{"id":22802,"date":"2011-10-31T13:00:57","date_gmt":"2011-10-31T17:00:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=22802"},"modified":"2018-12-17T14:26:08","modified_gmt":"2018-12-17T19:26:08","slug":"the-thief-of-time","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/10\/31\/the-thief-of-time\/","title":{"rendered":"The Thief of Time"},"content":{"rendered":"

\u201cMoments are the elements of profit,\u201d Karl Marx wrote in Capital<\/em>, quoting from an 1860 report by one of the British government\u2019s factory inspectors<\/a>. Marx believed that the uniformity of time underlay the fungibility of money; the time it took to make a commodity was, according to his theory, the basis of its value in the marketplace. If it takes ten hours to make an overcoat and ten to make a wheel of Stilton cheese, the coat and the cheese can be fairly traded. After all, a coat maker\u2019s ten hours mean as much as a cheesewright\u2019s. Or, as Thoreau put it, somewhat more poetically: \u201cThe cost of a thing is the amount of what I will call life which is required to be exchanged for it, immediately or in the long run.\u201d<\/p>\n

Andrew Niccol\u2019s new movie In Time<\/em><\/a> brings the labor theory of value to the big screen with bold literalness. In the future, thanks to genetic engineering, everyone\u2019s physical appearance ceases to develop or decline at age twenty-five, at which moment, with a silent, monitory thump, a stop watch on the left forearm\u2014a cross between an Auschwitz serial number and a lime-green digital alarm clock\u2014begins ticking down from one year. To get more time, one must beg, borrow, steal, or work, and with sufficient wealth, one can live forever. If one\u2019s clock runs out, though, there is a second thump, this time lethal, and the stopwatch fades from digital crispness to a blurry, inky string of thirteen zeroes, somewhat resembling the library due-date stamp of a twentieth-century childhood. In the meantime, time is currency, exchangeable by hand clasps or by chrome bracelets.<\/p>\n

The notion of hours as dollars takes some getting used to. In an early scene, the movie\u2019s working-class hero, Will Salas (played by Justin Timberlake), is given thirty minutes by his mother so that he can have a nice lunch for himself. At first I thought that the gift meant that Will would be able to stay away from the assembly line for an extra half hour at midday; in fact his mother expects him to trade the half hour for a sandwich and eat it. One gets the hang of it soon enough. By the time a hotelier announced that \u201cA night here costs two months,\u201d I found myself thinking, Marx would love this shit<\/em>. Thoreau once famously asserted that he could walk as fast as a locomotive, so long as when you calculated the locomotive\u2019s speed you added to the denominator the time it cost to earn the money for the ticket, and Thoreauvians will particularly enjoy the scene where a character is asked to choose between a bus ride that costs two hours and a walk that will take a hundred and twenty minutes.<\/p>\n

The movie makes no effort to imagine how or why all of humanity came to accept such a modification to its genome. Surely, a viewer thinks, it must be obvious, even in a fantasized neoliberal future that has privatized education away, that no biological process, not even a genetically engineered one that produces immortality, could possibly require regular influxes of money, which is only an idea? It isn\u2019t obvious to them, though. Somewhat improbably, it comes as a revelation to Will that the austerity built into this system isn\u2019t really necessary. \u201cThe truth is, there\u2019s more than enough,\u201d reveals Henry Hamilton (played by Matt Bomer), a depressive 105-year-old who looks like a mildly sloshed J. Crew model. (Ages in the movie are given in a form that brings to mind cricket scores: Will is 25 for 3; his love interest, Sylvia [played by Amanda Seyfried] is 25 for 2.) But even though there\u2019s more than enough, some dark authority has been at pains to keep it from being spread around, for reasons that seem a bit nebulous. \u201cEveryone can\u2019t live forever. Where would we put them?\u201d Henry intones, just before surreptitiously donating to Will a century or so.<\/p>\n

Neither Henry nor the movie quite seems to believe in the overpopulation objection, nor seems to expect Will to, and a further motive for things-as-they-are is also thrown in: Henry explains that the powers-that-be keep deliberately raising the cost of living to ensure that a sufficient number of people keep dying\u2014thereby encouraging, or so the viewer infers, a sufficient number of others to keep working. \u201cFour minutes for a cup of coffee,\u201d a character complains. \u201cYesterday it was three.\u201d If this movie were an economist, in other words, it would be the sort of economist who believes that the lower classes only take jobs when threatened with starvation, and that recessions and depressions occur because workers have been spoiled by welfare and have come to think of themselves as morally superior to the unpleasantness of toil. Is this movie Marxist or isn<\/em>\u2019t it?<\/em> I began petulantly to wonder. After all, Marx believed that \u201cthe determination of the magnitude of value by labour-time is … a secret hidden under the apparent movements in the relative values of commodities.\u201d That is, if it takes three minutes to make a cup of coffee, the value of the cup of coffee will always be equivalent to three minutes of labor-time. (Periodically The Economist<\/em> magazine takes advantage of this principle and checks currency strengths against what it calls the Big Mac index<\/a>\u2014the cost of a Big Mac, a uniform product around the world, in dollars, pounds, yen, renminbi, and so on.) If Marx is right, then if time were<\/em> a currency, the cost of a cup of coffee in time shouldn\u2019t fluctuate, unless a productivity breakthrough were somehow to reduce the amount of time needed to brew a cup. In fact Marx gets very sniffy about economists who think that the value of an item has anything to do with the amount of money in circulation. On the other hand, though, Marx does also say that \u201cprice may diverge from the magnitude of value,\u201d so maybe if labor-time were itself to become fetishized as a money-form, it could diverge from \u2026 itself?<\/p>\n

Fortunately, whenever such speculation is provoked in the viewer\u2019s mind, a car chase supervenes. The cars look to be of 1950s vintage\u2014black muscle cars for the police, who are known as \u201ctimekeepers,\u201d and boxy black limousines for the wealthy\u2014except for a curvy silver item purchased by Will, which, to the flummoxing of a salesman, he declines to have shipped to a car collectors’ storage facility and instead drives out of the showroom. (Shades of the red Ferrari of Ferris Bueller<\/em>\u2019s Day Off<\/em><\/a>? ) As in his debut movie, Gattaca<\/em><\/a>, Niccol has the wit to represent the future through style rather than mere CGI. Even in the slums, which are filled with empty but refuse-free postindustrial warehouses that Williamsburg would envy, one may find a cocktail dress of crushed velvet in a sort of auburn-plum color if one rummages through the right closet.<\/p>\n

Niccol has imagined his conceit thoroughly enough to realize that if currency could be stored on one\u2019s person, there would be no banks in the poorer parts of town. Accordingly, when Will and Sylvia set out to rob from the rich and give to the poor, they don\u2019t knock over banks. They knock over lending shops\u2014imagined as check-cashing storefronts run by a sort of credit-card-slash-subprime-loan conglomerate\u2014which are ubiquitous. We see a character make a loan payment, but the movie is a little elliptical about the economics of this lending. I briefly found myself wishing it had been more fully explained. After all, even in a world where people die when broke, the real money wouldn\u2019t be made by hiring people desperate for a job. It would be made by offering credit at usurious rates to the same workers. So long as indebted workers keep making their minimum monthly payments, they\u2019re worth far more alive than dead, even if their net, off-the-forearm balances are negative\u2014in fact, they\u2019re excellent investments, thanks to the backstop of their lethal stopwatches. Once I thought this through, though, it seemed that maybe this didn\u2019t really need to be explained at any great length to a contemporary movie audience: it\u2019s how we live now.<\/p>\n

By the end of the movie, Will and Sylvia are being pursued by the police across rooftops\u2014like figures out of The Matrix<\/em>? like figures out of Dickens?\u2014for stealing time from the usurers and distributing it to the workers, in an economic stimulus package as privatized by a high-fashion Bonnie and Clyde, as it were. Alas, it isn\u2019t clear if the movie has confidence in the revolution they propose. Once the stolen time begins to leak out to the masses, factories idle. Suddenly people have enough time on their hands to stand around, and they do. (\u201cIf the worker consumes his disposable time for himself, he robs the capitalist,\u201d Marx wrote.) \u201cToo much time in the wrong hands can crash the market,\u201d warns the disembodied voice of an investor in the conglomerate behind the lending shops\u2014is it the voice of one of Paul Krugman\u2019s \u201cbond vigilantes\u201d<\/a>? The prices of bread and milk start to rise. In response, the hero and the heroine vow to steal and redistribute more and yet more, but will their campaign merely lead to a vicious circle? \u201cIn the end nothing will change,\u201d warns one of the bad guys. He explains that it\u2019s \u201cbecause everyone wants to live forever,\u201d but the viewer nearly expects to hear the word \u201cstagflation.\u201d<\/p>\n

Caleb Crain<\/a> is a writer living in Brooklyn.<\/em><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cMoments are the elements of profit,\u201d Karl Marx wrote in Capital, quoting from an 1860 report by one of the British government\u2019s factory inspectors. Marx believed that the uniformity of time underlay the fungibility of money; the time it took to make a commodity was, according to his theory, the basis of its value in […]<\/p>\n","protected":false},"author":17,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1186],"tags":[4674,4666,4668,4683,4680,4665,3634,4677,4678,4670,4667,4669,929,4673,4681,4682,4675,4679,3638,4672],"class_list":["post-22802","post","type-post","status-publish","format-standard","hentry","category-on-film","tag-amanda-seyfried","tag-andrew-niccol","tag-auschwitz","tag-big-mac-index","tag-bonnie-and-clyde","tag-capital","tag-dickens","tag-ferris-buellers-day-off","tag-gattaca","tag-henry-hamilton","tag-in-time","tag-justin-timberlake","tag-karl-marx","tag-matt-bomer","tag-paul-krugman","tag-stagflation","tag-the-economist","tag-the-matrix","tag-thoreau","tag-will-salas"],"acf":[],"yoast_head":"\nThe Thief of Time by Caleb Crain<\/title>\n<meta name=\"description\" content=\"October 31, 2011 \u2013 \u201cMoments are the elements of profit,\u201d Karl Marx wrote in Capital, quoting from an 1860 report by one of the British government\u2019s factory inspectors. 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