"I am filled with awe that filmmakers have the capacity to stir us and give us back a sense of wonder"
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There is a quiet, almost defiant optimism in Bikel's awe. An actor who spent decades moving between stage, screen, and song, he isn't praising film as mere entertainment; he's saluting it as a machine for emotional restoration. "Capacity" does a lot of work here: it frames wonder not as a happy accident but as a craft, something filmmakers can reliably build through rhythm, image, performance, sound. Awe, in this formulation, is less a personal feeling than a professional respect for an art form that can engineer inner weather.
The subtext is a small rebuke to cultural cynicism. Bikel came of age in a century that trained audiences to be skeptical and media-savvy, to treat sentiment as manipulation. Yet he insists on the value of being "stirred" anyway, as if vulnerability is not naivete but a choice worth making. The phrase "give us back" suggests loss: modern life takes wonder away through repetition, noise, and the deadening logic of productivity. Film becomes a counter-economy, returning what daily routine has spent.
Context matters: Bikel, a Jewish Austrian-born refugee who became an American performer, understood wonder as more than aesthetic pleasure. For someone shaped by displacement and history's harshest realities, the ability of stories to rekindle curiosity can read like survival tech. His line elevates filmmakers to custodians of the intangible, not because movies are sacred, but because they can make a jaded public feel something clean again without asking permission.
The subtext is a small rebuke to cultural cynicism. Bikel came of age in a century that trained audiences to be skeptical and media-savvy, to treat sentiment as manipulation. Yet he insists on the value of being "stirred" anyway, as if vulnerability is not naivete but a choice worth making. The phrase "give us back" suggests loss: modern life takes wonder away through repetition, noise, and the deadening logic of productivity. Film becomes a counter-economy, returning what daily routine has spent.
Context matters: Bikel, a Jewish Austrian-born refugee who became an American performer, understood wonder as more than aesthetic pleasure. For someone shaped by displacement and history's harshest realities, the ability of stories to rekindle curiosity can read like survival tech. His line elevates filmmakers to custodians of the intangible, not because movies are sacred, but because they can make a jaded public feel something clean again without asking permission.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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