Benefit
Bluelighter
This Film Is Not Yet Rated is a big fuck you to the Motion Picture Association of America, the all-powerful and secretive purveyor of movie ratings in America. It is flawed and clearly distorts the truth in some parts, but is nonetheless a terrific documentary because the main thrust of the film rings true and the editing is clever.
First, a little background. The film industry is composed of 3 distinct parts: production, distribution and exhibition. Over the last 90 years these phases have gone through various stages of vertical integration, but whether the studio owns the production company or merely finances the picture, the power ultimately lies with them. The studios (Fox, Sony, Disney, Paramount, etc.) are the ones that pull the strings and they care much more about maximizing profit than they do about making a timeless picture or revolutionizing a genre. The MPAA plays a very interesting role in this dynamic by functioning as an agent of the studios. In reality, the rating system forces filmmakers to conform to a marketable standard, as opposed to pursuing an artistic vision that won't sell tickets.
The fact that the rating appeals board is composed almost entirely of executives in the exhibition end of the filmmaking spectrum is also very telling, because they are naturally going to want to safeguard their interests by giving a favorable rating to a film that they perceive as marketable. Conversely, they won't want to market an offensive (but artistically daring) film because it might drive down ticket (and concession) sales.
The second major theme in the movie is a meditation on morality and the attempt by the MPAA to regulate moral standards in this country. The film is terrific in pointing out the inconsistencies in the raters' moral interpretation of different films (particularly the glaring discrepancy in their attitudes toward sex and violence) and really exposes the absolute idiocy of any attempt police the morality of an artistic vision. Frankly, I find it embarrassing that America even suffers from these stupid, backwards moral hang-ups about sex and sexuality. The MPAA falls victim to all the puritanical stereotypes we've come to expect from regulatory bodies in this uptight country and it is really embarrassing.
The use of a lesbian private investigator, the obvious demonizing of Valenti, and the other Michael Moorish tactics employed by Kirby are a little over the top, but the fundamental issues explored in the film are very intelligent and provocative and worth looking into and researching because they are quite fascinating and complex.
Filmmakers are urged to choose their "fuck" carefully.
Lots of great lines from John Waters, Kevin Smith and others.
First, a little background. The film industry is composed of 3 distinct parts: production, distribution and exhibition. Over the last 90 years these phases have gone through various stages of vertical integration, but whether the studio owns the production company or merely finances the picture, the power ultimately lies with them. The studios (Fox, Sony, Disney, Paramount, etc.) are the ones that pull the strings and they care much more about maximizing profit than they do about making a timeless picture or revolutionizing a genre. The MPAA plays a very interesting role in this dynamic by functioning as an agent of the studios. In reality, the rating system forces filmmakers to conform to a marketable standard, as opposed to pursuing an artistic vision that won't sell tickets.
The fact that the rating appeals board is composed almost entirely of executives in the exhibition end of the filmmaking spectrum is also very telling, because they are naturally going to want to safeguard their interests by giving a favorable rating to a film that they perceive as marketable. Conversely, they won't want to market an offensive (but artistically daring) film because it might drive down ticket (and concession) sales.
The second major theme in the movie is a meditation on morality and the attempt by the MPAA to regulate moral standards in this country. The film is terrific in pointing out the inconsistencies in the raters' moral interpretation of different films (particularly the glaring discrepancy in their attitudes toward sex and violence) and really exposes the absolute idiocy of any attempt police the morality of an artistic vision. Frankly, I find it embarrassing that America even suffers from these stupid, backwards moral hang-ups about sex and sexuality. The MPAA falls victim to all the puritanical stereotypes we've come to expect from regulatory bodies in this uptight country and it is really embarrassing.
The use of a lesbian private investigator, the obvious demonizing of Valenti, and the other Michael Moorish tactics employed by Kirby are a little over the top, but the fundamental issues explored in the film are very intelligent and provocative and worth looking into and researching because they are quite fascinating and complex.
Filmmakers are urged to choose their "fuck" carefully.
Lots of great lines from John Waters, Kevin Smith and others.
