My Own Private Idaho

Sadly, the list of 400 films the AFI provided for its voters does not even include MY OWN PRIVATE IDAHO. In fact, the only Gus Van Sant film they did include is GOOD WILL HUNTING. Apparently, this is a worthier film than ELEPHANT, GERRY and TO DIE FOR. Not to mention FINDING FORRESTER.

Here's a short list of 30 great films the AFI omitted from the 400 eligible films:

ABOUT SCHMIDT

ALL THE REAL GIRLS

THE APOSTLE

THE BRIDE OF FRANKENSTEIN

BARRY LYNDON

BOB ROBERTS

THE CAMERAMAN

DEAD MAN

EYES WIDE SHUT

FACES

FOOLISH WIVES

FOOTLIGHT PARADE

FULL METAL JACKET

HANNAH AND HER SISTERS

A HISTORY OF VIOLENCE

THE INCREDIBLES

THE KILLING

THE LADY FROM SHANGHAI

LOVE ME TONIGHT

MAKE WAY FOR TOMORROW

THE MAN WHO KNEW TOO MUCH

THE PALM BEACH STORY

RETURN OF THE JEDI

THE ROYAL TENENBAUMS

SCARLET STREET

THE SCHOOL OF ROCK

TARGETS

TOMORROW

UNFAITHFUL

WAITING FOR GUFFMAN

This is an abomination. That movie was so full of greatness that even a throwaway line ("You're the man now, dog!") developed into an internet phenomenon.

I fully support Jeff’s argument for MY OWN PRIVATE IDAHO’S inclusion into the canon of great American cinema. But the aspect of Jeff’s posting that I found the most provocative and interesting is the notion that we are moving toward a “nationless” era of mainstream commercial movies. “Nationless” in the sense that movie studios today don’t want to tell stories or deal with themes that seem too exclusively American. Movies dealing overtly with the American political system or race (“urban” movies perform notoriously poorly overseas) are unlikely to have the same international appeal as Silver Surfers and giant asteroids—particularly in an era in which the rest of the world, with few exceptions, hates America. It’s also interesting to think of Stanley Kubrick as a proto-nationless filmmaker—the boy from the Bronx turned ex-patriot residing in England, making movies that exceed boundaries both national and earthly (in the case of 2001).

However, more than a decade before Kubrick gave us the star child, Hollywood studios were making movies in European countries with local cast members and crews. Laws in European countries such as Italy and France only allowed studios to extract a certain amount of box office receipts as cash. The rest of the money was frozen into accounts that the studios could only spend in those countries. The “Hollywood on the Tiber” era of sword-and-sandals epics in the 50s and 60s resulted from the studios’ need to spend this money abroad. Although the stories, some actors, and below-the-line crew were not American, the financing and global distribution apparatus remained so.

Similarly, today we can’t ignore the fact that “nationless” blockbusters still revolve around Hollywood studios with global distribution apparatuses. And despite the availability of international movie financing—through foreign pre-sales, international co-productions, and tax shelter schemes—the money that flows through giant blockbusters remains predominately American. I agree with Jeff that the AFI should address this. As an organization positioned as sort of an intermediary between the Hollywood studios and the public, the AFI has the opportunity to start a meaningful conversation about what it means for a movie to be American and whether important national themes and stories are being ignored in today’s era. It’s a conversation I doubt will take place, but it would be useful.

Still, we should remember that even if commercial movies appear on the outside to be increasingly “nationless,” Hollywood remains the center of gravity and control that these productions orbit around.

...but if Hollywood remains the center of gravity, then what is the point of making a list of exclusively American films when all films are connected to America in some fashion? Why not include foreign films that are distributed and do well in the US like Cache? And if the financing is the chief criteria, then should a movie like Mulholland Dr., financed by European dollars, qualify?

I guess what I'm saying is that it is only worth making an American list if we take that term seriously in some way. Otherwise, fuck America, let's just make an All Time Great Cinema list.

Just wanted to follow up on Eric's parenthetical, "'urban' movies perform notoriously poorly overseas."

This came up a couple years ago, when Will Smith made a gaffe by explaining to foreign press why they cast Eva Mendes in HITCH:

“There’s sort of an accepted myth that if you have two black actors, a male and a female, in the lead of a romantic comedy, that people around the world don’t want to see it,” Smith told the British paper, the Birmingham Post while promoting the flick overseas. “We spend $50-something million making this movie and the studio would think that was tough on their investment. So the idea of a black actor and a white actress comes up — that’ll work around the world, but it’s a problem in the U.S.”

I think there are two issues here. The first is the desire for a vibrant American national cinema and canons that admit great films (both commercial and non-commercial) that have interesting takes on these American themes and concerns. In this regard, we both seem to agree that mainstream American movies today are addressing less and less of these concerns. On an artistic level, any national cinema that America might have had is being largely eroded.

The second issue relates to issues of financing and political economy. In other words, what goes on behind the screen. All I'm saying is that we can argue that the narratives and aesthetics of contemporary Hollywood movies are becoming more nationless, but we shouldn't ignore the fact that most of these movies are still tied to Hollywood and the U.S. movie industry. It doesn't mean we should admit these movies into our canon. It just means we need to recognize the political issues of production and ownership that are at stake.

As for MULHOLLAND DR., it is a movie directed by an American and shot in Los Angeles. It is also a masterpiece that offers its own twist on the STAR IS BORN American theme, among others. So I say: admit it to the canon. And thank you, Canal Plus, for putting up the money for this picture.

Am I contradicting myself by asking us to be mindful of both artistic and economic factors? I clearly privilege the artistic in terms of inclusion into the canon, but I am not comfortable with using a term like "nationless" without qualifying it.

According to the United States Census Bureau, in 2004, Idaho had an estimated population of 1,493,262. The state's postal abbreviation is ID. Idaho's nickname is the Gem State because of its abundance of natural resources.

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