Classic and Contemporary Poetry: Explained

"The Movies" by Billy Collins delves into the immersive world of cinema, exploring the allure of storytelling through film and the safety it offers viewers from the comfort of their own homes. Collins crafts a narrative that juxtaposes the danger and adventure found in movies with the tranquility and security of watching these unfold from a distance. Through this exploration, the poem reflects on themes of escapism, the role of the observer, and the deep human desire to experience narratives that contrast with the mundanity of everyday life.

Collins expresses a wish to watch a movie filled with classic cinematic tropes: a mysterious stranger arriving in town or an individual embarking on a perilous journey. These scenarios, ripe with potential for conflict and drama, serve as vehicles for the poet's exploration of the tension between danger and safety. The poet's preference for experiencing these stories from a place of security—"so long as I am not in danger"—underscores the appeal of movies as a form of escapism, allowing viewers to vicariously experience the thrill of adventure without any real-world risk.

The comfort of watching a movie at home, "lying down with the bed hitched up to the television," is likened to being pulled along by a stagecoach, emphasizing the transportive power of film. This metaphor not only captures the physical comfort of the viewing experience but also highlights how stories can carry audiences into different worlds, times, and experiences, offering a respite from their own lives.

Collins's identification with peripheral characters—the bartender in the western, the stationmaster in the journey narrative—further illustrates the poem's theme of safe observation. These characters are involved in the story's action yet remain on its fringes, much like the poet (and by extension, the reader or viewer) who engages with the narrative without being directly affected by its dangers. This choice of identification suggests a deliberate maintenance of distance, an acknowledgment of the pleasure found in being near the action while safely outside its direct impact.

The poem concludes with a return to the poet's personal, peaceful life, "my two dogs, my faithful, amorous wife, and my children." This final scene, marked by domestic bliss and normalcy, stands in stark contrast to the imagined dangers and adventures of the movies. It underscores the dichotomy between the excitement of fictional narratives and the contentment found in real life's simple, safe pleasures.

Collins delivers a poem that is both a nod to the human appetite for stories of risk and adventure and a humorous acknowledgment of our equally strong preference for comfort and safety. His use of playful imagery, relatable content, and a twist on the classic adventure narrative all contribute to the poem's humorous tone.

"The Movies" captures the essence of cinema as a mirror to our desires and fears, offering a space where we can safely explore the complexities of human experience. Collins's reflective and mildly humorous tone invites readers to consider their own engagements with stories—how we seek adventure and excitement in the narratives of others while cherishing the safety and stability of our own lives. Through this poem, Collins affirms the power of storytelling to transport and transform, highlighting the enduring appeal of cinema as a sanctuary for the imagination.

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