You’re absolutely right. In my memory, though, the ones that stick out the most are the ones where the hero is pro-corporate but in an anti-corporate way. I’m thinking about movies like Working Girl, 9 to 5, and Secret of My Success, and even Other People’s Money. The villains were the very straight and square boss types and the heroes were the young(er) upstarts who could out-business them. OPM was a little different but I think it fits the theme.
The main difference I’m seeing is that even in the pro-capitalism shows, it was still all about sticking it to the man. If the good guys were cops, the man was the chief of police. If the good guys were businessmen, the man was their boss. If the good guys were soldiers, the man was their CO, or the generals or politicians back in Washington.
Maybe it’s purely subjective on my part, but it seems like there’s a lot more pro-authority movies being made now. You can’t take a movie like Top Gun (which still had the shaggy haired rebel as well as one of the most homoerotic themes in mainstream cinema at the time) with something like Bill Murray in Stripes. Stripes is great comedy that I’d place almost at the level of Caddyshack, but even though both movies could have been shown by recruiters to get people to enlist, Stripes was still a goofball comedy of the slobs against the snobs (with the snobs in this case being their leadership).
I’d really like to get back into that kind of default cultural image. Cops were mostly corrupt (Serpico) or idiots (Cannonball Run), or else inept (Escape from New York, or all of those stupid Charles Bronson movies).
It just feels like we hit that point where the default is to love Big Brother.
You’re absolutely right. In my memory, though, the ones that stick out the most are the ones where the hero is pro-corporate but in an anti-corporate way. I’m thinking about movies like Working Girl, 9 to 5, and Secret of My Success, and even Other People’s Money. The villains were the very straight and square boss types and the heroes were the young(er) upstarts who could out-business them. OPM was a little different but I think it fits the theme.
The main difference I’m seeing is that even in the pro-capitalism shows, it was still all about sticking it to the man. If the good guys were cops, the man was the chief of police. If the good guys were businessmen, the man was their boss. If the good guys were soldiers, the man was their CO, or the generals or politicians back in Washington.
Maybe it’s purely subjective on my part, but it seems like there’s a lot more pro-authority movies being made now. You can’t take a movie like Top Gun (which still had the shaggy haired rebel as well as one of the most homoerotic themes in mainstream cinema at the time) with something like Bill Murray in Stripes. Stripes is great comedy that I’d place almost at the level of Caddyshack, but even though both movies could have been shown by recruiters to get people to enlist, Stripes was still a goofball comedy of the slobs against the snobs (with the snobs in this case being their leadership).
I’d really like to get back into that kind of default cultural image. Cops were mostly corrupt (Serpico) or idiots (Cannonball Run), or else inept (Escape from New York, or all of those stupid Charles Bronson movies).
It just feels like we hit that point where the default is to love Big Brother.
That sounds very much like the valourisation of what would eventually morph into “distributive innovation.”
Older money loves feeling like it’s hip and cool for investing in the promising young upstart. They get to rage against the machine while driving it