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MOVIES
THE FOUNDER: THE DAWN OF TRUMP CINEMA?
by Daniel Smith Twitter:
@dannysmith1996
Sigmund Freud once characterised escapism as a “necessary element in the life of humans “Life, as we find it, is too hard for us; it brings us too many pains, disappointments and impossible tasks “(Human beings) cannot subsist on the scanty satisfaction which they can extort from reality” he writes in Civilisation and its Discontents 1930. 97 years later and the world is a considerably different place; virtually unrecognisable to the environment that allowed Freud’s staunch pessimism to fester. Alas, we still find ourselves dependant on the fantasy worlds we so often create for ourselves, desperate to elude the abject horror of the modern world. One of the most effective mediums of escapism available to us are films. Boasting a near infinite array of genres, tastes and styles, they cater to every faction of society. Bolstered by the immeasurable technological advances of the 21st century, viewers can truly immerse themselves in any reality they so desire. Even the most low-brow, low-budget flicks can offer us a preferable alternative to the monotony of everyday life. However, is this form of escapism, so vital to so many, potentially at risk? The 20th of January 2017 saw the inauguration of President Elect Donald Trump. Unsavoury and utterly reprehensible, he is a walking personification of the insidious element of the American dream: hyper capitalism, neoliberalism, typically amoral. Where this becomes concerning in terms of the arts is a long-established link between Hollywood and The Presidency. During his tenure as American President, former actor come politician Ronald Reagan oversaw an era of film now remembered as Reaganite cinema. Canadian film critic Robin Wood defined the key characteristics of Reaganite cinema as such: “A reassuring nostalgia for the 50’s… white working class hero Rocky Balboa overcoming affirmative action and other liberal projects to achieve upward social mobility and achieving the American dream… “Reassurance over nuclear anxiety… Reaganite films feature plots about good guys winning possession of the Armageddon weapon (STII, Raiders of the Lost Ark, the Force in Star Wars). “The reassuring restoration of the great white father… Reaganite films undermine the liberated woman. The films feature the return of women to traditional gender roles, or feature their complete elimination. For example, in Kramer vs. Kramer, men make the best mothers. Or, in Ordinary People, the mother is banished from the narrative”. Whilst the ardently liberal veneer of Hollywood may render these links slightly tenuous if not obsolete, it’s worth considering peeking behind that veneer and examining the political agendas of those bankrolling the films. Enter Steven
Mnuchin: co-founder of RatPac-Dune entertainment, who’s many notable credits include American Sniper, an abhorrent propaganda movie depicting just how sad it made the American heroes of Iraq as they slaughtered the savage Iraqi natives. Mr Mnuchin now finds himself as the Secretary for the Treasury for Mr Donald Trump. We also have Donald Trump’s chief strategist and senior counsellor Steve Bannon; notably of alt-right news outlet Breitbart news. However, it has recently been revealed the seemingly liberal firm Freemark Financial, responsible for managing the careers of some of the wealthiest Hollywood TV stars also answers to Steve Bannon. The cast of Breaking Bad, Orange is the New Black, and Star Wars were all represented by Freemark Financial, who are now evidently represented by Steve Bannon. It’s becoming fast apparent that Trump’s potential influence over Hollywood and its creative direction can’t be ignored… But just what will cinema look like under the guise of Trump if the link between the presidency and cinema is to be believed? Just last month, John Lee Hancock’s The Founder premiered in cinemas across the United States. The film depicts traveling salesman Ray Kroc’s discovery of a hamburger restaurant in California owned by Maurice and Richard McDonald. Kroc persuades the two brothers to franchise, and expand their business across the country. Reluctantly, they agree and the McDonalds franchise is born. As the film plays out, Kroc’s sole concern for profit leads to a sharp decline in the quality of the restaurants. The two brothers confront Kroc about their concerns, triggering the salesman to start up a real estate company, buying the land from McDonalds, dictating total direction of the company and eventually gaining a stranglehold of the franchise entirely. Kroc even manages to obtain possession of the two brothers surname, leaving them pot-less. It is an unapologetic homage to capitalism and the American dream. The ruthless, shrewd businessman making millions whilst the little guys on the bottom of the pyramid get nothing. It’s a narrative so familiar, on film and in real life that it borders on cliché. The films premier coinciding with Trump’s inauguration seems grotesquely apt; two unscrupulous, immoral business moguls cementing their place as some of most powerful men on earth. It’s becoming frightfully clear that Trump will indeed possess an alarming air of influence over Hollywood and its creative direction. It’s actors, fearful of the financial reprisals dissent will bring, seem all too happy to uphold the status quo, and will remain silent. However, if there is one silver lining to be drawn from this horrible state of affairs is that limitations have a glorious history of breeding creativity, meaning that ever so faithful means of escapism will never be truly be shut to us, especially during a presidency when we will most definitely need it…