History ValuesDissonance / LiveActionFilms

* ''Film/{{The Jazz Singer}}'' features a hero who must escape the confines of his conservative Jewish father to realize his own dream of self-expression... by performing in {{blackface}}. The film was remade in 1980 with Music/NeilDiamond in the lead role... and the '''blackface element still intact''', which led to [[DudeNotFunny predictable]] [[BoxOfficeBomb results]] at the box office.

* In-universe example in ''Film/TheDarkKnight'': Bruce Wayne brings a Russian ballet dancer to dinner who supports Harvey Dent cleaning up Gotham City through political means, but does not understand why Gotham supports Batman taking on the criminal element at street level... and then, the movie explores exactly ''what'' having a vigilant in your city implies...

** The film features many elements that are unsuitable for a PG-rated movie today (The film came out ''just'' before the PG-13 rating was introduced) - There are several scenes of casual swearing by the main characters -- the word "faggot" and shows up a lot, which is seen today as an offensive slur, and there's also the word "bohunk" (a term to describe lower-class immigrants from Central Europe). There are also many scenes of nudity, such as the shower scene in the first half of the movie.

* Agnes' fate at the end of ''Literature/AuntieMame'' definitely qualifies for this trope. She finds herself impregnated and [[AccidentalMarriage accidentally married to]] a sexual predator who got her drunk and led her to the altar because he thought she was a rich noblewoman. This is supposed to be a ''happy'' ending, because it means that she's not, as she gravely feared, an ''unwed mother''. It is worth noting that in a later, musical version of the play, this part was changed. Instead of being married to the guy who knocked her up, Agnes is sent to live in a home for unwed mothers... that was founded and set up by Aunt Mame herself, specifically to help Agnes (and to tick off the snooty rich family whose property was next door to the future site of the home). In the original book, she falls in love with one of Patrick's college professors, a genuinely good man who reciprocates her love and proposes to her as she's being rushed to the hospital in labor. It's implied that they wind up happily married.

* The movie ''Film/OfficeSpace'' is essentially about a man going into clinical depression over his job, which ''is'' shown to be frustrating and demeaning. But in the wake of the Great Recession and mass unemployment it comes off as rather unsympathetic to complain about having a steady job just because you're unhappy with it.

* ''Film/GabrielOverTheWhiteHouse'': The fact that a US President becoming ''dictator'' could be portrayed as good and right is a sign of the times, when some thought this could be a solution to America's problems then. Open admiration for Mussolini and later even Hitler (or Stalin) remained fairly mainstream up until UsefulNotes/WorldWarTwo or the ColdWar.

* The 1995 remake of the 1954 film ''Film/{{Sabrina}}'' garnered a lukewarm reaction from critics and audiences because of this. The MayDecemberRomance between the 21-year-old title character and the middle-aged Linus, while seen as nothing unusual up until the 1980s, during the 1990s such a disparity in ages became increasingly rare and regarded as painfully sexist (same for Sabrina getting married just after hitting 20).

* The 1995 remake of the 1954 film ''Sabrina'' garnered a lukewarm reaction from critics and audiences because of this. The MayDecemberRomance between the 21-year-old title character and the middle-aged Linus, while seen as nothing unusual up until the 1980s, during the 1990s such a disparity in ages became increasingly rare and regarded as painfully sexist (same for Sabrina getting married just after hitting 20).
* ''Gigi'', best known for the 1958 MGM film[[note]]it was written in 1944 and a French film was made in 1949[[/note]], revolves around a rich man and his teenage mistress-to-be, already carrying some DeliberateValuesDissonance from its [[TheEdwardianEra Belle Epoque setting]], becomes rather unsettling to modern eyes (a 2015 Broadway revival erased the visible age-gap, and Maurice Chevalier's "Thank Heaven for Little Girls" was reassigned to Gigi's grandma).

* There is a short scene in ''Film/StarTrekIIWrathOfKhan'' where Admiral Kirk tries to make a pass at Cadet Saavik, but she doesn't get it because she's Vulcan, and [=McCoy=] laughs. It's not likely that scene would be written today given that this is a vastly senior officer flirting with a ''trainee'', something that is explicitly verboten in most written codes of conduct because of the inherent power disparity between them.

* ''Film/TheGraduate''. Two fold:

** The late Roger Ebert originally thought Mrs. Robinson was "an insufferable creep", but changed that view in the nineties. Now that time has passed, most are willing to see Mrs. Robinson through sympathetic eyes, given the circumstances.
* In ''Film/TheFly1986'', Stathis' [[StalkerWithACrush stalking]] of Veronica is intended to be seen as fairly harmless and funny to audiences in TheEighties, but to audiences in TheNewTens who lived with the [=#MeToo=] movement and see harassment of women as a serious social issue, the character becomes really unpalatable. And it could have been worse; the screenplay ended with an epilogue that [[spoiler: had them get back together and revealed she was now pregnant with ''his'' child rather than Seth's]]. This scene, along with an alternate version in which [[spoiler: she wasn't pregnant]] and even two ''other'' versions that [[spoiler: left her single]], was shot (all are viewable on the Collector's Edition/Blu-Ray releases), but test audiences found none of them satisfying and '''no one''' in the cast or crew wanted the original or first alternate endings in particular. The 2008 [[ScreenToStageAdaptation opera adaptation]] (yes, there is one) notably dials back Stathis' stalking and plays what remains more seriously.

* ''Film/SongOfTheSouth'' tried so hard to keep it from going there. The songs and most of the animation are still acceptable but the live-action sugarcoats the racism a bit too much for the movie to be released in the US any time soon.

** The film features many elements that are unsuitable for a PG-rated movie today (The film came out ''just'' before the PG-13 rating was introduced) - There are several scenes of casual swearing by the main characters -- the word "faggot" and shows up a lot, which is seen today as a swear on the same level as the N-word, and there's also the word "bohunk" (a term to describe lower-class immigrants from Central Europe). There are also many scenes of nudity, such as the shower scene in the first half of the movie.

* Deckerd's relationship with Rachael in ''Film/BladeRunner'' begins with a scene where he physically blocks her from leaving his apartment, pushes her against a wall, and demands that she tell him to kiss her. Even though she'd been crying moments earlier, she immediately gets into it and initiates sex with him, and this is portrayed as the start of a romance for the ages.

* Invoked in-universe in the 2019 Italian film ''Film/{{Bangla}}'', which revolves around an Italian-born Bangladeshi teenager who falls in love with a caucasian Italian girl, and is worried about the culture clash that will result when he brings her to meet his family. When he takes the girl and two of her friends to one of his preferred restaurants so they can try some of his culture's local dishes, a cook eyes him throughout the meal and later warns him that "polygamy is frowned upon" in the Bangladesh culture, (wrongly) presuming that he is in a relationship with all of them. Even then, this is PlayedForLaughs -- polygamy is actually illegal in Italy.

* The film version of ''Theatre/{{Cabaret}}'' which was made in the 70s has a sequence where Sally suggests that Fritz 'pounce' on Natalia to let her know how she feels about him. When Natalia tells her about this, she claims that at first she was shocked but then realised she liked what was happening. It teeters close to a NotIfTheyEnjoyedItRationalization, but is played somewhat for CringeComedy.

!!General:
* Cheering in the cinema is generally more accepted in North America than in the UK and Europe (hence the "mfw Americans clap" meme), though there are exceptions. Japan and other Asian countries are even worse about this. Clapping during a performance is considered quite ''rude'' as you are distracting from the show. Live performers such as Cirque Du Soleil were actually coached about this as they were used to boisterous applause after every major trick. And when the first ''Franchise/StarWars'' film, ''Film/ANewHope'' had its Japanese premiere, the then-head of 20th Century-Fox, Alan Ladd, Jr., was worried that they'd hated it until being reassured that silence was the greatest compliment a movie could receive.
* [[NonSingingVoice Voiceover singing]] in Hollywood vs. UsefulNotes/{{Bollywood}}. American audiences frown on the practice, viewing it as inauthentic and cheating (one of the reasons Creator/AudreyHepburn was not nominated for the Best Actress Oscar for ''Film/MyFairLady'' was because she didn't do her own singing). In Bollywood it's openly acknowledged and accepted; actors are dubbed over to the point where one woman, Lata Mangeshkar, provided the singing voice ''for every female actress in every major Bollywood movie for several decades'' and was a celebrity in her own right. [[note]]When Lata is unavailable, producers use her sister, Asha Bhosle, who sounds just like her.[[/note]]
* In the United States, the average running time of a blockbuster is slightly more than two hours, movies that run for longer than two and a half or up to three hours are usually either [[OscarBait gunning for an Oscar]] or get criticized for being overly long and [[{{Padding}} self-indulgent]] (and sometimes even the ones that ''do'' win Oscars still get criticized for this.) Indian audiences very strongly believe in getting your money's worth of movie for a ticket, so three hours is about the ''average'' runtime of a summer blockbuster over there. The United States usually produces about one or two [[EpicMovie epics]] a year, in Bollywood it's the rule and not the exception.
* The whole idea of the {{Cowboy Cop}}, omnipresent in cop movies of the 1970's and 1980's has come under fire since the late 90s and 2000's. Back in the 70's, rising crime rates and then the "tough on crime" rhetoric of the Reagan era in the 80's made actions like beating up suspects for information, executing helpless criminals if they were evil enough, disregard for warrants, and all around tons of violence seem not just acceptable for police officers and displays of their badassitude, but necessary for combating crime. This ended after a string of high-profile incidents of PoliceBrutality and shootings of unarmed suspects, most infamously the Rodney King beating and several notable instances in the mid-2010s, which also revealed these actions targeted racial minorities, especially African-Americans, disproportionately. As a result, characters like Film/DirtyHarry and Film/{{Cobra}} come across as a lot less sympathetic nowadays. Lower crime rates beginning in the mid-90's also led to the demise of the "[[VigilanteMan vigilante hero]]" and "future big city in ruins" subgenres extremely popular in the late 70's to early 90's. In a pretty good illustration of just how far this trope has fallen out of favor with modern audiences, when Creator/EliRoth attempted to [[Film/DeathWish2018 reboot]] the once-popular ''Film/DeathWish'' franchise in 2018, it flopped at the box office and was absolutely ''savaged'' by critics, many of whom called it a wildly irresponsible piece of filmmaking.
* France doesn't usually dish out age restrictions on mainstream movies, likely owing to the [[UsefulNotes/TheFrenchRevolution rough history with censorship]]. Many movies rated R in the US or the UK are given "all ages" ratings unless they are very violent or patently adult.
* In general, Western European countries (including the United Kingdom) and some of their former colonies (like Australia) tend to be much more lenient about sexual content and profanity in films than the United States. For example, ''Film/SilverLiningsPlaybook'', rated R in the US mostly for [[ClusterFBomb the Cluster F-Bombs]], received the equivalent of a G rating in Sweden and France and an unrestricted M rating in Australia and New Zealand [[note]] meaning the film is recommended for mature audiences, but anyone can watch it.[[/note]]. ''Film/MagicMike'' was also rated G in France and Sweden, despite being a film about ''strippers''. Conversely, they're stricter towards violence and gore than the United States. ''Film/PrideAndPrejudiceAndZombies'' received the equivalent of an R rating in most countries (but only a PG-13 in the US.)
* In the United States, the NC-17 rating is seen as a death sentence for a film's commercial viability, basically limiting it to arthouse/independent cinemas. Major retailers like Walmart and Best Buy refuse to stock NC-17 films or [=DVDs=], and theater chains like AMC are reluctant to book them. Although the MPAA specifically states it does not denote pornography, in practice it has been used for films with strong sexual content. Producers fight for an R rating and are often dismayed to get an NC-17. On the other side of the pond, however, the 18 certificate (roughly equivalent to the NC-17) not only has little effect on commercial viability[[note]]Although nobody under 18 may watch it in cinemas, plenty of mainstream films like ''Fargo'', ''Silence of the Lambs'', ''Halloween'', and ''Saw'' received an 18 and did very well at the UK box office.[[/note]], it is seen as a badge of honor. In fact, [[http://www.dailymail.co.uk/news/article-1169772/My-film-horrific-15-director-tells-censors-pushed-18.html one horror director]] was disappointed that his film ''didn't'' get an 18 certificate. Films cut for an NC-17 in the US for commercial reasons usually receive an 18 certificate uncut in the UK, with none of the stigma attached. This highlights another example of disparity between the US and other countries, part of the reason that (in the US) the NC-17 rating is so heavily associated with [[TheRuleOfFirstAdopters porn]] is because it is damn-near impossible to get a movie rated NC-17 for violence alone, most films with the rating almost invariably feature explicit sexual content or heavily sexualized violence as a result.
* In the Golden Age of Hollywood, Chinese-American star Creator/AnnaMayWong was heavily exoticised in the fan magazines - “Anna May Wong symbolizes the eternal paradox of her ancient race,” wrote one fan magazine. “She reminds us of cruel and intricate intrigues, and, at the same time, of crooned Chinese lullabies. She brings to the screen the rare comprehension and the mysterious colors of her ivory-skinned race.” - and could never play a romantic lead because UsefulNotes/TheHaysCode would not allow her to kiss a white man on screen. In another example of this trope, she took her career to the UK and took advantage of their lenient censorship laws to play less stereotypical roles.
* {{Yellowface}} was far more accepted back in the Golden Age of Hollywood. Most Asian characters in films like ''Film/TheGoodEarth'', ''Theatre/TheKingAndI'' and ''The Son-Daughter'' were played by white actresses in make-up - and the magazines would talk freely about the "exciting" make-up process.
* In modern day films [[OneDrinkWillKillTheBaby pregnant women will never drink]]. In Golden Age films? Not so much. The effects of alcohol on fetuses weren't well-known at the time. Take ''Film/BlackboardJungle'' from 1955, where the protagonist's wife drinks champagne while four months pregnant despite also having a miscarriage in the past. She would be framed as a neglectful parent in modern works, however it's just a matter-of-fact in the film.
* A lot of classic films are based around cute children acting like adults for laughs. Some of Creator/ShirleyTemple's earliest films, such as ''War Babies'', revolved around this. At the time it was just seen as funny to see little kids acting so grown up, but these roles have since been critiqued for over-sexualizing children. As an adult, Shirley Temple critiqued the ''Baby Burlesks'' series she got her start in for this reason.
* In a similar vein, in teen comedies produced during TheEighties (such as ''Film/{{Porkys}}''), much of the behavior exhibited by the male characters in those types of films (which included thinly-veiled sexual comments in public, public hazing, stalking female characters or spying on them in showers) were seen as "raunchy, but amusing" during the decade. Try that kind of behavior today, and the consequences will be much worse than a few eyerolls or a stern talking-to from an authority figure.

!!Specific: