The Rundown

Recently, by way of an ad-libbed, off-the-cuff, unplanned, by-the-seat-of-the-pants interview I was asked a very interesting question:

Given the history of the American cinema thus far, which decade do you believe has produced the best stories?

Pay attention. This was a trick question. I was not asked which decade has produced the best films or movies, but which decade has produced the best stories. Well, I had the answer almost before the question was done:

The 1940s.

That's right: The 1940s.

My host paused and tried to figure out what it was I was saying. When he couldn't unlock the answer I had provided he asked that I explain further. I did, and that went exactly like this:

For a number of years I have led a crusade to bring about good storytelling. Regardless the medium or venue I have campaigned to present good storytelling. For years these efforts, superficially, were an undeniable exercise in futility, and a few years ago, when more and more demands began making bigger and bigger demands on my time I decided to rethink my task: Instead of considering every effort that came along I decided to focus only on those that did, in fact, offer good storytelling. In doing so I came across an interesting truth, a truth previously revealed in the interview I did without planning to do so: The best stories within the American cinema were told in the 1940s.

Now. At the same time another, equally interesting truth was found: The best films and movies were produced in the 1970s and 1980s.

Which brings forth an interesting question: Why is it the good stories are told in one decade while the good films and movies were made in another? Shouldn't all of this be happening at the same time?

Logically, yes. But it hasn't happened this, it doesn't happen this way, and I suspect it won't happen this way, owing to one certain truth:

The Hollywood Machine is afraid of the ultimate success.

I know: The Hollywood Machie has made lots and lots of money since its beginnings. But it could make so much more if only it learned to join good storytelling with good movie- and film-making.

I know: Complaining about the state of affairs within the Hollywood Machine is all pointless. So let's not do that. Instead, let's recognize and enjoy those rare efforts who come close to realizing this synergy, including "The Rundown".

Superficially "The Rundown" is the sort of movie a certain type of action hero star would make, but doesn't because he is more interested in matters political nowadays. Look again, though, and see that this observation, this perception is not true nor real because there is more to the actor playing the central role than muscles and accent. Otherwise known as 'The Rock' Dwayne Johnson is, I suggest, the next generation in the action hero star, with much owing to a certain truth: He brings to a given role storytelling abilities his predecessor did not. Because he does whatever film or movie he stars in immediately gains a new level of sophistication.

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