May We Push The Envelope Please...

Ok, I have to be honest. I've never been that thrilled by the Oscars. I remember watching part of one of the ceremonies back in the early 80s, but that had more to do with a girl I was trying to get friendly with than it had anything to do with the movie industry.

But even I, as insulated as I am from all things Hollywood, have taken some interest in the nominations of this year's academy. I will not sit in front of the television in bejeweled boxers holding my breath each time an envelope is opened. I will read with some interest, however, who won what, perhaps even as soon as the next day. Not because I passionately believe that certain movies are more deserving than others, but because I am astounded at how liberally biased and anti-American the movie industry has become, and how, despite the crashing numbers for these politically expedient films, it continues to push its consumer-losing bias.

Read Charles Krauthammer today in Townhall. He takes one such nominated movie, Syrianna, and analyzes its import to geopolitics.

The political hero is the Arab prince who wants to end corruption, inequality and oppression in his country. As he tells his tribal elders, he intends to modernize his country by bringing the rule of law, market efficiency, women's rights and democracy.

What do you think happens to him? He, his beautiful wife and beautiful children are murdered, incinerated, by a remote-controlled missile, fired from CIA headquarters in Langley, no less -- at the very moment that (this passes for subtle cross-cutting film editing) his evil younger brother, the corrupt rival to the throne and puppet of the oil company, is being hailed at a suitably garish ``oilman of the year'' celebration populated by fat and ugly Americans.

Of course, Syrianna is just one of many movies nominated this year where the plot and characters lean decidedly toward leftist viewpoints. You want examples? How about this stable of Best Picture nominees; Brokeback Mountain (gay sheepmen,) Capote (gay protagonist,) Crash (all of America is racist,) Munich (historic revisionism and moral relativism,) and Good Night, And Good Luck, (Hollywood's very personal rebuttal to Joseph McCarthy which includes heaping doses of historic revisionism and out-of-context facts.)

How do I know about this? Hah! I can read.

It is getting more and more obvious each year that The Academy is every bit as interested in pushing a few envelopes onto society as they are at opening a few self-serving ones for their nominees. It is all just a huge leftist plot to keep me at home in boxers -- that and $3.50 for a poorly mixed fountain drink.