both communities and individual courage are needed--hardly your typical movie viewpoint, especially in post-apocalypse dramas.

Visually beautiful, the film has moments of wit and charm that escape notice by misanthropic critics, but which make some audiences break into spontaneous applause for this reminder about what is good in ourselves.

Too bad Turan is hobbled by fashion. He cannot feel the catch in the throat that others get when they find themselves swept away by Costner’s vivid imagery, or by his call for Americans to take pride in their basic decency. Our civilization, though deeply flawed, deserves some gratitude and love, now and then.

Please take note--Capra endures.