by Dave Blount | November 23, 2010 2:45 pm
Bleak as things look lately for lovers of liberty, it may turn out that the catastrophic 2008 election was the high water mark for authoritarian collectivism. Even Hollywood could be starting to realize that we’ve swallowed something very harmful and need to have our stomachs pumped. After generations of dominance by the Left, the movie industry is taking aim at communism:
This heartening trend began with 2008’s blockbuster hit “Indiana Jones and the Crystal Skull,” produced by George Lucas and directed by Steven Spielberg, in which Indiana Jones fights Soviet communist agents who are trying to capture an alien crystal skull in order to brainwash the West. The trend continues into 2010 and 2011 with a series of high-profile films that include this summer’s Angelina Jolie thriller “Salt,” Bruce Beresford’s film “Mao’s Last Dancer,” the upcoming “Earth Defense Force” from “Spider-Man” director Sam Raimi, and “The Reluctant Communist” from “Rush Hour” director Brett Ratner. MGM has even jumped into the fray with an action-packed, patriotic remake of the ’80s anti-communist classic, “Red Dawn.”
Conservatives should take heart from these developments because of the surprising fissures they reveal in the formerly monolithic leftist worldview of the film industry.
It would be good news to hear that Tinseltown cares more about making a buck than ramrodding moonbattery down our throats. Still better is the news that this isn’t necessarily mercenary pandering. Even art films are turning on the commies:
Academy Award-winning director Bruce Beresford, whose credits include “Breaker Morant” and “Driving Miss Daisy,” has directed an extraordinary new film called “Mao’s Last Dancer,” which is still playing in theaters nationwide. This film tells the true story of brilliant Chinese ballet dancer Li Cunxin … who defects from communist China to America in 1981. In the film Li Cunxin says of America, “I dance better here because I feel more free.” “Mao’s Last Dancer” … unapologetically depicts the communist Chinese suppression of artists. … Also in art-house theaters now is the French spy-thriller “Farewell,” which tells the true story of a top Soviet spymaster … who becomes disillusioned with the Soviet system and decides to hand over its most important intelligence secrets to the West.
The documentary format Michael Moore exploited to attack America and economic freedom is being used to promote liberty and shine a light on the horrors of socialism:
“Disco and Atomic War” is a highly-entertaining new Finnish-Estonian documentary released only recently in the US. The film tells the true story of how American-sponsored broadcasts of Western films and TV shows into Soviet Estonia from the 1960s through the 1980s inspired in Soviet citizens an appreciation of Western freedoms that would help bring down the Soviet Union. … Other anti-communist documentaries in 2010 that make a powerful plea for freedom include “Tibet in Song,” about a Tibetan filmmaker who was jailed by the communist Chinese for daring to record traditional Tibetan folk songs; “Enemy of the People,” an uncompromising look at the communist Khmer Rouge regime in Cambodia, directed by a Cambodian filmmaker whose own family members were killed by the regime; “The Autobiography of Nicolae Ceausescu,” a revealing look at the Romanian communist dictator; and “The Red Chapel” and “Kimjongilia,” two devastating critiques of the inhuman North Korean communist regime.
Finally, Wang Bing’s drama “The Ditch” tells the true story of 3,000 Chinese political “rightists” who were deported by the Chinese communist government for “re-education” in labor camps in the remote Gobi desert, where many of them died of disease and starvation. “The Ditch” was a surprise hit at the 2010 Venice Film Festival and was a serious contender for its top prize.
From the movie industry’s point of view, allowing the emergence of anticommunist movies may be a matter of staying in the cultural vanguard. Once extreme leftists were able to put one of their own in the White House — and he proved an utter failure at everything except the destruction of our economy, liberties, and world standing — radical chic was bound to lose some luster. This could be an early indication of a major realignment, as Hopey Change makes it obvious that liberalism is a dead end road.
On a tip from Hail The Amberlamps! Cross-posted at Moonbattery.
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