He gallops into city, the stranger with the shadowy previous, and quick-draws his Winchester to proper the city’s wrongs. Or he’s a gruff, pistol-packing cop with an estranged spouse and a child he solely sees just a few instances a 12 months, however he saves an entire constructing full of individuals from the terrorists who’ve kidnapped them. Or he’s a taciturn former murderer who’s dragged reluctantly again into motion when hardened dangerous guys present up once more. He’s the hero, the savior, the knight in barely dinged-up armor.
The spine of Hollywood storytelling is the nice man with the gun.
When NRA CEO Wayne LaPierre first used that phrase, it was 2012, one week after the bloodbath of 26 folks at Sandy Hook Elementary School. “The solely solution to cease a foul man with a gun is an effective man with a gun,” he mentioned, and it unfold like wildfire. Many have decried the assertion, noting that on the deadliest mass shootings — such because the capturing in Uvalde, Texas, the place 21 folks died — the so-called good guys with the weapons have been there, however completely failed to stop tragedy. Broader knowledge clearly reveals that in American lively shooter assaults, the armed good man typically doesn’t make a distinction.
Yet the phrase sticks. It’s a horny situation to think about. It’s romantic. Evidence means that gun homeowners, on the entire, think about the nice man with the gun and see themselves. We all really feel helpless to stop assaults; for some, buying a gun is an interesting solution to really feel in management.
“Neither aggressive criminals (the ‘wolves’ in gun tradition parlance) nor meek victims (the ‘sheep’), gun carriers see themselves as valiantly straddling an ethical area of heroic violence,” sociologist Jennifer Carlson defined for Vox in 2018. What’s extra, she writes, “this citizen-protector ethic redefines males’s social utility to their households.”
In different phrases, for a lot of gun carriers — who’re predominantly males — carrying a weapon is a solution to determine with that brave ultimate. Carlson got here to this conclusion by way of learning the state of Michigan, the place financial melancholy, crime, and the impression of decline have fostered a strong concealed-carry gun tradition. For most of the males she spoke to, carrying a gun was a solution to combat again towards the deterioration they noticed on the earth round them.
“Against the backdrop of socioeconomic decline, weapons develop into a strong technique of asserting oneself as an upstanding individual, as a dutiful father, and at the same time as a dedicated neighborhood member,” she writes, noting that weapons allowed these males to “rework their private codes about what it means to be a very good man and remodel deadly pressure from a taboo act of violence to an act of fine citizenship.”
That picture has to return from someplace. And one supply appears apparent.
In the wake of the mass capturing in Uvalde and much too many extra, Hollywood veterans have circulated an open letter calling on Hollywood to be a part of the answer, not the issue. The letter suggests being “aware of on-screen gun violence and mannequin gun security finest practices,” displaying on-screen gun customers locking weapons accurately and making them inaccessible to youngsters, limiting the methods they’re used on display, and exploring options.
The initiative was led by activists Robert Bowers Disney and Christy Callahan, organizers for the advocacy group Brady United Against Gun Violence. Disney, the group’s nationwide organizing director, instructed me that modeling good on-screen habits round weapons can have a a lot larger affect than one would possibly assume and that social activists have had success with storytellers rethinking how they depict different social points up to now.
Storytellers’ “help of seatbelts, addressing teen being pregnant, and smoking [prevention] are just some examples the place modeling safer habits led to a tradition shift for the higher,” Disney mentioned. “We’ve already acquired feedback from TV writers who’ve modified a scene in response to our marketing campaign. What’s actually thrilling is these writers are making the most of this second to really be extra inventive of their storytelling.”
Guns, as objects, are everywhere in the motion pictures, and the talk about Hollywood and gun violence has generally verged on the asinine. But it’s vital to notice that the tales that Hollywood has been telling for nearly its complete lifespan have positioned the nice man with the gun entrance and heart. It’s an ideal plot machine. Our silver display motion heroes have typically been good guys with weapons, often those that should function from outdoors the system.
They’re not the cops; they’re the beaten-down guys, those who’re dwelling on the margins. In Westerns from Stagecoach to True Grit, they have been typically the outsiders, males with out moorings, a little bit mysterious, a little bit harmful, however with their ethical compasses set extra true than society’s. They have been John Wayne, Gary Cooper, Jimmy Stewart.
In the large blockbusters of the Reagan period and onward, they have been typically people who stepped in for many who couldn’t defend themselves, often as a result of whoever was purported to be saving the day was too weak or ineffectual to tug it off. That man is performed by Sylvester Stallone, or Arnold Schwarzenegger, or Steven Seagal, or Liam Neeson. Or it’s not a man in any respect: Melina in Total Recall, saving Quaid, or Marion in Raiders of the Lost Ark, stepping in to save lots of Indiana Jones.
Even right this moment’s largest moneymaker, the expansive, superhero-based storytelling of the Marvel Cinematic Universe, has its roots on this custom. In these movies, a few of the good guys have weapons; others have superpowers as an alternative. But the metaphor is latent and the attract is identical. Guns give atypical folks superpowers; wield one, and you can also be Captain America or Black Widow or Iron Man. Or Deadpool.
The gun-wielding good man doesn’t even need to be the protagonist (or, in a small variety of instances, a man). Think about it: How many instances have you ever seen a movie wherein a villain has the hero in his sights, able to take him out after which, after we hear a gunshot, the villain falls as an alternative? From Captain America: The First Avenger to Under Siegel to The Man Who Shot Liberty Valance, the trope is identical. Our hero has been rescued by a comrade, a buddy, an acquaintance, even the enemy of his enemy — and his gun. It’s a time-worn trope exactly as a result of narratively, it provides a component of suspense, shock, and catharsis to the story.
These tales are instructed in a approach that encourages us to determine with the nice guys, those who save the day. So after we think about a real-life situation, we naturally gravitate towards placing ourselves within the place of the hero of numerous tales we’ve watched since childhood, not the victims.
These tales aren’t the one motive we swallow the romantic notion, nor do they bear the brunt of the blame for our struggles to curb gun violence in America. After all, Hollywood has exported its movies overseas for many years, with very completely different outcomes. The ease in buying weapons within the US and the tradition that’s sprung up round them is the product of a set of distinctive elements spanning tradition, legislation, and politics.
But that doesn’t imply the films don’t have any impact. Tell folks a narrative about themselves typically sufficient, and so they’ll consider it.
All of the measures proposed within the open letter to Hollywood appear cheap, if gentle. But even altering how weapons are depicted on-screen can be a problem. As the Hollywood Reporter has exhaustively reported, depictions of weapons onscreen have steadily climbed through the years, and that’s resulted in a profitable relationship between gun producers and Hollywood.
Depicting weapons realistically runs into one other financial difficulty: the MPA rankings system tends to attract the road between PG-13 and R rankings to motion pictures not based mostly on gun violence, however on how a lot gore is proven on display, and PG-13 motion pictures make far more cash on the field workplace than their R-rated counterparts. So studios have a vested curiosity in not displaying blood and destroyed our bodies, the pure results of gunfire. That means we’re typically watching sanitized, cleaned-up fantasies of weapons, somewhat than the form of actuality which may trigger the nice man with the gun to hesitate when confronted with a real-world situation.
What we don’t see with practically as a lot frequency is what we all know occurs in actual life: the nice man arrives with the gun, and nothing occurs. Or, as in Uvalde, the “good guys” — the cops, on this case — stand round, doing the alternative of what they should do, and no person manages to save lots of the day till after there’s been immense bloodshed.
There’s a easy motive for that. Movies are entertaining. Tragedy is, emphatically, not. Reality isn’t both. Nobody desires to activate the TV and watch that story. Nobody desires to consider it occurred.
So what are we purported to do? At this level, Pandora’s field has been opened; you’ll be able to’t take again 100 years of movie historical past. It can be each anti-art and counterproductive to erase weapons from Hollywood’s historical past. Similarly, banning them from on-screen depiction wouldn’t make a lot sense. Guns exist in the true world. They trigger tragedies, a lot of them. Telling tales in truth requires weapons.
But as with all issues within the motion pictures, it’s not what the topic is that issues; it’s how the movie goes about it. Imagining weapons as the answer to all issues — because the profitable answer — is, as we now know, a fantasy. It is usually a harmful fantasy. For individuals who really feel just like the world is spinning uncontrolled, it suggests taking over an identification of gun-toting protector that doesn’t, ultimately, ship what it guarantees. That story, nonetheless interesting and romanticized, can block us from discovering actual options.