It is the defiant victory of this late period of Steven Spielberg’s career that he is making movies, and making them better than ever, for an audience that may no longer have any idea of how to watch them.
movies showed not the ingenious mixture of comedy and fright that madesuch a blast but calculation as engineered as any other studio special-effects blockbuster. People took the boys’ book adventure that followed the grinding Grand Guignol opening ofseriously, but as a piece of filmmaking it wasn’t a patch on the unabashed boys’ book adventure of.
This was a movie about the gentrification of New York City, but it was also about the gentrification of American movies. Is there any way to keep pretending that mainstream American moviemaking serves anyone but the MBAs running the studio and the conglomerates that own them? Major studio movies now are now little more than superheroes and fantasy and franchises of all sorts.
But this is Williams’s movie. Both she and Spielberg could have taken their cue from that impossibly lovely line in the Velvet Underground’s “Sweet Jane,” “If one of them played the part/they wouldn’t turn around and hate it.” Spielberg isn’t saying American middle-class life of the ‘50s and ‘60s was a sheltered lie. He sees its vitality and its pleasures too keenly for that.
. Part of the current derangement of American movies is that one of the most successful and popular directors to ever work in the medium is making what would once have been considered movies for a mass audience and are now essentially for a specialty market—things the studios can point to as proof that they are still interested in making quality films.
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