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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Wed Jan 12, 2011 11:37 am 
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Top 25 Left-Wing Films: #6 – ‘MASH’ (1970)
by John Nolte

Goddamn Army.

Why it’s a left-wing film

Maybe my eternal affection for director Robert Altman’s brilliantly irreverent comedy clouds my judgment, but I don’t want to be too hard on “MASH.” Yes, it uses Korea as pretty weak cover to deliver a withering anti-war criticism of Vietnam and the military, and in the person of The Mighty Robert Duvall’s Frank Burns, the attack on Christianity does, at times, border on mean-spirited (Burns is a cold, manipulative, ambitious, backstabbing, unbalanced hypocrite and the Catholic Father Mulcahy is bumbling and absolutely useless), but man this movie’s fun…

…And funny.

And brilliant.

And refreshingly politically incorrect.

But now we’re getting into…

Why it’s a great film
(Continued)
http://bighollywood.breitbart.com/jjmno ... mash-1970/


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Thu Jan 13, 2011 6:11 am 
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Top 25 Left-Wing Films: #5 – ‘Planet of the Apes’ (1968)
by John Nolte

I can’t help thinking that somewhere in the universe there has to be something better than man. Has to be.


Why it’s a left-wing film

Director Franklin J. Schaffner’s “Planet of the Apes” might be the most cynical, anti-human and anti-religious film ever made. What’s most telling about the film’s political point of view is the arc of the main character, played by The Mighty Charlton Heston. When we first meet Colonel Taylor aboard an in-flight American spacecraft, he makes no secret of his revulsion towards mankind as he records in his duty log… Does man, that marvel of the universe, that glorious paradox who sent me to the stars, still make war against his brother? Keep his neighbor’s children starving?

After the ship crashes on a seemingly barren planet light years from Earth, in conversation with a fellow survivor, Taylor doubles down and says outright that he despises man and became an astronaut to get away from his own species.

What you expect from a story like this is that through the experiences Taylor lives through on a planet where apes rule like humans and humans are treated like apes, is that Taylor will finally come to appreciate his own species. In a way this does happen when Taylor is forced to become man’s final champion and advocate, but then at the last second, this evolution of character uncharacteristically has the rug pulled completely out from underneath it. It’s for this reason that the justifiably famous and iconic final twist is more than just a jaw-dropping surprise. Essentially, this final moment tells us that the Taylor we first met, the one who had no faith in mankind, was correct. To put this in perspective, imagine “Casablanca” ending with Bogart’s detached cynicism justified in some way after Ingrid Bergman’s plane takes off. Movies just aren’t supposed to work this way.

This, I think, is why this particular final twist hits as uniquely hard as it does and remains so haunting four decades and a few hundred cinematic surprise endings later. Rod Serling, who wrote an early draft of the script, most of which for budgetary reasons didn’t make it to the screen, was responsible for coming up with the ending. But at the time, it’s not as though such a thing was a new concept. Serling’s own “Twilight Zone” had been beaming closing shockers into living rooms for six seasons already. Which isn’t to say that “Apes” final twist isn’t extremely well handled story-wise. A lot of pipe is laid throughout to make that moment work, to ensure you rewind the film in your head as the big “aha” takes hold. But on another level, on a subconscious and emotional level, you’re also sensing that what’s left of the Statue of Liberty is more than just a plot-twist, it’s also a stunner of an emotional hit when it comes to our movie-trained expectations regarding our protagonist’s emotional growth. To be told that the long personal journey we just witnessed was completely pointless, is the two-punch in that closing moment, even if we’re not exactly sure where it comes from.

“Apes” is also a harsh and, at times, condescending critique of our own society. By placing us in the position of animals, numerous statements are made about animal rights. Furthermore, us humans become the central figures in an evolution debate that mirrors our own. I personally don’t know any Christians who deny evolution exists but the stereotype is alive and well in a story about a patriarchal ape society run by science deniers who cling to superstition. Worse still, eventually they’re all revealed as liars who have known all along that the scientists were right. But even on a planet run by apes, the movie tells us religion is nothing more than an opiate for the masses.

Why it’s a great film
Continued)
http://bighollywood.breitbart.com/jjmno ... apes-1968/


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Fri Jan 14, 2011 9:02 pm 
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Top 25 Left-Wing Films: #4 – ‘The China Syndrome’ (1979)
by John Nolte

I may be wrong, but I’d say you’re lucky to be alive. For that matter, I think we might say the same for the rest of Southern California.

Why it’s a left-wing film

One of the reasons I do what I do is because I believe in the power of popular entertainment culture to affect social and political change. Through their words and through the investment of millions upon millions of dollars, Hollywood obviously believes they can change the world and I just happen to agree with them. This power can be used for good and bad. Unfortunately, these days, it’s usually not used for good.

With the enormous powers of persuasion found in the magic of the motion picture, for a time, Hollywood was truly a force of tremendous good, a force for liberty and the ennobling of the human spirit. Best of all, Hollywood showed us idealized versions of ourselves through heroes and heroines who had codes of honor and integrity, who were selfless and if at first they didn’t comprehend that there was a bigger moral world beyond their own self-interest, they usually did before the final fade. This wasn’t the world as it was, this was the world as it should be. And the critics are wrong. Hollywood wasn’t lying or being hypocritical during their Golden Age, Hollywood was asking us to aspire to something better.

During WWII, Hollywood championed victory and during the Civil Rights era, they championed justice. And then it mostly went to shit when the flawed but brilliant men who ran the studios, the men who through their product envisioned a world in which their own weaknesses had been overcome, were pushed aside by those who sought affirmation and acceptance of those same flaws by normalizing them through the power of mass media. And we all know what followed. Loveless sex, narcissism, The State, humanism, the fascism of political correctness and the divisive evil of multiculturalism became the New Cinematic Values, and anyone who thinks this hasn’t had a corrosive effect simply doesn’t want to.

The good news is that thanks to New Media, talk radio, and truth-tellers like Andrew Breitbart willing to invest their own money in sites like this one, Hollywood’s power to persuade politically has been greatly diminished over the last decade. Though Hollywood’s cultural influence remains strong (especially with our children), more and more frequently, New Media has been able to get our own narrative out there and strangle political lies before they leave the crib. Another contributing factor to this diminished influence is that the artistry to make compelling motion pictures just isn’t what it once was. The reasons for that are for another article (or series of them), but when it comes to political propaganda, we should be grateful we’re not facing down the likes of “The China Syndrome” on a regular basis.

In real-life, this brilliantly crafted conspiracy thriller about a profit-hungry nuclear power company was the perfect two-punch to the one-punch that was the Three Mile Island scare of 1979. Starring the powerhouse cast of Jane Fonda, Jack Lemmon, and Michael Douglas (who also produced), purely by coincidence, “The China Syndrome” hit theatres just 12 days after the Three Mile Island accident. My guess is that this country’s move towards clean, safe nuclear energy could’ve survived one or the other, but the power of both the accident and the accompanying film set us back decades.

Furthermore, the fact that the film is a standalone piece of superb filmmaking and storytelling, a frightening conspiracy tale that feels so real and possible, certainly didn’t help things, either.

In my write up for this series about the politically-similar “Silkwood,” I’ve already defended the use of nuclear power, so there’s no reason to post another rebuttal. But in the arena of activism, “Silkwood” was an afterthought. By the time of that film’s release in 1983, the scare-mongers in the environmental lobby had already won because they not only had a big, glossy Hollywood film making their case in theatres everywhere, they had a big, glossy Hollywood masterpiece.

Sometimes the short answer as to why I do what I do is simply, “The China Syndrome.”

Why it’s a great film
(Continued)
http://bighollywood.breitbart.com/jjmno ... rome-1979/


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Wed Jan 19, 2011 5:04 am 
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Quote:
Top 25 Left-Wing Films: #3 – ‘Dances with Wolves’ (1990)
by John Nolte

I had never been in a battle like this one. This had not been a fight for territory or riches or to make men free. This battle had no ego. It had been fought to preserve the food stores that would see us through winter, to protect the lives of women and children and loved ones only a few feet away. I felt a pride I had never felt before.


Why it’s a left-wing film


The quote above pretty much sums up the theme found in director Kevin Costner’s epic, Academy-Award winning Western. Whether it’s the Civil War, the men of the North who fought their own countrymen to end the abomination of African slavery, or the very idea of property ownership and commerce; our protagonist, Lt. John Dunbar (Costner), finds none of that, or even the promise of his young country, worthwhile after falling in with a tribe of benevolent and harmonious Sioux Indians.

And why wouldn’t Dunbar feel this way? The Sioux literally saved his life. Over the course of three majestic hours, Dunbar goes from suicidal loner to a happily married, emotionally fulfilled individual. The Sioux took him in, made him a respected part of their community, and showed him a way of life that is spiritually, emotionally, and morally superior to the one he came from.

Or is it?

If you’re looking for something resembling a defense of what happened to the American Indian in this country, you’re going to be disappointed. Reading any evenhanded history of the settling of the American West means having your heart broken for the people who paid the price. Yes, it was a different and more brutal era, but that excuse for the appalling only goes so far. (more…)
http://bighollywood.breitbart.com/jjmno ... ore-437572


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Thu Jan 20, 2011 4:34 am 
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Top 25 Left-Wing Films: #2 – ‘Apocalypse Now’ (1979)
by John Nolte

“Never get out of the boat.” Absolutely goddamn right. Unless you were goin’ all the way…


Why it’s a left-wing film

With a script loosely based on Joseph Conrad’s novella “Heart of Darkness,” co-writer/director Francis Ford Coppola moves Conrad’s existential tale from the 19th Century African Congo to the 20th Century Vietnam War and portrays America’s involvement there, and our military men in particular, in the harshest and most disturbing ways imaginable. At best, we are forever indifferent to everything and everyone, most especially human suffering. At worst we are murderers of women and children and our government is involved in the kind of secret Black Ops the Left was sure Wikileaks would finally reveal when the just the opposite turned out to be true.

We also epitomize the term Ugly American, treating our South Vietnamese allies like children or as though they don’t exist, and there is no amount of brutality we won’t rain down on our enemies in the North. We are borderline terrorists willing to indiscriminately lay down intense air-strikes on villages where children scramble for cover just so we can surf. We use the dead in ways to strike fear into the hearts of the enemy and casually toss around racial slurs to describe anyone who doesn’t look like us.

Coppola’s monstrous vision of the American military has never been equaled, not even by Oliver Stone. In the realized vision of this great director’s cinematic nightmare, the most terrifying boogeyman of all is The American Presence.

(more…)
http://bighollywood.breitbart.com/jjmno ... ore-438036


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Fri Jan 21, 2011 4:47 pm 
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Top 25 Left-Wing Films: #1 – ‘JFK’ (1991)
by John Nolte

I never realized Kennedy was so dangerous to the establishment.

Why it’s a left-wing film

Where to begin.

With this particular film, discussing “why” it was made is more important and revealing than digging into the specific politics of it all. Director Oliver Stone’s brilliantly structured, brilliantly shot, brilliantly written, brilliantly edited (to say the least), and brilliantly directed, wet dream of left-wing wish-fulfillment is the greatest pack of charismatic lies ever filmed, but there is simply not enough bandwidth on these here Internets to document and deconstruct the what and how of those lies.

If you haven’t read Gerald Posner’s “Case Closed,” please do so. It is, in my opinion, the definitive investigation of the Kennedy assassination and a withering rebuttal to Stone’s paranoid political revisionism. In the years since it was published, computer technology and new revelations have only strengthened Posner’s case. Unlike Stone’s willfully dishonest narrative, Posner is exhaustive, thorough and logical. But like Stone, Posner tells one helluva compelling story. “Case Closed” is a great read that also happens to be painstakingly thorough in proving that on one terrible November day in 1963, President John F. Kennedy was murdered by a lone, left-wing, Castro-supporting Marxist.

The utterly obscene political opportunism we saw rise like a stench from the Left and their media allies within hours of last week’s mass murder in Tuscon, is useful in understanding “why” Stone was so driven to realize in motion picture form his anti-American web of audacious historical perversion. When truth and history and facts and decency aren’t on your side, it becomes all about the narrative. The Narrative is its own beast, something that transcends the pesky details of right, wrong, true or false. Whether it’s history, economics, character assassination, or pretty much anything… He who controls the narrative, controls truth.

Simply put, the Left cannot psychologically or emotionally reconcile their undying hatred of the Vietnam War with their undying love for the same president who escalated our involvement in that war. And the Left most certainly cannot psychologically or emotionally reconcile that one of their very own — a strident, left-wing Castro lover — assassinated that same beloved president. (more…)
http://bighollywood.breitbart.com/jjmno ... ore-438492
I don't know I'd call this #1, it's so full of holes I don't see it in the running.

But "That's all folks"
[youtube]http://www.youtube.com/watch?v=E12ykihvCHk&NR=1[/youtube]


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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Fri Jan 21, 2011 5:02 pm 
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Sorry but I had to post this bit from the critique of JFK for those that don't bother to read the whole article:
Quote:
The Left making a whole bunch of shit up in order to hold tight to their beliefs and control the narrative is nothing new and occurs on a daily basis in ways both big and small. Three days ago, Jon Stewart did it to Sarah Palin and over the last two years we’ve been told raising taxes grows the economy, unemployment benefits create jobs, cold weather proves there’s Global Warming, Glenn Beck’s chalkboard is dangerous, enforcing the law in Arizona is racism, and Politico and Mediaite are objective news organizations. Every day and with a straight face we are told up is down, a lie is truth and that people don’t kill people, political maps the killer has never seen do.
[youtube]http://www.youtube.com/watch?v=PxZ_fXqt7RU&feature=related[/youtube]

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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Fri Jan 21, 2011 8:38 pm 
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‘Three Days of the Condor’ (1975) - Made the same year I was born. I really liked that movie.
American Beauty - A gorgeous creation IMHO.

I'd stick in....

Gandhi



And Brubaker



Life changing films for me.

I'm not happy with the focus being on one person, cos surely that's not what socialism is all about, but hey ho.

A top quality film on how the US gained independence would be good. A nice example of 'team work'. :mrgreen:

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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Fri Jan 21, 2011 10:10 pm 
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Here's what's on my clipboard, abrad b/c I was about to paste this (before seeing you already did it):

The Left making a whole bunch of shit up in order to hold tight to their beliefs and control the narrative is nothing new and occurs on a daily basis in ways both big and small. Three days ago, Jon Stewart did it to Sarah Palin and over the last two years we’ve been told raising taxes grows the economy, unemployment benefits create jobs, cold weather proves there’s Global Warming, Glenn Beck’s chalkboard is dangerous, enforcing the law in Arizona is racism, and Politico and Mediaite are objective news organizations. Every day and with a straight face we are told up is down, a lie is truth and that people don’t kill people, political maps the killer has never seen do.

gmta

I enjoyed this list. Good thread.

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 Post subject: Re: Countdown of the Top 25 Greatest Left-Wing Films
PostPosted: Sat Jan 22, 2011 1:18 am 
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Chicken_Salad wrote:
I enjoyed this list. Good thread.


Damn good thread.

Mind you... what is left and what is right?

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