Hollywood’s Brilliant Coda to America’s Dark Year
By FRANK RICH
NYT
ON Christmas Day, Hollywood will blanket America with a most unlikely holiday entertainment. That’s when “Up in the Air,” the acclaimed new movie starring George Clooney, will spread from its big-city engagements to more than 2,000 screens. Clooney plays Ryan Bingham, a corporate road warrior for a small, Omaha-based contractor hired to lay off employees for companies that prefer to outsource that unpleasant task. Ryan has fired so many people in so many cities that he is approaching a frequent-flier status unknown to all but a few Americans.
How could a film with that premise be a Christmas hit in a country reeling from the highest unemployment rate in decades? By using the power of pop culture to salve national wounds that continue to fester in the real world.
“Up in the Air” is not a political movie. It won’t be mistaken for either a Michael Moore or Ayn Rand polemic on capitalism. What makes it tick is Ryan’s struggle to reclaim his own humanity, a story that will not be described or spoiled here. But the film’s backdrop is just as primal — and these days perhaps more universal — than the personal drama so movingly atomized by Clooney in the foreground.
Here is an America whose battered inhabitants realize that the economic deck is stacked against them, gamed by distant, powerful figures they can’t see or know. “Up in the Air” may be a glossy production sprinkled with laughter and sex, but it captures the distinctive topography of our Great Recession as vividly as a far more dour Hollywood product of 70 years ago, “The Grapes of Wrath,” did the vastly different landscape of the Great Depression.
(More here.)
NYT
ON Christmas Day, Hollywood will blanket America with a most unlikely holiday entertainment. That’s when “Up in the Air,” the acclaimed new movie starring George Clooney, will spread from its big-city engagements to more than 2,000 screens. Clooney plays Ryan Bingham, a corporate road warrior for a small, Omaha-based contractor hired to lay off employees for companies that prefer to outsource that unpleasant task. Ryan has fired so many people in so many cities that he is approaching a frequent-flier status unknown to all but a few Americans.
How could a film with that premise be a Christmas hit in a country reeling from the highest unemployment rate in decades? By using the power of pop culture to salve national wounds that continue to fester in the real world.
“Up in the Air” is not a political movie. It won’t be mistaken for either a Michael Moore or Ayn Rand polemic on capitalism. What makes it tick is Ryan’s struggle to reclaim his own humanity, a story that will not be described or spoiled here. But the film’s backdrop is just as primal — and these days perhaps more universal — than the personal drama so movingly atomized by Clooney in the foreground.
Here is an America whose battered inhabitants realize that the economic deck is stacked against them, gamed by distant, powerful figures they can’t see or know. “Up in the Air” may be a glossy production sprinkled with laughter and sex, but it captures the distinctive topography of our Great Recession as vividly as a far more dour Hollywood product of 70 years ago, “The Grapes of Wrath,” did the vastly different landscape of the Great Depression.
(More here.)
Powered by Blogger
0 Comments:
Post a Comment
<< Home