ESCAPE TO THE MOVIES

How many people, who have the means, can you name who never watch movies? I’m not referring to those whose lives are so harried that they don’t have the time. No, there are some who consciously decide not to go to the movies (or see them on-line/TV). Naturally, every person has a right to avoid  films. In contrast, a large majority couldn’t imagine not going to the movies, budget aside. Being eclectic, I try to be open to many genres, from action/adventure, such as The Avengers (2012) or Rush (2013), any science fiction, or well-written romantic comedies and/or indies, e.g. Midnight in Paris (2011). Yet, there exists a faction that extols their choice to not watch movies. And a larger group which only view films that shun the spotlight for the darker corners of daily life. Whether on college campuses or at coffee houses, visitors will inevitably hear conversations supporting their lofty choices: either refrain from movies all together or choose indies or art house films, solely, above populist entertainment. That's right "above." Arguably, the intellects' reasoning stems from the stance that we all should be remove our “rose-colored glasses” and face the realities of life. What is truly happening vs. what we wish were happening.

Well, I will argue, why not escape? As the world continues to be bombarded by environmental catastrophes, terrorist bombings, school shootings and the like, it’s no wonder people would rather briefly ignore these often daily occurrences shown in the news through escapist entertainment, than mull over our doomed planet.

Whether you are a Woody Allen fan or not, the famous, sometimes infamous, independent director knew his audience. One of his most popular box office successes was released more than thirty years ago, Annie Hall (1977). In the movie, Annie begins to dissolve her relationship with Alvy Singer by telling him, as they are standing in line to watch it again, Alvy has seen The Sorrow and the Pity (1969) enough times. Not to disparage the gravitas of the movie, The Sorrow and the Pity, or its message, but Annie has a point, at least by representing someone who needs balance in her life and relief from the world's despair. 

Broadening the movie-goer spectrum across the Pacific, what do film fans in other countries watch? And why? More often than not, box office takes, in Asia e.g., include American films, sans explicit sex, movies which are action-based, Transformers (2007), or highly romantic movies, Sleepless in Seattle (1993). Supporting the counterargument purported by cynics that the multitude don’t want to be seriously enlightened, just entertained. Hogwash, I say.

Years ago, I watched a story on network news about a traveling movie group that would go to the outskirts of India, from village to village, to show Bollywood films to impoverished residents for minimal prices. The fans worked long hours for very little money; still, they saved a portion of their wages to watch a movie on the make shift screen once a month. For those unfamiliar with a traditional Bollywood production, often the stories involve couples who encounter frequent obstacles, but the endings are happy, with grand production numbers to celebrate the union of the twosome: Devdas (2002, with Aishwarya Rai) is one example. These films rarely show the lovers kissing and are underscored by cultural values. Bollywood, however, has been lampooned and chastised by some critics and serious-minded film watchers because of its formulaic plots and inevitable rosy conclusion. And yet, villagers in India when asked why they would spend their hard-earned money on a Bollywood movie, would respond, I paraphrase: Because the world is a hard place and it’s nice to disappear into a dream, a place they could never imagine. (If you want to watch a film which includes modern social issues once considered taboo and a nod to Bollywood, see Monsoon Wedding, 2001.)

India was recently included in a report on worldwide poverty. The study noted, “85 people own half the world’s wealth.” In the States, with our disappearing middle class and almost insurmountable challenges that face us, it’s no wonder that going to a movie—sadly a luxury in many American cities and elsewhere due to high prices—or renting/streaming a film is the centerpiece entertainment, outside of television, in our country.

Yes, we do live in a capitalist society where studios produce blockbusters like The Avengers, while smaller films get pushed aside for potential, box office hits. This practice, I firmly believe, should not happen—thank goodness for film festivals. But by assigning “value” to independent movies and to the dismiss the bigger movies, some critics, intellectuals and others are subjectifying. These dissenters need to open their windows and look out at the sea of lost souls, two-job single mothers, or street dwelling teenagers whose lives are endangered everyday to understand why they go to the movies and why they need alternatives to art house films. These forgotten ones would rather escape their repressive lives and find an outlet for their imagination that for two hours exorcises the anger in their heads, a much healthier pastime than doing drugs for instance—I’ll elide “violence in film” for this discussion; others have had their say on that subject.

So, to the cynics whose wrath I'm incurring as you read this blog, I say go ahead and continue to support non-mainstream filmmakers who portray realism and a picture of our world through their lens. We do need diversity in film and to awaken some sleepy middle-class and upper-class minds to what’s going on out there. To the other minority who refuse to watch a movie, I ask that you at least open your mind to why Hollywood “pictures” focus on mainstream entertainment, and why your choice is not better but a right, as an American.

Finally, to the naysayers who protest escapism via watching box office bonanzas, claiming these movies as unproductive, unenlightened, capitalistic, unrealistic and possibility destructive, I would suggest that they should use their imagination to picture life among the billions of poor, working class, or Slumdog Millionaire (2008) children before passing judgment on the masses’ movie choices.