We’re much more realistic about racism and class prejudice these days, as the finely-crafted epic Titanic shows. Revived for the 100th anniversary of the big ship’s sinking, the 1997 movie appalls us with its portrayal of the disdain the upper class showed for  the working class. Yet we take in stride the liaison between the Victorian heroine with a working class man she has just met. Granted, the woman’s fiancé was a stuffy jerk, and she was being forced into a marriage she didn’t want, and the other man had saved her life. Still, the affair was straight out of our current age, totally alien to the atmosphere the movie successfully portrayed elsewhere.

Other current films have followed the same pattern, sometimes indulging our current taste for gore and violence.

A movie where romantic attraction stays out of the bedroom is so quaint as to be almost counter-cultural. A few movies have won high acclaim with little violence or permissiveness, often based on classic novels with strong characters. Apparently, if the characters are intriguing enough, such movies can be profitable. Violence and permissiveness don’t have to be as common as movie popcorn.

In past decades, it was typical for the U.S. Calvary to be heroes and Indians the villains. Today we’re more realistic about that era, just as the Titanic portrayed a more realistic class prejudice.

The bar is higher. Mediocre movies can succeed if they incorporate a certain amount of R-rated scenes, but a movie without them must be superior.