| Written
by DAVID KEYES
September
29, 2000
As the movie
rating system is quarreled over by the masses for its productiveness
as a model to arbitrate material viewed by young eyes, voices in
the movie industry have proposed the implication of a new assessment
into the Motion Picture Association of America’s rating system.
This “A” rating, which would stand for “Adults Only,” is proposed
to sit in between the “R” (Restricted) and the “NC-17” (No children
17 and under), essentially to relieve the pressure put on the R
without drifting into the whereabouts of an NC-17, which suffers
limited distribution because the public associates it with hard-core
pornography. Such a suggestion, though, seems rather pointless in
today’s rating system when the NC-17 shared similar proposal in
the early 90s for exactly the same reason. The NC-17 and the A essentially
mean the same thing: no children allowed. And if an A rating were
ever passed, who’s to say it would not simply share the same fate
as the infamous NC-17 did?
The arguments
over movie subject matter that inspired this proposal began in July
of 1999 with the release of Stanley Kubrick’s “Eyes Wide Shut,”
which was initially slapped with an NC-17 because of a 65-second
sequence in which Tom Cruise was escorted through rooms in a mansion
during intense sexual orgies. The movie’s distributor Warner Bros.,
realizing the NC-17’s notorious reputation, opted to have the movie’s
scene digitally altered to meet the requirements of an R rating.
This infuriated countless critics, however, who felt that by altering
Kubrick’s final product (which was completed less than a week before
he died in early March of that year), they were tarnishing his movie’s
intentions. Film critic Roger Ebert, who spoke out against this
decision before the nationwide release, was the first person who
pitched the idea to the MPAA; like many of his colleagues, he though
that future releases with similar material could garner large distribution
without the fear of an NC-17 restricting them to limited markets.
Think again.
Movies with
these kinds of adult-oriented undertones are already bypassing the
restrictions of NC-17 all the time, simply by showing up in theaters
with “Not Rated” listings. In 1998, for example, when “Gods And
Monsters” was issued to theaters, the studio did not submit the
film to the MPAA for fear that a distinctive scene featuring men
skinny dipping would be too graphic for an R. If studios are intent
on having adult-oriented movies like these reaching a wide audience
without fear of making cuts to the initial product, why not simply
release the picture unrated? Parents have the sufficient resources
to determine whether a movie is suitable for their child’s eyes
even without the rating system at hand.
Another issue
to contend with is how the NC-17 got equated with pornography in
the first place. Over the years, the MPAA has demonstrated a lenience
towards graphic violence, often slapping pictures with intense blood
and gore with a measly R, while saving the latter rating for movies
in which sex or nudity is the primary exposure. While revealing
physical activity is by no means appropriate for children’s eyes,
it certainly pales in comparison to a close-up shot of someone’s
face getting blown off, doesn’t it? By applying such reasoning to
their judgments, the MPAA is seemingly sending the message, “it’s
okay to rip off body parts, just as long as you don’t walk around
naked.”
The MPAA’s
rating system needs several improvements, no doubt, but perhaps
that should start with the “R” rating itself; a film with subtle
violence and profanity like “Sleepy Hollow” does not deserve the
same classification as a film with gratuitous butchery and nudity
like “8MM,” for example. As the case was with the “PG” rating in
the late 1970s, the R is becoming to broadly used for movies of
varied adult substance. A more reasonable solution in this case
would be, like the PG, to split the rating down the middle—an R-15
and an R-17, for example—to separate extreme from mild. An “Adults
Only” rating seems like a rather pointless idea, not just because
it’s basically a rewording of the NC-17, but because it will be
used and thought of in the same manner anyway.
©
2000, David Keyes, Cinemaphile.org.
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