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But that's the point. And no celebrity plays a bigger role in that strange story than Angelina Jolie. It started with a scene at a New York restaurant famous for its hospitality to famous people. A few nights before, Harrison Ford had walked into the joint practically unnoticed, but when a fire truck drove by, patrons stood up and cheered. This, the Times averred, was proof that in the parlance of the day, things had changed - that a culture dangerously besotted with celebrity might be on the verge of righting itself. Though written in the wake of fresh horror, the story was guardedly optimistic until the very end, when it quoted a woman named Leslee Dart. The press agent for Woody Allen, Tom Hanks, Meryl Streep, and many others, Dart spoke with the resigned serenity of a rehab counselor listening to yet another junkie vow a fresh start: "We have as a culture gone so far off the deep end, I think we have no choice but to go right back to where we were.
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Two preteen Asian boy running in a public park with a lot of tree during summer Two boy look at a big tree. She was right, of course, and she was wrong.
She was right because - more than any pundit, and certainly more than any politician - she captured the terminal nature of a culture that couldn't change even if it wanted to, even if it had to.
She was wrong because, although many cts of the culture remained the same, two things changed in ways that no one could have predicted. First of all, the culture's thralldom to celebrity did not remain the same at all; it intensified into a kind of collective lunacy. Second, the celebrities themselves changed: While the culture kept getting worse, its most famous denizens kept getting better and better, until virtue itself began to seem like one of fame's perquisites - a fashionable trapping and also, for some, an obligation.
One could make the argument that she is the most famous woman in the world. Why not, then, just go ahead and make the argument that she is the best woman in the world, in terms of her generosity, her dedication, and her courage?
The two arguments would seem hopelessly disconnected - the first being an objective assessment, or at least amenable to fact; the second being subjective and sentimental - but in truth they have become inextricable.
Certainly she doesn'tlook like you or me. Hell, she doesn't look like anyone except herself, which is one of the reasons she's the most famous woman in the world. I met her in a restaurant in Hollywood.
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She walked in wearing a very short beige raincoat cinched at the waist with a black belt and palomino-colored high heels. Her waist was very small - diminished, even - and so the raincoat was drastically tufted over her bare legs, like the white dress that Marilyn wore over the subway grating. Indeed, there were all sorts of cinematic meanings to ascribe to the raincoat - it made her look like a spy, the very essence of - ngawitourism.com, the kind of girl who says goodbye in the rain - but that's the last thing she wants.
She does not want the meaning of her life to rest on the meaning of her life as an actress, a word she pronounces with some disdain, or her life as a celebrity, a word she, like most celebrities, pronounces hardly at all.
And so her meaning only became clear when the raincoat came off and she sat at a corner table in a black dress with a plunging neckline and a plunging back.
She has always written her meanings on her body and has always been famously tattooed. Now, however, she was also extremely thin. Her body, once iconic for its comic-book voluptuousness, has become iconic in a completely different way - runic, in fact, both a symbol and a consequence of her absolute dedication to her causes. There is a question people ask when they hear you've met with Angelina Jolie. It's this: Is she She has this rep, you see.
People talk about her as though she's a different species - as though they find her sexy in the way a dog might find a wolf sexy.
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And there's some of that when you meet her. She is not short, but she is very small, down to her bones, which are like twigs. And yet her flesh - her golden, mortified flesh - is extraordinary: Like the sheets on a barracks bed, there's no slack to it. And it shines. The beauty mark splashed over the finial of bone adorning her bare shoulder: It shines.
She shines all over. Her eyes and her lips are, as advertised, extravagant creations, but then, in addition to all that extravagance, they also glisten like wet roads in a car commercial. She entered the restaurant out of the sputtering soundstage mist that passes for rain in Hollywood, but now that she's sitting down, she doesn't dry off.
She remains, well, moist. Her brown hair stays damp, and she keeps grabbing it in her fist and putting it behind her pillared neck. Her sexiness is supposed to be, like her lips, larger than life, but in fact it's smaller, because it shows through in her gestures and in the details of her beauty.
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And so it's not the main thing when you meet her. What is the main thing?
Well, there was a moment when she unzipped her dress for me. It was sort of a requisite celebrity-profile moment.
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She was talking about her effort to restore the Asian tiger to her wildlife preserve in Cambodia. She was saying that, as a matter of fact, there is a rather large tattoo of a tiger on her back. I asked to see it, and she obliged, reaching her hands behind her back and pulling down her zipper.
The black dress parted, and in the conventions of the celebrity profile, I should have been thinking, Hey, sexy.
But I wasn't. I was thinking that if her effort to save the Asian tiger failed, then the last one left in the world would be printed on the back of Angelina Jolie. Is virtue sexy? She's supposed to be making virtue sexy - a sexy topic, as the saying goes - but she's not, and there's nothing even she can do about it. If anything, virtue is making her less sexy. Craziness, though: Now, that's a different story.
She used to be crazy, when she first started making movies, and, although she was just a kid, her craziness made her a permissible fantasy figure - the kind of creature that consumes her mates, like certain spiders.
The cutting, the tattoos, the drugs, the self-professed sexual dabbling, the spectacle with her brother at the Oscars, and, above all, the vial of Billy Bob's blood she hung around her neck - she seemed carnivorously crazy, even though now, looking back, she says she was just young and unfulfilled. I was very unhappy, very unhealthy, and when I sat down for an interview, I didn't know why.
I felt like I didn't have anything to share. It was a very empty time. Then she grew up. Inshe went to Sierra Leone, a country that has won "war-torn" as a permanent adjective, and, she says, "got into some situations that were pretty intense and just realized how completely naive I was to think I had a difficult life.
I had no idea what a difficult life was. It was as if someone slapped me across the face and said, 'Oh, my God, you silly young woman from California, do you have any idea how difficult the world really is for so many people?
I mean, you look around, there are arms and legs. She visited something like thirty refugee camps in the world's most remote and forbidding and, yes, war-torn places, and in so doing became what she calls "a citizen of the world.
She just kept doing more, and although she didn't find peace, exactly - it's hard to describe a mother of four who routinely sends detailed e-mails on policy issues at four in the morning as peaceful - she did find what the culture at large was supposed to find, or at least look for, as a result of watching the Towers fall. She found meaning. And yet she did not become the most famous woman in the world because of the meaning she found in it. She became the most famous woman in the world because despite her willingness to take on the world's suffering - no, precisely on account of her willingness to take on the world's suffering - people suspected that she was still crazy.
The idea that Angelina Jolie is still crazy is central to the story told to Americans week after week. Without it, there would be no story; there would be only private virtue and public works and the occasional movie, and she would more or less disappear. With it, however, she becomes one of the four or five Americans who have a chance of turning up on four or five magazine covers each week; with it, she is still a permissible fantasy figure; with it, we Americans can still use her for our own purposes, and our own purposes are very specific.
Of course, the same headline might have accompanied every single story about her since she first became a citizen of the world and first became a mother. She has a twisted double life because she wrested Brad Pitt away from Jennifer Aniston. She has a twisted double life because she adopted not one but three children. She has a twisted double life because she treats her adopted children the same way she treats her biological one.
She has a twisted double life because she is out saving the world instead of staying home and making movies. She has a twisted double life because she is staying home and making movies instead of going out and saving the world.
Lately, she has a twisted double life because she is losing weight, and after this article is published, she will no doubt have a twisted double life because she eats crickets. She has become a fixture on the newsstand so that Americans can at once admire and be suspicious of both her character and her causes; she has become both an exemplar and an antidote for the need to create a meaningful life, and Americans by and large don't read about her because they want to learn more about the refugee crisis in Africa.
They read about her because they don't. Now, it must be said that she doesn't seem crazy when you meet her in person. She's frank, she's forthright, she's coherent, she's focused, she's organized, she's determined, she eats, she smiles, she laughs, she seems not just sane but disappointingly sane, because let's face it, judging from the tabs, crazy is how we like our Angelina Jolie.
But let's say, for argument's sake, that she is still crazy, or at least still empty, and desperately trying to fill herself up. Let's say she didn't find a new identity so much as she found a new use for her old one. Let's say her inborn extremism made it easy for her to choose extreme difficulty, convenient for her to choose extreme inconvenience. Let's say she chose to remake the world instead of remaking herself. Should the world care?
And does the question of motive - unfathomable in most human beings - justify the cynicism and outright suspicion that has accompanied Angelina Jolie's altruism? Because the thing is, she pretty much admits all the above.
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She pretty much admits she's still an extreme personality, but that her extremism has found a purpose. How else could she explain the Maddox Jolie-Pitt Project? I mean, it began as a house - a house in an exotic locale, for sure, on thirty-nine hectares in northwest Cambodia - and it ended as, well, an entire village, because that's just the way she is. She bought the house after she adopted Maddox.