This is not easy for me to admit. But I was quite young, around seven.
Seeing Mannequin nearly 30 years later was a weird experience. I remembered the outline of the plot, and I remembered some aspects of the performances, but most of what I remembered was inflection, turn of phrase, sound and look. The way some lines of the screenplay were said has been hanging around in my neural matter for all this time; it was like hearing lullabies sung to me in my cradle. Oh, this line, yes. Right, that montage. I didn't know exactly what the actress was going to say, nor what it meant in the context of the film, but I knew precisely how she was going to say it. An alchemical kind of memorization.
Since last week I've had those lines bouncing around in my head. I can't recite the whole movie, but I could parrot a good 25% of the screenplay right now, if you wanted me to. The way people get songs in their heads, I get scenes in my head, from movies or shows I watched either at developmentally crucial moments or have watched repeatedly. Mannequin had been lost to me in that way until I saw it again, and part of me thinks it was a mistake to watch it as an adult, because it woke up all those brain cells that had been sleeping and/or allocated to more useful tasks. And now I can remember it. For better or worse, it's in my head again, imprinted like a fingernail in clay.
Perhaps it's for worse that I'm saying this about a disposable 80s comedy with questionable gender relations, impossible plot mechanics (he's the toast of Philadelphia for designing department store display windows?) and untenably over-the-top performances.* Yet there are worse movies I could have eaten up as a child. And the bright 80s colors and synthesizers, the simplicity of the plot, the positive ethical compass, the sheer harmlessness of the whole enterprise - these things make it a pretty good movie for kids, even if that wasn't the intent.
Watching the film again, though - I wanted to memorialize the weirdness of that experience. Because although it might've been fine for seven-year-old me, now I can see what a thoroughly dumb film it is - the padding, the flimsiness, the Born Sexy Yesterday problem. I cringed all the way through, even as bits of my brain flared and lit like distant fireworks.** Both happened at the same time: affection, communicated across time and space, along with deep, vermilion embarrassment.
Some years ago, when we still lived in Maryland, I talked my husband into taking a day trip with me to Norfolk, Virginia, where I lived during my elementary school years. I had an itch to see this place called the Hermitage, where I went a few times as a child, and which I remembered as a mysterious, enchanted glen of sun-dappled woods. Someone had long ago placed millstones among the trees, which had been grown over by grass and moss. I remembered old brick walls, restless quiet, the possibility that Narnia waited around the next bend. I couldn't bear my half-memories of the place any longer, so we drove there.
The Hermitage grounds are lovely, but smallish and well-kept, not wild and mysterious. The house (which was off-limits every time I went there, so I didn't care about it much) sits next to water - the Lafayette River - a detail I did not remember. The woods I had remembered made up a fairly small patch of ground, and the trees were not exactly sparse but were not thick enough to hide the house or the neighboring wetlands, to make you feel like you were at all distant from civilization.
My memory sparked and fired from time to time, but like returning to an elementary school, everything looked small. Minimal. Mundane. Certain aspects did not disappoint, like the millstones, but nothing about the bit of woods we walked in felt enchanted. Matt was kind and didn't say anything to the effect of "we drove seven hours round trip for this?", but I felt deflated.
What I'm trying to say about all this is how strange our brains are, that they can latch on to more or less random input early in life and never let go. That might mean that we should be a hell of a lot more careful about what we give kids early in life, what movies and shows they watch over and over, what places they go and fall in love with. Or it might not; there's an element of "who knows" attached to all this, because I know I saw movies and went places as a kid that I didn't retain as clearly, or at all. I don't think having Mannequin and the Hermitage in my brain has made me worse (or better) off in any particular way, nor do I think the selection of this movie, this place, says anything special or important about me, my taste, my parents' parenting, anything like that. One of the most brilliant set of parents I know, their four-year-old loves Trolls, the movie made from nothing more substantive than a line of plastic toys; I think it's because the movie has bright colors, not because his affection for the film indicates anything about his destiny. But I'll bet he's going to remember the turn and shape and sound of aspects of that film well into his adult life. For better or worse.
What I definitely don't recommend is trying to go back to where you've been, whatever that means to you. You can go home again, but you can't live memories the same way a second time. Even if you retain them with precision, like the actors reciting their lines permanently in my mind, like the millstones under my adult feet, they'll never be exactly the way they were.
*I mean, I don't know who was telling Spader to do what he did in this movie, but he behaved approximately as human as Ed Grimley.
**An unintentionally funny thing: the evil department store is named Illustra (which is an odd name for a department store, right?) and it's mostly pronounced by the actors like Olestra. I don't think Olestra existed then, so now it's pretty funny to hear them talking about margarine and meaning a department store.