When reading Susan Sontag’s “Notes on Character”, I was unnerved to find that all of the points on “Camp” that she described all lead back to one film, The Room (Wiseau, 2003). The Room is a film that has a plot, but is ultimately about nothing. The true story of the room, chronicled in the book and subsequent film The Disaster Artist (Franco, 2017) is the story of it’s writer, star, and director – Tommy Wiseau. Wiseau tried, and failed, to make the ultimate American drama with The Room. The Room was his masterpiece, a testament to the world that he mattered, that he could play a leading part, and make a film admired by the fat cats of Hollywood. Instead, Tommy failed. Sontag says, “Camp is the attempt to do something extraordinary.” but ultimately, it is a failed attempt, at least not in the way that the artist intended.
The above clip is from The Room. It is the final scene of the film, where Tommy Wiseau’s character Johnny commits suicide after being betrayed by his lover and best friend. Obviously, this scene was meant to be tragic, but it’s failure makes it Camp. Sontag says, “Camp and tragedy are antithesis.” It is impossible for the above scene to be tragic, with Tommy’s wailing and thrusting about. His exaggerated destruction of property, the ease in which he picks up a large, heavy television and throws it out the window, these are all comedic, not tragic. These are not the actions of a truly destroyed man, as Tommy hopes to portray, instead we see Tommy as quite clearly acting. This is another hallmark of Camp, “Camp sees everything in quotation marks… it is… the metaphor of life as theater.” The Room is clearly an example of what Sontag calls “Pure Camp”.
 Sontag, Susan. “Notes on “Camp”.” In Against Interpretation and Other Essays, 275-92. Penguin Classics. 284.
 Sontag, Susan. “Notes on “Camp”.” In Against Interpretation and Other Essays, 275-92. Penguin Classics. 287.
 Sontag, Susan. “Notes on “Camp”.” In Against Interpretation and Other Essays, 275-92. Penguin Classics. 280.