Tuesday, January 25, 2011

WINGNUTS OCCUPY THE OSCARS! (PART I) The Oscar nominations are out, and so are the rightwing Zhdanovites. Roger L. Simon:
“The King’s Speech” – a conservative movie – leads Oscar nominations

“The King’s Speech” – an unabashedly pro-royalty, anti-fascist film – has received the most Oscar nominations (12) for this year’s Academy Awards. Does this mean that the normally liberal Academy has had a political conversation to the Dark Side? No. It shows that good filmmaking can sometimes trump ideology.
I guess he thinks a liberal film, conversely, would be anti-royalty and pro-fascist. (Like what? The Patriot?) Here's the saddest bit:
But it may reveal more than that. Movie business liberalism is only skin deep. It is all very much a show for self-aggrandizement. Deep down, they respond like the rest of us. They just won’t admit it. Unless the movie’s as good as “The King’s Speech.”
So Hollyweird liberals aren't even really liberal -- they're just pretending to be, out of pridefulness; but their sham is exposed by the magic of the movies, as seen through the kaleidoscopic chemical cascades in the brain of Roger L. Simon. Hollywood ending!

I'm surprised to see that other conservatives have also rushed to claim The King's Speech. (Conservative Lesbian, for example, headlines her review "Traditional Values Take Center Stage." She should share her idea of traditional values with the House GOP leadership.)

I saw and reviewed The King's Speech, which I enjoyed despite some risible bits. And I must say, if you wanted to stick politics onto it, you could just as easily take this one the other way.

To begin with, isn't the whole preoccupation with a speech impediment anti-conservative? It's the sort of therapeutic subject liberals allegedly love -- an affliction other people neither share nor understand, leaving the sufferer isolated and moody until he is "healed" and brought into the sunshine of a supportive community. If that doesn't sound like a pitch for one of Michelle Obama's fascist fat camps, I don't know what does.

In the course of the movie we are sensitized to (or, to use the nomenclature, blessed with "awareness" of) the problem. Thus we learn to care about yet another type of victim, just as we learned from other movies and TV shows to care about victims of autism, Tourette's, brain damage, depression, etc. Isn't looking at people as victims what liberalism is supposed to be all about?

Even worse, the film has excited yet another special interest constituency -- stammerers have glommed onto the movie as a fund- and awareness-raising tool. Why, next there'll be a fucking ribbon for it. Then it'll be classified a disability, and the speech-impeded will get their own set-aside information and customer service desks where they can stutter and stammer to their hearts' content without people yelling for them to get on with it.

Admittedly the King overcomes his problem eventually, but look how he does it! He actually goes slinking off for help for his problem! Fancy a Live Free or Die Tea Partier going off to a therapist -- with taxpayer money, yet! Why, a real rough, tough conservative King would just beat up any subjects who dared be unimpressed with him. (Maybe that'd be the Schwarzenegger version: "S-s-s-s-metimes ze v-v-v-v-v-vords f-f-ail-me [Head butt].") His tutor turns out to be an actor -- you know what they are -- who refuses to call him Your Highness and talks to him about his feelings and his childhood. The therapist even encourages him to yell and swear as if he were in a Primal Box. By God, it's a wonder the King didn't wind up gay and soaking in hot tubs at Esalen. They call this conservative? It's just Rain Man with royals.

Plus their beloved Winston Churchill is presented as yet another Timothy Spall grotesque.

Okay, now I'm warmed up for the conservatives who say The Social Network is about the magic of entrepreneurism.

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