Money in film


Money in film

In Trading Places, we applaud when Eddie Murphy and Dan Akroyd make a killing in the orange-juice futures market, but only because the result is the ruin of the villainous Duke Brothers.

Generally, the role of businessmen and financiers in films is as pantomime villains, ruthlessly pursuing profit at the expense of human life. In The Poseidon Adventure, the actor Fred Sadoff, playing the shipowners representative, forces the captain to proceed at full speed without taking on extra ballast so the ship can meet its deadline; the result is that the ship capsizes when hit by a tidal wave.

In Rollerball, the publics hero-worship of James Caans sports star poses a threat to the power of the corporate elite, who scheme to have him killed. In The Constant Gardener, an activist played by Rachel Weisz is killed by the pharmaceutical company whose dangerous drug-testing she is trying to expose.


Even where the central character is involved in finance or business, the standard film plot has the protagonist learn that monetary rewards pale when compared with the simple pleasures of life. Richard Geres corporate raider is softened by Julia Roberts (playing a classic tart-with-a-heart) in Pretty Woman; as Citizen Kane Orson Welles dies alone, in a vast stately home full of the trophies of success, still pining for the sled that represented the happiness of his childhood.

The new film Steve Jobs, about the late head of Apple, depicts the tech guru as an emotionally warped man who spent far too much time fixated on the wrong things, such as computers, instead of his daughter. Despite his remarkable success and genius for innovation, the man is redeemed only when he finally recognises that the most important job of all may be to be a dad.

Perhaps the classic example of this trait occurs in The Social Network, which implies that Mark Zuckerberg (as played by Jesse Eisenberg) created Facebook merely to impress an ex-girlfriend; at the end of the film, he repeatedly presses refresh in the hopes that she has friended him on the site.

That said, The Social Network is blessed by a literate script (from Aaron Sorkin, who also penned Steve Jobs), and it provides a reasonably realistic portrayal of the trials and tribulations of founding a business. Yet entrepreneurs are rarely presented in a sympathetic light.

An exception was Tucker: The Man and his Dream, a Francis Ford Coppola biopic about a car designer, played by Jeff Bridges; but even in this film (a box-office flop), the designers hopes were crushed by the giant auto companies.

There is an irony in the trumpeting of an anti-business and anti-capitalist message by highly paid film actors and directors, working for multinational media corporations, and selling tickets to consumers guzzling their Coca-Colas in cinema multiplexes. Even The Lego Movie, a film essentially devoted to selling plastic bricks to small children, has a character called Lord Business as its chief villain.

If fictional films are bound to exaggerate reality, what about the wide range of documentaries that have concentrated on the financial sector? Some of these are powerful. Anyone who watched Inside Job, about the 2008 debt crisis, will recall the discomfort of academics and consultants quizzed about their perceived conflict of interest.

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