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Um clássico de esquerda

Bem, depois que a wingnutolândia fez sua lista de melhores (sic) filmes conservadores, a blogoseira esquerdinha não ia deixar barato.  Eis, portanto, a lista dos melhores filmes (sic) progressistas, via Daily Kos:

The Daily Kos Top 25 Liberal Movies of the Last 25 Years

  1.  A Few Good Men (1992)
  1.  The American President (1995)
  1.  Saving Private Ryan (1998)
  1. Do the Right Thing (1989)
  1. Platoon (1986)
  1.  The Color Purple (1985)
  1.  Enron:  The Smartest Guys in the Room (2005)
  1. The Killing Fields (1984)
  1. Syriana (2005)
  1.  Brazil (1985)
  1.  Dead Poets Society (1989)
  1.  Thank You For Smoking (2005)
  1.  Wag the Dog (1997)
  1.  Erin Brockovich (2000)
  1.  Good Morning, Vietnam (1987)
  1.  Mississippi Burning (1988)
  1.  Milk (2008)
  1.  V for Vendetta (2005)
  1.  Roger and Me (1989)
  1.  Sicko (2007)
  1.  Bowling for Columbine (2002)
  1. Shawshank Redemption (1994)
  1.  Goodnight and Goodluck (2005)
  1.  Fahrenheit 9/11 (2004)
  1.  An Inconvenient Truth (2006)

 

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Interessante que “Brazil” figure nas duas listas.  E a inclusão de “Os Gritos do Silêncio” deve dar um tremendo nó nas cabecinhas anaeróbicas.

Mas no geral, infelizmente, achei a lista de má qualidade.  Não dá pra concordar com uma lista que começa com “Uma Verdade Inconveniente” e tem dois filmes de Michael Moore entre os dez melhores.   Não tenho o menor problema com documentários engajados, eles são necessários, mas uma lista como essa tinha que ter mais valor artístico, creio eu.  Por exemplo, salta aos olhos a ausência de filmes estrangeiros não-britânicos.  Talvez isso seja explicável pelo fato de que a lista foi compilada através de um pool, e não segundo a opinião do autor do post.

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Gostaria de chamar vossa atenção para este curioso site, “Big Hollywood“.  O que o distingue da usual cacofonia de sites sobre Hollywood é que este é um site sobre Hollywood com uma missão, já que se trata de um site conservador.  Seu editor chefe é John Nolte, cuja pequena biografia é a que se segue:

John Nolte is a screenwriter, director, and film writer. Before moving to Los Angeles in 2003 to pursue his interest in film, he spent seventeen years in Boone, North Carolina as a corporate bill collector. His interest in politics is lifelong. In 1996 he managed the campaign for a Wisconsin State Senate candidate (don’t be too impressed, they got shellacked) and for two years wrote a regular political column for two local North Carolina newspapers. 

For the last four years he’s blogged about film and politics under the pseudonym “Dirty Harry.” 

Depending on which day you ask him, John’s favorite film is either “The Searchers” or “Deuce Bigalow: Male Gigolo.

No IMDB, John Nolte aparece apenas devido a um único filme, chamado, talvez com alguma propriedade, “Beautiful Loser”, cujo plot (autobiográfico?) resume-se ao seguinte:

His parents named him Reginald Regineld. His friends call him “Ditto.” At the age of eleven he decided he wasn’t going to do anything with his life. And that was going pretty well until senior year when he saw Tracy. This wasn’t so much love at first sight as much as it was “completely-head-over-heels-gonna-get-her-at-any-price-even-if-I-make-a-complete-fool-of-myself” love at first sight. And it would burn for decades. Whether she loved him or not.

De fato acho que Freud tem muito a dizer sobre a mentalidade conservadora, não é?

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Como não poderia deixar de ser, o resultado do Oscar não agradou muito à linha editorial do site.  Em especial, a escolha de Sean Penn como melhor ator por encarnar um gay deixou os rapazes em polvorosa, a ponto de gerar posts que começam da seguinte forma:

One of the most unfortunate events that deterred a healthy development of a motion picture industry is that its childhood tragically coincided with the childhood of Communism. The Soviet era of Communism was the first totalitarian regime that recognized the power of a moving image and used it fully to align masses with its party line. Not unlike the liberal-Democrat film and media machine that so disgracefully uses it today and by far exceeds the standards of tasteless social realism initiated by their Soviet forefathers.

E continuam assim:

Prayer used to be considered a powerful weapon against everything evil, in fact, the only secure weapon in this uncertain universe of ours. Prayer used to be the impregnable castle of our higher being, a castle where we could safely retreat from the injustice and vanity of the world. It used to be until 1960’s when the movie industry in the United States became fatally infected with the virus of Christ-hating Communist scum imported from the Soviet Union and Europe. The virus was injected in 30’s and took only three decades to fully destroy the immature and naive imaginative immunity of the American cinema.

That miserable demon Lenin said once, “Cinema is the most important among the arts” and this, in turn, became a mantra of Communist infiltrators who systematically invaded Hollywood in the 1930’s.Lenin’s atheist-demons demolished thousands of churches and hanged clergymen all over Russia. Within twenty years after the revolution, the Bolsheviks successfully removed everything sacred from the landscape of the religious Russian soul. Now it was time for America.”

Esse tipo de reconstrução da história é típica de gente cujo cérebro deixou de funcionar e foi colonizado por um meme especialmente virótico, sejam de direita, sejam de esquerda.  Bem, a Wikipedia diz o seguinte sobre as origens de Hollywood:

Filmmaking in the greater Los Angeles area preceded the establishment of filmmaking in Hollywood. The Biograph Company filmed the short film A Daring Hold-Up in Southern California in Los Angeles in 1906.[8] The first studio in the Los Angeles area was established by the Selig Polyscope Company in Edendale, with construction beginning in August 1909.[9]

In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore and others. They started filming on a vacant lot in downtown Los Angeles. The company decided to explore new territories and traveled five miles (8 km) north to the little village of Hollywood, which was friendly and enjoyed the movie company filming there. Griffith then filmed the first film ever shot in Hollywood called In Old California, a one-reel melodrama set in Mexican colonial-era California in the 1800s. The movie company stayed there for months and made several films before returning to New York.

The first studio in Hollywood was established by the New Jersey-based Centaur Co., which wanted to make westerns in California. They rented an unused roadhouse at 6121 Sunset Boulevard at the corner of Gower, and converted it into a movie studio in October 1911, calling it Nestor Studio after the name of the western branch of their company.[10] The first feature film made specifically in a Hollywood studio, in 1914, was The Squaw Man, directed by Cecil B. DeMille and Oscar Apfel[11], and was filmed at the Lasky-DeMille Barn amongst other area locations.

By 1915, the majority of American films were being produced in the Los Angeles area.[12]

Four major film companies – Paramount, Warner Bros., RKO and Columbia – had studios in Hollywood, as did several minor companies and rental studios.

Antes que venham me falar sobre a pouca credibilidade da Wikipedia (algo de que discordo, mas não vem ao caso), gostaria de observar que só a utilizei por comodidade.  Quem tiver tempo e dinheiro pode fazer o que eu já fiz há alguns anos, coçar o bolso e comprar um excelente livrinho chamado “The Big Picture“, uma excelente história da indústria do cinema nos EUA.  Lá, você, trolzinho amigo, poderá constatar facilmente que Hollywood foi criada quando empresários da costa leste que exploravam pequenas máquinas de exibição de fotogramas em movimento em troca de alguns níqueis, e que resolveram fazer seus próprios filmes a partir das terras baratas no longínquo Oeste americano.  Nos anos 30, a indústria do cinema norte-americana não era “imatura”, estava partindo para a dominância, que veio após a Segunda Guerra.

Na verdade, se houve algum tipo de influência premeditada que lançou mão da indústria do cinema, foi no sentido contrário:

“The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized”. Elmer Davis, Director, Office of War Information quoted in C.R. Koopes and G,D. Black, “What to Show the World: The OWI and Hollywood, 1942-45” Journal of American History 64 (1977): 87-105.

“There has never been a more effective salesman for American products in foreign countries than the American motion picture.” Gerald M. Mayer, “American Motion Pictures in World Trade” Annals of the American Academy of Political and Social Sciences 254 (1947): 31-36.“”

Assim, fica claro que toda essa lenga-lenga do post no Big Hollywood é apenas mais uma aplicação da janela de Overton:  tentar caracterizar uma situação que já opera a seu favor como um cenário absolutamente contrário, e então forçar a opinão média ainda mais para a direita.  Ah, o preço da liberdade.

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