The Motivation of Rose

Rose DeWitt-Bukater was a fictional character, portrayed by Kate Winslet, in James Cameron’s 1997 blockbuster hit, Titanic (Cameron, 1997). Her fascinating and complex character and life have been the subject of much discussion and debate in the years since Titanic was produced. Maslow’s Hierarchy of Needs and other behavioral influences can be used to understand Rose’s motivation.

Abraham Maslow posited that human needs were arranged in a hierarchy, with the most basic survival needs being on the bottom level and the pinnacle of human existence, self-actualization, being at the top (Maslow, 1943). The hierarchies, from bottom to top, are physiological, safety, love/belonging, self-esteem, and self-actualization. Maslow believed individuals need to attain one level before being able to advance to the next, and that if one need was met completely, the individual felt nothing. However, if the need was not met, it created inner conflict or existential anxiety. Thus, gratification plays an important role in motivation; for once the need is met, the motivation ceases to exist. As for behaviorism, Maslow (1943) felt that there were multiple determinants and multiple motivations of behavior. With this in mind, Rose’s life and actions, as portrayed in the movie, can be analyzed.

When Rose is first introduced to the viewer, she is boarding the maiden voyage of the doomed ship in Southampton, England as a privileged 17-year-old. One of her first remarks is that, in her opinion, the ship is not quite as grand as others on which she had sailed. From this remark, her attitude, and her clothing, it is apparent that Rose leads a very proper and indulged life amidst the upper classes in 1912 society. She would want for absolutely none of the basic, or deficiency needs, and probably never did. Moreover, Rose likely never wanted for any of the second tier needs of safety and security.

When examining the third level of social needs, which include love, belonging, and affection, it would appear at first glance that Rose has met this level, as well. She has companionship, is an accepted member of a highly functional social class and has a fiancée. It is implied that Rose is sexually active with him. However, the fact that Rose soon attempts to commit suicide by throwing herself overboard would suggest that she is suffering from severe existential anxiety disorder and major depression; furthermore, that her coping mechanisms, i.e., attempts to assimilate and conform to the role in which society has cast her, have failed.

The construct that Rose created, by assuming an artificial persona that did not reflect her true self, left her uninspired and despairing of fulfillment. As Rose reflected back on that time from old age, “I saw my whole life as if I'd already lived it. An endless parade of parties and cotillions, yachts and polo matches. Always the same narrow people, the same mindless chatter. I felt like I was standing at a great precipice, with no one to pull me back, no one who cared... or even noticed” (Cameron, 1997). Although not aware of it, Rose was striving for Maslow’s fourth level, esteem, and ultimately, self-actualization. The “push” part of the push-pull motivational theory (Fields, 2011) is also at play here. By attempting to end her life, Rose is actively pushing away the pain in an effort to avoid it.

At this point in the movie, the deuteragonist is introduced into Rose’s life. Jack Dawson stops Rose from fulfilling her suicidal impulse and draws her back from the railing, and the brink of death. From this point, Rose must either develop a new coping strategy, accept her life as it is, or break away from the path that has been pre-determined for her by society and familial pressures. In Maslow’s humanistic theory, society has influenced Rose’s self-concept. The empiricist believes, more extremely, that all behavior is learned from conditioning. This is in opposition to nativists, who explain behaviors by neurochemical, genetic, or hormonal influences (McLeod, 2007).

From a biochemical point of view, the neurotransmitters serotonin and norepinephrine are inherently related to disorders of mood, such as depression. Given that some neuroscientists believe mood disorders are familial or genetic, one would take a nativist approach to believe Rose’s depression and suicidal tendencies were a result of inheritance and not conditioning. The hormone dopamine is produced in the brain by sensations of pleasure and comfort. When dopamine is released, the hormone oxytocin is produced and creates a calm, soothing response to physical contact. These are the biochemicals behind the feeling of falling in love. Phenylethylamine creates a feeling of bliss when around the object of love and stimulates the impetus to recreate that event over and over (Crabtree, 2009). In A Theory of Human Motivation, Maslow writes:

As for the concept of emergence of a new need after satisfaction of the prepotent need, this emergence is not a sudden, saltatory phenomenon but rather a gradual emergence by slow degrees from nothingness. For instance, if prepotent need A is satisfied only 10 percent: then need B may not be visible at all. However, as this need A becomes satisfied 25 percent, need B may emerge 5 percent, as need A becomes satisfied 75 percent need B may emerge 10 percent, and so on (1943, p. 389).

However, in the film, the audience is allowed to witness the exact moment Rose ascends fully into love and belonging, the third tier of Maslow’s hierarchy. She and Jack stand on the bow of the Titanic and Jack implores her to trust him and close her eyes. “Do you trust me,” he asks. “I trust you,” she replies. “Then open your eyes” (Cameron, 1997). When Rose opens her eyes, arms outstretched to the world and to all possibility, her need for love and belonging has been satisfied and she is transitioning to esteem. This is evidenced by her new-found confidence, her respect for self, and her willingness to accept and respect others.

As Rose falls in love with Jack, she grows as a person by allowing her true nature to emerge. This is seen as she willingly defies the societal mores and conventions by which she was nurtured and bound and pursues physical intimacy with Jack. “Put your hands on me, Jack” (Cameron, 1997) is the point at which Rose takes control of her own life and her own destiny. She no longer cares what others think of her, nor does she care for the consequences her actions might bring. Rose is striving toward self-actualization by being fully self-aware of the desires of her heart and physical self.

After the sinking of the great vessel in icy waters, Jack sacrifices his life to save Rose by placing her on a door found floating in the water. When Rose awakens, lifeboats in the distance are searching for survivors. She is clutching Jack’s hand but soon realizes Jack is dead. Prior to unconsciousness, Jack told her she would live a full life and die in her sleep. “Winning that ticket, Rose, was the best thing that ever happened to me … it brought me to you. And I'm thankful for that, Rose. You must do me this honor. Promise me you'll survive. That you won't give up, no matter what happens, no matter how hopeless. Promise me now, Rose, and never let go of that promise.” Even as Rose let go of Jack’s lifeless hand and watched him sink into the murky, cold sea, she promised, “I’ll never let go, Jack, never” (Cameron, 1997). This provided the “pull” motivation for Rose to continue living, to continue striving for self-actualization, as she blew on the whistle to summon the lifeboats.

After being rescued, Rose continues her journey toward self-actualization by allowing her family to believe she had died and assuming Jack’s last name. In a behavioral sense, the old Rose that existed prior to meeting Jack did die. Rose completely severed the behavioral attachment she had to the life in which she had been nurtured. The schemas inherent in her from a cognitive psychological perspective had been erased. She kept her promise to Jack and continued to use that, and her love for him, as her pull motivation to achieve the goal of a long and happy life. Pictures of Rose’s life are on display at the end of the movie, showing a full life, well-lived.

In one last act of spontaneity, which is a hallmark of self-actualization, Rose once again stands on the bow of a ship, arms outstretched, as she throws the Heart of the Ocean, a priceless diamond, into the sea. The diamond was a symbolic representation of her old life and all that she left behind as a young girl. By casting it to the bottom of the ocean, where her great love and motivation for living eternally rested, Rose signified and accepted that she, too, was at the end of her journey.

The end of the movie is a death sequence in which Rose returns to the Titanic, young and vibrant. Jack is there waiting. All the passengers who died, those for whom she had recreated herself, those for whom she had lived her long and happy life, applaud her as she and Jack are reunited.

References

Cameron, J. (Producer and Director). (1997). Titanic [Video]. United States: 20th Century Fox Entertainment.

Crabtree, V. (2009). Emotions without souls: How biochemistry and neurology account for feelings. Retrieved from http://www.humantruth.info/emotions.html#DaMDaB

Fields, J. (2011, September 13). The truth about motivation: Push, pull and death. Psychology Today. Retrieved from www.psychologytoday.com

Maslow, A. (1943). A theory of human motivation. G. Christopher (Ed.). York University, Toronto, Ontario.

McLeod, S. (2007). Nature nurture in psychology. SimplyPsychology. Retrieved from www.simplypsychology.org

Titanic Movie IMDb. (1997). Retrieved from http://www.imdb.com/title/tt0120338/