In my February defense of the Oscars’ culture of “elitism,” I argued that, if nothing else, the Academy’s film snobbery was a break from the nauseating domination of sequels, comic book films, and franchises in mainstream Hollywood. “A healthy dose of film snobbery is welcome,” I wrote, “if it even slightly punctures the asphyxiating creative stagnation that characterizes Hollywood right now.”
Hollywood’s creative stagnation is undeniable. As I pointed out in February, an incredible percentage of the decade’s biggest films were franchises and sequels. Look at this list from Box Office Mojo of the top films from 2013. Only “Frozen” and “Gravity” were neither sequels nor reboots.
Of course, like many of you, I stopped to have a minor freak out over the new trailer for J.J. Abrams’s Star Wars: Episode VII. What can I say? I’ve watched Star Wars since before I knew what exactly a movie was. I have countless items of memorabilia, extant and otherwise. Star Wars was every bit as much part of my childhood as my own back yard. I’d have to be droid to not be excited about the new film.
And yet, I do wonder: Is the fact that American culture still stops its work week over a Star Wars movie really good news? Should we be proud that the seventh installment in a 40 year movie franchise is virtually guaranteed record breaking profits and fandom? Don’t misunderstand. The problem isn’t Star Wars. There’s nothing wrong with loving a well-told story that delights the imagination. The problem, at least where I see it, is that for a generation that is supposedly as innovative and dynamic as ours, we can’t do anything better than the same characters and worlds that we’ve been watching for an entire generation.
Rather than a sense that we have genuinely creative storytellers in today’s cinema, we seem to be surrounded (and content with) by technological wizards who can make the stories of yesterday come to life in bigger and more expensive ways. The franchise, the umpteenth sequel, the reboot–these are the relics of a culture that is better at Photoshop than photography.
Where are the Spielbergs and Lucases of our time? Are they languishing in obscurity because no Hollywood studio will green-light their risky and un-market researched project? Imagine if the Hollywood that Steven Spielberg tried to break into in the 1970s told him to go home and focus on making a sequel to “2001” or “Planet of the Apes,” something that would be a sure opening weekend moneymaker.
I’m excited about The Force Awakens. I’ll see it as quickly as adulthood will allow. But I do yearn for a fresher vision, another narrative that takes me beyond the galaxies I traveled so well as a child. I hope I get to experience that again.