Hollywood: No-one Lavishes More Care And Expense On Saying Nothing
Say what you like about those Hollywood guys in the Thirties but they were serious about their leftism. Say what you like about those Hollywood guys in the Seventies but they were serious about their outrage at what was done to the lefties in the McCarthy era – though they might have been better directing their anger at the movie-industry muscle that enforced the blacklist. By comparison, Clooney’s is no more than a pose – he’s acting at activism, new Hollywood mimicking old Hollywood’s robust defense of even older Hollywood. He’s more taken by the idea of “speaking truth to power” than the footling question of whether the truth he’s speaking to power is actually true.A'yep.
That’s why Hollywood prefers to make “controversial” films about controversies that are settled, rousing itself to fight battles long won. Go back to USA Today’s approving list of Hollywood’s willingness to “broach tough issues”: “Brokeback and Capote for their portrayal of gay characters; Crash for its examination of racial tension…” That might have been “bold” “courageous” movie-making half-a-century ago. Ever seen the Dirk Bogarde film Victim? He plays a respectable married barrister whose latest case threatens to expose his own homosexuality. That was 1961, when homosexuality was illegal in the United Kingdom and Bogarde was the British movie industry’s matinee idol and every schoolgirl’s pin-up: That’s brave. Doing it at a time when your typical conservative politician gets denounced as “homophobic” because he’s only in favor of civil unions is just an exercise in moral self-congratulation. And, unlike the media, most of the American people are savvy enough to conclude that by definition that doesn’t require their participation.
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