Exploiting an American tragedy Alex Hopkins
/ Columnist
During a catastrophe, the worst of the world is countered by
the best of humanity.
Filmmakers and storytellers of all mediums often use these
horrifying historical events as the backdrops to their
stories.
Real sadness, pain, shock and heroism make for stories that
are saturated with drama. As awful as it may seem, factual
drama can translate into an entertaining cinematic
experience–an experience that costs someone about
$8.50.
Oliver Stone’s “World Trade Center” and
Paul Greengrass’s “United 93” were released
this summer.
“World Trade Center” followed the true story of
two Port Authority Police Officers, John McLoughlin and
William J. Jimeno, who were trapped in the rubble of the
World Trade Center.
“United 93” focused on the passengers of the
fourth hijacked plane that crashed in Pennsylvania. Both
films were well received by critics and in the box
office.
But these films have been shrouded by the question,
“Was it too soon?”
Yes, it was too soon. Not because, as some people claim, the
American public is not ready to face 9/11. That would be an
underestimation of our maturity and a disregard for our
reality.
Those who lost someone have had to face the consequences of
9/11 for five years, while the rest of the United States has
seen 9/11 change the political and psychological landscape of
our country.
“World Trade Center” and “United 93”
were made too soon because we have had to face the realities
of what we all remember so well. It was not necessary to
reenact memories that are so fresh in our minds and an event
that is so well documented.
Furthermore, it would be naïve to believe that Oliver Stone
and Paul Greengrass never calculated the condition of the
American public.
I am not out to vilify these men, but they certainly did
understand these films could tap an immense emotional
reservoir that could be exploited for a profit.
The producers of “World Trade Center” and
“United 93” did donate 10 percent of their
opening weekend box office total to various 9/11 charities,
but the movies did make a profit, as they set out to
do.
It is important to understand the difference between these
two films and their “historical drama”
predecessors.
Some of the most successful and acclaimed films of the last
20 years, such as “Schindler’s List,”
“Titanic,” “Saving Private Ryan,”
“Platoon,” and “Hotel Rwanda” are
historical dramas.
A movie like “Titanic,” for instance, was not
sad because audiences remembered actually seeing the cruise
liner sink into the North Atlantic, it was sad due to its
tragic romance.
However, the two 9/11 movies left audience members choked up
(including myself) because we remember with such clarity
the
terrorist attacks.
Just watching a reenactment of the Twin Towers collapse or a
plane full of innocent people crash is enough to bring any
American to the verge of tears.
Filmmakers understood that people were going to leave the
theater sad and under the impression that they had just seen
a great movie, regardless of its actual quality. “World
Trade Center” and “United 93” were
guaranteed successes.
While the other mentioned historical dramas may have strong
emotional ties with audiences, these movies offered people
something more important than just a rehashing of painful
memories.
For example, Oliver Stone’s controversial 1986 Vietnam
film “Platoon” realistically depicts the violence
and insanity of the Vietnam War. “Platoon”
exposed many Americans to the Vietnam War in a new way,
making it an important film. “World Trade Center”
and “United 93” are not important films in that
sense.
Although the sacrifices of John McLoughlin, William J.
Jimeno and the heroic passengers of United Airlines Flight 93
deserve the highest acknowledgements, at this point we gain
no new perspectives to relive their suffering on the big
screen.
In fact, their honorable actions were compromised by trying
to recapture them in a Hollywood movie. I regrettably say
that when watching Nicholas Cage play John McLoughlin, I
could not help but see the guy from Con Air caught up in
another sappy love scene.
Similarly, instead of reliving the bravery of American
civilians selfishly fighting terrorists to bring down their
own plane, I felt like I was watching an episode of
“24.”
I understand it is insulting for me to draw parallels
between reality and fiction, but that was the price of
putting 9/11 into a feature film.
Also, both filmmakers (more so for Paul Greengrass) were
forced to guess as to how specific events actually played
out.
This is dangerous because it lends itself to sensationalism.
For example, in “United 93,” once the terrorists
take control of the cockpit, they tape a photograph of the
Capitol Building on the controls.
As if these terrorists were clever enough to mastermind a
massive attack on United States soil, but did not bother to
learn what their target, the Capitol Building, looks
like.
Perhaps “World Trade Center” and “United
93” could have been told more truthfully through
another, less profitable, medium.
Numerous television documentaries have been released that
objectively chronicle the heroes of 9/11.
On Monday, the Piedmont Theatre Collective presented the
short play “The Guys” at Whitley
Auditorium.
The play told the story of a journalist who is asked to
write the eulogies of four fallen New York City fire
fighters.
“The Guys” respectively paid tribute to fire
fighters’ lives and the unselfish acts that took their
lives.
Also, through the journalist’s narrative, the issues
of what 9/11 meant to civilians was discussed.
This was a non-sensationalized way to honor 9/11 and reflect
on its emotional impact. The only admission price was an
optional donation to the North Carolina Fallen Fire Fighters
Foundation.
I am not calling for the censorship of 9/11 content, but
instead calling out the filmmaking industry for exploiting
the American public’s sentiments.
We, the young adults of the United States, are the 9/11
Generation.
The devastation and implications of that day will follow us
the rest of our lives.
That is why it is our responsibility to be wary of those who
might trivialize the reality of 9/11 in search of a
profit.
Contact Alex Hopkins at pendulum@elon.edu or
278-7247. | 
