Old and Sweet and Welcome

Fade in: the United States early in a new century. Giant media corporations, seeking ever-newer approaches to mass entertainment, unexpectedly discover Americans thirsty for an old, old theme. Quietly, without fanfare, a number of prominent -- even successful -- recent movies begin slipping positive social messages into story lines. Audiences respond. More upbeat messages of virtue, loyalty, friendship and personal quests for identity are ordered. This niche is developing (some say, returning) not universally or in obvious on-screen lectures but in editing, subtle script changes and expensive re-shoots to boost a message of hope or empowerment in a post-9/11 world.

Societies and families long have used stories to teach vital, enduring lessons of struggle, survival, striving, seeking and what’s heroic, admired, feared. Cinderella became “My Fair Lady” and “Pretty Woman.” David and Goliath became Rocky I through XX. It could be argued that the “Die Hard” movies, with one clever good guy wreaking revenge for all of us, are “Jack and the Beanstalk” on TNT steroids. “It’s a Wonderful Life” somehow endures without bodies being sucked through jet engines.

When Chris McGurk, MGM’s vice chairman, read audience interviews after “Legally Blonde” test screenings, he detected an unmistakable signal from viewers about the movie’s message. They liked the comedy all right, but they loved the heroine’s determination, empowerment and triumph over prejudice. He spent $1 million to re-shoot the ending and drive home the point. “You can accomplish what you choose,” Elle Woods says finally, “not what others choose for you.” He and competitors intend to slip in similar themes now where appropriate. Think of the personal-discovery quests in “Brother Bear” and “Elf,” neither of which involves drugs.

None of this occurs for altruistic reasons or because moviemakers rented audiotapes of William Bennett’s books translated into Hollywood-ese. Nor should it. The movie biz still makes millions off sex and special- effects violence. At least now, like the world of satellite-cable TV, it offers slick alternatives for niches in a market fragmented by diverse tastes. And it makes money, too. “Legally Blonde” cost $20 million and brought in $150 million-plus. “Barbershop,” a comedic tableau of urban philosophy, cost $12 million and earned $80 million. A gentle message in “Good Boy” -- that it’s not where you are but the friends you’re with -- helped reap $22 million over its budgeted cost. Watch for other messages in “Barbershop 2” in February and “Beauty Shop” in 2005.

Fade out: Holding hands and feeling empowered, several movie execs skip down a golden road toward a Wells Fargo branch, singing joyously. The message: In the creative mix of popular entertainment from an industry notorious for easy, loud, seamy stories, this is a hopeful and, we hope, enduring response to a society and its parents laboring to reinforce responsibility and inspiration even through entertaining stories.