Organizations and management at the movies

Citation

Champoux, J.E. (2007), "Organizations and management at the movies", International Journal of Organizational Analysis, Vol. 15 No. 2. https://doi.org/10.1108/ijoa.2007.34515bae.001

Organizations and management at the movies

Film Reviews

Organizations and management at the movies

This column describes and analyzes film scenes or entire films that work well in a teaching program, as outlined in my initial film review (Champoux, 2007). In this issue, I have carefully selected live action film scenes from five popular American films to demonstrate several important organizational behavior and management concepts that can be used to show the following topical areas:

• •

  organizational socialization;

• •

  behavior modification;

• •

  strategic planning and execution;

• •

  stereotyping;

• •

  customer focus; and

• •

  ethics, ethical behavior, and ethical dilemmas.

This review includes scene position information to help readers locate a film scene on a DVD.

Organizational socialization: The Firm (1993)

Discussions of organizational socialization typically include descriptions of the goals of an organization’s socialization process, the types of values and norms the process can teach a new organization member, and the stages through which a person typically passes (Van Maanen and Schein, 1979). The opening scenes from the drama-thriller film, The Firm, based on the John Grisham book by the same title, provide excellent cinematic examples that can enliven class discussions of this important topic.

Mitch McDeere (actor Tom Cruise) graduates from Harvard Law School with honors and in the top five of his class[1]. Many top law firms aggressively recruit him. Mitch chooses a small Memphis, Tennessee firm in the USA with a large starting salary, a new Mercedes Benz, and a low-interest home mortgage. He quickly learns that an elaborate web of murder and corruption surrounds “The Firm”.

Two sets of scenes in this film show different stages of the socialization process. The first set shows the anticipatory stage before Mitch actually joins the firm. The second set shows the entry/encounter stage after Mitch enters the firm. You can show these scenes at the same time or in two class sessions covering organizational socialization.

The anticipatory stage of socialization appears in the film’s opening scenes starting with DVD Chapter 2, “We Want You” to Chapter 3, “The Family” (stop at 0:12:22). This sequence begins after Mitch enters the lobby of Boston’s Copley Plaza Hotel. He buttons his jacket as he walks through the lobby. The sequence ends as Mitch and Abby (actress Jeanne Tripplehorn) embrace after they discuss the firm’s offer. William Devasher’s (actor Wilford Brimley) voiceover describes Abby’s telephone calls while in Memphis. The film cuts to Oliver Lambert’s (actor Hal Holbrook) office.

Mitch McDeere is in the anticipatory stage during the recruiting interview at the hotel and his visit to the Bendini, Lambert & Locke law firm in Memphis. During this stage, he should develop expectations about working for the firm. He likely feels he will work for a small, honest firm that values its members’ loyalty. However, his wife Abby notes different expectations. For example, that “The Firm” employs only white married men (“All white, all male, all married,” she observes), encourages families with children, and believes wives should not work.

The second sequence starts with Mitch and Abby arriving at their new Memphis home (DVD Chapter 4, “Your New Home” to Chapter 5, “Day One”; stop at 0:18:31). The sequence ends after Avery Tolar (actor Gene Hackman) greets the Senator and notes to Mitch that he is allowed a “few minor rebellions”.

Mitch’s first workday features two powerful socialization processes within the entry/encounter stage and shows the meaning of the sense-making process. Mitch experiences many changes and contrasts from his law student days. Role episodes unfold repeatedly for him, beginning with Lamar and ending with Avery Tolar. The scenes show that people can have multiple role senders, especially in the early employment period.

A debasement experience hits Mitch early when he learns the importance of passing the bar examination, a pivotal role behavior. His reaction shows the meaning of surprise in the sense-making process, because it was not something he learned in the anticipatory stage. Piling book after book on him symbolically makes the point.

Avery Tolar begins the mentoring process when he introduces himself as “your designated mentor”. The interactions on the way to lunch include descriptions of pivotal role behaviors, such as billing clients and not losing an Internal Revenue Service audit. Mitch feels the ambiguity of conflicting cues when Tolar tells him “The Firm” frowns on drinking alcohol during work hours, yet orders a martini for himself.

Behavior modification: Mr Holland’s Opus (1995)

Discussions of behavior modification can include detailed descriptions of positive reinforcement, punishment, and shaping of behavior. The goals of behavior modification include changing the direction of a person’s behavior, sometimes dramatically (Luthans and Kreitner, 1985). A wonderful sequence of scenes from the drama Mr Holland’s Opus lets you connect these concepts to some powerful visual images on screen.

Glenn Holland (actor Richard Dreyfuss) has an undying passion for music, but must leave full-time composing to accept a high school music teacher’s job[1]. Originally intended as a temporary position, Holland stays for 30 years. During that time, he discovers his contagious gifts as a teacher and his ability to motivate his students to high performance.

The recommended sequence starts on the school’s football field with Coach Meister (actor Jay Thomas) working with the football team and Mr. Holland starting with the band (DVD Chapter 10, “New Assignment” to Chapter 11, “Challenged”; stop at 0:53:53). It follows Mr. Holland’s discussion with Principal Jacobs (actress Olympia Dukakis) and Vice Principal Wolters (actor William H. Macy) about the type of music he teaches. They then name him the marching band director.

Mr Holland has great difficulty getting the band to march correctly. Coach Meister intervenes. A little later he says to Mr Holland, “You see this kid up in the stands here? It’s Lou Russ.” The sequence ends after Mr Holland and the band congratulate Lou (actor Terrence Howard) for getting the beat. The film cuts to the town’s parade.

Coach Meister wants Lou Russ to stay in the wrestling program, but his grades might not let him. The challenge for Mr Holland is to teach Lou to play the bass drum in the marching band for academic credit. Poor Lou Russ cannot read music, cannot get the beat, and loses his place on the score while playing. Mr. Holland works feverishly with him, finding creative ways of shaping Lou’s playing behavior and building his self-esteem. He uses every possible technique including banging on his football helmet to teach him the beat. As reinforcement theory would predict, Lou’s playing gradually improves. During one rehearsal, he is right on the beat, so Mr Holland and the band congratulate him. There is an unmistakable look of pride on his face. These scenes show the behavior modification techniques of positive reinforcement, shaping, and some light applications of punishment or correction.

Strategic planning and execution: Ocean’s Twelve (2005)

Discussions of strategy, strategic planning, and plan execution typically include outlining the goal or goals of the strategy, details of the plan, and specific steps for plan execution (Steiner, 1997). A series of scenes from the film Ocean’s Twelve dramatically show a planning process and the beginning of plan execution. The scenes from this film lend themselves to sequential use with interspersed presentation of planning concepts and theory. Students should react with high engagement and interest in these planning topics.

Casino boss Terry Benedict (actor Andy Garcia) finally locates the Ocean gang and demands repayment of the $160 million they had earlier stolen. Problem: the gang does not have the money for repayment. Benedict gives them two weeks to meet his stated goal. Solution: carry out some creative thievery in various picturesque European cities. Interpol agent Isabel Lahiri (actress Catherine Zeta-Jones) and master European thief François Toulour (actor Vincent Cassel) complicate the gang’s activities.

Several scenes at different places in the film nicely show the group’s goal, the planning process to reach it, and carrying out the plan. The total running time of these scenes falls well within the permissible ten-percent limit for “fair use” imposed in the USA and some other countries.

Instructors can use the scenes in a two-part discussion of strategy and strategic planning. The first set of scenes sets the goal and describes the constraints. The second set shows the Ocean gang carrying out their plan.

Begin with DVD Chapter 5, “How much does everybody owe?” These scenes open with a shot of a pensive Danny Ocean (actor George Clooney). The screen titling reads, “First Thursday. Thirteen days left.” Frank Catton (actor Bernie Mack) says to Danny, “Now, you told me that your wife said that he called it Ocean’s Eleven.” These scenes show the gang discussing their monetary constraints. The gang’s goal becomes clear toward the end of these scenes. Reuben Tishkoff (actor Elliott Gould) refers to their target amount when he says, “Ninety-seven, give or take.” The scenes end with Rusty Ryan (actor Brad Pitt) saying to Frank, “Don’t tell Danny.”

Ask students to outline the goal or goals that will guide the gang in a strategic planning process that shows in the second set of scenes. They must steal enough money, or objects that will get enough money, to repay Benedict. They also cannot stay in the USA. As Rusty notes, they plan to go to Amsterdam, in The Netherlands.

The second scene comes from DVD Chapter 8, “Planning the heist” and the beginning of Chapter 9, “Raising the house.” A small piece at the end of the Chapter 7 scenes plays at the beginning. If you want a completely clean start, advance the DVD to 0:27:18.

The scene opens with a close-up of van der Woude (actor Jeroen Krabbé) polishing one of his antiques. Ocean’s voiceover explains van der Woude‘s involvement with antiques and his reclusive behavior. The scene ends with Rusty on the telephone describing their only plan. The film cuts to a panning shot of a barge with screen titling that reads, “First Tuesday. Eight days left.”

Chapter 8 overflows with important parts of strategic planning. This sequence will work well after a discussion of different parts of strategic planning, such as a plan’s goal, execution choices, and constraints. Ask students to identify the strategic planning elements shown in the sequence. Pause the film before or after the toilet discussion. They should note the following:

• •

  Planning goal: get the Dutch East India Trading Company stock certificate.

• •

  Execution choices: use the security systems master code; telephone repair truck; enter home at 3 am; hack into system.

• •

  Planning constraints: the heavy protection of van der Woude’s home which he never leaves; narrow one-way street; closed loop system in titanium servers.

The group does not have a plan at this point in the caper. Continue the film with DVD Chapter 9, “Raising the house.” It starts with a close-up of the front of der Woude’s home. The screen titling reads, “First Sunday. Ten days left.” Basher Tarr (actor Don Cheadle) carefully studies the building’s front to find access points. These scenes end as Rusty describes the plan on the telephone.

Frustration quickly sets in when Rusty learns of the lack of direct access to the target. He says to Ocean, “We have no line of sight.” He further explains that they are three inches too high. While walking near an Amsterdam canal and discussing their plight, Rusty suddenly gains an insight while looking at the bridge structure. The film does not show what he sees. Possibly he develops an awareness that buildings in that part of the city rest on pylons. A plan emerges: cut the 30 pylons, insert jacks, and raise the house to get the line of sight.

Those observations should be apparent to anyone watching this sequence. You can pause the film for a discussion of the strategic plan’s quality. Is it realistic or is it fantasy? Continue the film to the end of Chapter 9 to see the beginning of the strategic plan’s execution. The film later shows the result – Toulour got there first!

Stereotyping and customer focus: Pretty Woman (1990)

Contemporary discussions of quality management strongly emphasize a customer focus. A customer focus helps an organization meet the needs and desires of its customers (Garvin, 1988; Gehani, 1993). Such discussions typically do not show how stereotyping can disrupt the customer focus process. Although linking stereotyping and customer focus may appear incongruous at first, some humorous and well-acted scenes from the film Pretty Woman nicely show the potentially negative effects of the connection.

Stuffy, but successful, corporate executive Edward Lewis (actor Richard Gere) meets carefree prostitute Vivian Ward (actress Julia Roberts). Opposites attract in this spirited romantic comedy that launched Roberts’ Hollywood star career. The film understandably created some controversy because of its light-hearted portrayal of prostitution. However, that controversy did not reduce its huge box office success (Craddock, 2007, p. 714).

These scenes begin with a lobby shot of the Regent Beverly Wilshire Hotel in upscale Beverly Hills, California, as Vivian approaches the front desk (DVD Chapter 6, “A business proposition”; start 00:39:44 through Chapter 7, “Trouble at the hotel”). The scenes follow her negotiation with Edward Lewis to spend a week with him for US$3,000 and her telephone conversation with Kit De Luca (actress Laura San Giacomo). These scenes end after hotel manager Barney Thompson (actor Hector Elizondo) telephones Bridget (actress Elinor Donahue) and asks her to help his hotel’s “special guest”. The film cuts to an aerial shot of industrial property in Long Beach, California.

The saleswomen at an expensive clothing store on Rodeo Drive in Beverly Hills assess Vivian’s customer potential using a stereotype of a woman dressed as she was dressed. Her short skirt, halter-top, tall boots likely overwhelm their judgment, leading to Vivian’s rejection. You can note their reactions after Vivian enters the shop. The snobby saleswoman (actress Dey Young) says, “I don’t think we have anything for you. You’re obviously in the wrong place. Please leave.” Vivian reacts to their rejection by silently leaving the shop, covering herself with her sweater, and returning to the hotel. She previously had the sweater tied around her waist.

You can use these film scenes in two ways. Pause the film just before she enters the shop and ask students who have not seen the film to give their assessment of Vivian. Watch and note any stereotyping tendencies. Then play the film to the end of the designated scenes to emphasize the dangerous role of stereotyping in interpersonal relations, especially in customer interactions. A second method is to run the scenes from start to finish and lead a class discussion about stereotyping, interpersonal relationships, and their effects on customer service and meeting customer expectations.

Ethics, ethical behavior, and ethical dilemmas: The Insider (1999)

Ethics discussions have increasingly become part of organizational behavior and management curricula in the USA and in many other parts of the world. Ethical behavior is right; unethical behavior is wrong (Brandt, 1996). But, is it that simple? The selected film scene from the dramatic film The Insider shows the harsh reality of making ethical decisions.

Dr Jeffrey Wigand (actor Russell Crowe), the head of research for Brown & Williamson, the third largest American tobacco company, knows from his research that tobacco and smoking harm people. He prepares to “blow the whistle” on Brown & Williamson, one of seven American tobacco companies at the time. Wigand faces several ethical dilemmas as the film unfolds. He needs his job to receive the money that pays for his older daughter’s asthma treatment. Wigand experiences firsthand the power of corporate America when the company is faced with losing billions of dollars a year from lost tobacco sales. Actor Al Pacino plays Lowell Bergman, a veteran 60 Minutes producer. Bergman wants the story that only Wigand can tell.

These scenes appear early in the film after company CEO Thomas Sandefur (actor Michael Gambon) has asked Wigand to sign an expanded confidentiality agreement (DVD Chapter 8, “Lowell Confronts Jeff”). Wigand called Bergman and accused him of selling him out. Bergman arrives at Wigand’s home in the rain as Wigand prepares to take his daughters to school. A confrontation between Weigand and Bergman follows, along with a lengthy discussion between the two of them about Wigand’s decisions. The film continues with Bergman and his team discussing aspects of what Wigand knows and the reaction of the “Seven Dwarfs” (the heads of the seven tobacco companies).

The early part of these scenes has one instance of profanity. You can start at 0:38:55 within Chapter 8 to avoid the language. Wigand walks away from Bergman to get into his car.

Wigand faces several ethical dilemmas as revealed in his discussion with Bergman. He has already signed a confidentiality agreement, but not the expanded version. It is clear that he needs the promised money because of his oldest daughter’s acute asthma. His latent ethical dilemma pivots on his knowledge of tobacco’s harmful effects and the effects of his testimony on Brown & Williamson Tobacco. You can note his response to Bergman’s question, “They’re afraid of you, aren’t they?” as evidence of the latent ethical dilemma. His admiration of James Burke, at that time the CEO of Johnson & Johnson, is further evidence of Wigand’s ethical structure.

A second ethical dilemma appears in his explanation of why he worked for Brown & Williamson Tobacco. After he summarizes his reasons, although his research might have produced some good, it is clear that it is only for the money. Bergman expresses that he too has good reasons for working for money. Bergman’s elegant summary at the scene’s close vividly shows the ethical dilemma and Wigand’s responsibility for resolving it. That resolution drives the rest of the film to its dramatic conclusion.

For readers who routinely use films in the classroom, I hope this review of scenes from these five live-action films gives you new material and new ideas to work with. For readers who have not used film in the classroom, I hope this review piques your interest. By my experience, films are a good way to increase students’ interest in the course material. In the next issue, I will review scenes from a few classic films. As always, I welcome your feedback and suggestions.

Adapted from Champoux (2001). Reproduced by permission. www.cengage.com/permissions

Joseph E. ChampouxThe University of New Mexico, Albuquerque, New Mexico, USA