Why WIDOWS Was Unable To Commoditize Social Change

It has often been stated that every film, whether it be a fictional story or a biographical documentary, is political in nature. While movies that reflect on timely sociocultural issues have always been a driving force of cinema, recently this type of appeal has translated into massive success in terms of audience interest at the box office.

Stories that have gone the extra mile to break the mold of societal and cultural norms are fueling a phenomenon in which social change is essentially being commoditized for moviegoers. Viewers are not only being drawn to the novelty of watching a film from a different cultural point of view, but they are also inspired to buy a ticket and become a part of history, doing what they can to support the paradigm shifts in Hollywood standards.

The most salient examples of this phenomenon in which a blockbuster also tackled social norms are the recent triumphs of Wonder Woman and Black Panther. The superhero genre is unquestionably experiencing extraordinary popularity as of late, which can be partially attributed to the success of each film. It should be noted though that despite having a built-in fanbase, neither character had the same level of popularity of fellow heroes such as Batman and Spider-Man, making their broad resonance all the more surprising. Each film defied the odds by offering unique storytelling angles that also celebrate timely themes of inclusion, with Wonder Woman focusing on a leading heroine every bit as tough as her male counterparts, and Black Panther featuring a predominantly African cast.

Since then, many studios have taken notice and are seeking to replicate this lucrative phenomenon. Just last month 20th Century Fox attempted this feat through the release of Widows, a female-led heist film from the visionary director Steve McQueen. Despite a bevy of diverse star power, a wide release from a major film studio, and a large marketing push, the film, while a hit with critics, was unable to tap into the overarching appeal of commoditizing social change,  resulting in a weak box office debut. This intuitively raises the question of what does it take for a film to not only be a blockbuster, but to also engage audiences on a political, social, or cultural level.

Story First, Impactful Message Second

At the core of this type of film is a unique story offered to the audience that is novel in its own right, even without the added impact of being politically relevant. Take for instance last summer’s surprise sensation Crazy Rich Asians. The film, while being based on a familiar rom-com formula, offered viewers a profound conflict of individualism vs. collectivism as well as a rare glimpse into the glamorous side of Asian culture, neither of which had been properly explored before in mainstream Hollywood. While the film was later lauded for its primarily Asian-American cast, this wasn’t the main driver for viewers, as the story on its own was captivatingly inspired.

Similarly, Ryan Coogler’s Black Panther, while a monumental achievement for its embrace of African culture, was appealing to so many viewers due to it presenting a story that was a breath of fresh air compared to its MCU predecessors. Although it contained the expected action spectacle of the genre, the film focused on philosophical themes such as whether wealthy nations are morally obligated to aid less developed countries, a far cry from what viewers have come to expect as the driving conflict of a superhero film. With the added creative appeal of the imaginative world of technologically advanced Wakanda, audience interest in Black Panther was driven primarily by the strength of the story, with the prosocial element of offering a positive image of African culture being secondary.

Being Too Blunt Can Lead To A Contrived Message

In addition to a novel storytelling angle, for a blockbuster film to engage viewers on a sociocultural level its message must be interpreted as authentic. This can best be seen by the way in which Wonder Woman presented its central theme of feminism. While the film is mostly a war story, as it details the titular Amazonian putting an end to World War I, the themes of feminism are laid out for viewers in an organic fashion. The message is conveyed without lectures or obvious lines of dialogue, merely through the depiction of a heroine accomplishing her mission and bringing peace to the world without being dependent on a man or being relegated as a sexual object.

In contrast, Widows presented a similar theme of feminism as it chiefly depicts a group of widowed women, who upon inheriting their criminal husbands’ debts decide to take control of their destiny and perform a heist of their own. Despite presenting a compelling story that breaks the mold of what is typically associated with the heist genre, the film is too blunt in its aspirations for social change. Lines strongly featured in the film’s promotion, such as “no one thinks we have the balls to pull this off,” defiantly uttered by Viola Davis’ character Veronica, come across as forced and contrived. Although a strong sentiment and hardly a distraction in the actual film, this tactic can deter viewers as they feel as though they are being preached to rather than identifying and embracing the message on their own.

A Screenplay With Too Many Messages?

Finally, it is essential for a film to focus on one primary cause rather than delving into an overabundance of political issues. Throughout Widows, the narrative dips it toes into a multitude of hot topics, such as gun control, police brutality, interracial marriage, corrupt politics, and wealth inequality. While this multifaceted approach led to a more complete picture of the city of Chicago, it may have diluted its central theme of gender equality and therefore prevented the film from becoming a movement for mainstream audiences in the way of a film such as Wonder Woman.

It should be mentioned that I am not disputing the quality of Widows. I still maintain that it was one of the year’s strongest films and appreciated the complicated world our protagonists inhabited, as it helped to explain their motivations for breaking the law. Rather I am exploring why the film, unlike similarly themed major wide releases, did not resonate as strongly with audiences on a cultural level. It is undeniable that it did not hit the mark that many expected.

Overall, while it’s nothing new for documentaries and independent films to continuously strive to challenge cultural norms, it is a rare occurrence when a film manages to accomplish this and also achieves blockbuster status at the box office. Essentially it comes down to being a tricky balancing act, where it is insufficient for a film to merely be related to a relevant political issue. It is essential for the film to present a novel story with the message implanted into the very infrastructure of the narrative in a seemingly genuine manner.

Do you agree or disagree about what it takes for a blockbuster to challenge social norms? Do you think Widows was a box office disappointment for other reasons? Tell us your thoughts in the comments below!