Friday, March 25, 2005

THE PRIZE WON AND RETIRED. I sometimes read movie reviews at National Review just to see how painfully they can twist works of popular art to suit their own ends. They've come down a long way since the days when John Simon actually reviewed films for them, instead of expostulating on their social paradigms.

But NRO will have to huff and puff a good deal more before they disgorge anything like this, from Paul Cella at Redstate:
But the whole drift of the film, aside from some occasional flashes, fails to give criticism the foundation and balance of philosophy – precisely because it fails to self-criticize. It sees with poignancy and even power the wounds sin inflicted in a lost age of man; but it cannot see what wounds sin is inflicting even now, in our own age...

The guns of tradition — strangely assembled, an eclectic mix no one could have predicted — have already begun to congregate, as Mary Eberstadt demonstrated in a brilliant piece examining the thematic roots of the more grim members of popular music, which often lie in seething anger at divorce. The fortress of sexual liberation is already doomed, though none can say with any certainty what will follow it...

As the University of Pennsylvania historian A. C. Kors one wrote, if you want to discover the most powerful objections to Christianity, look not to the haughty doyen of the modern age, the Darwinists and Nihilists and Rationalists; look instead to the sed contra objections of the great mediaeval Schoolmen.

What most marks the Modern Age is that thing from which the creed of the Cross recoils most sedulously...
Would you have ever guessed that this is from a meditation on the Julia Roberts weeper Mona Lisa Smile?

I get the feeling this guy would come up with the same thing if you showed him The Rules of the Game or Lola Montes. Or Space Jam. Or a blank screen.

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