Acclaimed playwright David Mamet is featured in the New York Times Sunday magazine’s "Talk" feature (formerly "Q&A") on the eve of the publication of "The Secret Knowledge," his dramatic intellectual break with the political left.
Early reviews suggest Mamet’s message is bracing, and the left has responded in kind with vicious cries of sellout. Perhaps that’s why Andrew Goldman’s Q&A with Mamet is testier than his previous interviews (he replaced the liberal Deborah Solomon in the magazine’s Q&A slot in March). Even the subhead was slanted and hostile: "David Mamet explains his intellectual shift to the right. The far right."
The notion that conservative political views can stunt one's acting career in ultra-liberal Hollywood is occasionally derided as exaggeration at best, or conspiracy-mongering at worst. So it behooves us to point out the actual victims of this sort of McCarthyite blacklisting.
The latest person to provoke the wrath of Hollywood's thought police - or at least to reveal the consequences of that wrath - is former "Everybody Loves Raymond" star Patricia Heaton. Heaton claims that she has been denied roles precisely - and explicitly - because she is "lumped together with conservatives," according to PopEater.com.
In the 10AM ET hour on NBC's Today on Monday, co-host Kathie Lee Gifford applauded the new HBO movie on the 2008 financial crisis, 'Too Big to Fail,' as "not a partisan film at all." However, after asserting that "It didn't take one side or the other," she touted the liberal moral of the story: "that greed is what got us there and lack of regulation."
Left-wing actor Ed Asner, who plays the role of billionaire Warren Buffet, came on to promote the film: "...this movie is practically a study course. You go back and learn each time that you watch it....you become involved and very informed..." He added that the "tragedy" of the crisis "has not been repaired yet." Gifford agreed: "No, it certainly hasn't. Everything's still in place for it to happen again."
New York Times movie critics Manohla Dargis and A. O. Scott spray the new crop of summer flicks with a dose of liberal guilt in Sunday’s “Gosh, Sweetie, That’s a Big Gun.” Dargis in particular just can’t be pleased with how women are portrayed by Hollywood. Three years ago she greeted the summer season with "Is There a Real Woman in This Multiplex?” On Sunday she lamented that the women on screen today are the wrong kind of women, criticizing a scene from "Meek's Cutoff" in embarrassing feminist/Freudian academic language, circa 1968: "I just don’t believe that scene where her character pulls out a rifle to protect the wagon train’s Indian prisoner -- or should I say when she takes possession of the symbolic phallus."
The introductory paragraph set the tone:
The summer season brings the usual cavalcade of testosterone-fueled action heroes, including Thor, the Green Lantern, Captain America and Conan the Barbarian. But action-movie derring-do is not always an exclusively male preserve, and in the last year some women and girls -- Evelyn Salt, Lisbeth Salander and the lingerie-clad avengers of “Sucker Punch,” among others -- have been shooting and not just clawing their way into macho territory. Is this empowerment or exploitation? Feminism or fetishism?
In a report designed to separate fact from fiction on Wednesday's NBC Nightly News, White House correspondent Savannah Guthrie decided to blur fantasy and reality as she compared President Obama's press conference announcing the release of his birth certificate to a moment from the 1995 movie, "The American President." [Audio available here]
After a clip was played of Obama declaring: "We live in a serious time right now, and we do not have time for this kind of silliness. We've got better stuff to do," Guthrie proclaimed: "At that moment, the real president sounding a lot like that Hollywood one." Then footage ran of the fictional President Andrew Shepherd – played by actor Michael Douglas in the liberal film – denouncing one of his Republican opponents: "This is a time for serious people, Bob, and your 15 minutes are up. My name is Andrew Shepherd, and I am the president."
Douglas, of course, narrates the introduction to NBC Nightly News.
Robert Redford's "The Conspirator" is a thinly-veiled political allegory warning against the danger of trying terrorists in military tribunals. And that's why his movie about the military trial of Lincoln assassination conspirator Mary Surratt is problematic.
That's not me talking, that's Washington Post film critic Ann Hornaday in her April 15 movie review:
Twenty-nine years after her death, novelist Ayn Rand is coming to a theater near you. After many failed attempts, her 1957 novel "Atlas Shrugged" has been made into a film.
In an age when overspending, overreaching, higher-taxing and overregulating government increasingly strangles the private sector, robbing us of our liberties and transforming the country into the model of a socialist state, Rand's story reminds us how far ahead of her time she was and just how dangerous a time we live in now.
It’s a discussion for another day as to why those entrusted with the delivery of news so stubbornly refuse to cover the very deadly war being waged at this very moment against Christianity in the Middle East. The aggressors are radical Islamists, the victims Christians, especially those wearing the cloth. Every week another report detailing another attack seeps through the wall of non-information, of men condemned to death in Saudi Arabia for the crime of conversion, of Catholic churches bombed in Baghdad on Christmas Day, of Coptic congregations slaughtered in Egypt, and the like.
Sad and troubling to be sure, but it’s over there…over there. Do you have any recollection of the story fifteen years ago of the small community of Trappist monks in Algeria kidnapped in a prisoner-exchange plot, and then murdered? To the extent I was aware of the brutal story it was something I quickly filed away in the memory banks under, “Oh, dear.” Nothing more.
French filmmaker Xavier Beauvais challenges us to remember. He has delivered the hauntingly beautiful “Of Gods and Men,” winner of the Grand Jury Prize at the Cannes Film Festival. “Schindler’s List” was aimed at your heart; “Of Gods and Men” captures your soul.
On Monday's All Things Considered, NPR's Bob Mondello used movies about fictional nuclear disasters, such as "The China Syndrome" and "Silkwood," to play up atomic energy's hazards. Mondello especially highlighted the 1959 movie "On the Beach" as supposedly coming the closest to the portraying a real-life radiation catastrophe, such as the ongoing crisis at the Japanese nuclear plant.
Host Melissa Block noted the movie critic's 2010 report comparing Hollywood disaster films to the Gulf of Mexico oil disaster in her introduction: "Last summer, as the oil spill in the Gulf of Mexico was finally brought under control...Bob Mondello did a comparison for us on Hollywood disaster movies and how they differ from real world disasters. Well, in the last few weeks, as tragic events have played out in Japan, Bob realized he had left something out of that story: the menace that can't be seen."
In a report for Thursday's CBS Early Show, contributor Taryn Winter Brill fretted over the impact of movie theater popcorn on Americans' waistlines: "Have you ever wondered how many calories you're actually consuming in that large popcorn with butter? You probably don't want to know. Pretty soon, though, you may not have a choice."
Moments later, nutritionist Katherine Brooking declared the popular concession treat to be "a calorie bomb waiting to explode." Brill then touted a government solution to the problem: "Hoping to defuse this high caloric catastrophe, the FDA is working on a provision in the health care law requiring chain establishments which serve food to list the calorie count of their menu items." She added that Brooking and others "applaud the move."
Well it’s that time of year when all of the rich leftists in Hollywood get out their $40,000 dollar gowns, put on their millions in jewelry, climb into their limos, and head up to the Kodak Theater to pat themselves on the back for being working class heroes. I couldn’t care less about which picture or actor gets a trophy, I just love listening to the political correctness and monumental hubris on display for the world to see.
For his documentaries on Fidel Castro and Che Guevara Cuban-American filmmaker Agustin Blazquez’ takes a truly revolutionary approach. Rather than expecting officials of Castro’s police state to reveal facts, Blazquez interviews eye-witnesses to Castroism who are (get this!) free to reveal facts without threat of Castro’s firing squads and torture chambers!
This might be the most revealing anecdote about the intolerant culture of present-day Hollywood in, well, ever. Get this: some genius producer at Sony digitally removed the words Holy Bible from a Holy Bible in a scene because he thought the sight of a Bible might hurt the film’s appeal beyond the Christian community — probably because he’s projecting and assuming everyone’s as bigoted as Hollywood.
After some pressure from the family on which the film is based, he did put it back, but who thinks this way (he asked himself rhetorically). Good grief, there are all kinds mainstream films today where you see glimpses of various social and political symbols. Remember all that obnoxious PETA junk in Lethal Weapon 2, a movie I’ve only watched about a million times. But how many films these days show teenagers with the chicken track peace symbol on their book bag or a Greenpeace poster on the wall?
It’s never a good day when one of the most wicked organizations on the planet is pleased by anything. But how could America’s teachers unions not have been thrilled with the news that Davis Guggenheim’s damning indictment of the devastation they have brought down upon America’s public school system and millions upon millions of children was snubbed by the Academy this morning?
Within minutes of the news breaking that Jared Lee Loughner had killed six and wounded 12 in a rampage outside a Tucson safeway store, including a critically injured Rep. Gabrielle Giffords, the news media immediately leapt to the conclusion that the harsh tone of our political discourse – led by conservative talk radio -- surely must be to blame.
That narrative turned out to be hogwash, but another one has emerged during the investigation into Loughner’s psyche, yet virtually no one wants to discuss it. Was the shooter inspired by the entertainment media?
Why would violent movies or music be left out of the rush to judgment? Perhaps it’s because pop-culture defenders never tire of arguing that no one can blame the “artists” – be they musicians, movie-makers or video-game manufacturers – for youth violence. So it becomes awkward, to say the least, that everyone’s discussing the need to curb a national appetite for angry rhetoric, when it was disturbing music and movies that were influencing Loughner’s mind, and they are ignored.
On Tuesday's Morning Edition, actor Ben Affleck was selling his new movie about corporate layoffs, Company Men, and anchorman Steve Inskeep carefully led the left-wing actor onto a soapbox to lecture about the immorality of American capitalism and financiers who do nothing but "move money back and forth":
INSKEEP: There's a line in Company Men that's staying with me. Tommy Lee Jones is at a corporate conference table. Someone else at the conference table is discussing their plans to lay off a bunch of workers. And nearly all the workers being laid off are older, which could be construed as being wrong or illegal. Someone at the table says: "Oh, no. This is going to pass legal scrutiny." And Jones responds: "I always thought we aimed for a little higher standard than that."
AFFLECK: That speaks so perfectly to people's feelings about our country. It's like it's just about getting by, or people can like let people go if they can get away with it, that there's no deeper sense of right or wrong. The banks shouldn't -- people shouldn't make such a giant profit off just moving money back and forth. And CEOs' pay shouldn't be 200 times the average worker. It used to be nine times.
Wesley Snipes is in jail. That’s right, Blade is behind bars. Passenger 57 is now known as Inmate 224567.
And this friends, is a travesty.
It’s not just a travesty because we’re going to have to wait at least three years for the next poorly conceived direct-to-video action film starring the Shotokan Karate master. It’s a travesty because of the deafening silence surrounding his trial and incarceration.
Julia Roberts may have been crowned best actress in 2000 for her performance in (and as) "Erin Brockovich", but the film did what politically-loaded Hollywood products often do: it distorted the facts, and may have done more harm than good to the town of Hinkley, CA.
The film followed Brockovich as she led a class-action suit against Pacific Gas & Electric for releasing hexavalent chromium, or chromium 6, a cancer-causing toxin, into the water supply in Hinkley. PG&E eventually went to arbitration, and awarded a record-$333 million in damages to residents of the town.
But now, 10 years after Roberts's award-winning performance, and 17 years after the actual suit, cancer rates in Hinkley are unremarkable. In fact, they are lower than would normally be expected. The Associated Press reported Monday:
As NB's Noel Sheppard noted on Sunday, the new film "Fair Game" is so full of falsehoods and is such an affront to historical accuracy that even the Washington Post's editorial staff felt obligated to debunk the many untruths it presents.
Regardless of its quality, “Harry Potter and the Deathly Hallows: Part I” will likely become a huge blockbuster. It’s the seventh film chronicling the long-running book series about a wizard named Harry Potter and his two best friends. The final book of the series was split into two films and the second part will be released in July 2011.
Today's Washington Post "Free for All" section included a letter to the editor from one R.E. Pound, a CIA veteran who retired after 33 years of service in 2009, some 31 years after being outed in a book as an operative. Pound took to task former CIA operative Valerie Plame for her "ludicrous" claim "that the exposure [of her identity] forced an end to her career in intelligence."
After all, Pound conducted an investigation "charged with looking into possible damage in one location caused by Valerie Plame's outing."
"There was none," Pound noted, and complained that the claims of the new "Fair Game" film "devalue the resolve of the officers who have overcome truly dangerous exposure, and they cheapen the risk from laying bare their very real achievements."
Here's the letter in full as published in the November 12 paper:
The director of the new film "Fair Game" - released Friday - is either blatantly dishonest, or astoundingly lazy. The movie, starring Sean Penn as former U.S. diplomat Joe Wilson and Naomi Watts as his embattled wife, CIA agent Valerie Plame, makes a number of claims on controversial issues that are demonstrably false.
The Daily Caller's Jamie Weinstein did the legwork in demonstrating just how far from the truth some of the film's central claims are. Chief among them, perhaps unsurprisingly, is that Scooter Libby, Vice President Dick Cheney's chief of staff, and other White House officials exerted political pressure on intelligence officials to cherrypick intelligence favorable to claims that Iraq possessed weapons of mass destruction.
On Monday's Joy Behar show, the host promoted the latest work of liberal actor Richard Dreyfuss, but soon turned the conversation to Dreyfuss playing Dick Cheney in the 2008 Oliver Stone flop "W." and how he could find the "satanic spot" in his soul to play Cheney. Dreyfuss said you can "find all the villainy in the world in your own heart," and said he tells students to focus on the Hitler inside you when playing a bad guy. Cheney as Hitler: this is just another night on the Joy Behar Show.
BEHAR: Now, you played a bad guy in "Red" and you also played a bad guy in "W," one of my favorite movies. So funny.
DREYFUSS: Which you said I would never do. He would never do that. He would never play Dick Cheney. He's a liberal.
BEHAR: I was wrong. I was wrong. But was it hard to play Dick Cheney?
When word hit that Zack Snyder would be directing a Christopher Nolan produced, David Goyer written version of “Superman,” many a geek heart rejoiced. Images of super slo-mo action, desaturated color palettes, and snappy and powerful one-liners filled our heads. All was good in the Geekosphere.
Then, alas, came word that the script for the film was “a mess.” The oddly named “Vulture” dropped the bomb that Snyder had been hired because the studio wanted a director capable of putting together a hacky “rush job” so Warner Brothers could keep the rights to the Man of Steel. Director Darren Aronofsky, fresh off the buzz of his upcoming film “The Black Swan” passed on the project because it was in such disarray and reeked of a studio cash grab…. Great Ceasar’s ghost, what’s going on here?
If you haven’t been reading Big Hollywood, or living on Planet Earth, you might not know that Hollywood has a leftist bent to it. You also may not know that the Hollywood press is just as corrupt, self-serving and leftist as their cousins in the mainstream media. The reports of “Superman’s” death are greatly exaggerated. This is nasty spin, aimed to take down two of Hollywood’s new school power players while boosting up a critical darling who has little appeal outside the coastal critics community. It also has a lot to do with politics and ideology.
The only way it gets worse than reading the latest pinko missive by Robert Redford on the Huffington Post would be if Michael Moore was checking your prostate at the same time and muttering, “No, no, no, that doesn’t feel right at all.”
Redford used to be a movie star and heartthrob until he began noticeably wizening in the 80’s (watch 1992’s Sneakers; Redford’s got more loose skin going on than Ed Gein’s basement). After that, he largely moved on to directing crappy movies about how America sucks that no one watches, like 2007’s Lions For Lambs, and lecturing the rest of us about how we have failed to live up to his expectations.
His current bugaboo is that evil companies are engaged in the political process. Redford warns:
We may have just found the outer edge of the Hollywood taste envelope, all thanks to Andy and Larry Wachowski, the creators of The Matrix. Formerly known as the Wachowski Brothers - that is, until Larry decided after making zillions of dollars and gaining millions of slobbering fans that the only thing standing between him and true happiness was his penis - this pair's latest project, Cobalt Neural 9, appears to be repelling even the jaded mandarins of Hollywood.
Oh, it's not because the content of CN9 will be vacuous, foul and outright evil, though it is. It's because no one in Tinseltown thinks the movie will make any money.
So what is CN9 about? Well, it appears to mix condemnation of the Iraq War, a healthy dose of gay sex, naturally, a plot to assassinate George W. Bush. Sounds less like a hit movie than the agenda for a Daily Kos staff meeting.
Don’t read Newsweek magazine while drinking a beverage. A spit take is the obvious first reaction to a column by Julia Baird headlined “The Shame of Family Films.” On the Internet, this article is coded as “Why family films are so sexist.”
Baird's denunciation of Hollywood's fraction of decent entertainment began: “They have all been smash hits: ‘Finding Nemo,’ ‘Madagascar,’ ‘Ice Age,’ ‘Toy Story.’ Fish, penguins, rats, stuffed animals, talking toys. All good innocent family fun, right? Sure, except there are few female characters in those films. There are certainly few doing anything meaningful or heroic – and no, Bo Peep doesn't count.”
So what does feminist bean-counting have to do with whether a movie is “good innocent family fun”? Did any young girl come away from “Finding Nemo” feeling like the memory-challenged Ellen DeGeneres fish character didn’t represent female empowerment effectively? Were they offended by the oppressively archaic stereotype of Jessie the Yodeling Cowgirl during “Toy Story 2"? Families can’t enjoy these films without expecting them to pass some politically correct quota exam?
Oliver Stone is discovering one of the many joys of capitalism: without it, he would never be able to make such flashy, well-produced films bashing capitalism!
Stone's latest film, "Wall Street: Money Never Sleeps", may have replaced Charlie Sheen, star of the original, with a younger Shia LaBeouf, but it's still as hypocritically anti-capitalist as the original.
According to the Hollywood Reporter, "Money Never Sleeps" would not have been able to muster a sufficient budget without massive product placement campaigns. The film benefitted "enormously" from the advertising technique, Stone admitted (h/t Big Hollywood headlines).