Harris’s Brigadier General Hummel only takes the city of San Francisco hostage after the US government refuses to compensate the families of dead marines who served under him in shadow wars over the past decade. For example, the central conflict of The Rock is precipitated because the government of the United States has failed to uphold its promises to those that serve its ranks. If Bad Boys showcases Bay’s interests in swagger and sex, The Rock outlines his distrust of institutions and his unwavering belief in the righteousness of individuals. In fact, The Rock does a lot to clarify Michael Bay’s philosophy beyond mere character types. In many ways, his mixture of gravitas and frank determination anticipates the other aging heroes of Bay’s filmography, from Bruce Willis’ Harry Stamper in Armageddon to Anthony Hopkins’ Sir Edmund Burton in Transformers: The Last Knight. For instance, Mason often comments on his lack of care about the fate of the city, but when the SEAL team is killed and Goodspeed is in a fix, he returns to save the day and assure the city’s survival. He is the no-nonsense mentor who operates outside official structures, but has the intelligence, strength, and unwavering sense of morality in the face of damnation that is required to save the day.
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Mason here represents the other dominant character-type in the films of Michael Bay. He is a reluctant hero-he only agrees to the assignment because he believes it will be an advisory role-but when all other options are exhausted, he rises to the occasion and saves the city. Goodspeed’s strength is his mixture of intelligence and morality, but he’s also quick-witted and not afraid to use a gun when he has to.
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Here, our hero is Stanley Goodspeed, the sort of high-energy nerd who presages Sam Witwicky in the first three Transformers films. If the swagger and lustiness of Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) in Bad Boys established one major character type in the films of Michael Bay-the sexed-up macho man- The Rock establishes the other archetypes that fascinate Bay. The Rock also solidifies and clarifies many of Bay’s primary interests. As well, like with Bad Boys, The Rock is not about clever plot machinations, but about how the plot allows for fanciful demonstrations of formal technique and braggadocio. But The Rock executes these cliches with such gusto and precision that the film becomes stirring. Characters are defined by their necessities to the plot, ancillary characters pop up to shout zippy one-liners that deliver exposition, and the film’s conflict is resolved through improbable, but emotionally-satisfying, coincidences and changes of heart. Similar to other nineties blockbusters like Independence Day, The Rock abounds with cliché in terms of plotting. Stanley Goodspeed (Nicolas Cage), and political prisoner and former SAS captain, John Mason (Sean Connery), who is the only man known to have escaped from Alcatraz. The task of stopping him falls to chemical weapons expert, Dr. The plot of The Rock concerns a disgruntled brigadier general (Ed Harris) who holds the city of San Francisco hostage from Alcatraz, using M55 rockets armed with VX nerve gas to demand money and transportation out of the country in payment for what he sees as mistreatment by the United States government.
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If you’re looking for one Michael Bay film that you don’t have to add a bunch of qualifiers to enthusiastically champion, The Rock is for you. It’s a rigorously entertaining action film with colourful characters, an intriguing conceit, and Bay’s typically-invigorating style.
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This being the case, it’s also his best movie. The Rock is the perfect synthesis of the Michael Bay formula.