I remember what 2007-2009 looked and felt like for me. I had just transferred from a public university to a private one in 2006 for a better education, and by 2007, my parents’ business was heavily on the decline. By 2008, they were facing bankruptcy and by 2009, the house they bought in October 1999 was under foreclosure.
When the financial crisis actually hit, I was a junior in college facing an economy that offered no prospects for me. Bush was still President but Obama was campaigning and eventually won.
When I saw the trailer for THE BIG SHORT, I was most intrigued by the fact that a comedic director (Adam McCay) was making a film about finance. I was also drawn by the interesting medley of actors: Christian Bale, Steve Carell, Ryan Gosling, and pleasant surprise actress appearances by Melissa Leo and Marisa Tomei. Leo and Tomei’s screen times were very little compared to the rest of the male casts’ in this sausage fest film. Furthermore, I found it really strange that the movie’s protagonists were also part of the giant problem. Rather than being whistleblowers, they benefited off of the detriment of the crisis which hurt families of lower income the most.
There were maybe three distinct moments where actors show a sense of conflicting morale but just because they appear to struggle with their morals onscreen, does that image overpower the fact that they’ve profited a huge sum from the crisis?
The film has at least two allusions to Scorsese’s THE WOLF OF WALL STREET: 1) Gosling’s narration breaking the fourth wall 2) Margot Robbie’s cameo (she’s sitting naked in a tub drinking champagne, btw… just another dimensionless actress whose function is to literally appeal to the male gaze, as though this film is solely for the male audience…)
What worked in WOLF… is that the protagonist simply has no moral crisis or dilemma when it comes to the money game. He doesn’t care at all that he’s exploiting the working class and he doesn’t change at the end of the movie, either.
What THE BIG SHORT does, however, is to attempt humanization where no humanity can be taken from. The men who were part of this real estate bubble–the ones who contributed to it then took from the blood bath after it burst–are still bastards no matter how much the film tried to appeal to me as a human film.
Just because Gosling’s character admits onscreen that he never claimed to have been the good guy doesn’t make these characters any less villainous in my viewing. In fact it pisses me off even more that a movie with a $28 million budget was dedicated to humanizing thieves and trying to convince the ticket buying public that these guys are on our side.
The film does attempt to demystify financial talk for the viewers. Does it do it successfully? For the most part, no. But it seems to applaud itself for doing such a great job. It’s almost patronizing in this way. It’s filled with pop icons to dumb down the educational experience for the sheep colony audience.
With that said, what was most remarkable about this movie was the editing. It keeps the viewer engaged and does bring insight into the lives of working, bill paying people who were affected by the crisis. On that same note, it tries very hard to distinguish the bad finance guys from the good finance guys. This is a directing problem and in that regard, I view the movie as hypocritical on its foundation.
I’m not interested in hearing about who saw what coming and made what. Did they fight for the working people’s cause? Nope.
That’s the point of the movie. The fact that the film masquerades as a morally just story that is a voice of the people is appalling to me.
At the very least, the film does alert the viewer and say that the problem has returned and puts the onus on the audience to seek out change. Again, I take this push for moral values with a grain of salt. How can working, bill-paying, ticket buying viewers impact the financial system? It’s too tremendous of a question.
Had this excellent cast and budget been put into the story of those who did pioneer a strategy that has shown success in affecting the financial system then the audience would have tools to begin something at the very least. But what this film seems to do is simply say, this happened and this will continue to happen. It doesn’t offer any real solution. Instead it makes us laugh it off. Because it’s a comedy, right?