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It’s hero is Chris Gardner, a salesman, striving against a whole brigade of social injustice. In addition to being based off of a true story, the Pursuit of Happyness follows a very similar formula to the movies of the 50s. The Pursuit of Happyness is a notable exception. Therefore, the heroes presented by most movies of this decade are not realistic role models for audiences. In Spiderman, Toby McGuire’s character only succeeds at what he does because he has super powers that the average American does not have. In the Lord of the Rings, Elrond the Wizard comes back from the dead. Yet, these movies are so fantastic that it is hard to accept them as realistic. Heroes strive for good and social justice. Romance becomes a great reward in both film series. Movies like The Lord of the Rings and Spiderman have fairly formulaic plots. In the 2000’s, movie producers seem to have noticed America’s lack of inspiration. It provides no hope, no happiness and no hero to its audience. This sort of movie may paint an accurate portrait of some of today’s families. Instead, he is content to work at a fast-food joint. Social mobility is not a goal for the main character. One turns out to be a gay Nazi, another turns out to be having an affair that is both silly and revolting. Indeed, at the end of the movie, the adults are painted in a much worse light than the children. Children do not gain a better respect for their elders. The things that American Beauty’s characters see as beautiful are a paper bag in the street, a dead man and sex. Love is not a reward worth seeking for anyone. Instead, the main character spends most of his time trying to seduce his high-school-aged daughter’s friend. Films like American Beauty have no real hero. The films of the 90’s depart from these myths. According to Gans, this is the myth that people can pursue wealth “without being corrupted by it.” (Gans, 1964, p.327). The fourth and perhaps the most powerful, Gans labels the “Justification of social mobility.” (Gans, 1964, p.327). The third Gans labels, “romance”, which suggests that the best reward a hero can achieve is the love of someone attractive and loving. The second, which Gans labels “youthfulness”, is the myth that young people had to get past an erroneous notion that their elders were wrong to bring about their goals (Gans, 1964, p.327). which involves a hero striving to bring about good or “social justice” in a lawless land. The first is what Gans calls “moral heroism”, (Gans, 1964, p.327). At that time, says Gans, Hollywood films followed a specific formula, which consisted of four myths. Gans, until the 1950s, movies were the main “staple” of America’s entertainment diet. It is the sort of film Americans can look to for heroism and hope that is sadly lacking in most of today’s films.Īccording to Sociologist Herbert J. Meanwhile, it is artistic, while at the same time realistic. Furthermore, it is funny, without being frivolous. In addition to this, the Pursuit of Happyness portrays sadness and frustration, without scaring or depressing its audience. The Pursuit of Happyness differs from other movies, partially because it subscribes to some of the myths that the old, classical films of prior decades followed.
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Indeed, it is one of the few movies of this decade that has the potential to remain relevant to viewers in decades to come. The Pursuit of Happiness is one of these. Nevertheless, a few movies of this decade have broken away from mediocrity and provided America with cinematic heroes. In recent years, however, most movies have been more depressing than inspiring. Film producers were enormously successful at drawing in audiences and inspiring audience. Historically, Americans have flocked to theaters to find happiness, hope and heroes in film.