Categories
Movies

The Role of the Protagonist in Dystopian Films

I wrote this essay in March 2004; I was in first year University and this assignment was for “FILM 1000B”. I recently found it while cleaning up my basement studio, and saw that I scored 18 out of 20 on the paper. I thought I’d share it online for all to see.

Stephen Gower
FILM 1000B
Genre Essay
Prof. Mark Langer
MAR 17 2004

The Role of the Protagonist in Dystopian Films

It is suggested that in the musical film, a utopian community exists where the protagonist acts as an active participant in its construction. The overwhelming result is that a situation, having wronged itself at some point during the film, rights itself in the end as a direct result of the protagonists’ actions. The musical community is often cheerful and there are no false pretenses surrounding it. Conversely, the dystopian community is based on control and power. There is often a strong policing force that keeps the population in line. In dystopian films, the protagonist is still aparticipant, however partakes in destryoing the oppressive society he or she lives in rather than working to preserve the community as it once was.

As mentioned, dystopian communities are usually structured governments, and are accompanied by some sort of policing force (or in cases like Nineteen Eighty Four, self-policing methods1George Orwell, Nineteen Eighty Four. (England: Martin Secker & Warburg Ltd, 1949).) to control the population. In A Clockwork Orange(1971), it is an actual police force; in Brazil(1985), it is the Ministry of Information; and in The Matrix(1999), it is the Machines/Agents who control the delinquents. On the surface, this is not something out of the ordinary; every society needs to be policed to enjoy a sense of personal security. But in the case of dystopian films, this policing force does more than just enforce the law. In the case of Brazil and The Matrix, the police force not only stops but eliminates errors within the system. However, since A Clockwork Orange is set in a modern time frame, it operates more like our society, using prisons. It is the government that uses its experimental treatment that eliminates the problem, while the police force works to try and correct it, and then benefits from the reversal of Alex’s conditioning. These are all quick and easy example-s of an outside force controlling the protagonist, but there is more to it than simply a policing force.

The idea of the outside force controlling the protagonis comes into play when he feels compelled to change the society for the better – whether to bring edown the government or shutting down the artificial intelligence controlling the humans. The protagonist is allowed to believe he is working to make the community better, or more than what it is, but in the end, he is stopped by the controlling force (usually the government). For instance, in Brazil, Sam Lowry thinks he is helping to bring down the government, and actually believes he succeeds in escaping the Ministry of Information. However, not only is Sam broken down by the series of torture performed on him by Jack Lint, but his grand escape (which takes up approximately the last five or ten minutes of the film) is all in his mind; this reinforces the notion that the protagonist merely undergoes the illusion of de-constructing the dystopian society.

Invariably, the protagonist also has a meaningless job2Fred Glass. “Brazil,” in An Introduction to Film Studies. Edited by Mark LAnger. (Pearson Custom Publishing), 2004. p.373. with no aspirations of advancing. In Brazil, Sam has a dull job with little to no advantages, and refuses every offer of promotion sent his way – to the point where his boss, Mr. Kurtzman, assumes that Sam still wants to turn down the latest offer of promotion and forges his signature. Since Sam has no initial desire to move beyond his current position (for he proclaims himself to be happy), there should be no problem with this (and there is no problem until Sam decides he needs a higher level of security clearance to locate his dream woman, Jill).

Likewise, in The Matrix, Neo/Thomas Anderson has a cubicle job at a nameless software company. He has no ambition or plans of advancing his career with the company, and it appears that it would not phase him if he lost his job. However, his meaningless job is not as important to the plot as it is in Brazil. What is important is that Neo, within the Matrix, conducts software piracy; he is under the impression that he is circumventing the system by performing this piracy. Of course, the machines who have set up the Matrix, who are ultimate responsible for controlling the actions of their crops, probably do not care that an insignificant human is conducting acts that are only illegal in a computer simulation of 20th century New York City.

A common relation between the protagonist and the dystopian society is that the protagonist is often watched closely by the ruling government. In the case of Brazil, Sam’s actions are watched immediately after he accepts his promotion in the Ministry of Information. For all of his efforts to hide his activities, the Ministry is always aware of what he does and is a step ahead of him. Because of this, he cannot escape his eventual fate of becoming trapped in his own fantasy.

Likewise, Neo is watched, even more closely. However, he is watched by more than just the machines; revolutionaries such as Morpheus and Trinity are watching him through the Matrix, and even guide him around his office, seeming to know Neo’s surroundings better than even him. In the sequence where he has to choose to leave with the Agents or leave with Trinity, Morpheus informs Neo that “they” have been watching him – indicating the Agents/machines – and that he is not safe. The scene immediately following Neo’s capture features a set of TV monitors watching Neo. We are not sure who is watching those screens, but it is certain that someone else is watching Neo (it is quite possible that these are the TV screens from the scene where Neo interacts with the Architect in The Matrix Reloaded(2003), but that movie is not in discussion).

The most important aspect of the dystopian film is that the protagonist is not in control of his actions, even though he thinks he is. This was touched on before, when the illusion of the protagonist being able to bring about change was mentioned. Sam’s manipulation at the hands of the Ministry of Information was mentioned; as in the novel Nineteen Eighty Four (for which Brazil was based on3Glass, 371.), this is key, because in the novel, the Inner Party knew Winston was going to commit “thought crime”, and eventually eliminated him when he had gone too far. In Brazil, the Ministry of Information knew Sam had committed the crime of aiding a suspected terrorist, and had him eliminated after he had gone too far. In both cases, the government knew of the protagonists’ actions, were watching him, and eliminated the problem.

As a point of reference, in the dystopian novel Brave New World by Aldous Huxley, the members of that particular society are controlled by their genetic conditioning from before entering the embryonic stage. Miscreants are watched by the government and are removed from society. All dystopian genre films and literature contain this key part, and that is what makes them a dystopia.

One could argue, then, that The Matrix is not a dystopian film. Neo is able to break free from the controlling machines and help rid the humans of the Matrix once and for all. In that respect, The Matrix fails as a dystopia4This is similar to Gattaca(1997). Even though most people are controlled by genetics, the protagonist defies his inferior genetic make-up to strive and reach his goals. This film does not qualify as a dystopia, despite being based on Huxley’s Brave New World.. However, if you looked at The Matrix Reloaded and The Matrix Revolutions(2003) as well as The Matrix, it can be seen that Neo – and other liberated humans – is still a pawn of the machines, even outside the simulation.

In A Clockwork Orange, this control comes from the conditioning Alex received after volunteering for the government-sponsored program while in prison. In effect, the government is able to control Alex. In the end, after removing the effects of the conditioning, the government in fact uses Alex for their own twisted purposes. Even in this, a film that just barely qualifies as a dystopia, exterior control exists. This control extends to a point where Alex has no choice but to commit suicide so he would not have to hear the music he was conditioned to hate (even though he loved music).

Lastly, the protagonist is concerned with changing his situation; this is why A Clockwork Orange is only vaguely a dystopia. Alex is simply concerned with getting out of jail as fast as he can. He could care less about his society – but what makes the film a dystopia is the message that it presents to the viewer. But in Brazil, even though Sam claims he is perfeclty happy in his job, he constantly fantasizes of a dream woman who he is sure he is destined to meet. When he does finally meet her in real life, he feels the desire to change everything, especially when he discovers his dream woman is a suspected terroirst.

In The Matrix, this desire for drastic change is most evident. The humans wish to destroy the Matrix and the machines, hoping to liberate all of humanity. The only difference between The Matrix and other dystopian films is that the dystopian film generally sees no change to the situation, leaving the viewer with a feeling of hopelessness. The Matrix, on the other hand, leaves the viewer instilled with hope that the machines will be destroyed. Again, this is another argument against the notion that The Matrix is even a dystopian film. It simply exhibits the general aspects of a science fiction film.

In short, dystopian films feature extremely well-structured, inescapable societies where the protagonist simply exists. He may try to change the world, or bring down the ruling power singlehandedly, but because of the ever-vigil eye of the ones holding power, he fails to accomplish anything but bring his life to term at a quicker pace. The protagonist is often watched, either from the beginning or at the moment of crimes against the state, and is controlled by an exterior force. It was just stated: the dystopian community is unavoidable once a society is locked within it.

In general, the dystopia is meant as a commentary on present society, rather than a story where the hero saves everyone. It is not meant to have a happy ending, only to stimulate the viewer/reader’s mind into asking questions about the current state of their own world. While The Matrix does cause us to pause and think on whether our world is real or not, it does not put social values into question. Films like A Clockwork Orange and Brazil both lay the groundwork for the curious mind to ponder their current situation, or what might happen should they continue along a certain path.

Bibliography

An Introduction to Film Studies. Edited by Mark Langer. (Canada: Pearson Custom Publishing, 2004).

Filmography

A Clockwork Orange. Dir. Stanley Kubrick. Perf. Malcom McDowell, PAtrick Magee, James Marcus. U.K., 1971.

Brazil. Dir. Terry Gilliam. Perf. Jonathan Pryce, Kim Greist, Robert DeNiro. U.K., 1985.

Matrix, The. Dir. Andy Wachowski and Larry Wachowski. Perf. Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss. U.S.A./Australia, 1999.

Categories
Movies

Brief Thoughts on Star Trek: The Motion Picture

I shared this on Reddit last week to (some) acclaim last week; I recently watched Star Trek: The Motion Picture (1979, IMDB) and really enjoyed it. So I shared my thoughts on /r/StarTrek:

Categories
Movies

Crazy Rich Asians – Review

Vanessa and I saw this movie last Saturday – we both decided that based on the previews, it looked like a fun film and it was going to be funny.  Before I go on, I’ll confirm that yes, it WAS a good film, and it WAS funny.  We loved it.  

Online Backlash

One of the things I like to do after seeing a movie is to see what other people think of it.  So I headed to reddit’s /r/movies to check out what kind of reception it had…and nope Nope NOPE do not go there yourself, I do not recommend it.  To put it nicely, there was a lot of negative feedback.  

People were really hating on the film.  Thankfully it wasn’t because of its (mostly) all-Asian cast, it was because the film itself was in their opinion, lacklustre.  I will admit, it’s a basic fish-out-of-water romantic comedy in terms of plot.  Most of the beats you’d expect are there.  In that sense, I agree with them.  It was not a great film. 

But I thought the writing was clever, the jokes hit home, and the movie was paced well.  The music was fantastic (go listen to the soundtrack!), the camera work and shots were beautiful, and I felt drawn into the movie and we both related to a few different parts of it.  

To me, that makes a successful movie.  Oh, and the fact that it was an all-Asian cast had nothing to do with my enjoyment of the movie.  I think you could replace it with a “diverse” cast and write the same movie and it would have worked just as well.  The “Crazy Rich Asians” part of it was just the setting / window-dressing.  I am not Asian so this fact did not resonate as much with me as others, though.  

One of the other reasons I advise NOT going to check out the /r/movies discussion about Crazy Rich Asians is because some people are dismissing the movie because of the all-Asian cast.  Trust me, some of the worst people are on reddit.  

I liked it, OK?

Look, the bottom line here is – enjoy the movie for what you see on the screen.  Just like I would say for Black Panther, ignore the casting aspect of it and enjoy it for the story, the jokes, and the stunning visuals.  If you can’t get past who was cast in the movie, you’re not going to be able to stop and appreciate the artistry involved in it (and probably there are other issues you’re dealing with that maybe you should reflect upon).

Categories
Comics Movies

Avengers Infinity War – Review (Spoilers)

I put “spoilers” in the title, but they’re probably pretty mild.  Honestly, I need to see this movie a second time to really take it in.  There’s a lot going on here.

I'm pretty sure this is an accurate representation of Thanos' Gauntlet.
I’m pretty sure this is an accurate representation of Thanos’ Gauntlet.

I liked the movie.  Quite a bit more than I expected to, honestly.  What I expected was a mostly coherent movie with all of the established movie characters on screen thrown together.  What we got instead was a very coherent movie with all of these characters on screen, but they were put together in a very logical manner.  What I thought worked very well for it was that it featured the cosmic players primarily (i.e. Guardians of the Galaxy, Thor, Dr. Strange to an extent), with Earth’s heroes crossing over.

Essentially, similarly to how Captain America: Civil War was basically an Avengers movie, Avengers: Infinity War was basically a Guardians of the Galaxy movie.  This makes sense to me, because the villain (Thanos) is cosmic in scale, so it follows that we would be dealing with characters that operate on a cosmic scale.  It’s rather interesting to me that Earth is only important in that two of the stones are there, but it’s not important enough that Thanos personally wants to go there until the very end (he sends his “children” to go get the stones).

Some pieces of the movie I didn’t completely like.  The part at the beginning with Vision trying to pass as a human in a relationship with Wanda was interesting, but I feel like we jumped quite a bit from his attempts at domesticity in Civil War to being in love with Wanda here in Infinity War.  I was told about a Vision comic book story line recently where he tries to start a family, so I guess that’s where this came from in the movie.  All of the other characters seemed to have made logical progresses, but this one was a big leap.

I also didn’t completely like Banner in this one.  I hope that there is a logical reasoning for sidelining the Hulk (I wonder if it’s possible they’re going to split him into two characters?  I think that’s a thing that happens in the comics) in part two of Infinity War.

One last nitpick – Infinity War seemed to undo a lot of what happened in Thor: Ragnarok.  In that movie, Thor discovers – he doesn’t really need the hammer.  He loses an eye.  In Infinity War, he regains an eye (comically stolen by Rocket) and gets a big axe.  Now that I think about it, looking at The Hulk and Thor specifically, a lot of Ragnarok’s work is reversed with Infinity War, for some reason.

Overall, I appreciate how Marvel has really widened the scope of its movies over the years since the first phase: we started with individual hero movies, with only secondary characters overlapping (Fury, Coulson), leading up to the big collaboration movie: The Avengers.  That was The Big Event movie.  While each individual film dealt with mostly Earth-bound villains, The Avengers was the first to open up the Earth to Space (well, technically I guess Thor did that first).

Then they slowly started building up the universe – crossing characters over in The Winter Soldier, and then the larger cast in Civil War.  There are still some isolated movies, like Black Panther and Ant-Man movies (and presumably, the upcoming Captain Marvel movie) but I don’t think there will be many more ‘primary character only’ movies with the OG Avengers.

I can’t think of much more interesting things to say about Infinity War without watching it again.  I highly recommend you listen to these podcasts, which go much more in-depth than I ever could:

And, I haven’t listened to it yet, but Make Dad Read Comics did an episode about the comic for which this movie is based on, The Infinity Gauntlet, if you’re interested in some background comic information.

 

Categories
Movies

One Shot Analysis – Star Wars Episode IV: A New Hope

I’m trying something new here – not sure if it’ll stick, which is why I’m trying it here and not immediately launching a new blog.

I had the idea, partially inspired by this thread on Twitter examining Empire Strikes Back shot-by-shot, to take a single shot from a movie and analyze it / write something about it.  This took me on a fun trail trying to figure out just how do people get still images from movies, anyway?  It led me to https://www.film-grab.com which is a fantastic resource, and I’ve barely scratched the surface.

With that, here’s a scene from the first act of Star Wars Episode IV: A New Hope.

Image courtesy https://www.film-grab.com

 

 

 

 

 

 

 

 

 

 

What’s going on in this shot?

Interpreting it in a strict sense, Luke Skywalker is playing with a model spaceship while cleaning up a pair of droids.

In story terms, that’s pretty much the same answer.  This particular shot isn’t doing a lot, plot-wise.

What does it say about the characters?

About the droids, nothing.  C-3P0 is kind of just standing there in the oil bath, and R2-D2 is…watching?  He’s not doing a lot either, probably stewing about his mission being delayed.  I think that it says a lot about Luke Skywalker, on the other hand.

In this shot, Luke is pretty clearly playing around with a model ship while he does his chores.  I almost hate to admit it, but this is pretty much on the level of watching TV / movies while I’m folding the laundry.  Almost.  I think it’s probably closer to playing with toys when I was supposed to be cleaning my room when I was younger.

In this shot, we can see that Luke has no interest in the day-to-day life of the moisture farm.  I wouldn’t say he’s dreaming of adventure in space, exactly, but you can definitely see that his mind is in that spaceship in his hand, flying around with his friends.  (On a side note, it’s almost too bad that the podracing in The Phantom Menace wasn’t a little closer in nature to the T-16’s Luke flies.)

He has no sense of who he is in the larger galaxy at this point – if you put Luke as he is right here in the cockpit of the X-Wing at the end of the movie, there’s no doubt in my mind he’d be one of the casualties in the battle, and Yavin IV would be toast.

What do you see in this shot?  Anything I missed?

Categories
Movies

Logan (2017) – Review

I finally had the chance to see Logan, the 2017 film from James Mansgold.  This was a really good movie on its own, but also a great super hero movie entry in the X-Men series.

Logan is based on the Old Man Logan comic books, and is set in 2029 – when mutants are all but extinct (at the start of the movie there are only three we know about: Logan, Charles Xavier, and Calliban).  Oh, and the funniest bit is that Logan is an uber driver, rolling around in a limo.  I thought that was great.

What follows in the movie is not your standard superhero movie plot to save the world from impending doom; instead it’s actually a pretty personal story (for Logan / Wolverine) and about a journey from point A to point B.  Stuff happens along the way, both good and bad.  I have to say that this is probably the best Marvel movie I’ve seen since Captain America: Winter Soldier.

A lot of the buzz about this movie was that it was rated R; the rating comes for mainly the graphic violence and some language.  I think that this movie would have worked without the graphic nature of the violent scenes, but at the same time – Wolverine is a very violent character, so including it seemed to help make the movie fit more with his character.  That said – the action scenes that included most of the violence were shot quick (though not in a blur, like some movies – it was very easy to follow along on the screen), and wasn’t “shocking” the way that violence like this can be (I’m thinking of Game of Thrones, or even one of the more recent episodes of Star Trek: Discovery).

What I think is the greatest move in this was creating a realistic future setting.  It’s only set in 2029 – so just 12 years from when it was released (2017).  It sounds like it’s far away, but it’s not – and the technology reflects it.  Cell phones are recognizable as cell phones, and there are some projections that make sense – driver-less transport trucks, for example.  Beyond that, it was a relate-able world.

Contrast this to a movie like Minority Report; that one was set in 2054, at the time 52 years ahead of the release date (2002).  Apparently they hired some consultants to brainstorm what technological advances we’d see in 50 years, and they came up with a world that mostly operates the same, but with hyper-inflated technology (the cars they were using were a bit much).  Yeah, some of the technology they showed has surfaced in the last 16 years, but watching that movie recently makes me feel like it’s closer to the 60’s vision of the future in The Jetsons.  Suffice it to say I think Logan’s vision of the (near) future is a good portrayal, and one I think you can extrapolate from.

I thought it was also interesting to note that cell phones were used in some plot points in the movie (minor bits), but were not integral to any of the major events in the movie.  I bring this up only because some people think cell phones have ruined movies – that a lot of scenarios can be solved by the main character simply being able to relay information via cell phone.  There were no plot contrivances in this movie that negated the use of a cell phone, it was simply a plot that didn’t need to rely on communication to get out of jams.  I just wanted to point out that it’s possible to do that.

I think Patrick Stewart really stole the show as Xavier.  It was Logan’s movie, but Xavier shined in this.  I’m glad that the trailers didn’t give too much away, because the movie definitely didn’t unfold the way I thought it would based on some of the scenes they showed, and what I knew going in about his character.

Solid movie overall.  I highly recommend it; and you definitely don’t need to have seen the other X-Men movies to follow along.

Categories
Movies

The Last Jedi (Spoilers!)

The Last Jedi has been out in theatres for at least a month now, which I feel makes it safe to talk about the movie without holding back on spoilers.  With that said, it’s been a while since I’ve seen it, so the details will be somewhat vague.  I won’t be revealing specific plot points (I don’t think, anyway), but I might talk about specific moments in the film.  If you’re okay with that, read on; otherwise wait until you’ve seen the film.  These are some of my thoughts on the controversies and overall opinion of the movie.

Spoiler Alert
Spoiler Alert

Categories
Movies

The Meyerowitz Stories (New and Selected) – Review

The Meyerowitz Stories (New and Selected)

The Meyerowitz Stories (New and Selected) (IMDB) was a bit of a surprise movie for me.  It showed up in several podcasts I listen to – one of which was The Adam Sandcast (Apple Podcasts), so my first thought that this was another Adam Sandler Netflix low-effort vehicle.

But then I saw it pop up on Filmspotting (Filmspotting.net).  At the time, I had no clue that this was a film directed by Noah Baumbach, so this was my first clue that The Meyerowitz Stories had some pedigree behind it.  Filmspotting usually thumbs its nose at the Adam Sandler Netflix films, so to give it some attention came out of the blue for me.

Seeing it on one of the longer running film review podcasts sealed the deal – I was going to watch the movie anyway, but I made a concerted effort to watch it sooner than later so I could properly enjoy the podcasts.  My next wave of surprise was at how good the movie was.

I’d have to say that Dustin Hoffman’s elder, partially dysfunctional Harold Meyerowitz was my favourite part of the movie.  The next favourite part was that you could see pieces of him in each of his three children (played by Sandler, Ben Stiller, and Elizabeth Marvel).  I thought it was great how you could tell that these were his kids in terms of personality, if not looks.

The story is rather straightforward, so not much to write home about there.  It’s more about the characters in the movie and how they react to what’s going on.  It was nice to see Sandler give a bit more of a nuanced performance than his comedy stylings, though you could see bits of his comedy dip into the role (in a good way).

I REALLY liked how Baumbach plays with the screen; many times characters will be cut off mid-sentence, and often characters will pop in and out of the frame during a scene.  I won’t try to delve too deeply into analyzing the use of these cuts and framing devices, but I feel like it helped to serve the nature of some of the characters.

I definitely recommend this one.  It’s not an Adam Sandler movie, it’s just A Movie.  Has me thinking it’s about time I re-visit a few other “artsy” films I haven’t seen in a long time.

Categories
Movies TV

New on Netflix in October (Canada)

I was a holdout of Netflix for a long time, but with the demise of Shomi last November, I finally bit the bullet.  Most months I don’t even pay for it out of pocket money, using cash earned through SwagBucks.  So I’ve been enjoying it a lot.

Here’s the full list I’m reading from, courtesy of MobileSyrup.  Go ahead and click, I’ll wait for you to come back for my highlights.   Note that this list is for Canada only – I have no idea what’s coming in other regions.

My List

First and foremost, Stranger Things 2 is at the top of my list, coming October 27th – just in time for Halloween!  The trailer for it looks pretty sweet, too; you can find that on YouTube.

https://www.youtube.com/watch?v=lQ2RGaDBfwI

Goosebumps – I don’t think this movie got very good reviews, but in keeping with the Halloween theme for October I think it’s worth a watch and worthy of going onto My List.

Wheelman’s description makes it seem very much like it’s a B movie dressed up with some moderately high production value.  I don’t know, it sounds like it could be worth watching on a Saturday afternoon.

That’s about it for my list of new things to watch; but apparently after October 9th, Mad Max: Fury Road is going by the wayside.  I’ll have to find some time to watch that one, since I still haven’t gotten around to it.  Interestingly, Fellowship of the Ring is leaving Netflix, but NOT The Two Towers or Return of the King.

Categories
Movies

Historical Inaccuracies in Hidden Figures

I missed the boat when Hidden Figures was first in theatres, and finally caught up with it when I picked up the Blu-Ray in July.  I really liked the movie!  The cast was really good, and even though I recognized a lot of the bigger names, they took a back seat to the persona of the characters they were playing.

One of the bigger nitpicks in this movie – and 2012’s Argo – is that it’s historically inaccurate.  Critics of the film complain that in Hidden Figures, it’s silly to show Katherine Johnson racing the clock to complete some calculations so that John Glenn’s historic flight can take place.  Other complaints were that the issue of segregated bathrooms was partially invented by the movie to create a challenge.

I’m okay with all of that.  I am aware that I am watching a movie, which has to contain certain elements in order to function as a movie.  I feel that the purpose of movies such as this are to show people an overview of what happened – as long as they are sticking mostly to the facts of the life they’re telling, it’s understandable they take some liberties.  One of the functions – at least that’s my belief – is that they jump start curiosity and get people to look up the full story.

That’s exactly what I do, almost every time I watch a movie based on actual events.  I look up what really happened.  I don’t mind learning about several inaccuracies along the way.  It’s only really a problem if the movie creates falsehoods that obscure the real story.  In writing that, I realize that technically Hidden Figures and Argo create some falsehoods – but the difference is that they do so to raise tension for a story, but are still telling the underlying truth.

I can think of similar movies that probably have many historical inaccuracies, but still work.  Apollo 13, for one.  42.  The Blind Side.  Moneyball.  Coach Carter.  The Martian.  (I kid).  If you look up the events they’re based on, you often find paragraphs that go something like, “In the movie, this event happened, but in reality…”

Why is this a problem?  A lot of these movies are made for a dual purpose – entertainment as well as education.  But in order to get made, they need to bring in money, so they need to bend the truth a little bit in order to be successful.

There will always be little embellishments of the truth in movies based on true events – life is never as perfect as a 3-act movie will have you believe.  Just sit back, enjoy it, and then relish in the fun of reading about the true events afterward.