I love movies. In fact, I'm in the middle of a serious film noir kick where I'm going to the Film Noir Current TV Month Schedule to rack up a to do list in my Tivo. I can't wait to get to some of the movies in my Now Playing List. But as I watch these old movies, I can't help but notice the contrast between now and then. As I watched the Oscars, I felt completely disconnected from nearly every presenter and winner.
I feel like I identify with Jeff Baily from Out of the Past more than Bob Barnes from Syriana. I enjoy seeing characters who, while flawed, are actually heroic.
One word I heard repeatedly was "maverick" to describe the nominees for Best Picture this year. None of the so-called maverick films were nothing new. Racism, homosexuality, and politics are recurring themes in Hollywood and even appear on prime-time television. I would say that once something is part of a TV series, it's no longer cutting-edge.
I do believe that Crash (not to be confused with Crash [1996], based on the J. G. Ballard book of the same name) was the best choice of what was nominated, but I would hardly call it a "maverick" film. One of my favorite movies about racism was the 1950 Sidney Poitier classic, No Way Out. That movie gives me chills and it's 56 years old.
Maverick: One that refuses to abide by the dictates of or resists adherence to a group; a dissenter (Dictionary.com).
Okay, so if the themes of these movies don't really dissent from the norms of Hollywood, then why keep calling themselves mavericks or cutting-edge? The simple answer is Hollywood people want to believe their liberalism is dissenting in Hollywood. To quote Daffy Duck: "It is to laugh."
My favorite picks for maverick films of 2005:
- Hostel: For the concept and unapologetic brutality
- Sin City: For Robert Rodriguez's vision, work, and his willingness to quit the Directors' Guild of America to share billing with Frank Miller
- The Chronicles of Narnia: The Lion, the Witch and the Wardrobe: Just for producing such a quality representation of a C. S. Lewis book
- Wolf Creek: For the superb acting and intense fear and unconventional script
- The Devil's Rejects: For just being one of the best criminal-on-the-run movies I've ever seen
- Serenity: For great sci-fi without sci-fi cliches
- Kung Fu Hustle: For knocking the Hong Kong Kung Fu genre on its ear (Stephen Chow had me during the first gangster dance number)
To name only a few.
To me, when I want to see movies that are "maverick", I want them to take any preconceived expectations I have and shake them like a snow globe. Scripts with real twists and characters that do what you least expect are a good start.
As for topics, how about movies that expose the hypocrisy of Islam? Or how about a dramatic movie about the UN Oil for Food scandal? Nah, that would just piss off the establishment. I would hate to think that the only movies that can push the Hollywood establishment envelope are horror movies, but that trend seems likely. The new Hills Have Eyes will probably do as much to horror film-making as classics like The Exorcist and The Omen once did.
In spite of Hollywood, I love movies and always will. I may have dig deeper for movies that really break the rules, but they'll always be there.
PS: If you really want to see maverick, rent the 1996 Crash, or better yet, read the book. Talk about going against the established rules.
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