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I’m Done with Modern Movies

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For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.

It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.

This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.

Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.

Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.

Modern Movies Lack Originality

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The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.

The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.

A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.

Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.

Modern Movies Lack Artistic Merit

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The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.

With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.

Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.

Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.

The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.

Modern Movies are Left-Wing Propaganda

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The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.

The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.

Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.

The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.

The Problem With Modern Action Movies

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Action movies just aren’t what they used to be. On Saturday night, I watched the film version of the hit 1980s TV show, the A-Team. A part of me hoped for an enjoyable experience, but, just as I had expected, I found the film to be cliched, formulaic, and predictable.

It became evident early on that the filmmakers had taken little to no effort in the making of this story. The plot was boring and predictable, and the characters were two dimensional. Indeed, it seemed that most of the film had been devoted to bad digital effects and over-the-top action sequences.

This is the kind of thing that passes for action movies nowadays. It is a far cry from the greats of yesteryear which, at least in the best of cases, were willing to combine action with intelligence. It is certainly true that these films featured death-defying stunts, mind-blowing special effects, and well-choreographed action sequences. However, it is also true that the best among them also featured complex, three-dimensional characters and clever, intricate plots. Yes, these films often pushed the boundaries of disbelief, but we were more than happy to suspend our disbelief for them anyway.

Any successful movie, particularly an action movie, requires two things: a good plot and good characters. One of the biggest problems with the modern action movie is that they are often boring. The audience finds it difficult to engage with the story because there is no character or plot for them to care about.

Great action movies have great, exciting stories. The problem is that modern action movies have a tendency to recycle the same tired stories over and over again. Audiences have been subjected to an endless array of reboots, remakes, sequels, and prequels. Audiences crave originality. What we need is original stories, not a rehash of a television show that ended over thirty-years-ago.

It’s not as though an action movie’s plot has to be entirely original, either. Most of us are willing to accept a familiar, or even cliched, story provided it’s presented in a new and interesting way. Take, as a case in point, the film Speed. Its plot is essentially a rehash of the Die Hard model, but by placing the action on a bus, the filmmakers managed to gain the appreciation of their audience by presenting them with something novel.

In addition to the importance of plot, it is also equally important to discuss the importance of character. Modern day action heroes often lack interesting character arcs. The audience has not been allowed to care about the characters as people and therefore have little reason to root for them. People like to see characters go through a personal journey. They like to see them grow and develop as a character. Good action heroes have some kind of flaw, whether it be a bad attitude, debris from their past, poor self-esteem, or any one of a thousand different things, that he or she must overcome to complete their mission.

The heroes of great action movies were relatable. The filmmakers knew they had to combine the right amount of vulnerability with the right amount of grit. We had to believe that these people bled, made mistakes, and felt pain.

In other words, these heroes had vulnerabilities. They were not invincible. The audience could believe that Axel Foley (Beverly Hills Cop) spent most of his time busting low-level crooks in downtown Detroit and that he genuinely felt anger and grief over the murder of his friend. In Die Hard, the filmmakers were prepared to take the time to let us get to know John McLane. We learnt that he was an Irish-American police officer, that he was a father, that he was estranged from his wife, and that he was frightened of flying. And when he had to fight terrorists, the Los Angeles Police Department, and the FBI, we genuinely rooted for him because we had been allowed to get to know him.

Equally important, if not more important in many cases, is the film’s villain. Good stories have good protagonists, great stories have great antagonists. There has to be something in a villain that makes him at least a little bit likeable, or even sympathetic. A part of us has to be able to understand his motivations and even root for him. We could understand why Karl wanted to kill John McLane because we had seen McLane kill his brother. And we could understand why Speed’s chief antagonist, Howard Payne, wanted to hold the city of Los Angeles to ransom after we learnt that he had been injured in an explosion working for the LAPD. Heck, even films in which the villain wants money or power, or both, are relatable because we want these things, too.

If the producers of action movies were willing to invest as much time and effort in story and character development as they were on special effects, it is possible that they might someday produce another great action movie. But, with the way things are going, I wouldn’t hold my breath.

 

NOTE: I apologise for the long delay between articles. I have been in the process of preparing a rather lengthy article on constitutional monarchy.

THE PROBLEM WITH MULTICULTURALISM

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At a security conference in Germany, the former British Prime Minister, David Cameron, condemned multiculturalism as a failure. He stated: “we need less of the passive tolerance of recent years and much more active, muscular liberalism.” In a similar statement, the French president, Nicolas Sarkozy, also condemned the doctrine of multiculturalism. Sarkozy told the French people: “we have been too concerned about the identity of the person who was arriving and not enough about the identity of the country that was receiving him.” In recent years, the Western nations that have preached multiculturalism and diversity as bastions of peace, tolerance, and diversity – Great Britain, France, Germany, the United States – have been the primary targets of radical Islamic terrorism.

Progressives like to believe multiculturalism and diversity create harmonious and peaceful societies. When, in reality, it creates division. Telling newcomers that they do not have to assimilate into their adopted culture fosters tribalism: Irish form communities with fellow Irish, Muslims form communities with fellow Muslims, Japanese form communities with fellow Japanese, and so forth. As these cultures, especially those lacking the fundamental roots and beliefs of their adopted countries, compete for supremacy, they inevitably conflict with one another. So, whilst Germanic and French cultures may be able to live harmoniously thanks to their shared Christian heritage, the same cultures would not fare as well if they were expected to co-exist with a culture whose central tenants are profoundly different.

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Why am I harping on about the inherent faults in multiculturalism and diversity? It is because I believe we have created the greatest culture mankind has ever seen: a culture that has produced Shakespeare, Mozart, Voltaire, Plato, Aristotle, John Locke, freedom and democracy, the television, the I-Phone, the movies, free market capitalism, Van Gogh, Da Vinci, Einstein, Newton, Mary Shelley, the Bronte sisters, and more. And I believe it is a culture worth protecting. And how do we protect it? We start by protecting the very things that have made the West so great in the first place: Christianity, an adherence to truth and a deep esteem towards the logos, the supremacy placed on individual rights and liberties, the free-market place of ideas and commerce, Small Governments, and political freedom.

Moral and cultural relativism is being used to tear down and replace the existing social order. When the Mayor of London, Shadiq Khan, is able to state “terror attacks are part and parcel of living in a big city” and young German women are able to hold signs proudly proclaiming “will trade racists for rapists” unopposed, it is clearly time for certain ideas to go away.

FRANKENSTEIN

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This week for our culture article we will be looking at Mary Shelley’s (1797 – 1851) 1818 Gothic masterpiece, Frankenstein; or, the Modern Prometheus. The story that gave rise to countless plays, radio-shows, TV shows, movies, video games, and created one of the most iconic characters in horror.

BACKGROUND

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Mary Shelley was inspired to write Frankenstein whilst touring Europe with her future-husband, Percy Bysshe Shelley (1792 – 1822), in 1814. On the Rhine, they visited Castle Frankenstein where they were told a ghoulish story about a mad alchemist who had attempted to resurrect corpses two centuries prior.

Two years later, in the summer of 1816, the Shelleys travelled to the Swiss Alps but were forced to stay in their lodgings due to bad weather. (1816, for anyone who is interested, was known as ‘the Year Without Summer’ – an event caused by the eruption of Mount Tambora in 1815).

There, joined by Lord Byron (1788 – 1824), they amused by reading Fantasmagoriana, a book of German ghost stories that had been translated into French. Byron suggested they all put pen to paper and see who could write the best ghost story.  Shelley, much to her dismay, was unable to think of a story. Then one night, after they had all gone to bed, Shelley had a waking dream:

“I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of  any human endeavour to mock the stupendous mechanism of the Creator of the world.”

Initially, Shelley only thought her dream only gave her enough material for a short story. However, she was encouraged by Percy Bysshe Shelley to turn it into a fully fledged book. Setting herself to this task, Shelley finished writing her story in April/May 1817. It was picked up by publishers Lackington, Hughes, Harding, Mavor, and Jones and published in January of 1818.

ANALYSIS

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In one sense, Frankenstein is a cautionary tale. By using Victor Frankenstein and his creation as an example, Shelley’s classic tale warns us of the dangers of interfering with the world’s natural order. There are things in this world, Frankenstein tells us, that are beyond our ability to understand, and which are better left alone.

Both Victor Frankenstein and his creation are tragic figures. For Victor, it is ultimately his obsession with Natural Philosophy (that’s the archaic name for the sciences), his passion, and his unchecked ambition that lead to his downfall. In trying to play God, Victor creates the catalyst for his own doom. In the end, it is his remorse, shame, and burning hatred that destroy him.

Similarly, Victor’s creation is also destroyed by his hatred. This hatred, however, is not borne of remorse or shame, but of rejection. Victor’s creation is intelligent and articulate. He desires human companionship, but, due to his hideous appearance and massive size, finds people to be cruel and unwelcoming. Even Victor himself fails to see his creation as adequately human, not even bothering to give him a name (Victor’s creation is referred to as ‘wretch’, ‘monster’, ‘creature’, daemon’, ‘devil’, ‘fiend’, and ‘it.’) Ultimately, it is this rejection that leads Victor’s creation to destroy not only Victor Frankenstein, but also himself.

Frankenstein is ultimately a tale of what happens when we fail to see others as human. It reminds us of the limitations of human endeavour, and what may happen when we surpass those limitations. But, more importantly, it reminds us of the importance of love and compassion.

 

MARTIN SCORSESE’S THE AVIATOR AND THE INCREDIBLE LIFE OF HOWARD HUGHES

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For our weekly cultural article, we will be examining Martin Scorsese’s 2004 masterpiece, the Aviator: a biopic of the legendary businessman, aviator, filmmaker, and eccentric, Howard Robard Hughes, Jr. (1905 – 1976).

THE FILM

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The Aviator stars Leonardo DiCaprio as Hughes, Cate Blanchett as Katharine Hepburn (1907 – 2003), and Kate Beckinsale as Ava Gardner (1922 – 1990). It focuses on Hughes’ glory years and is set between the late 1920s and the late 1940s.

The film essentially follows two competing storylines.  The first storyline depicts Hughes’ struggle with his mental health, his battle with his worsening OCD and paranoia which, by the end of his life, would culminate in utter madness. In this guise, Hughes is depicted as a man whose intense germophobia renders him unable to touch the doorknob of a public toilet (he has to wait for someone else to open the door so he can leave), who washes his hands so ferociously he actually draws blood, who gets stuck repeating the same phrase over and over again (“the way of the future, the way of the future, the way of the future”), and who locks himself in his projection room for months on end.

The second storyline focuses on Hughes’ life as an entrepreneur: his success as a filmmaker, his successful career as an aviation pioneer, and his fight with the Senate War Investigating Committee. In this guise, Hughes is depicted as a man of unbridled ambition spurned on by his incredible early successes and comforted by legions of romantic conquests (which would include Katharine Hepburn and Ava Gardner, among others). The film opens with Hughes directing the Hell’s Angels (1930). An early theme is quickly established, with Hughes’ peers ridiculing him for his boldness and ambition.  By the end of the film, Hughes defies prediction by successfully test flying the H-4 Hercules.

HOWARD HUGHES: THE MAN

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The Aviator ends after Hughes’ after the successful test flight of the Hercules. In real life, Hughes lived another twenty-nine years and died a lunatic and a recluse. If you happened upon the man during the final years of his life you would describe him as an impoverished and gaudy man of six-foot-four. When he died of kidney failure in 1976, he weighed only 40kg, had grotesquely long fingernails, toenails, hair, and beard, and had hypodermic needles embedded in his arms. So unrecognisable was Hughes that the FBI was forced to rely on his fingerprints to identify him.

Howard Hughes ought to be remembered, and admired, as a brilliant businessman and pioneer. He was an eccentric perfectionist who, between the ages of eighteen and seventy, managed to amass a personal wealth of one-and-a-half billion dollars. He was a man who made remarkable, and often groundbreaking, successes in film, aviation, and real estate. Between 1926 and 1957, Hughes produced twenty-six movies, including Scarface (1932) and the Outlaw (1943), and directed the classic World War One air warfare film Hell’s Angels (1930).

As an aviator, Hughes’ not only helped to revolutionise air travel, he also set many aviation records personally. In 1935, Hughes set the overland flying record by travelling nearly 352mph over Santa Ana, California. In 1937, Hughes set the record for transcontinental flight by flying from Burbank California to Newark, New Jersey in seven hours, twenty-eight minutes, and twenty-five seconds. Then in 1938, Hughes, along with a four man team, circumnavigated the globe in a record three days, nineteen hours, and seventeen minutes.

In a re-release trailer for Hell’s Angels, Howard Hughes is introduced as:

“Howard Hughes: millionaire genius, was a pioneer in aviation and motion pictures. He defied convention,  set new patterns for others to follow, made stars of unknowns, and left the world a legacy of film classics.”

Howard Hughes represents a type of man that doesn’t really exist anymore: the bold, dashing, larger-than-life individual. A man who achieved incredible things against what was often overwhelming odds. It is characters like Hughes that build countries and improve the world we all live in. And it is films like the Aviator which presents their stories to us.