"You were talking earlier about why woke ideology is so dangerous to the west...it's because people in other parts of the world are not teaching their young children to hate their own country. And if [the American wokester mafia] continue to do this, how is the west going to do in the battle of civilizations? Because that's what we're in, right? The Asians want to thrive, the Russians want to thrive...and they're teaching their children to be strong, to be confident, to go out there and learn science instead of, you know, equity and diversity." -- Konstantin Kisin on the most recent Real Time with Bill Maher.
Login with Patreon to view this post
Last night I watched the first installment of David Kelley's Love and Death, an HBO Max three-parter about the 1980 Candy Montgomery Texas murder saga. I had recently watched Candy, the Hulu five-parter starring Jessica Biel, that premiered in early May of '22.
Login with Patreon to view this post
In a thread about "Dude Needs To Be Cancelled" (posted at 1:37 pm eastern), the excitable Vic Lizzy posted the following with a straight face: "Who’s saying it’s not okay to be white? There’s no significant groundswell of that sentiment. Calling out racism is not the same as being anti-white."
Login with Patreon to view this post
Posted 2 and 1/2 years ago, way back in July 2020....time flies when you're absolutely loving your life. Back then there were assholes commenters (like the late "Seasonal Affleck Disorder") who kept writing "what will it take to get Jeff to stop posting about this crap...everything's fine...just write about loving movies!"
Login with Patreon to view this post
Paul Schrader: “This year’s Sight & Sound poll reflects not a historical continuum, but a politically correct rejiggering.”
From HE’s”Sight & Sound Highbrows Lean Wokey,” posted on 12.1.22:
I’m presuming that the IMAX presentations of Jaws and E.T., The Extra-Terrestrial will be showing up-rezzed, large-format versions. If I were in charge I would convert both into actual IMAX film and perhaps even boost the clarity with a 60 fps enhancement.
But you also have to ask “why?”
Jaws, shot in widescreen 2.39:1, isn’t going to fill the IMAX screens, and you don’t want to slice off the sides to make the image taller. And E.T. at heart is a little movie — it was never intended to be a wow experience. Super-sizing it isn’t necessary — it’s the modesty, the intimacy, the little kid personalities, the humor, the American suburban vibe.
I’ll be a monkey’s uncle if Lukas Dhont‘s Close, which I saw last night, doesn’t win the Palme d’Or.
Okay, it might not win because Cannes juries have been known to blow off great or near-great films, but if it doesn’t there’s no way on God’s green earth that the film’s teenage star, Eden Dambrine (who’s now 15 and taller than he was during shooting last summer), doesn’t win the festival’s Best Actor trophy. And if both the film and Dambrine are denied, the jury will deserve exile on the island of Elba.
(This may sound like a harsh penalty, but I visited Elba 22 years ago and as places of exile go it’s pretty great. Just ask Napoleon Bonaparte.)
I’d heard a couple of days ago that this subdued, emotionally poignant small-town drama was a Palme d’Or favorite, but I also heard that one or two critics who’d attended an advance screening found it brutally manipulative, at least as far as the second half is concerned.
A similar kind of complaint was triggered by a third-act mutilation scene in Dhont’s Girl (’18), which I totally flipped for. The argument was that showing the film’s transgender protagonist (Victor Polster), a teenaged ballet dancer who’s simultaneously preparing for a performance and transgender surgery, commit a terrible act of self-harm sent the wrong message for trans kids — obviously a political criticism.
In Close a young male character is driven or goaded into an act that represents emotional finality in its most tragic form. Given my own history with intense teenaged feelings of romantic confusion and despair, I was shocked by this occurence but it didn’t register as beyond the pale.
Teenagers routinely commune with the blackest of moods these days, especially when confronted with social disapproval and whatnot due to being gay or trans or questioning in this regard. So what happens didn’t knock me out of the film.
The critics who are calling Close manipulative seem to be repeating the same charge that was levelled against Girl — that the film is sending a harmful message to struggling LGBTQ youths.
But the ultimate measure of a film’s value is not how well it articulates the most politically correct viewpoint on a given social issue, but how artfully and exquisitely it portrays what its characters are going through in elemental human terms, and the degree of subtlety that it uses to achieve this effect.
It’s 2 pm (I got up late because Close didn’t break until midnight, and I felt compelled to hit a cafe and talk it out with a friend until 1:30 am) and now I have to attend a 3:15 pm screening of Kelly Reichardt‘s Showing Up — the last “big”film of the festival. So I’ll continue the Close review later today. But make no mistake — in Steve Pond terms Lukas Dhont’s film is “the one.”
Repeating: If the Cannes jury blows it off, they’ll probably have to be smuggled out of Cannes in windowless vans and protected by private security.
...for being male, cisgender, gender-conforming, heterosexual, a fertile parent, tall and reasonably attractive, able-bodied, healthy, not fat, a product of an upper-middle-class upbringing, urban, qualified in writing, editing and column-writing, literate, English-speaking, a former Episcopalian, descended from Anglo-Europeans and therefore white.
Login with Patreon to view this post
In Pablo Larrain's Spencer (Neon, 11.5), Kristen Stewart's performance as Diana, Princess of Wales, has won raves from nearly everyone, and will most likely result in a Best Actress nomination.
Login with Patreon to view this post
…putting 60% to 70% of Hollywood Elsewhere behind a Patreon paywall, that is, you’re greatly mistaken.
I would like nothing better than for Hollywood Elsewhere to just cruise along like it has for the last…God, it’ll be 17 years on 8.4.21. (And nearly 23 years if you count the October ’98 launch of my Mr. Showbiz column, which was lamentably titled HOLLYWOOD CONFIDENTIAL.) I really wish I could’ve kept going as a free site until 8.4.23 — 20 years, nice and tidy.
Alas, the monsters began arriving on Maple Street back in early ’18, and before I knew it “the terror” had begun to infiltrate everywhere.
HE began making modest amounts of dough almost immediately after launching in August ’04, and the income began to grow a bit more by ’07 or ’08. For about seven years (’10 to ’16, let’s say) HE award-season ads were pulling down decent six-figure revenues, and from this I was able to savor a modest lifestyle that included travel, buying the rumblehog, Italian lace-ups, Prague touch-ups and so on. Hardly a life of luxury, but, as Randy Newman might’ve put it, “it was all right.”
Then came the politically correct lizards and crocodiles and Komodo dragons, and before I knew it ad revenue had begun to shrink. Because “they” didn’t like me (or were afraid of seeming vaguely supportive) and so little by little revenue began to dwindle. Or as Lady Bird Johnson used to say, to “dwinnel.”
The ’20 and ’21 Oscar season (COVID) was the worst in HE history. There’s no sense kidding myself from where I sit right now. I have to either launch a paywall and do the best I can (or the best we can, I mean…myself and HE ad guy Sean Jacobs) with the ’21 and into ’22 Oscar season, or find some freelance writing gigs or, God forbid, send out resumes and find a (choke) “job.”
Over the last two or three years some truly wonderful Millennials and Zoomers in the publicity and marketing end of things (initially at film festivals and then within distributor offices) decided that I’d become a kind of pariah. Except I’m not. I’m the same columnist I’ve always been — the same mentality, the same passion, the same edge. What’s changed is that the culture has tipped into a kind of rigid woke mindset — say the right things and repeat the party dogma or you’ll be cancelled.
I am a humanist, a sane person, a father, a husband, a good writer, and a left-center moderate. And I haven’t written anything, said anything or done anything to warrant pariah status. I haven’t changed — the culture has. Things have gone CRAZY in some ways. All I’ve said and written has been the same old plain-spoken stuff. I have a voice, a way of writing, etc.
Do we ALL have to sound like Anne Thompson and Eric Kohn in order to survive these days? Isn’t there room for just one of us — i.e., myself — to have a blunter, franker opinion?
The shunning of certain ex-Commie screenwriters happened between the early to late ‘50s, but that era finally ended. “Scoundrel Time”, somebody called it. The woke totalitarian era will come to an end also. Sooner or later, all pages are turned, all chapters end and all things pass.
I. Have. Done. Nothing. To. Warrant. This. Kind. Of. Treatment. Even that recent thing that got me kicked out of Critics Choice…that wasn’t me! I wrote nothing. A friend did and I posted it for 45 minutes. And then I took it down. It was nothing. It was bullshit. And yet Jen Yamato and Chris Bumbray‘s fanged teeth were soaked in saliva.
Thank God for the sanity and friendship emanating from the good people I’ve been lucky to regard as friends for the last two or three decades, and press credential-wise from the Telluride and Cannes camps. From my persepective these are the last sane people on planet earth.
Wokesterism is a social-political plague — the new iteration of Maximilian Robespierre, the New McCarthyism, the New Victorians and surely a form of Bolshevik Totalitarian Orwellian insanity. Wokesters are suppressors and punishers — they’re against any concept of freedom that you or I or any semi-liberal person might recognize. I can’t wait for the zeitgeist to gradually swing in the other direction and for these reprehensible jackals to be on the run and/hiding in tall grass. And again, my core beliefs are liberal moderate and I come from a place of adventure and satori and clarity of the soul.
Wokesterism is fundamentally guided by love and compassion and humanitarian goals and a respect for all modes of ethnicity and sexuality and what-have-you, agreed. But in the name of righteous cleansing these people have become the totalitarian brain police that William S. Burroughs was so properly terrified of…they’re against freedom of speech…they’re about punitive measures and suppression and ruining good people’s lives…in a phrase they’re the new Khmer Rouge…FUCKING FANATICS.
Critic friend several weeks ago….
“The weird thing to me in all of this is the number of people — i.e., more than half of Jeff’s readers — who do not get it because they simply cannot see what is going on. They are such lockstep, go-along-with-the-crowd personalities that they think Jeff is talking about some fantasy in his head, rather than a genuine universe of real ideas that can no longer be expressed in the public square of mainstream media.
“Every time one of them says ‘Give it a rest, Jeff!’ I think: Here is someone who is truly, definingly clueless. The house is on fire, and they just think it’s a warm day.”
Nobody loves great, earth-shaking cinema more than myself.
Posted on 1.22.20: I didn’t listen to Bill Maher’s 1.17 visit to the Joe Rogan Experience (#1413) until last night. Watch or listen away, but it doesn’t get really good until 52:56 when Rogan says we’re all living “in such a strange time.” Here’s an mp3 that I captured, and here’s a partial transcript.
Maher: “I feel at times, and I’m sure you do too, like a man without a country. There’s a group of us — Sam Harris, people you’ve had on, Jordan Peterson, Bari Weiss. We’re all progressives, but sensible progressives. Real progressives — not blindly ideological. And we don’t chase these virtue signallers who are always…as a friend of mine said, they wake up offended.
“And I am always reading a story — like daily — I read something, and what goes through my mind is that this country is now completely binary. Two camps, totally trible. You’re either red or blue. Liberal or conservative. And you have to own anything that anyone says from your side. People go “oh, you’re the party of…” So whenever there’s something on the left that’s cuckoo krazy, we all own it.
“And that’s one reason why Trump won. Because when you go through the polling, people [in the right-leaning middle and the right] are not oblivious to his myriad flaws. What they love about him…what they all say they love is that he isn’t politically correct. It’s hard to measure how much people have been choking on political correctness. They do not want to walk on eggshells. They don’t want to think that one little misstep and they’ll get fired, get castigated.
“These are not just famous people but regular people. And I think when someone reads stories [about this syndrome], and it’s an eye-roll. An eye-roll at the left. That’s when you lose people.
“Two weeks ago the N.Y. Giants, my football team, cut Janoris Jenkins because he used the “r” word. Do we have to say the “r” word? [“Retard”] He was cut from the team. First he said ‘I though it was a ‘hood thing.’ Maybe Jinoris Jenkins didn’t get the memo. Because he’s not on Twitter 24/7 and living with the wokesters, that you don’t do this anymore. There’s no room any more for someone just to say ‘oh, I didn’t realize…sorry, my bad’ and then move on with our lives. No — you’re cancelled, you’re cut, you’re irredeemable. And it’s ridiculous.
“And every day there’s some story like that, and it just all goes into the left wing bin, and that’s when people go, ‘You know what? Trump’s an asshole and I don’t like him but I don’t want to live in that [woke punitive] world. Because these [woke] people are even fucking crazier.’ And that is the great danger [that may lead] to reelecting [Trump]. And he very well may do it.”
There’s a movement afoot to launch a contra-Gold Derby Oscar Prediction chart, called Straight Shooters. The idea is to spitball the Oscars without the wokester filter — to resist the political stuff (or at least not to bow down in a kneejerk fashion), and to adopt a grounded and sensible ars gratia artis perspective.
Which would mean what exactly? Well, Straight Shooter members wouldn’t necessarily celebrate a film solely because it embraces POC, LGBTQ or woke female perspectives, although they might. Nor would they necessarily discount a film by an older white director or a performance by an older white actor or a film with a white-centric focus in general (i.e., Mank).
In a perfect incarnation, Straight Shooters would be about keeping wokester politics out of it, and letting the pure love of great films and exceptional film technique and world-class acting shine through.
People who may deserve to be Oscar-nominated wouldn’t be nominated strictly because of their ethnicity or gender or sexual identity. Or not be nominated for same. They would hopefully be championed or promoted because they’ve done excellent work. No one should be necessarily celebrated because of an absence of alignment with progressive causes, but at the same time a certain political ingredient or metaphor needn’t be a problem or an obstruction.
It could well turn out that most of the Straight Shooters might project Nomadland to win the Best Picture Oscar and Chloe Zhao to win Best Director. (As I currently am.) But they wouldn’t be required to support same because of Nomadland‘s subject or Zhao’s gender and ethnicity.
Straight Shooters would represent a symbolic unlocking of the handcuffs, and throwing off the politically correct ball and chain. People would be free to support who they want to support regardless of whatever p.c. points are involved. These estimations may in some instances (and perhaps more than a few) align with the predictable Oscar preferences of certain parties. Or not.
The point would be to judge films and performances as if it was 1988 or 1997 or 2005 or 2009 or 2014…to assess the best and the brightness without the demands or requirements of political correctness mucking everything up.
____________________________________
“The under-40 crowd has invested Race, Gender and Sexuality with a kind of cosmic significance. It doesn’t mean a lot to them — it means everything to them. Indeed, much of their conversation and writing seems to always come back to it.” — from “New Academy Kidz Aren’t Concerned With Whole Equation”, posted on 2.26.18.
- All Hail Tom White, Taciturn Hero of “Killers of the Flower Moon”
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
More » - Dead-End Insanity of “Nomadland”
Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
More » - Mia Farrow’s Best Performances?
Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
More »
- Hedren’s 94th
Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
More » - Criminal Protagonists
A friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
More » - “‘Moby-Dick’ on Horseback”
I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
More »