David Thomson Loves the Movies but Not What They Have Done to America
The Scion of Cinema Who Soured on the Silver Screen's Americanization
David Thomson, the preeminent film historian and critic, doesn't just *like* movies; he practically breathes them. His encyclopedic knowledge spans generations of filmmaking, from the silent era to today's blockbuster spectacle. But here's the kicker: he's grown deeply disillusioned with what Hollywood's dominant ethos has wrought upon the nation he calls home.
This isn't just academic whinging; it has real-world implications for how we consume culture and understand our own societal fabric. What does this expert's lament tell us about the movies we're watching, and more importantly, the country they reflect and shape?
The Golden Age Lament
Thomson, whose seminal work "The New Biographical Dictionary of Film" is considered a bible for cinephiles, often waxes poetic about a bygone era. He remembers a time when studios, for all their flaws, fostered a more coherent artistic vision. Think of MGM in the 1930s and ‘40s, churning out musicals and dramas that, even if escapist, often possessed a certain craft and a collective sensibility. That era, he argues, produced films that felt more intrinsically American, reflecting the country's dreams and anxieties with a shared cultural language.
Consider the sheer output of films like "Casablanca" (1942) or "It's a Wonderful Life" (1946). These weren't just individual artistic achievements; they were cultural touchstones that spoke to a national identity. Thomson sees this communal narrative power as having fractured, replaced by something more atomized and, in his view, less healthy for the American psyche.
From Art Form to Billion-Dollar Bet
The seismic shift, as Thomson sees it, is the rise of the franchise blockbuster and the corporatization of filmmaking. The "product," as studios increasingly refer to their movies, is now driven by international box office potential and the relentless pursuit of a lowest common denominator appeal. This isn't about telling a uniquely American story anymore; it’s about selling a global commodity, a brand extension often disconnected from genuine cultural reflection. This transformation, which accelerated in the late 1970s and exploded in the 1990s and 2000s, has devalued nuance and complexity.
Why does this matter to you? Because the films you grew up with, the ones that shaped your worldview, are increasingly being replaced by a homogenized output designed to resonate with as many people as possible, everywhere. This often means sidelining uniquely American concerns and artistic risks. You're less likely to see a challenging, character-driven drama from a major studio today than you were even 20 years ago. The budget for a single Marvel movie in 2024 can exceed $200 million, a stark contrast to the average studio picture budget of the 1980s, which hovered around $25 million in today's dollars.
Reclaiming the Narrative: What You Can Do
Thomson’s critique isn't a call to despair, but rather an invitation to be more discerning. The power, he implies, still rests with the audience. By making conscious choices, you can support the kind of filmmaking he cherishes.
- Seek out independent cinema and foreign films. These often offer the artistic risks and cultural insights that major Hollywood productions shy away from. Think of films like "Parasite" (2019), the South Korean phenomenon that won Best Picture, or smaller American indies that tackle complex themes.
- Engage with film criticism and history. Reading writers like Thomson, or exploring the works of Pauline Kael or Roger Ebert, can deepen your appreciation for what makes a film truly special and distinguish it from mere entertainment. Understanding the context of a film's creation is key.
- Support local theaters and streaming services that champion diverse content. Your viewing habits send a powerful message. Platforms prioritizing independent distributors and international cinema are vital for keeping these art forms alive and accessible.
The Bottom Line
David Thomson loves the movies for their magic, their power to transport and transform. But he’s heartbroken by how the relentless commercialization under the banner of American entertainment has diminished the art form’s soul and its capacity to reflect our nation's true complexities. It’s a stark reminder that the stories we consume are interwoven with the society we inhabit.
So, the next time you’re scrolling through streaming menus or eyeing a cinema marquee, consider the legacy you’re supporting. Let’s champion films that challenge, provoke, and genuinely speak to the American experience, not just its global market share.
Frequently Asked Questions
What specifically does David Thomson dislike about modern American movies?
Thomson's primary gripe is the shift from artistic integrity and cultural reflection to pure commercialism. He laments the dominance of franchise films, the focus on global markets at the expense of nuanced American storytelling, and a perceived decline in artistic risk-taking by mainstream studios.
How can I, as a viewer, support the kind of filmmaking David Thomson advocates for?
You can actively seek out and support independent films, foreign cinema, and works that engage with complex social or personal narratives. Your choices at the box office and on streaming services send a direct message to studios about what kind of content you value.
Is David Thomson saying all modern movies are bad?
No, not at all. Thomson is a lifelong devotee to cinema and still finds beauty and brilliance in many contemporary films. His critique is more about the *dominant trends* in Hollywood and their broader impact on American culture and the art form itself, rather than a wholesale rejection of all new releases.