Mar 072010

“Avatar” and “Hurt Locker” are troubling films, for similar reasons.  So…forgive me for being the turd in the Oscar punchbowl, but I couldn’t let the occasion go by without reminding my readers that Hollywood is a Leftist cultural propaganda machine -and proud of it.  They are passionate about stopping wars, destroying capitalism, exposing the selfish and uncaring, ending social injustice and establishing global human rights.  We could quibble about the details, but, as a general statement, not many hollywood industry people would disagree.

This blog was started long after those interested in seeing “Avatar” had already done so, and before most of us have had  a chance to see “Hurt Locker.”  Of the 10 films nominated, I’ve seen only four, which probably puts me on a par with most citizens.  Nor is it my intention to do movie reviews as a blog feature; nevertheless, Avatar really pissed me off.  It was one of the most beautiful and meticulously directed and photograped films I’ve ever seen.  Truly a work of art, and nothing to be taken from Director James Cameron on that score.

Where we part company is on his view of corporations and the military.  He seems to despise both, and whatever culture encourages their existence.  I’ve heard he’s a Canadian – which explains some of that  - and he seems to be publicly declaring his embrace of those views.  In that regard, I have to say that “Avatar” is one of the most hateful dramas, filmed or live, I’ve ever witnessed.  I suppose he thinks he’s doing his bit to further the evolution of civic virtue by painting both the business people and soldiers as ruthless, unprincipled murderers.

The objects of their bloodlust-in-pursuit-of-profit isn’t limited to the spiritually evolved naturists of Pandora – oh, no – we’re talking entire planets here.  Our virtuous protagonist is heard to say at one point that – to paraphrase – “They destroyed their own planet (earth) and now they want to destroy ours.”  This Cameron is a very bitter man.  Too bad he doesn’t recognize the enormous strides made by the U.S. in particular, and the West in general – over the last forty years –  in improving the environment at every level.  And since he thinks the military causes war the way guns cause violence, it would be a bit much to expect him to appreciate the emergence of the most careful, ethical military in human history.

His ex-wife (no, I’m not going to “Palin” her and her family) and current pal, Kathryn Bigelow, has also made a brilliant, meticulous film involving the military, and they’re going head-to-head for the Best Picture Oscar.  I don’ t like writers who comment on films they haven’t seen or books they haven’t read, anymore than you do (we’ll let slide where they haven’t lived enough or thought enough to usefully comment on anything more than their own families and pets).  What gets me is there was a quote up on television the other day that supposedly appears in the film, “The rush of battle is a potent and often lethal addiction, for war is a drug.” (emphasis mine.)

And that,  if true ,  leads me to believe that – as with her husband, and beyond the excellent art  - there is an agenda here, and that is to pick a military anomaly and preserve it for posterity as a generally true statement about the motivation of our military, and therefore, the parts of our culture that support the military.  She probably has the perfectly laudable aim of persuading the public that wars are caused by addictions to violence, by both individuals and governments.  And, even though there are plentiful examples throughout history of each, her notion that our own military and (Republican) governments are motivated by the same principles, is badly misplaced.

In other words, war is not a drug; adrenaline is a drug, and there are some adrenaline junkies in the military, just as there are in the civilian population.  Picking out an example to dramatize is a slur on our troops and our society.

The entire Trans-nationalist, global Leftist movement seems, in fact to be transfixed on social, war and labor issues that were au courant in the early twentieth century.  Many of the institutions they strive to either keep alive or restore are artifacts of that era; yet, oddly, they see themselves as forward-looking, advanced thinkers who are positioned to lead us all into a better future.

And one way they hope to do that is by making movies that are historical rewrites and subtle reminders of how bad we supposedly are as a culture.  Ready for a little ‘hope ‘n change?’

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