It is always a treat to have author and critic David Thomson as our guest to share his unique insights into films. This season we have invited David to guest curate and introduce a series based on his new history of Hollywood, The Whole Equation, which he introduces in these film notes and in person on January 13, 14, 29, and 30.
My new book, The Whole Equation, is founded on a remark in F. Scott Fitzgerald's unfinished novel, and is framed on the idea of finding “the whole equation” or “the secret” to how Hollywood pictures worked. This is a gentle trick, of course; there is no definitive answer to the equation, and no sure method of making a movie work. The reason is simple: the attempt to make a lot of money and great art at the same time is forlorn, foolish, and enough to destroy an empire. But still the challenge draws us on, and accepting the challenge is an especially American (or Hollywood) weakness. So the book becomes an informal, discursive history of Hollywood, and both a celebration and a rueful realization of what those pictures have done to us. I leave it to you to argue how cheerful the conclusion can be.
The films in this series illustrate different aspects of the argument-and I offer them in the confidence that they are all at least interesting. Some are masterpieces. Some are somewhere in between. But the collection attests to one certain thing: that the American movie moved the world, and still does sometimes. If it is so less often today, is that the factory's fault, or ours?
-David Thomson
David Thomson is a regular contributor to The New York Times, Film Comment, Movieline, The New Republic, and Salon. His other books include The New Biographical Dictionary of Film; Rosebud: The Story of Orson Welles; Showman: The Life of David O. Selznick; Beneath Mulholland: Thoughts on Hollywood and Its Ghosts, and three works of fiction. Born in London, he lives in San Francisco.