Abstract

In this article, I combine political philosophy and film to examine the problematic of the ‘mystical’ foundation of authority and democracy as represented in The Man Who Shot Liberty Valance. Ford’s filmic vision is interpretable as a parable of the passage from the state of nature to the modern republic and the deconstruction of American democratic progressivism. To analyse it, I proceed in two steps: first, I defend a middle-way critical Enlightenment perspective between the democratic-progressivist and the deconstructive approach to the question of foundations. Second, in dialogue with this critical Enlightenment perspective, I argue that Ford’s cinematic vision of the foundation remains ambivalent, given that its deconstruction of the mythology of American democratic progressivism is premised on the nostalgic mythologizing of the pre-democratic age. Moreover, I take issue with Robert Pippin’s interpretation of the movie as a cautionary tale against Enlightenment rationalism, and which poses at its center the key psychological role of myths in politics (2011). In contrast, I argue that Ford’s cinematic vision cautions against decoupling the socio-political and personal life from the vital connection to truth and acting upon truth. From this standpoint, a “politics of truth” is, against Pippin’s interpretation of Ford’s vision, compatible with taking into account the constitutive role of narratives in building political legitimacy and authority.