As the 2020 presidential election looms like a giant sword swinging over our collective heads, it’s difficult to know what to do.

Turn off and there’s the guilt, or eventual guilt, over whistling past the graveyard of American democracy.

Turn on and there’s the endless anger and non-stop memes (or worse) that pits US against THEM and saps whatever energy is left for I.

What that leaves each of us with right now is individual choice, a sure sign that American democracy is not dead…yet.

That was reassuring for half the weekend because I, for one, scheduled a relaxing few days at home lying around, reading and catching up on the 75% of programming saved on the DVR that needs to be erased…at some point.

But then I turned on Turner Classic Movies

That seemed like a good idea because this month TCM is featuring 31 Days of Oscar.  What this means is that until March 2 every film scheduled on the network is a nominee or winner of Hollywood’s top prize.

For those of us worn out from the politics of it all popping up on the news, in social media and as a part of even the most generalized pop culture memes everywhere, that provides a virtual luxury vacation of escape.

You can ostensibly tune in at any time and be pretty sure you’ll have an all expenses paid trip of at least two hours into an alternate story reality much more preferable and a lot less toxic than the one we all currently reside in.

And I’m not just writing this because my dear friend, Pola Changnon, a fellow movie lover, was recently and very deservedly named general manager of the whole damned network several weeks ago.

Though partly I am.

At our celebratory dinner I couldn’t help but gush a little to her at how, in these trying times, it was such a relief to tune in TCM and, suddenly, get lured into a non-2020 narrative where there is no Twitter and usually not much in the way of anything Orange employed onscreen.

Even though any number of the films on TCM might be available to rent and/or purchase, somehow, when you think of doing that, you instantly say to yourself, I don’t have time to watch this!

But when they suddenly appear on Channel 256 (in LA of course) on your TV or screen of choice and you get hooked, hey, no one can blame you!

To do so would be like getting down on someone for eating a slice of that already half eaten chocolate cake left out on the counter or helping yourself to a single drink at an open bar at anyone’s yearly holiday party and being met with a nasty stare by the “Church Lady.”

You’re entitled.  We’re all entitled.

But here’s the thing about escape.  Wherever you are, there you are.

At least that’s how it felt to me watching the classic, Oscar nominated movie, The Third Man on TCM this past Saturday afternoon.

Foolishly thinking a 1949 film noir with Joseph Cotten and Orson Welles that I somehow had managed not to have ever seen all the way through could free me from the T***P era what I discovered was… um… NO… anything but.

Based on a Graham Greene novella The Third Man is brilliantly photographed and edited, has a great twist and turn story, terrific acting and innovative directing, AND an unforgettable score.

It is also a perfect evocation of the moral dilemma we all face in the, okay let’s say it now, Trump Era.

Rather than transport us away into post World War II Vienna (Note: Though it literally does) it more effectively brings us right back to the question of 21^st century individual choice.

That is to say, how to confront moral decay and, yeah, pure evil when we see it.

– The Third Man doesn’t have children in cages as a result of the whims of a powerful man but instead shows us kids locked in a hospital, dying of (Note: Okay, no spoilers here) because of the actions of a brilliantly clever (Note: Evil?) genius with no moral compass.

– The Third Man isn’t about an election and the loss of the rule of law but instead is about one writer/investigator challenged to make a defining moral choice in a sea of contradictory and sometimes but not ultimately confusing facts.

 – The Third Man doesn’t have raging arguments between longtime neighbors and family members about right vs. wrong but it does ask us to consider whether our most loyal bestie from childhood can be good and evil at the same time and calmly consider how every one of OUR actions – past, present and future — has and will affect not just ourselves but the rest of the world as we know it.

Not bad for a half century plus old black and white feature where everyone but the American writer played by Joseph Cotten speaks with an accent, the Twitter-sphere didn’t exist and no mention at all is made of democracy, elections or the rise of the socialist left and/or the dictatorial repressive right.

A great classic movie is a little like a vintage piece of clothing you hold on to over the years.   As norms change you know that in a pinch it will perfectly fit some occasion, event of even era you are suddenly faced with.

It’s comforting, it’s clarifying but at the same time it also makes you think, sometimes of all sorts of things you might want to forget.

Or should remember.

That’s saying a lot for the days we’ve been living through and have yet to go through.

Anton Karas – Theme from The Third Man