Posts Tagged ‘STEVEN SPIELBERG’
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In Entertainment, History, Military, Politics, Social commentary, Uncategorized on December 5, 2025 at 12:11 am
Southerners have long claimed—falsely—that the Civil War was not about slavery.
Steven Spielberg’s Lincoln proves that, 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.
Daniel Day-Lewis as “Lincoln”
“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. 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.
Members of Lincoln’s own Cabinet—such as Secretary of State William Seward—warn him: You can negotiate the end of the war immediately—if you’ll just let Southerners keep their slaves.
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.
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 parasols 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.
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In Uncategorized on December 4, 2025 at 12:13 am
Steven Spielberg’s 2012 film Lincoln is more than a mesmerizing history lesson.
It’s a timely reminder 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 had seceded from the Union in 1860-61.
But Lincoln regards this as a temporary wartime measure. He fears that once the war ends, 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 the right to vote.
In fact, the possibility that blacks might win voting rights arises early in the movie. Lincoln is speaking to a couple of black Union soldiers, and one of them is unafraid to voice his discontent. He’s upset that black soldiers are paid less than white ones—and that they’re led only by white officers.
Lincoln says that, in time, maybe this will change. Maybe, in 100 years, he guesses, blacks will get the right to vote.
(To the shame of all Americans, that’s how long it will eventually take. Not until the passage of the Voting Rights Act of 1965 will blacks be guaranteed legal protection against discriminatory voting practices.)
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.
Republicans today boast that their party freed blacks—and Democrats were the ones defending the status quo—slavery.
This is true—but misses the point: When a Democratic President—Lyndon B. Johnson—rammed the Civil Rights Act of 1964 through Congress, the South sided with Republicans, who opposed civil rights.
So it’s a matter of mentality, not party. If Republicans became pro-civil rights, most Southerners would turn to a different party.
Watching this re-enactment of the 1865 debate in Lincoln is like watching a 21st-century 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 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, 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.
Listening to those opposing the amendment, one is reminded of Mitt Romney’s infamous comments about the “47%”:
“Well, there are 47% of the people who will vote for the president no matter what….
“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. But that’s—it’s an entitlement. And the government should give it to them.”
Put another way: “Who says people have a right to obtain medical care, food and housing? If they can’t inherit unearned wealth the way I did, screw them.”
In the end, it’s Abraham Lincoln who has the final word—and leaves his nation the better for it. Through diplomacy and backroom dealings (trading political offices for votes) he wins passage of the anti-slavery amendment.
The ownership of human chattel is finally an ugly memory of the American past.
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….”
Watching Lincoln, you realize how incredibly lucky America was as a nation to have had such leadership when it was most urgently needed.
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In Bureaucracy, History, Military, Politics, Social commentary on June 11, 2025 at 12:10 am
There are literally no limits to which Donald Trump’s fanatical supporters will go to convince others he’s a heroic champion worthy of their reverence.
On Facebook and Twitter, his disciples post images of him that are not only false but laughably so.
One such meme depicted Trump as a military hero, clad in full Army gear, leading his men into combat. 
The problem: Trump—a notorious draft-dodger—received five deferments to escape the Vietnam war, including one for bone spurs.
Now, as re-elected President of the United States, he’s determined to give himself a victory parade—the sort traditionally reserved for egocentric, service-dodging dictators such as Joseph Stalin and Kim Jong-Un.
The date Trump has chosen for the parade: June 14, his 79th birthday. Naturally, he’s claiming it’s strictly a coincidence, and the purpose is to salute the 250th anniversary of the United States Army.
Plans for the parade call for about 6,600 soldiers, 150 vehicles and 50 helicopters to follow a route from Arlington, Virginia, to the National Mall.
Participating vehicles will include: A Stryker battalion with two companies of Stryker vehicles, a tank battalion and two companies of tanks, an infantry battalion with Bradley vehicles, Paladin artillery vehicles, Howitzers and infantry vehicles.
The cost to repair Washington, D.C., streets after the parade could reach $16 million, according to U.S. military officials.
Defense officials estimate that the parade’s expense could reach $45 million, with individual Army units ultimately bearing the cost.
But Trump claims the cost would be “peanuts compared to the value of doing it. We have the greatest missiles in the world. We have the greatest submarines in the world. We have the greatest army tanks in the world. We have the greatest weapons in the world. And we’re going to celebrate it.”
The pricey parade comes as Trump and his illegitimate Department of Government Efficiency have decimated federal agencies and programs, costing thousands of workers their jobs—including civilians in the Defense Department.
Donald Trump
There is no better way to trace the decline of the United States than to compare the upcoming salute to Trump’s ego with the 1946 Memorial Day ceremony at the Sicily-Rome American Cemetery, near the town of Nettuno.
The cemetery held about 20,000 American graves, mostly of soldiers who had died in Sicily or at Anzio, fighting Nazi Germany.
Presiding over that event was Lt. General Lucian K. Truscott, Jr., the U.S. Fifth Army Commander.
Unlike many other generals, Truscott had shared in the dangers of combat, pouring over maps on the hood of his jeep with company commanders as bullets or shells whizzed about him.
When it came his turn to speak, Truscott moved to the podium. Then he turned his back on the assembled visitors—which included several Congressmen.
The audience he now faced were the graves of his fellow soldiers.
Lt. General Lucian K. Truscott, Jr.
Among those who heard Truscott’s speech was Bill Mauldin, the famous cartoonist for the Army newspaper, Stars and Stripes. Mauldin had created Willie and Joe, the unshaved, slovenly-looking “dogfaces” who came to symbolize the GI.
It’s from Mauldin that we have the fullest account of Truscott’s speech that day.
“He apologized to the dead men for their presence there. He said that everybody tells leaders that it is not their fault that men get killed in war, but that every leader knows in his heart that this is not altogether true.
“He said he hoped anybody here through any mistake of his would forgive him, but he realized that he was asking a hell of a lot under the circumstances….
“Truscott said he would not speak of the ‘glorious’ dead because he didn’t see much glory in getting killed in your teens or early twenties.
“He promised that if in the future he ran into anybody, especially old men, who thought death in battle was glorious, he would straighten them out. He said he thought it was the least he could do.”
Then Truscott walked away, without acknowledging his audience of celebrities.
Bill Mauldin and “Willie and Joe,” the characters he made famous
Contrast the character of Lucian Truscott with that of the man who holds the office of President of the United States.
Donald Trump has:
- Equated his reckless sex life during the 1970s with the risks American soldiers faced in Vietnam.
- Relentlessly defended Russian dictator Vladimir Putin against all criticism, even as he’s slandered literally hundreds of his fellow citizens on his website, Truth Social.
- Attacked the FBI and CIA for concluding that Russia intervened in the 2016 election to help him win the White House.
- Allowed the deadly COVID-19 virus to ravage the country, killing 400,000 Americans by the time he left office.
- Incited his followers to attack the Capitol Building on January 6, 2021, to stop the Electoral Vote count, which he knew would prove Joe Biden the winner of the 2020 Presidential election.
Saving Private Ryan, Steven Spielberg’s 1998 World War II epic, opens with a scene of an American flag snapping in the wind.
Except that the brilliant colors of Old Glory have been washed out, leaving only black-and-white stripes and black stars.
Small wonder that, for many Americans, Old Glory has taken on a darker, washed-out appearance—in real-life as in film.
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In Entertainment, History, Military, Politics, Social commentary on March 14, 2025 at 12:06 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish the Austrian Archduke Maximillian 1 as emperor of Mexico.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his hands around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men you can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harrs), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez;
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in a young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Charlton Heston as Major Dundee
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into French-occupied Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being German-occupied France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers.
Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s record of playing heroes, it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero. If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War:
- Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, shorn of the glory and (later) treasured memories of the Civil War.
- Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
- Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
- America would learn to project its formidable military power at great cost.
Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one conflict to the next.
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In Bureaucracy, History, Military, Politics, Social commentary on August 2, 2024 at 12:05 am
If President Donald Trump expected a warm welcome when he attended the 100th Veterans Day Parade in Manhattan, he was rudely disappointed.
“Lock him up!” yelled many protesters, echoing chants at his own rallies against Hillary Clinton, his 2016 rival for President.
Other New Yorkers plastered their windows with large anti-Trump signs: “DUMP TRUMP!” “IMPEACH!” “CONVICT!”
One demonstrator held up a sign: “Draft Dodger,” a reference to Trump’s avoiding military service in Vietnam through five draft deferments, including one for bone spurs.
“My grandfather fought in World War II, he was a colonel and an immigrant from Russia,” said a 52-year-old woman who only identified herself as Liz.
“He would be horrified at the corruption and hate in the White House right now. He was a Republican, but he was not a racist. He was completely committed to this country.”
Another woman, Janet Gonzelez, 85, attacked Trump’s “upside down” foreign policy in the Middle East. Asked what she would tell Trump if she met him, she replied: “Fuck you.”
Speaking behind bulletproof plexiglass, Trump tried to drown out a throng of protesters shouting and blowing whistles outside the west entrance of Madison Square Park.
Donald Trump
“Our veterans risked everything for us. Now it is our duty to serve and protect them every single day of our lives,” Trump said, as a chorus of boos echoed in the distance.
What Trump did not mention was that, only four days earlier, a New York judge had ordered him to pay $2 million in damages owing to misuse of funds by the Trump Foundation.
In January, 2016, Trump had held a televised fundraiser for veterans. He claimed that the funds would be distributed to charities serving the needs of veterans.
But the Trump Foundation improperly used $2.82 million it received from that fundraiser to fuel his campaign for President.
Thus, the man who had ripped off American veterans was now presiding over a day created to honor them.
There is no better way to trace the decline of the United States than to compare the 2019 Manhattan Veterans’ Day celebration with the 1946 one at the Sicily-Rome American Cemetery, near the town of Nettuno.
The cemetery held about 20,000 American graves, mostly of soldiers who had died in Sicily or at Anzio, fighting Nazi Germany.
Presiding over that event was Lt. General Lucian K. Truscott, Jr., the U.S. Fifth Army Commander.
Unlike many other generals, Truscott had shared in the dangers of combat, pouring over maps on the hood of his jeep with company commanders as bullets or shells whizzed about him.
When it came his turn to speak, Truscott moved to the podium. Then he turned his back on the assembled visitors—which included several Congressmen.
The audience he now faced were the graves of his fellow soldiers.
Lt. General Lucian K. Truscott, Jr.
Among those who heard Truscott’s speech was Bill Mauldin, the famous cartoonist for the Army newspaper, Stars and Stripes. Mauldin had created Willie and Joe, the unshaved, slovenly-looking “dogfaces” who came to symbolize the GI.
It’s from Mauldin that we have the fullest account of Truscott’s speech that day.
“He apologized to the dead men for their presence there. He said that everybody tells leaders that it is not their fault that men get killed in war, but that every leader knows in his heart that this is not altogether true.
“He said he hoped anybody here through any mistake of his would forgive him, but he realized that he was asking a hell of a lot under the circumstances….
“Truscott said he would not speak of the ‘glorious’ dead because he didn’t see much glory in getting killed in your teens or early twenties.
“He promised that if in the future he ran into anybody, especially old men, who thought death in battle was glorious, he would straighten them out. He said he thought it was the least he could do.”
Then Truscott walked away, without acknowledging his audience of celebrities.
Bill Mauldin and “Willie and Joe,” the characters he made famous
Contrast the character of Lucian Truscott with that of the man who held the office of President of the United States.
Donald Trump has:
- Equated his reckless sex life during the 1970s with the risks American soldiers faced in Vietnam.
- Relentlessly defended Russian dictator Vladimir Putin against all criticism, even as he’s slandered literally hundreds of his fellow citizens on Twitter.
- Attacked the FBI and CIA for concluding that Russia intervened in the 2016 election to help him win the White House.
- Tried to extort the president of Ukraine to slander former Vice President Joe Biden, his possible rival for the White House in 2020.
- “Joked” that it would be “great” if the United States had a “President-for-Life”—like China.
Saving Private Ryan, Steven Spielberg’s 1998 World War II epic, opens with a scene of an American flag snapping in the wind.
Except that the brilliant colors of Old Glory have been washed out, leaving only black-and-white stripes and black stars.
Small wonder that, for many Americans, Old Glory has taken on a darker, washed-out appearance—in real-life as in film.
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In Bureaucracy, History, Military, Politics, Social commentary on May 27, 2024 at 12:10 am
Saving Private Ryan, Steven Spielberg’s 1998 World War II epic, is a tribute to the virtues of courage and self-sacrifice in defense of loyalty and freedom.
Virtues that are increasingly lost on millions of Right-wing Americans who have turned their backs on democracy and fervently embraced rule by strongman.
The movie opens with a scene of an American flag snapping in the wind. Except that the brilliant colors of Old Glory have been washed out, leaving only black-and-white stripes and black stars.
And then the movie opens—not during World war II but the present day.
Did Spielberg know something that his audience could only sense? Such as that the United States, for all its military power, has become a pale shadow of its former glory?
May 30, 1945, marked the first Memorial Day after World War II ended in Europe. On that day, the Sicily-Rome American Cemetery, near the town of Nettuno, held about 20,000 graves.
Most were soldiers who had died in Sicily, at Salerno, or at Anzio. One of the speakers at the ceremony was Lieutenant General Lucian K. Truscott, Jr., the U.S. Fifth Army Commander.
Lieutenant General Lucian K. Truscott, Jr.
Unlike many other generals, Truscott had shared in the dangers of combat, pouring over maps on the hood of his jeep with company commanders as bullets or shells whizzed about him.
When it came his turn to speak, Truscott moved to the podium. Then he turned his back on the assembled visitors—which included several Congressmen.
The audience he now faced were the graves of his fellow soldiers.
Among those who heard Truscott’s speech was Bill Mauldin, the famous cartoonist for the Army newspaper, Stars and Stripes. Mauldin had created Willie and Joe, the unshaven, slovenly-looking “dogfaces” who came to symbolize the GI.
Bill Mauldin and “Willie and Joe,” the characters he made famous
It’s from Mauldin that we have the fullest account of Truscott’s speech that day.
“He apologized to the dead men for their presence there. He said that everybody tells leaders that it is not their fault that men get killed in war, but that every leader knows in his heart that this is not altogether true.
“He said he hoped anybody here through any mistake of his would forgive him, but he realized that he was asking a hell of a lot under the circumstances….
“Truscott said he would not speak of the ‘glorious’ dead because he didn’t see much glory in getting killed in your teens or early twenties.
“He promised that if in the future he ran into anybody, especially old men, who thought death in battle was glorious, he would straighten them out. He said he thought it was the least he could do.
“It was the most moving gesture I ever saw,” wrote Mauldin.
Then Truscott walked away, without acknowledging his audience of celebrities.
Fast forward 61 years later—to March 24, 2004.
At a White House Correspondents dinner in Washington, D.C., President George W. Bush joked publicly about the absence of Weapons of Mass Destruction (WMDs) in Iraq.
One year earlier, he had ordered the invasion of Iraq, claiming that its dictator, Saddam Hussein, possessed WMDs he intended to use against the United States.
To Bush, the non-existent WMDs were simply the butt of a joke that night. While an overhead projector displayed photos of a puzzled-looking Bush searching around the Oval Office, Bush recited a comedy routine.
“Those Weapons of Mass Destruction have gotta be here somewhere,” Bush laughed, while a photo showed him poking around the corners of the Oval Office.
“Nope—no weapons over there! Maybe they’re under here,” he said, as a photo showed him looking under a desk.
George W. Bush jokes about “missing” WMDs
It was a scene that could have occurred under the Roman emperor Nero: An assembly of wealthy, pampered men and women–the elite of America’s media and political classes–laughed heartily during Bush’s performance.
Only later did outrage come—from Democrats and Iraqi war veterans. Especially those veterans who had lost comrades or suffered horrific wounds to protect America from a threat that had never existed.
Then fast forward another 11 years—to February 27, 2015.
The Republican party’s leading Presidential contenders for 2016 gathered at the Conservative Political Action Conference (CPAC) in National Harbor, Maryland.
Among them:
- Florida Governor Jeb Bush;
- Wisconsin Governor Scott Walker; and
- Businessman Donald Trump.
Although each candidate tried to stake his own claim to the Oval Office, all of them agreed on two points:
First, President Barack Obama had been dangerously timid in his conduct of foreign policy; and
Second, they would pursue aggressive military action in the Middle East.
Neither Bush nor Walker had seen fit to enter the ranks of the military he wished to plunge into further combat. And Trump was a five-time draft dodger while the Vietnam war raged.
Bush, Walker and Trump are typical of those who make up the United States Congress:
Of those members elected to the House and Senate in November, 2016, only 102—less than 19%—served in the U.S. military.
Small wonder then, that, for many people, Old Glory has taken on a darker, washed-out appearance, in real-life as in film.
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In Entertainment, History, Military, Politics, Social commentary on March 25, 2024 at 12:10 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men an audience can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez (Mario Adorf);
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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In Entertainment, History, Military, Politics, Social commentary on August 28, 2023 at 12:05 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men an audience can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez;
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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In Bureaucracy, Entertainment, History, Law, Military, Politics, Social commentary on July 22, 2022 at 12:18 am
Steven Spielberg’s Lincoln is more than a mesmerizing history lesson.
It’s a timely reminder 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 had seceded from the Union in 1861.
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 menmbers 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 the right to vote.
In fact, the possibility that blacks might win voting rights arises early in the movie. Lincoln is speaking to a couple of black Union soldiers, and one of them is unafraid to voice his discontent. He’s upset that black soldiers are paid less than white ones–and that they’re led only by white officers.
He says that, in time, maybe this will change. Maybe, in 100 years, he guesses, blacks will get the right to vote.
(To the shame of all Americans, that’s how long it will eventually take. Not until the passage of the Voting Rights Act of 1965 will blacks be guaranteed legal protection against discriminatory voting practices.)
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 the current 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 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, 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.
Listening to those opposing the amendment, one is reminded of Mitt Romney’s infamous comments about the “47%”:
“Well, there are 47% of the people who will vote for the president no matter what….
“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. But that’s–it’s an entitlement. And the government should give it to them.”
Put another way: “Who says people have a right to obtain medical care, food and housing? If they can’t inherit unearned wealth the way I did, screw them.”
In the end, it’s Abraham Lincoln who has the final word–and leaves his nation the better for it. Through diplomacy and backroom dealings (trading political offices for votes) he wins passage of the anti-slavery amendment.
The ownership of human chattel is finally an ugly memory of the American past.
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….”
This ending presents a vivid philosophical contrast with the increasingly mean-spirited rhetoric and policies of 2016’s Republican candidates for President–especially those of Donald Trump.
Watching Lincoln, you realize how incredibly lucky America was as a nation to have had such leadership when it was most urgently needed.
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In Entertainment, History, Military, Politics, Social commentary on March 16, 2022 at 12:50 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men an audience can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez;
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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MORE LESSONS FROM “LINCOLN”
In Entertainment, History, Military, Politics, Social commentary, Uncategorized on December 5, 2025 at 12:11 amSoutherners have long claimed—falsely—that the Civil War was not about slavery.
Steven Spielberg’s Lincoln proves that, 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.
Daniel Day-Lewis as “Lincoln”
“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. 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.
Members of Lincoln’s own Cabinet—such as Secretary of State William Seward—warn him: You can negotiate the end of the war immediately—if you’ll just let Southerners keep their slaves.
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.
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 parasols 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.
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