ACADEMY AWARDS | Bureaucracybuster's Blog

Posts Tagged ‘ACADEMY AWARDS’

ABC NEWS, ABRAHAM LINCOLN, ACADEMY AWARDS, ARGO, CBS NEWS, CIVIL WAR, CLARK GABLE, CNN, CONFEDERATE FLAG, DANIEL DAY-LEWIS, FACEBOOK, GONE WITH THE WIND, HATTIE MCDANIEL, MARGARET MITCHELL, MOVIES, NAZI GERMANY, NBC NEWS, OSCARS, RACISM, SAVING PRIVATE RYAN, SHAKESPEARE IN LOVE, SLAVERY, STEVEN SPIELBERG, THE LOS ANGELES TIMES, THE NEW YORK TIMES, THE WASHINGTON POST, THIRTEENTH AMENDMENT, TWITTER

LESSONS FROM “LINCOLN”: PART ONE (OF TWO)

In Bureaucracy, History, Law, Politics, Social commentary on October 21, 2015 at 1:12 am

Argo won for Best Picture at the 2013 Academy Awards ceremony. But, in the long run, it will be Lincoln who is deservingly remembered–and loved.

Argo focuses on a humiliating episode that most Americans would like to forget. On November 4, 1979, at the climax of the Iranian revolution, militants stormed the U.S. embassy in Tehran, taking 52 Americans hostage.

But, in the midst of the chaos, six Americans managed to slip away and find refuge in the home of the Canadian ambassador. Knowing it was only a matter of time before the six were found and likely killed, a CIA “exfiltration” specialist offered a risky–and ultimately successful–plan to smuggle them out of the country.

While Argo wrings cheers from American audiences for the winning of this small victory, it cannot erase the blunt truth of the Iranian hostage crisis: For more than 14 months, American diplomats waited helplessly for release–while America proved unable to effect it.

By contrast, Steven Spielberg’s Lincoln celebrates a far greater victory: the final defeat of human slavery in the United States.

And it teaches lessons about the past that remain equally valide today–such as that racism and repression are not confined to any one period or political party.

At the heart of the film: Abraham Lincoln (Daniel Day-Lewis) wants to win ratification of what will be the Thirteenth Amendment to the United States Constitution. An amendment that will forever ban slavery.

True, Lincoln, in 1862, had issued the Emancipation Proclamation. This-–in theory-–freed slaves held in the Confederate states that were in rebellion against the United States Government.

But Lincoln regards this as a temporary wartime measure.

He fears that, once the war is over, the Supreme Court may rule the Proclamation unconstitutional. This might allow Southerners to continue practicing slavery, even after losing the war.

To prevent this, Congress must pass an anti-slavery amendment.

But winning Congressional passage of such an amendment won’t be easy.

The Senate had ratified its passage in 1864. But the amendment must secure approval from the House of Representatives to become law.

And the House is filled with men-–there are no women members during the 19th century-–who seethe with hostility.

Some are hostile to Lincoln personally. One of them dubs him a dictator-–”Abraham Africanus.” Another accuses him of shifting his positions for the sake of expediency.

Other members–-white men all-–are hostile to the idea of “equality between the races.”

To them, ending slavery means opening the door to interracial marriage–especially marriage between black men and white women. Perhaps even worse, it means possibly giving blacks-–or women–-the right to vote.

Black soldiers in the Union Army

To understand the Congressional debate over the Thirteenth Amendment, it’s necessary to remember this: In Lincoln’s time, the Republicans were the party of progressives.

The party was founded on an anti-slavery platform. Its members were thus reviled as “Black Republicans.”

And until the 1960s, the South was solidly Democratic. Democrats were the ones defending the status quo–slavery–and opposing freed blacks in the South of Reconstruction and long afterward.

In short, in the 18th century, Democrats in the South acted as Republicans do now.

The South went Republican only after a Democratic President–Lyndon B. Johnson–rammed the Civil Rights Act of 1964 through Congress.

Watching this re-enactment of the 1865 debate in Lincoln is like watching a rerun of the 2012 Presidential campaign. The same mentalities are at work:

Those (in this case, slave-owners) who already have a great deal want to gain even more at the expense of others.
Those (slaves and freed blacks) who have little strive to gain more or at least hang onto what they still have.
Those who defend the privileged wealthy refuse to allow their “social inferiors” to enjoy similar privileges (such as the right to vote).

During the 2012 Presidential race, the Republicans tried to bar those likely to vote for President Barack Obama from getting into the voting booth. But their bogus “voter ID” restrictions were struck down in courts across the nation.

In the end, however, it is Abraham Lincoln who has the final word. Through diplomacy and backroom dealings (trading political offices for votes) he wins passage of the anti-slavery amendment.

The movie closes with a historically-correct tribute to Lincoln’s generosity toward those who opposed him–in Congress and on the battlefield.

It occurs during Lincoln’s Second Inaugural Address: “With malice toward none, with charity for all….To bind up the nation’s wounds. To care for him who shall have bourne the battle, and for his widow and his orphan….”

Listening to those words, one is reminded of Mitt Romney’s infamous comments about the “47%: “

Well, there are 47% of the people who…are dependent upon government, who believe that–-that they are victims, who believe that government has a responsibility to care for them, who believe that they’re entitled to healthcare, to food, to housing, to you name it.”

Watching Lincoln, you realize how incredibly lucky we were as a nation to have had such leadership when it was most needed.

▶ Comment

ABC NEWS, ACADEMY AWARDS, BARACK OBAMA, BEN-HUR, CBS NEWS, CHARLTON HESTON, CNN, EL CID, FACEBOOK, FOX NEWS, GUN CONTROL, JIM CARREY, JOHN F. KENNEDY, KHARTOUM, MAJOR DUNDEE, MOSES, MOVIES, NATIONAL RIFLE ASSOCIATION, NBC NEWS, PLANET OF THE APES, RICHARD M. NIXON, ROBERT F. KENNEDY, SCREEN ACTORS GUILD, THE LOS ANGELES TIMES, THE NEW YORK TIMES, THE TEN COMMANDMENTS, THE WAR LORD, THE WASHINGTONPOST, TWITTER

COLD LIVE BULLIES: PART TWO (END)

In Bureaucracy, History, Politics, Social commentary on April 2, 2013 at 12:00 am

The National Rifle Association (NRA) and its Right-wing allies are furious at comedian Jim Carrey.

The reason: His recent music parody video: “Cold Dead Hand,” which mocks gun fanatics and the late Charlton Heston, former president of the NRA.

Click here: Jim Carrey’s Pro-Gun Control Stance Angers Conservatives

Among its lyrics:

Charlton Heston movies are no longer in demand
And his immortal soul may lay forever in the sand.
The angels wouldn’t take him up to heaven like he’d planned.
’Cause they couldn’t pry that gun from his cold, dead hand.

The phrase, “cold dead hand,” originated with Heston himself.

Charlton Heston in his prime

On May 20, 2000, the actor and then-president of the NRA addressed the organization at its 129th convention in Charlotte, North Carolina.

He warned that then-Vice President and Democratic Presidential candidade Al Gore “is going to smear you as the enemy,” and concluded:

“So, as we set out this year to defeat the divisive forces that would take freedom away, I want to say those fighting words for everyone within the sound of my voice to hear and to heed, and especially for you, Mr. Gore: ‘From my cold, dead hands!'”

Carrey’s stance on gun control couldn’t be more opposite.

In in February, he outraged Right-wingers by tweeting: “Any1 who would run out to buy an assault rifle after the Newton massacre has very little left in their body or soul worth protecting.”

Jim Carrey

Fox Nation referred to the tweet as “nasty.” Red Alert Politics writer Erin Brown dismissed it as “a careless remark … rooted in the shallow, parroted talking points so commonly espoused by liberal elites.”

But that was nothing compared to the rage that has greeted “Cold Dead Hand.” Reason TV’s Remy offered a parody rebuttal to Carrey’s song. Its lyrics included:

It takes a talking ass
to oppose a vaccination
when your PhD is in
making funny faces.

None of which bothered Carrey. In fact, he exulted in Right-wing outrage, tweeting: “Cold Dead Hand’ is abt u heartless motherf%ckers unwilling 2 bend 4 the safety of our kids.Sorry if you’re offended…”

Among its lyrics:

It takes a cold, dead hand to decide to pull the trigger.
Takes a cold, dead heart and as near as I can figger.
With your cold, dead aim you’re tryin’ to prove your dick is bigger …..

Many psychologists have long theorized that a fascination with firearms can compensate for inadequate sexual performance.

But it’s one thing for an unknown psychologist to write this in an obscure medical journal and another for a famous comedian to splash it across the Internet.

Carrey is especially ruthless in attacking those who–like the NRA–make a lucrative living off gun sales:

Imagine if the Lord were here…
And on the ones
Who sell the guns
He’d sic the vultures and coyotes
Only the devil’s true devotees
Could profiteer
From pain and fear.

Many Rightists attacked Carrey for parodying a man–Heston–who died in 2008 and could not defend himself. But Heston had appeared several times on “Saturday Night Live” to spoof his granite-hard image.

In his video, Carrey dares to attack not simply the masculinity of the Rightist NRA crowd, but even its courage:

You don’t want to get caught
With your trousers down
When the psycho killer
Comes around
So you make your home
Like a Thunderdome
And you’re always packin’
Everywhere you roam.

Perhaps that’s what most outrages the Right–the accusation that its members live in fear and do their best to generate needless fear in others. Fear that can supposedly be abated by turning America into a society where everyone packs a weapon and every moment holds a potential High Noon.

An accusation, in short, based on fact.

Carrey has not been shy in responding to his Rightist critics. On March 29, he issued this statement:

“Since I released my “Cold Dead Hand” video on Funny or Die this week, I have watched Fux News rant, rave, bare its fangs and viciously slander me because of my stand against large magazines and assault rifles.

“I would take them to task legally if I felt they were worth my time or that anyone with a brain in their head could actually fall for such irresponsible buffoonery. That would gain them far too much attention which is all they really care about.

“I’ll just say this: in my opinion Fux News is a last resort for kinda-sorta-almost-journalists whose options have been severely limited by their extreme and intolerant views; a media colostomy bag that has begun to burst at the seams and should be emptied before it becomes a public health issue.”

Bullies are conspicuously vulnerable to ridicule. Their only “defense” is to smash anyone who dares to mock their folly, brutality or pretense to omnipotence.

The NRA has spent decades bribing and intimidating its way through Congress. Those members who subscribe to its “guns for everyone” agenda get legalized bribes (i.e., “campaign contributions”).

Those who refuse to do so face the threat–if not the reality–of being ousted.

At the end of the Carrey video, “Heston” accidentally shoots his own foot off.

In their over-the-top response to what is essentially an inoffensive parody, the NRA and its Rightist allies may well do the same.

▶ View 2 Comments

COLD LIVE BULLIES: PART ONE (OF TWO)

In Bureaucracy, History, Politics, Social commentary on April 1, 2013 at 12:06 am

Bullies do not like to be mocked.

Anyone who doubts this need only examine the Right’s reaction to actor Jim Carrey’s recent “Cold Dead Hand” music video.

In this, Carrey–a strong advocate of gun control–mocks the National Rifle Association (NRA) and its right-wing allies.

These include rural America and (for the video’s purposes) the late actor Charlton Heston, who served as the NRA’s five-term president (1998-2003).

Jim Carrey as Charlton Heston

The video features Carrey and alt-rock band Eels as “Lonesome Earl And The Clutterbusters,” a country band on a TV set modeled after the 1960s variety show, “Hee Haw.” Carrey also portrays Heston as a dim-witted, teeth-clenching champion of the NRA.

“I find the gun problem frustrating,” Carrey said in a press release, “and ‘Cold Dead Hand’ is my fun little way of expressing that frustration.”

Carrey’s frustration has triggered NRA outrage.

Click here: Jim Carrey’s Pro-Gun Control Stance Angers Conservatives

Fox News personality Greg Gutfeld ranted: “He is probably the most pathetic tool on the face of the earth and I hope his career is dead and I hope he ends up sleeping in a car.

“This video made me want to go out and buy a gun. He thinks this is biting satire going after rural America and a dead man… He’s a dirty, stinking coward… He’s such a pathetic, sad, little freak. He’s a gibbering mess. He’s a modern bigot.”

Columnist Larry Elder spared no venom in attacking Carrey: “Let’s be charitable–call Carrey ignorant, not stupid.”

Click here: Jim Carrey: Not ‘Dumb & Dumber,’ Just Ignorant

Much of his March 29 column centers on defending Heston, who died at 84 in 2008.

A lyric in Carrey’s song says “Charlton Heston’s movies are no longer in demand.” This prompts Elder to defend the continuing popularity of Heston’s 1956 movie, “The Ten Commandments,” where he played Moses.

Elder feels compelled to defend Heston’s off-screen persona as well, citing his 64-year marriage to his college sweetheart, Lydia.

On the other hand, writes Elder, Carrey, “followed the well-worn Hollywood path: Get famous; get rich; dump the first wife/mother of your kid(s), who stood by you during the tough times; and act out your social life in the tabs to the embarrassment of your kid(s).”

Clearly, Carrey’s video has struck a nerve with Right-wing gun fanatics. But why?

Start with Gutfield’s accusation that Carry was “going after rural America.”

Rural America–home of the most superstitious, ignorant and knee-jerk Fascist elements in American society–boastfully refers to itself as “The Heartland.” In short: a prime NRA and Rightist constituency.

It was rural America to which Senator Barack Obama referred–accurately–during his 2008 Presidential campaign:

“They get bitter, they cling to guns or religion or antipathy to people who aren’t like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations.”

Second, there’s Elder’s outrage that Carrey should dare to say that Heston’s movies “are no longer in demand.”

On a personal note: I have long enjoyed many of Heston’s movies and have been lucky enough to see several of his epics in a movie theater.

Among these: “Major Dundee,” “El Cid,” “Khartoum,” “The War Lord.” And even the hammiest film for which he is best-known: “The Ten Commandments.”

In a film career spanning 62 years, Heston vividly portrayed such historical characters as:

Rodrigo Diaz de Bivar in “El Cid’:
Mark Anthony in “Julius Caesar”;
John the Baptist in “The Greatest Story Ever Told”;
Andrew Jackson in “The President’s Lady” and “The Buccaneer”;
Michaelangelo in “The Agony and the Ecstasy”;
General Charles Gordon in “Khartoun.”

And he played fictitious characters, too:

Civil War officers (“Major Dundee”);
Norman knights (“The War Lord”);
ranchers (“Three Violent People”;
explorers (“The Naked Jungle”).
Judah Ben-Hur (“Ben-Hur”);
astronauts (“Planet of the Apes”)’

Heston was a widely respected actor who won the Academy Award for Best Actor in 1959 for “Ben Hur” and servecd as the president of the Screen Actors Guild from 1965 to 1971.

Yet even if I disdained Heston’s talents as an actor (and some movie critics did, finding him limited in range and wooden) it would be my right, under the First Amendment, to say so.

But it was not Heston’s film career that Carrey focused on–but his role as president of the NRA.

Charlton Heston at the NRA convention

Ironically, Heston had identified himself with liberal causes long before he became the face and voice of the gun lobby.

In 1961, he campaigned for Senator John F. Kennedy for President. In 1963, he took part in Martin Luther King’s March on Washington.

In 1968, after the assassination of Senator Robert F. Kennedy, he joined actors Kirk Douglas, James Stewart and Gregory Peck in issuing a statement supporting President Lyndon Johnson’s Gun Control Act of 1968.

But over the coming decades, Heston became increasingly conservative: Reportedly voting for Richard Nixon in 1972; supporting gun rights; and campaigning for Republican Presidential candidates Ronald Reagan, George H.W. Bush and George W. Bush.

When asked why he changed political alliances, Heston replied “I didn’t change. The Democratic party changed.”

▶ Comment

THE OSCARS: “LINCOLN’S” LEGACY: PART TWO (END)

In Uncategorized on February 28, 2013 at 12:06 am

Argo was selected as Best Picture at the annual Academy Awards. But it is Steven Spielberg’s Lincoln that will be cherished far longer.

Among the reasons for this:

Daniel Day-Lewis’ brilliant portrayal as Abraham Lincoln; and
Its timely depiction of a truth that has long been obscured by past and current Southern lies.

And that truth: From first to last, the cause of the Civil War was slavery.

According to The Destructive War, by Charles Royster, arguments over “states’ rights” or economic conflict between North and South didn’t lead 13 Southern states to withdraw from the Union in 1860-61.

It was their demand for “respect” of their “peculiar institution”–i.e., slavery.

“The respect Southerners demanded did not consist simply of the states’ sovereignty or of the equal rights of Northern and Southern citizens, including slaveholders’ right to take their chattels into Northern territory.

“It entailed, too, respect for their assertion of the moral superiority of slaveholding society over free society,” writes Royster.

It was not enough for Southerners to claim equal standing with Northerners; Northerners must acknowledge it.

But this was something that the North was increasingly unwilling to do. Finally, its citizens dared to elect Abraham Lincoln as President in 1860.

Lincoln and his new Republican party damned slavery-–and slaveholders-–as morally evil, obsolete and ultimately doomed. And they were determined to prevent slavery from spreading any further throughout the country.

Southerners found all of this intolerable.

The British author, Anthony Trollope, explained to his readers:

“It is no light thing to be told daily, by our fellow citizens…that you are guilty of the one damning sin that cannot be forgiven.

“All this [Southerners] could partly moderate, partly rebuke and partly bear as long as political power remained in their hands.”

It is to Spielberg’s credit that he forces his audience to look directly at the real cause of the bloodiest conflict on the North American continent.

At the heart of Spielberg’s film: Abraham Lincoln (Daniel Day-Lewis) wants to win ratification of what will be the Thirteenth Amendment to the United States Constitution. An amendment that will forever ban slavery.

But, almost four years into the war, slavery still has powerful friends–in both the North and South.

Many of those friends belong to the House of Representatives, which must ratify the amendment for it to become law.

Other members–white men all–are hostile to the idea of “equality between the races.”

After the amendment wins ratification, Lincoln agrees to meet with a “peace delegation” from the Confederate States of America.

At the top of their list of concerns: If they persuade the seceded states to return to the Union, will those states be allowed to nullify the amendment?

No, says Lincoln. He’s willing to make peace with the South, and on highly generous terms. But not at the cost of allowing slavery to live on.

Too many men–North and South–have died in a conflict whose root cause is slavery. Those lives must count for more than simply reuniting the Union.

For the Southern “peace commissioners,” this is totally unacceptable.

The South has lost thousands of men (260,000 is the generally accepted figure for its total casualties) and the war is clearly lost. But for its die-hard leaders, parting with slavery is simply unthinkable.

Like Nazi Germany 80 years into the future, the high command of the South won’t surrender until their armies are too beaten down to fight any more.

The major difference between the defeated South of 1865 and the defeated Germany of 1945, is this: The South was allowed to build a beautiful myth of a glorious “Lost Cause,” epitomized by the Margaret Mitchell novel, Gone With the Wind.

In that telling, dutiful slaves were well-treated by kindly masters. Southern aristocrats wore white suits and their slender-waisted ladies wore long dresses, carried parisols and said “fiddle-dee-dee” to young, handsome suitors.

One million people attended the premier of the movie version in Atlanta on December 15, 1939.

The celebration featured stars from the film, receptions, thousands of Confederate flags, false antebellum fronts on stores and homes, and a costume ball.

In keeping with Southern racial tradition, Hattie McDaniel and the other black actors from the film were barred from attending the premiere. Upon learning this, Clark Gable threatened to boycott the event. McDaniel convinced him to attend.

When today’s Southerners fly Confederate flags and speak of “preserving our traditions,” they are actually celebrating their long-banned peculiar” institution.”

By contrast, post-World War II Germany outlawed symbols from the Nazi-era, such as the swastika and the “Heil Hitler” salute, and made Holocaust denial punishable by imprisonment.

America has refused to confront its own shameful past so directly. But Americans can be grateful that Steven Spielberg has had the courage to serve up a long-overdue and much needed lesson in past–and still current–history.

▶ Comment

THE OSCARS: “LINCOLN’S” LEGACY: PART ONE (OF TWO)

In History, Politics, Social commentary on February 27, 2013 at 12:09 am

Argo won for Best Picture atthe 2013 Academy Awards ceremony. But, in the long run, it will be Lincoln who is deservingly remembered–and loved.