The Death of Storytelling? James Mangold and the Rise of Cinematic Fatigue
The cinematic landscape is awash with multiverse narratives, crossovers, and Easter eggs, all part of the seemingly unstoppable surge of the shared cinematic universe. But are these sprawling, interconnected worlds actually good for storytelling? Not everyone is convinced.
James Mangold, director of acclaimed films like Logan and Indiana Jones 5, has become a vocal critic of this trend, arguing that it sacrifices genuine storytelling for intellectual amusement and fan service. In a recent interview with Rolling Stone, Mangold declared, "I don’t do [multi-movie universe building]. It’s weird that I’ve even worked in the world of IP entertainment because… I think it’s the enemy, the death of storytelling." He emphasizes the focus on "how the Legos connect" rather than "how the story works in front of us", revealing a deep-seated concern about the sacrifice of depth and emotional resonance.
Mangold’s critique resonates with those who feel overwhelmed by the ever-expanding universes of Marvel and DC. The relentless onslaught of crossovers, interconnected storylines, and pre-planned franchise expansions can feel like an obligation to engage with a vast, convoluted web of lore rather than a genuine artistic experience. The constant need to be "in the know" to fully appreciate these films can alienate viewers unfamiliar with the sprawling backstory, turning the simple act of viewing into an exercise in intellectual deciphering rather than emotional engagement.
This fatigue, this sense of "too much", is what Mangold ultimately addresses. He argues that the focus on interconnectivity and Easter eggs diverts attention from the core of storytelling: emotion. "[W]hat is unique about this film, and these characters?" he asks, highlighting the importance of individual stories and unique characters. The constant churn of interconnected universes risks diluting the power of individual narratives, creating a homogenized "brand" experience rather than a truly moving and impactful film.
Mangold’s stance is a stark contrast to the prevailing trend in Hollywood, where franchises and IP reign supreme. Studios are increasingly banking on the proven success of well-established franchises, churning out sequels, spin-offs, and interconnected narratives, often at the expense of originality and artistic risk-taking.
Take, for example, the recent resurrection of Wolverine in Deadpool & Wolverine. Though Hugh Jackman reprises his iconic role, this time in a more light-hearted guise, it raises questions about the impact of such reiterations on the emotional weight of his original arc. To Mangold, this feels like a betrayal of the emotional closure achieved in Logan, a film meticulously crafted to provide a definitive conclusion to the character’s journey. "If you keep doing callbacks and multiverse stories, at a certain point, you do run into a wall that makes things hard to get out of," he cautions, articulating the potential for creative stagnation and narrative confusion.
The issue is not solely about the sheer volume of content. It’s about the balance between expanding a world and focusing on what makes each story within that world unique and compelling. A healthy cinematic universe allows for independent exploration of individual narratives within a larger framework, just as a vibrant ecosystem provides niches for diverse species to thrive. However, when the narrative focus shifts solely to the overarching connections, the individual stories lose their power and become mere stepping stones in a larger, predetermined narrative path.
This isn’t to say that shared cinematic universes are inherently bad. There are instances where the interconnected nature of the narrative enriches the experience. Marvel, for example, has successfully built a universe where individual films contribute to a larger narrative arc, offering audiences a sense of interconnectedness and a shared experience. The recent success of Spider-Man: No Way Home, which masterfully explored the multiverse concept, showcases how interconnected narratives can be used to enhance, rather than diminish, the individual stories.
But the key lies in achieving a balance between expanding the universe and crafting compelling individual narratives. Each story should stand on its own merit, while enriching the larger universe. The focus should be on creating compelling characters and narratives, not just interconnecting them for the sake of interconnectedness.
Mangold’s perspective offers a much-needed counterpoint to the prevailing trend in Hollywood. It reminds us that a good story isn’t just about how it connects to other stories; it’s about how it touches our hearts and minds. It’s about creating moments of genuine impact, moments that resonate long after the credits roll, and not just serving the insatiable appetite for Easter eggs and fan service.
As the landscape of cinema continues to evolve, we must ask ourselves: is the endless expansion of cinematic universes truly enriching our experience? Or is it simply adding more "Legos" to a growing pile, obscuring the true power of storytelling? Mangold’s perspective offers a timely reminder to prioritize genuine storytelling over mechanical interconnectedness. It encourages us to seek out films that move us emotionally rather than simply intellectually. And perhaps, in doing so, we can rediscover the lost art of truly compelling storytelling.
