If there is anything that the Hollywood hit machine is consistently great at, it is the conception, packaging, marketing, and distribution of what will eventually become nostalgia. Most movie fans (meaning at least 50%+1) believe films of the past are far better than those of the present, and certainly the future.
The “past” here is relative. For someone born in the ‘40s, the movies from the ’50s and early ‘60s tend to be the ones they like best. My favorite titles came out between 1967 and 1981, a period referred to as the “American New Wave.” With noted exceptions, each generation tends to relate to and gravitate towards films released during their formative years, which makes all kinds of sense.
Most studios wait until tastes change before altering their choices regarding content. During its entire existence, only Warner Bros. has stayed ahead of the game.
The Big Five
One of only two (Paramount being the other) to be permanently recognized as a member of the “Big Five” studios, Warner Bros. (WB) was in operation during the silent era, but thanks to the foresight of brother Sam, they were the first to recognize the future of the business was in “talkies.”Deep in the red and on the verge of bankruptcy, Sam convinced Harry, Albert, and youngest brother Jack to risk everything by sinking well over $400,000 of more borrowed money to produce “The Jazz Singer.” Starring Al Jolson (who previously played the title character on stage), the movie was a smash hit, taking in over $2.5 million. In a most crushing bit of irony, Sam died the day before the movie’s premiere.
With the rest of the studios scrambling to catch up, while rushing their current slate of silent titles to release in order to cut their losses, Warner went into overdrive. Harry, Albert, and Jack parlayed the success of “The Jazz Singer” by cranking out multiple musicals and action-crime dramas, a sub-genre that would remain the studio’s go-to staple for the next seven decades.
The second and third installments focus on the evolving medium and cultural challenges that faced the Big Five studios after the “Golden Age,” roughly between 1927 to 1969, came to a close.
Again, Warner Bros. was the first to acclimate to the changing tastes when it merged with Seven Arts in 1967 and began to turn over more artistic leeway to its filmmakers. The biggest game-changer during this period was signing directors Stanley Kubrick and Clint Eastwood to lifetime contracts.
Another bit of forward-thinking arrived in the late ‘70s when the studio released the first movie based on DC comic characters. “Superman” and its sequels created the template for the “franchise” business model that would be perfected in the next century.
Where’s the Music?
Noticeably absent in the series is Warner Bros.’s presence in the global recording industry. Starting in the ‘50s, the company went on to acquire Reprise (founded by Frank Sinatra), Atlantic, and Elektra/Asylum, among others. Currently identified as the “Warner Music Group,” only Universal and Sony have larger market shares.There will certainly be some who will label “100 Years” as shameless self-promotion, aggrandizing, and lacking an unbiased perspective. This couldn’t be further from the truth. Yes, the series is produced by current company owners Warner Brothers Discovery and does celebrate a century of multiple accomplishments, but it also doesn’t shy away from putting the spotlight on some questionable business decisions and unsavory low points in the company’s history.
Regarding the former, the choice by WB to invest in video/gaming (“Atari”) resulted in the loss of billions of dollars. As far as the latter is concerned, the underhanded and despicable manner in which Jack hoodwinked Harry and Albert during the somewhat friendly sale of the studio was beyond unforgivable. Few treat their own enemies in the manner that Jack did with his own flesh and blood. Harry and Albert never spoke to Jack again.
When it comes to movies and series, I’m a big fan of brevity. I appreciate it when a production does what it sets out to do and doesn’t ruin everything with extraneous padding. In the instance of “100 Years,” it left me wanting more and could have easily included two more episodes.
