Millenial Rain?
The terrorist attacks of 9/11 have had a major impact on movies made since then.
For the last century, movies have taken the pulse of society's heartbeat. It's like a Rorschach test given at 24 frames per second. The collective fears, hopes, and aspirations of entire generations are mysteriously distilled and given a variety of forms onscreen. Following the First World War, German angst took the form of heavily expressionistic sets and lighting, usually featuring macabre figures that arose from within. After the rise of nuclear power and the threat of the Soviet Union, American movies dealt out cautionary tales about giant radioactive monsters and attacks from alien races. The social upheaval in the late sixties created a following decade of gritty, socially conscious filmmaking. The nineties saw America take a place as the worlds major superpower, which led to a spate of films that directed catastrophic horrors at her, only to see her victorious in the end. Films like INDEPENDENCE DAY, ARMAGEDDON, and GODZILLA all had a similar theme of imminent disaster and inevitable triumph. This was, of course, not to last. The terrorist attacks on September 11th, 2001 left a lasting impression on the entire world. Shocking, bold, and unforgettable, the images seared generations with palpable fear and insecurity. It swiftly taught both America and the world that nothing was untouchable or safe. A place like New York, although often a target in movies, never seemed like a place that was ever in imminent danger until that day. Suddenly the entire world seemed to be going crazy and going downhill. Its been interesting to see these attitude changes reflected in the films that have come out since those attacks. Gone is the bravado and machismo of many films, replaced instead by a quiet humility, pensive reflection, and a terrified hope for the future. Since the attacks, zombie films have returned to the fore, although enlarged in scope and bleaker in content. Rather than have a hopeful end to zombie plagues, we instead see it taking over, unstoppable, from among us. Although many such films like NIGHT OF THE LIVING DEAD or EVIL DEAD have bleak endings, they do not generally contain the sour note of defeat that these newer films have contained. Science fiction films have also demonstrated a curious change in their demeanor lately. Films like THE DAY THE EARTH STOOD STILL or I AM LEGEND tack on apocalyptic endings that are nearly devoid of hope; fifteen years ago, Klaatu would have surely lived at the end, as would have Will Smiths Robert Neville character. Now they become martyrs at the end of civilization. Even bleaker are films like CHILDREN OF MEN, which take place at the very end of human life on Earth. While the final shot of a baby adrift in the sea gives a slight glimmer of hope, it is small comfort considering the preceding film. PANS LABYRINTH, which is tailored like a childrens story, contains hope only in the death of its heroine. Little Ophelia cannot find safety in the world, so she escapes in death to a dream world where she can be reunited with her lost loved ones. But movies not only seem to be pondering the end of the world and its implications. They also seem to be considering and even hoping for - a spiritual side to the events of the world. Films like THE DAVINCI CODE, THE NUMBER 23, and NATIONAL TREASURE, while pulpy, have an undercurrent of dread of world events. Underlying their plots are fantastical and labyrinthine mazes of secret societies and conspiracies that control the crazy events of our world. Even more blatantly religious are recent films like KNOWING, which contains remarkable Biblical allegories that point to some metaphysical change or recycling of existence. This idea was also explored in THE FOUNTAIN, as well as the recent finale to BATTLESTAR GALACTICA. These films and others seem to be frantically searching for some greater plan to the disastrous events currently taking place here on Earth. The rise of the superhero film has occurred almost exclusively in the post 9/11 world. The first SPIDERMAN film, which effectively jumpstarted the genre, was being finished in late 2001; its no surprise that its breezy charm feels slightly out of place in the world since. Subsequent SPIDERMAN films have been noticeably darker in tone, with the Peter Parker even fighting with himself in the third film. Meanwhile, other superhero films have taken their heroes to much darker places. Most successful of the bunch are, of course, Christopher Nolans BATMAN films, which have explored the idea of terrorism and vigilantism with serious 9/11 overtones. Todays superheroes are ones who must grapple with inner demons and hopeless fates much more troubling than in any other time. We have even seen a change, although subtler, in comedies. Films like PINEAPPLE EXPRESS or TROPIC THUNDER contain amazing amounts of violence. Soon we will see YEAR ONE, which takes a lighthearted and referential look at the first few books of the Bible with a twist. While not as obvious, the change is noticeable. We know that the future holds more amazing sights and more horrific spectacles than we can possibly imagine, some of which will probably eclipse the catastrophic death tolls of world wars and the shock of the attacks in New York in 2001. And, like we have seen in the past, movies will continue to be there as the mirror of our collective psyche, reflecting back to us the memories, demons, and hopes that those collective experiences provide us.