according to TimesTarantino recalled the moment the mega-musical crashed and burned (especially in 1969, Uati) and a younger generation of film school auteurs rejoiced. Today’s filmmakers “can’t wait to be able to say that about a superhero movie,” Tarantino said. “It’s a similar chokehold, so the analogy works.” I just put a lot of money into things,” he added.
It’s not unhealthy to compare the superhero movies of the 2010s and 2020s to 1960s musicals. Many, including fellow auteur Steven Spielberg, have noted similarities between westerns and superhero movies, with the mythical image that white hat/cape heroes often come to power. This genre was literally the first to have sound in film, and was most popular during the economic boom of the 1950s after World War II. , which dates back to the days when MGM’s Arthur Freed unit dominated the genre. It can be said that it was Marvel Studios at that time.
But while westerns have declined due to daunting oversaturation in film and television, musicals have taken a more serious turn, given the production values and budgets required to make a traditional popular musical. It was a Hollywood product. Sergio Leone and other Italian directors put an internationally renowned spin on the genre with a few desperados, cameras and a Spanish desert (Jacques Demy’s more intimate French musical is another beast). I was.
Therefore, in the 1960s, studios increasingly invested in mega-musicals with three-hour screen times, intermissions, and huge sets or location shoots to keep audiences engaged. It worked beautifully, but dear woman (1964) and music sound (1965), the latter of which became the highest-grossing film of all time upon its release. Camelot (1967), doctor doolittle (1967), Hello Dolly! (1969), and paint the wagon (1969) turned out to be a disaster for Hollywood. Dr. Dolittle Nearly 60 years before Disney finished its job, it nearly sunk 20th Century Fox. paint the wagon It can be considered the death knell of both Hollywood musicals and westerns…and certainly of Clint Eastwood’s singing career!
So the most popular genre at the beginning of the decade turned out to be the studio accountant’s most nightmare by the end of it, helping hasten the end of the last days of the classic studio system. Among the wreckage, a new generation of filmmakers—Scorsese and Coppola, Spielberg and De Palma, Lucas and Friedkin’s “New Hollywood”—are far from making the type of movies they wanted to make. I found it easy to I never got the green light 10 years ago.
According to Tarantino, a whole new generation of filmmakers—and perhaps some of them—want superhero movies to go the same way, and their implosion allows original ideas and voices to remain in the rest of the studio system. New opportunities will come to dominate the