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In 1993, the French film industry encountered a significant challenge, although it had little to do with traditional adversaries or even animated dinosaurs. Specifically, there was a revolt against Jurassic Park. The Culture Minister of France characterized Spielberg’s major hit as a “menace to French culture.” This seemingly unprovoked assault indicated a deeper concern about the waning influence and profitability of French cinema. The timing was particularly unfortunate, as Jurassic Park debuted just before the uproar, becoming an easy scapegoat for a broader crisis in French filmmaking.
Release Date
June 11, 1993
Runtime
127 minutes
Writers
Michael Crichton, David Koepp
Producers
Gerald R. Molen
Spielberg Hits a Nerve, and Starts a Turf War
This controversy was rooted in the mundane realm of bureaucratic negotiations over the General Agreement on Tariffs and Trade (GATT). During discussions, a proposal from the US representative suggested removing quotas and tariffs to enhance international relations. This seemingly harmless recommendation prompted a backlash, especially in France, where there had long been restrictions on American films and requirements for a specific amount of domestic content on television.
According to Reason, many in France—including filmmakers, actors, and politicians—decried Jurassic Park as a “threat to [French] national identity,” claiming that the film was essentially a vehicle designed to undermine European cinema. This incident represented a notable moment in the history of European art, particularly as many perceived it as a tragic overreaction.
Film-related trade tensions are not a new phenomenon. Protectionist policies have accompanied cinema since its inception and have long been part of French cultural strategy. Notably, actors Gérard Depardieu and Isabelle Huppert sought support from the European Parliament, while French Culture Minister Jacques Toubon expressed his concern that a mechanical Triceratops would precipitate the collapse of the French film industry.
This uproar was framed as part of an alleged conspiracy by “Anglo-Saxon mercantilist culture,” which also encompassed unlimited access to Tom and Jerry cartoons, as noted by the NYT. The filmmaker Claude Berri asserted, “If the GATT deal goes through as proposed, European culture is finished.” Ultimately, the US withdrew its request, maintaining the existing cultural protections. France emerged from this debacle with a semblance of victory.
A War With Only Losers
Were the French right to be concerned? That depends on your stance regarding government intervention and quotas. However, there’s an important detail: Leading up to the protests in 1993, a series of state-supported French films had flopped, particularly those that aimed for historical narratives. Notably absent from the discussions surrounding American influence were commercially unsuccessful projects like Basic Instinct and Highlander II: The Quickening, both funded by French companies, as outlined by The Numbers. The overlapping release periods of films featuring Berri and Depardieu alongside Jurassic Park lent an air of hypocrisy to the situation.
The question arises: What is more damaging to French pride—the hypocrisy of such blockbusters or the realization they were linked to one of the most notorious cinematic sequels? Despite their criticisms, French blockbusters were consistently targeted, while major hits like Sylvester Stallone’s Cliffhanger—which also grossed exceptionally well and was co-produced by the French studio Studio Canal—did not receive similar scrutiny. Coincidence or not? The answer remains elusive.
Soul Searching Turns to Searching for Scapegoats
As the furor continued, French intellectuals reveled in their victim status. Surprisingly, Depardieu offered the most grounded perspective amidst a sea of melodrama. Many within the French film industry resorted to hyperbolic statements, lamenting their financial futures amid rising American dominance. Bertrand Tavernier compared the situation to the treatment of Native Americans, lamenting, “The Americans want to treat us like they treated the redskins… If we’re very good, they will give us a reservation.”
The introspection of the French film industry revealed a painful truth: domestic films had lost their grip on influence and profitability, both at home and internationally, as substantiated by data from Box Office Mojo. This period of paranoia and anger masked a deeper uncertainty. The enchantment and allure that once characterized French cinema had all but faded. Meanwhile, American cinema was adapting and moving away from auteur-centric storytelling, transitioning to productions aimed at universal appeal.
France, however, resisted this shift, with few exceptions like Luc Besson and Gaspar Noé. The golden age of the Nouvelle Vague (French New Wave) now seemed far behind. By the 1980s, even renowned filmmaker Jean-Luc Godard was forced to work on projects he disdained for financial stability. Icons such as François Truffaut had passed away, and major stars like Alain Delon and Catherine Deneuve struggled to command international box-office draw. French cinema appeared resigned to a state of isolation, burying itself as other international voices, particularly from Asia and Latin America, took center stage.
Source
movieweb.com