Here's something you don't see every day: a film spoofing revered Hollywood liberals such as schlockumentarian Michael Moore.
Yet, that's exactly what David Zucker, the film director that has brought America such comedy classics as "Kentucky Fried Movie," "Airplane," and "The Naked Gun," will be offering viewers soon with a movie entitled "An American Carol" (trailer embedded right).
On Monday, The Weekly Standard previewed the film and its director:
Zucker's latest movie, An American Carol, is unlike anything that has ever come out of Hollywood. It is a frontal attack on the excesses of the American left from several prominent members of a growing class of Hollywood conservatives. Until now, conservatives in Hollywood have always been too few and too worried about a backlash to do anything serious to challenge the left-wing status quo.
David Zucker believes we are in a "new McCarthy era." Time magazine film writer Richard Corliss recently joked that conservative films are "almost illegal in Hollywood." Tom O'Malley, president of Vivendi Entertainment, though, dismisses claims that Hollywood is hostile to conservative ideas and suggests that conservatives simply haven't been as interested in making movies. "How come there aren't more socialists on Wall Street?"
But Zucker's film, together with a spike in attendance at events put on by "The Friends of Abe" (Lincoln, not Vigoda)--a group of right-leaning Hollywood types that has been meeting regularly for the past four years--is once again reviving hope that conservatives will have a battalion in this exceedingly influential battleground of the broader culture war.
Though a life-long Democrat, Zucker's politics changed one day in 2001:
Zucker was still nominally a Democrat when George W. Bush was elected in 2000. "Then 9/11 happened, and I couldn't take it anymore," he says. "The response to 9/11--the right was saying this is pure evil we're facing and the left was saying how are we at fault for this? I think I'd just had enough. And I said 'I quit.'"
He decided to write a letter to Boxer, sharing his disgust and telling her not to expect any more of his money. Having never done this before, he asked a friend with the Republican Jewish Committee for help. This friend recommended Zucker contact Myrna Sokoloff, a former paid staffer for Boxer, who had recently completed a similar ideological journey.
Zucker then began using his comedic and film talents to impact politics:
As the 2004 presidential election approached, Sokoloff and Zucker looked for a way to influence the debate. Their first effort was an ad mocking John Kerry for his flip-flops that the conservative Club for Growth paid to put on the air. In 2006, Sokoloff and Zucker followed that with a series of uproarious short spots mocking, in turn, the Iraq Study Group, Madeleine Albright and pro-appeasement foreign policy, and pro-tax congressional Democrats.
Such efforts have now blossomed into a much larger endeavor:
Zucker says that the idea to do a feature film grew out of those ads, and several of the actors in the spots, including Turkish actor Serdar Kalsin, who plays Ahmadinejad, have speaking roles in the film.
If An American Carol grew out of Zucker's work on these commercials, the narrative device dates back to 1843. An American Carol is based loosely--very loosely--on A Christmas Carol by Charles Dickens.
"Why be original?" Zucker asks. "I've done that. It doesn't work, like BASEketball"--as he says this, he rolls his eyes and moves his right hand across his body to indicate a car going off a cliff.
The holiday in An American Carol is not Christmas and the antagonist is not Ebenezer Scrooge. Instead, the film follows the exploits of a slovenly, anti-American filmmaker named Michael Malone, who has joined with a left-wing activist group (Moovealong.org) to ban the Fourth of July. Along the way, Malone is visited by the ghosts of three American heroes--George Washington, George S. Patton, and John F. Kennedy--who try to convince him he's got it all wrong. When terrorists from Afghanistan realize that they need to recruit more operatives to make up for the ever-diminishing supply of suicide bombers, they begin a search for just the right person to help produce a new propaganda video. "This will not be hard to find in Hollywood," says one. "They all hate America." When they settle on Malone, who is in need of work after his last film (Die You American Pigs) bombed at the box office, he unwittingly helps them with their plans to launch another attack on American soil.
The entire film is an extended rebuttal to the vacuous antiwar slogan that "War Is Not the Answer." Zucker's response, in effect: "It Depends on the Question."
Given the success of Zucker's movies in the past, it's going to be very difficult for the usual suspects in the media to ignore this film. Yet, given its contents, one has to wonder how liberal press members will undermine it.
Readers are encouraged to review the entire piece.
