I’m no movie critic – not even close. I don’t seem to have whatever artistic antennae are required to appreciate the subtleties of the cinematic medium. Nevertheless, like most people, I do have eyes in my head and do enjoy a good movie. And it happens to be a fact that every movie works from a script – a story with characters and dialogue. So the basis for every movie is the written word, while it cannot be said that every book is based on a movie. (Woe to the book that is based on a movie: Thou art a fraud.) My point is that the same dynamics of moral imagination are at play in a movie as in a novel or any other creative work of fiction. And this is where the following quote by C.S. Lewis collided in my mind with a simple observation I’ve made about many of the movies and TV shows made in recent decades, which I’ll get to in a moment.

It remains, of course, true that Satan is the best drawn of Milton’s characters. The reason is not hard to find. Of the major characters whom Milton attempted he is incomparably the easiest to draw. Set a hundred poets to tell the same story and in ninety of the resulting poems Satan will be the best character. In all but a few writers the ‘good’ characters are the least successful, and every one who has ever tried to make even the humblest story ought to know why. To make a character worse than oneself it is only necessary to release imaginatively from control some of the bad passions which, in real life, are always straining at the leash; the Satan, the Iago [the scheming antagonist from Shakespeare’s play Othello], the Becky Sharp [the morally vile protagonist from Thackeray’s novel Vanity Fair], within each of us, is always there and only too ready, the moment the leash is slipped, to come out and have in our books that holiday we try to deny them in our lives. But if you try to draw a character better than yourself, all you can do is to take the best moments you have had and to imagine them prolonged and more consistently embodied in action. But the real high virtues which we do not possess at all, we cannot depict except in a purely external fashion. We do not really know what it feels like to be a man much better than ourselves. His whole inner landscape is one we have never seen, and when we guess it we blunder. It is in their ‘good’ characters that novelists make, unawares, the most shocking self-revelations. … To project ourselves into a wicked character, we have only to stop doing something, and something that we are already tired of doing; to project ourselves into a good one we have to do what we cannot and become what we are not.

C.S. Lewis, A Preface to Paradise Lost, Chapter 13. Emphasis mine.

Now since I’ve already dipped into the mode of the woe-throwing Old Testament prophet, I’ll allow myself one more: Woe to the one who looks to Hollywood for moral clarity. And all the people said Amen. But even without looking to movies for moral clarity, it remains a fact that so much of what is compelling about a movie is the moral fabric of the main characters, both good and evil. I am limiting myself here to those movies which are a essentially a contest between moral opposites: crime dramas, thrillers, action movies, or the never-ending series of original or rebooted or off-shoot superhero movies. The simple observation I am making about such movies and shows is that the good characters are becoming more troubled and morally compromised. It is so very rare to see a compelling protagonist that is good. The anti-hero is the hero for our age; the anti-hero is the only kind of hero we can believe in.

The above quote by Lewis is commenting on the scholarly consensus that Milton’s Satan (in Paradise Lost) is more compelling as a character than any other in the story. Lewis then lays out a morally insightful explanation for why that is necessarily the case in fallen humanity’s literature. Another example of this principle is found in the fact that Dante’s Inferno is by far and away more popular and compelling to the typical reader than either Purgatorio or Paradisio.

I used to think that an author’s characters had no vital connection to them – that an imagination could dream up moral monsters and virtuous heroes without it being a reflection of itself. But this is not true. As Lewis says, “It is in their ‘good’ characters that novelists [and screenwriters] make, unawares, the most shocking self-revelations.” Indeed, we are infected with moral cynicism. We look back on the virtuous heroes of past literature and we groan at the naivety of such caricatures. But this reaction reveals far more about our modern moral weakness than it does about anything else. And our modern writers cannot conceive of a truly virtuous person because our culture has jettisoned objective morality and the priority of character formation.

Adam and Eve and the obedient angels may not have been Milton’s best characters, but I dare say he was able to make them far more compelling than our typical cadre of authors and screenwriters could today. Even when they attempt to treat subjects of similar greatness, it seems they cannot avoid falling into caricatures either of rigid moralists and unhappily repressed religious people on the one hand, or vile hypocrites who are only pretending to be good on the other.

Small wonder then that the heroes we see onscreen, whatever technical mastery and skill they may have, are hardly ever compelling examples of deep moral goodness: Iron Man and the whole Marvel cast, John Wick, Deadpool, and so on. There are of course blessed exceptions to this rule, such as Aragorn in Peter Jackson’s LotR Trilogy and Franz & Fani from Terrence Malick’s recent movie A Hidden Life. It takes real effort to pull off these characters well and avoid portraying a plastic pseudo-goodness that comes across more as naivety than virtue. One common element between them is suffering. Perhaps goodness untested by suffering and evil is never very compelling. But I am straying from my main point, which is that we do learn all too much about the storytellers of our time by the manifestations of goodness that they are able to imagine and conjure for us.

Simply put, we do not have deep and compelling moral goodness manifested in our entertainment because a writer’s imagination is constrained by his or her own moral character and by and large we have forgotten (or rejected) the possibility and priority of conforming ourselves to an objective standard of virtue.

I mean, have you ever seen Caillou? That kid’s a brat.

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