Luck and goodness in Hollywood

A small parallel struck me the other night as i watched Brian DePalma’s movie Mission: Impossible. At the very end, a jumbled helicopter comes crashing through the Chunnel towards the hero (Tom Cruise), who is stuck against the rear window of a stationary train. The helicopter gradually slows, as do its blades, which finally come to halt a mere inch away from the hero’s jugular. DePalma leaves no doubt in the viewer’s mind that this happy turn of events was sheer luck.


This reminded me of a scene towards the middle of the movie when Tom Cruise and Jean Reno were storming the CIA headquarters, and had just knocked out two security guards. Jean Reno’s character is about to slit their throats with his knife when Tom Cruise grabs his hand to stop him: the hero will allow no innocent bystanders to be killed.


There can be little doubt that DePalma has a clear message here: the good guy was saved at the end through luck because he had earlier spared the guards from an almost identical fate. It is because he was good that he became lucky. (If you still harbor doubts, I’ll point out that the very dead pilot of the helicopter crashing towards Tom Cruise was Jean Reno.) Is this not the doctrine that God favors the Just, with Luck merely substituted for God?

I believe many Hollywood action movies display this same feature. One need only point out how much better the good guys are at dodging bullets than their luckless opponents. But perhaps the best proof lies in Hollywood’s own self-conscious satire. Do you remember the (first) bathroom shooting scene in Quentin Tarantino’s Pulp Fiction? John Travolta and Samuel L. Jackson have just finished chewing out, and then shooting to death, a gang of petty two-timing drug dealers, when one last member emerges from the bathroom and empties his gun at them, missing both entirely. They shoot the unlucky man dead, but then fall into an argument as to whether it was Luck or God that had saved them.

Hollywood no longer believes in God, but it remains beholden to the hope that goodness leads to salvation, and since nothing on our moral scene has yet appeared that might fill God’s commanding role, our story telling has resorted to that old standby, incomprehensible luck.




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