The Reverend Jesse Lee Peterson may be the single most fearless person I’ve ever met — morally fearless, I mean; willing to say whatever he believes to be the truth. Plus he has a deadpan sense of humor that cracks me up.
Here I am on one of his recent radio shows, talking about how Conservatives can get their game back. After you listen, check out my City Journal profile of Jesse Lee, A Man Alone.
And you can listen to the Jesse Lee Peterson show here.
I’ve entered one of those periods when I’m so busy, I can only watch one TV show at a time. Pitiful, I know. Fortunately, for the last thirteen weeks, there’s been no difficulty deciding which show it would be. Graham Yost’s Justified remains one of the best crime shows ever, even in this era of unbelievably great crime shows like The Wire and The Shield.
I think the last two seasons have been the two best. As always, it’s the characters, dialogue and tough Elmore Leonardian attitudes that make the thing pop the way it does. But I do like a good story, and the plotting has grown better over the seasons and in these last two seasons, the stories were really superlative.
The actors are all great. Timothy Olyphant, Nick Searcy, Walton Goggins, Joelle Carter, the whole cast. The fact that none of them has won an Emmy for this show is a miscarriage of Emmy justice but (watch the funny Conan interview with Olyphant above) they seem to be surviving. Olyphant, I think, gets underrated because he’s a good-looking hero type who’s paid his dues in some second rate films, but you can tell he constructs his performances from the ground up. He even moves differently in different roles. I still haven’t forgotten Goggins’ performance in the last season of The Shield — the best acting I ever saw on a TV screen — and he continues excellent here. And this season, Joelle Carter finally got a really interesting storyline all to herself and pulled off a major character shift so subtle that the final jolt seemed unexpected and completely natural at the same time.
And, of course, this site can’t let the season pass without singing the praises of the mighty Nick Searcy, who expertly portrays the moral center of the show, Chief Deputy U.S. Marshall Art Mullen. Searcy should win some kind of award just for the fact that Mullen — the show’s one unabashedly decent and lovable character — was heard listening to Rush Limbaugh during a stake out! That’s no surprise to those of us who follow @yesnicksearcy on Twitter, the guy no loud mouthed lefty wants to meet in a dark Twitter alley (see his brilliant musical performance below.).
I understand next year will be Justified’s final season and I’ll miss it. But that’s all right. I think shows should end while they’re still terrific. This one is still as terrific as it can be. A crime show joy to behold.
I’ve been on the road and haven’t had a chance to see Noah, the 130-million dollar Darren Aronofsky biblical blockbuster that opened well, but not brilliantly, at the box office last weekend. But while I can have nothing to say about the content of the movie, I’ve been interested to see three of my friends from three different faiths wrestle with the film — a film whose atheist director declared it would be “the least biblical film ever made.”
Ben Shapiro is a devout Jew, and I’ve heard him speak with real and revealing insight into Torah — something that’s not all that common. In a genuinely sharp essay at Truth Revolt, he took the film apart as a “perversely pagan mess” that replaced God with Gaia to deliver a muddled environmentalist message. You can read the whole excellent thing here, but one point struck me particularly:
It is one thing for a movie adaptation to stray from the source material. Adding characters or scenes, crafting details that vary from the strict text – all of it is in bounds when it comes to adaptations. Critics of Noah who have focused on the extra-Biblical magic of Methuselah or the lack of textual support for instantaneously-growing forests are off-base.
The far deeper problem is when an adaptation perverts the message of the source material. If the movie version of To Kill A Mockingbird had turned Tom Robinson into a villain and Mr. Ewell into a hero, that would rightly have been seen as an undermining of the original work. The same is true of the Biblical story of Noah and the movie version of that same story. It isn’t merely that Aronofsky gets the story wrong. That would be forgiveable. It’s that Aronofsky deliberately destroys the foundational principles undergirding the Bible, and uses Biblically-inspired story to do it.
The mighty John Nolte of Breitbart’s Big Hollywood, a Catholic, was much kinder to the movie itself — and in fact, feared that the film’s high quality as an entertainment made it an excellent vehicle for selling a wholly dishonest view of the Bible story:
My concern is that with “Noah,” Hollywood has cracked the code on how to undermine the Judeo/Christian faith while making a profit with the help of some duped Christian “thought leaders”: Use the awesome propaganda power of the motion picture to lead people away from God by telling them the Judeo-Christian faith is something it is not.
In the case of “Noah,” [because of strong box office] Satan is a happy camper… : Over the last ten days, throughout the world, millions have been told the dark lie that Christianity, or any religion based on the Old Testament, has a foundation seeped in environmental extremism and has nothing to do with leading a moral and charitable life as defined by the Ten Commandments and Christ’s 11th Commandment.
Finally, up-and-coming culture critic R.J. Moeller, an evangelical, took a man-of-reason approach over at Acculturated. Writing an open letter to Aronofsky, he expressed admiration for the filmmaker’s work both here and elsewhere.
What I’d like to say to you in closing is this: thank you for making this movie. Perhaps I’m being naïve, but I was encouraged to see your interpretation of the story of Noah and the existential themes and questions that emanate from it. Even if we disagree on the lessons we’re supposed to learn from Noah’s life and God’s actions, I appreciate your willingness to enter the “How can a good God allow bad things to happen?” debate.
Your film is going to facilitate important conversations among friends, family members and co-workers around the nation. I hope Hollywood takes note of the box office enthusiasm surrounding this movie. I also hope that those Christians who did not care for Noah are incentivized to be a part of the long-term solution (as far as the production of God-honoring, high-quality projects are concerned).
I’m on the east coast this week and just gave a talk at Cornell University sponsored by the Program on Freedom and Free Societies. I spoke at one point about how those who think that Hollywood only cares about money don’t really know anything about Hollywood. I pointed out that religious pictures like this week’s indie release God is Not Dead are so routinely “surprise hits,” that it’s hard to figure out where the surprise is coming from. I also had some fun discussing how puzzled the New York Times was at the “surprise hit” Lone Survivor. How very odd, said the Times, or words to that effect. They couldn’t comprehend why audiences who had “stubbornly refused” to go to all the other movies about the war on terror, turned up to make this one a hit. One wanted to explain patiently, as to a child: Well, dear, it’s because all the other movies showed America as the bad guys, and this one showed us as the good guys, and the audience doesn’t want to be insulted by elitist claptrap. But the Times is not yet mature enough for that kind of information.
Anyway, when my Cornell talk was done, a leftist in the audience termed it “naive” and “bizarre.” (I doubt I was naive. I do try to be as bizarre as possible!) He said Hollywood was just a whore chasing after money.
The man spoke so long and said so many things that were untrue, that I couldn’t really respond concisely. But there is one thing I really wish I had said, and that is this. Making movies that make money isn’t being a whore. It’s called being in the movie business. It’s what movies are supposed to do. When your movies make money it means that you did something someone else liked instead of just preening yourself on your skills and insight. When your movies make money, it means they succeeded in doing what movies are supposed to do: entertaining an audience. There is, of course, absolutely nothing at all wrong with making a smaller movie for a smaller audience that makes less money. But to assume that making profitable movies makes you a whore is elitist in the extreme. It presumes that you have some higher wisdom that should be served over and above the wisdom of the ticket buyers. But in real life… no, you don’t.
I think 300 is easily one of the best movies of the last twenty years, the only movie I’ve seen twice in a week since Hitchcock died, a film that will be re-watched and remembered long after most if not all of the prestige art films of our day are forgotten.
The tale of the Spartan battle against the Persians at Thermopylae was released in 2006, when Hollywood, entering its most shameful days, was beginning to churn out despicable anti-war on terror and anti-military propaganda even while American sons were actually on the battlefield in harm’s way. 300 was instead a stirring W-style call to defend the age-old values of the west against an oppressive and ignorant foreign invader.
But what made the film special — even brilliant — was the wild, confident imagination it brought to the screen from Frank Miller’s graphic novel. Though the story stayed very faithful to the history in Herodotus, it introduced fantastical beasts, over-the-top video game violence, outsized characters and even bulked up muscle suits to give the story a larger than life feel. It was as if the movie was saying to the Islamic-fascists who had attacked us: “You think we’re decadent because we sit around and play video games? Let us show you the sort of western courage that inspired those games, Islamo-schmuck!”
One of the sillier effusions of pop political correctness is the attempt to bully the idea of female beauty out of the culture. Ceaseless attacks on Barbie dolls for giving girls unrealistic expectations (though, strange to say, Superman doesn’t do that to boys), or virtuous but likely ineffective campaigns to sell underwear with overweight models, not to mention the endless feminist maundering on the subject — it all seems part of yet another wearisome leftist attempt to change basic reality through thuggery, censorship and noisy protest. Good luck with that.
Listen, I don’t complain that Ryan Gosling stole my part in The Notebook — I could’ve killed in that! I don’t waste a lot of bitterness on the fact that Kobe Bryant took my spot on the Lakers. Some people are born with natural gifts that others don’t have. Some girls are knockouts. Some are not. Why, I wonder, shouldn’t women have to live with the basic unfairness of life same as dudes?
I first noticed that this silliness was infecting show biz while watching the absolutely superb 1995 BBC adaptation of Pride and Prejudice. Man, that was good. But I found it very annoying and distracting to see that the older sister, Jane, (played by the quirkily appealing Susannah Harker) was nowhere near as beautiful as Lizzie, played by the then-stunning Jennifer Ehle (still attractive 20 years later and an excellent actress).
Readers of the great Jane Austen novel will know that sister Jane’s beauty and sweetness are an important part of the plot as they contrast with Lizzie’s wit and fire. And the show treated the Jane character as if she were as beautiful as the character in the book. It was confusing and didn’t make sense. I’m told that when questioned about this, a BBC executive replied defensively and pompously that, well, there are other kinds of beauty besides physical beauty, you know. And yes, there are. But Jane’s beauty happens to be physical. Why not play it that way? The answer, of course, is that the Beeb is a leftist organization and thus must kowtow to the whims of bossy feminists who don’t like the idea that female physical beauty has a power and social worth that are both real and non-negotiable.
I have (if I do say so myself) a rather amusing piece on House of Cards up at the wonderful City Journal magazine. You should read it if for no other reason than to discover what is one of the best conservative outlets anywhere. It begins:
House of Cards, the Netflix series about a lethally unscrupulous Washington politician, is a wonderful show, but it does sometimes stretch the limits of credulity. I have no trouble believing that a Democratic congressman would push a reporter in front of a train, but the idea that anyone in the press would try to expose him for it is flat-out ridiculous. After all, Barack Obama has been pushing reporters under the bus for six years and nobody’s said a word. Ah, well. If the show gives leftist politicos nightmares about being held accountable for their actions by American journalists, they can simply keep repeating, “It’s only a movie, it’s only a movie.”
House of Cards does pose a more realistic threat to leftists, however: their 40-year monopoly on artistic political statements—and their tacit blacklist of anyone who tries to make opposing statements—may finally be coming to an end. House of Cards is not, as left-wing activist Randy Shaw wrote in a blithering and inattentive pieceon Huffington Post, a “Republican fantasy world,” but it is not pure leftist cant, either. And that in itself makes it something of a New Thing on the show-business landscape.
You can experience the wonder of the whole thing here.
Here’s another of the “small, quality” films up for an Oscar that, like Her, is really not that great. Dallas Buyers Club has many things to admire, but I’m pretty sure its nomination and ecstatic reviews have more to do with its “worthiness” than its actual effectiveness as a motion picture.
The movie is based on the true story of Texas bad boy Ron Woodroof. According to the picture, Woodroof, a gambler, druggie and rodeo rider, contracted AIDS from his wild heterosexual lifestyle back in 1985, when the epidemic was just going public in a big way. Frustrated with government’s incompetence in dealing with the new health crisis, he became a smuggler of experimental drugs. Along the way, as Homer Simpson might say, he learned an important lesson about tolerating the gay people who were dying all around him. (There’s apparently some evidence Woodroof was actually bisexual and that the movie’s homophobe-to-gay-liker story is bogus, but I’m just writing about the movie I saw.)
Matthew McConaughey does his usual fine job with the lead. Jared Leto is nominated for a supporting Academy Award for playing a gay transvestite heroin addict and he deserves to win. I know this sort of role is meat and drink to actors (it’s a lot harder to play a vanilla accountant and make it sing) but Leto just kills it, winning your heart the second he comes on screen with the character’s kindness, intelligence and vulnerability.
What’s strange about the picture, though, is its overall lack of feeling. It’s cold and seems to be operating on autopilot — as if director Jean-Marc Vallée (who did a good job with The Young Victoria) expects the audience to do the work of feeling things he never takes the trouble to make them feel. McConaughey’s transition from gay-hating good ol’ boy to tolerant good ol’ boy is told rather than shown. The payoff delivers no punch whatsoever. The end of Leto’s character arc actually occurs offscreen, leaving you without much sense of resolution for the one really sympathetic guy in the story. I wanted to bring in my unshed tears for a refund! And McConaughey’s character never really achieves the level of AIDS Schindler because, while his fights with the idiots in government resonate, his crusades against AZT and “Big Pharma” seem misguided. Pharma was doing what it had to do, and the drug ultimately turned out to be helpful. It’s silly to make villains out of well-intentioned people swamped by crisis.
This is a film-worthy period. The AIDS epidemic at its height was a genuine historic event. Good people died — a lot of them — and attitudes — toward health, toward homosexuality, toward sex in general — were changed forever. It’s a good setting for a story. But this weirdly flat film just doesn’t bring it to life. It’s not a bad movie. It’s certainly watchable and the good cast delivers some entertaining moments. But strange as it may sound, it could’ve used a little more Hollywood, a little more hearts and flowers all around.
One of the reasons I don’t write many reviews in mainstream venues anymore is that I don’t like panning things. Books are hard to write, movies are hard to make. It’s easy, and often amusing, to sneer at the failures but I know the process of creation well and hurling slings and arrows at another man’s heart and soul is not as much fun as it looks. It especially bugs me when people attack an artist’s work because they don’t like his politics or off-screen antics. Jim Carrey may be a screaming idiot when it comes to the subject of guns but he’s made some very good movies and there aren’t many people who can say the same.
But a reviewer’s first responsibility isn’t to the artist, it’s to the audience, the folks who are going to spend their good money on the product. If you’re not willing to pan something, you shouldn’t agree to review it in the first place. So I turn down a lot of review assignments on the off-chance I’ll have to slaughter a colleague in the name of honesty. And even in a blog, more often than not I pass over the movies and books I don’t like in silence.
Her, however, has been nominated for an Academy Award so I feel compelled to at least say this: no freaking way. I understand the idea that some smaller movies that aren’t necessarily popular with the mainstream crowd might still be deserving of award attention. But Her is not one of those movies. It’s bad. Its plot — a guy falls in love with the artificial intelligence of a new computer operating system — is an already played-out and unoriginal version of Pygmalion. (See everything from 2001: A Space Odyssey to 2002′s Simone). Its characters are collections of ideas rather than actual personalities — even the wonderful Amy Adams has to struggle to make her cliched nothing of a part come to life. And, most importantly, its central performance is just brutally dull.
In a surprise to liberal media outlets and no one else, the film Lone Survivor is cleaning up at the box office. This is a surprise to media lefties because, as the New York Times put it with near radiant gormlessness, “Moviegoers have stubbornly refused to care about war movies set in Afghanistan.” It apparently never occurred to the Times that stubborn moviegoers just didn’t want to see war movies like Lions for Lambs in which America was falsely made out to be the villain!
But the folks are showing up for this baby, even despite the occasional Pajama Boy critic whining into his cocoa about having to watch American heroes being heroic in the battle against Islamist bad guys. Reality makes their tartan singlets itchy, I guess.
Even PJBs who, like the Times‘ A.O. Scott, made sure to hint in their reviews at their ever-so-nuanced disapproval of patriotism, heroism and fighting bad guys, have been forced to admit the movie’s central battle scene is powerful and effective. It’s a well-directed, gripping, intense tribute to the men who keep America safe for the movie critics who complain about them.
The picture, as you no doubt know, is director Peter Berg’s version of Navy SEAL Marcus Luttrell’s memoir of a good mission gone bad in Afghanistan. Luttrell and his fellow SEAL’s were sent out to kill a high-profile Islamist terrorist but were unfortunately spotted by two goatherds and a small boy. The Americans made the merciful but unwise decision to spare the civilians, who proceeded to betray their position to the Taliban. The title tells you what happened.
I love the Coen brothers when they tell stories. Fargo is one of my favorite crime films. Blood Simple was great. So were No Country for Old Men and the much-improved remake of True Grit. But when the Coens leave narrative behind and go all ironic and surrealistic on me, I got to admit: I don’t get it. I thought Barton Fink was a cool attitude in search of a movie. A Serious Man was soporific. And as for their new film, Inside Llewyn Davis — currently scoring a 93% positive rating on Rotten Tomatoes with critics, a 75% with human beings — my general reaction was: Hanh?
It’s the story of a good-but-not-great folk singer (played by Oscar Isaac) in the folk singing heyday of the early 60′s. He wanders around Greenwich Village and other parts of New York being kind of an SOB to the other not-very-interesting people around him. Then he makes a pseudo-epic journey to Chicago to audition for a folk song guru. Then more stuff happens and the movie ends.
I guess the theme has something to do with the late, great Jacques Barzun’s theory that genius requires a city-full of lesser lights to bring it to fruition. That is, according to Barzun, the genius is nourished by a community of non-genius artists who lift him to greatness. The Coens are taking a moment to consider the journey of one of those other artists, a performer who will soon be rendered irrelevant by the rise of Bob Dylan. Attention must be paid to such a man, they seem to be saying. Not sure why.
The movie’s not boring, but it’s not very compelling either. And as always with this sort of Coen movie, I can’t help feeling the bros are living off irony and attitude instead of going to work making the sort of film they’re capable of. Having said that, I should add that several people I respect thought this was a great picture. And I myself respect the Coens’ work enough to think that maybe I missed something.
Here’s an entertainment find for lovers of Sci-Fi and the supernatural: Black Mirror, a British TV anthology series that is billed as a cross between Twilight Zone and Tales of the Unexpected. That’s actually not a bad description. What it shares with TZ, at least, that so many imitators do not, are big ideas that are genuinely creative and original. Most of these ideas tend to center around current technology amped to the level of madness. The stories are often set in a world in which computers, cameras and screens increasingly stand between us and real life. Oddly but compellingly, the look of the stories is often retro, the jazziest tech offset by oldish cars and clothes.
The show is created, and often written, by Charlie Brooker. I never heard of him either, but apparently he’s some British guy and clearly a very talented one. I’ve now watched all of the six available episodes and most of them were very entertaining, spooky and thought-provoking.
Unfortunately, the first episode — The National Anthem — is the weakest of the bunch. It tries a little too hard to get our attention. It’s about the Prime Minister being blackmailed into screwing a pig on TV. I know — yawn, right? But it’s done well and the resolution is smart and insightful. Anyway, don’t let it put you off. After that, Brooker and his gang settle down and the stories are much less self-conscious, much more exciting. The second episode of the second three-show season, White Bear, is a small masterpiece: a piece of terrifying science fiction and a piece of slashing social satire at one and the same time. The episode before that, Be Right Back, is chilling and fine. The final episode of the available bunch, The Waldo Moment, isn’t as viscerally chilling as the others, but it’s as thoughtful a piece of political satire as you’re going to find on TV. Excellent stuff.
I got this for no extra charge through DirecTV’s Video on Demand. You can also buy the DVD set from Amazon. I’m sure it’ll be streamed elsewhere soon. If you’re a Twilight Zone fan, look for it. It’s really good.
Saving Mr. Banks is the movie version of how the (apparently awful) P.L. Travers gave Walt Disney and his writers holy hell before she would allow them to turn her Mary Poppins novels into a film. It’s a sentimental re-invention of the true story, but it works. Sweet, good-natured, gentle and uplifting, the movie basically makes the argument that all of life should be rewritten as a Disney musical. There’s some truth to this, and the film gets at it.
As with so many films this year, the performances are unbelievably great. Emma Thompson humanizes Travers — no small thing, given her character. Colin Farrell is touching as her disastrously alcoholic father. And Paul Giamatti is absolutely wonderful in the role of her lovable chauffeur.
But after watching this and Captain Phillips in short order, I have to say: Tom Hanks may be the greatest actor/movie star of his generation. He takes the role of Walt Disney and goes right to the heart of the American self-made man. Upbeat but hardboiled, generous but also relentless, Hanks’ Disney has a deep understanding of the sources of his own success and he uses that understanding to bring others to success as well. Optimistic without being blind, he can reflect on his pain at the same time he celebrates his achievement. It may be fair to say the Disney Corporation is hagiographizing its founder here — okay. But Hanks does something so deep with the character it becomes a comment on America itself — a comment that is positive without being sentimental or dishonest. It’s a case of an American treasure portraying an American treasure.
I won’t argue that this is a great film, but it’s good heartfelt entertainment with wonderful performances. Nice holiday- or even post-holiday viewing.
Director David O. Russell’s last two films were wonderful. Both The Fighter and Silver Linings Playbook gave us painfully exact depictions of family dysfunction, then magically transformed that dysfunction into old-fashioned movie-style happy endings. Cynical cranks could complain that that’s not the way it works in real life. But, in fact, they would be wrong. People do redeem their lives, even if they don’t do it with the neatness and glamour of the big screen. The style was pure Hollywood, but the underlying point remained honest and true.
What is not true is that corrupt politicians really care about the people they serve and are just taking that suitcase full of money to help the poor citizens of their communities. Lowlife pols have been pushing that line of garbage since before Caesar and it is now what it was then: self-justifying crap. Corruption bleeds a city, a state, a nation dry. A Boss Tweed may deliver a poor family a turkey on Christmas — and Barack Obama may give you a “free” phone or confiscate another citizen’s earnings to pay for your health care — but in the end, what these self-serving phonies do saps the polity of money, freedom and energy. Corruption benefits the corrupt — unless and until, for whatever reason, they get caught by the law.
American Hustle buys into the political liars’ lies with wide-eyed childlike innocence. As a result it’s a movie with no moral or emotional center. It’s well-directed and well-written, and it would be impossible for me to overpraise the performances of its wonderful cast. Amy Adams, Christian Bale, Bradley Cooper, Jennifer Lawrence and an almost unrecognizable Jeremy Renner are beyond brilliant. They are the closest thing this starless age has to stars.
But the thesis of the movie — loosely based on the 1970′s Abscam sting that busted several corrupt mostly Democrat politicians and was therefore deemed a questionable enterprise by the Democrat media — is this: the FBI are the over-ambitious bad guys for running down the pitiful, good-hearted pols who only want to help the poor, the black, the disenfranchised of their states and cities. Those pols never would have taken that money for themselves. Oh no! And even if they did, it was just because they let their egos lead them astray. The real bad guys, the real money guys, are getting away scot free! So we’re supposed to root for con men who steal from fools, and we’re supposed to boo and hiss the lawmen who bring them to justice.
Well, in a pig’s eye. The point is not that the FBI are saints. The point is they are doing what’s right here and the politicians are just what they seem: corrupt, connected, greedy skunks who should be in jail not in office. The emotional emptiness and flatness of the film come directly from its silly and skewed morality.
The movie gets a 96/98% rating on Rotten Tomatoes, so I guess Russell put one over on the audience. But despite his obvious talent — and the acting genius of a powerhouse cast — this is a bad film that distorts reality in a way his previous happy endings never did.
I don’t mean to make a profession out of commenting on the Pope, but since I put up a post about his first exhortation last week, it seems only fair to update it. In the previous post, I put forward the opinion that — notwithstanding a range of defenses from loyal Catholics, and some virulent attacks from conservative commentators — the new Big Hat Guy had been a bit unwise in his remarks. It was impossible to tell from the text whether he was attacking free markets or simply criticizing them, and given that free markets help the poor far more than Marxism, clarity is important. Well, since the Pope and I are like this, Francis immediately responded by clarifying his comments. This, I feel, is in keeping with the ancient church doctrine of Menschliness — which is to say, he did the right thing and good on him.
According to my friends at Truth Revolt, Francis responded to accusations he was a Marxist or some kind of South American Social Justice type by telling the Italian newspaper La Stampa, “Marxist ideology is wrong. But I have met many Marxists in my life who are good people, so I don’t feel offended.”
There is nothing in the Exhortation that cannot be found in the social Doctrine of the Church. I wasn’t speaking from a technical point of view, what I was trying to do was to give a picture of what is going on. The only specific quote I used was the one regarding the “trickle-down theories” which assume that economic growth, encouraged by a free market, will inevitably succeed in bringing about greater justice and social inclusiveness in the world. The promise was that when the glass was full, it would overflow, benefitting the poor. But what happens instead, is that when the glass is full, it magically gets bigger nothing ever comes out for the poor. This was the only reference to a specific theory. I was not, I repeat, speaking from a technical point of view but according to the Church’s social doctrine. This does not mean being a Marxist.
This, in turn, means that Peggy Noonan — whose Pope column I criticized — pretty much got it right when she pointed out the Pope was not speaking as an economist.
Priests are like soldiers. I’ve never met a member of the military who cared much about taxing and spending. Their general view is that taxes should be high enough to allow a great nation to support a first-rate military to keep you safe, end of story… Priests tend to be like that, too… How high should taxes be? High enough for a first-rate country to help its citizens get the good things they need, end of story.
Having criticized Noonan, I (following the menschly papal path) have to give her props for “Coming Closest To Papal Intentions,” in her interpretation of the exhortation.
Mostly, I think, the story is a good reminder that you simply can’t see everything through a political or economic lens. For one thing, it makes you crabbed and angry all the time which isn’t good for you. And also, it distorts the points of view of people who are speaking from another perspective, like the Pope. If you read some of the comments under my previous post, you’ll see what I mean.
Finally, to all those who attacked me for criticizing Ayn Rand, I double checked my facts and I’m right and you’re wrong. Glad we could clear that up.
As a non-Catholic fan of the last two Popes — one a hero, one a genius — I’ve been following with interest the controversy over the new Pope’s first exhortation. Pope Francis’s Evangelii Gaudium sparked a firestorm with its criticism of free markets and “trickle down theories,” and its apparent call for the state to take action against them. The great Rush Limbaugh confessed himself “befuddled” by the message which sounded to him like “pure Marxism,” and Breitbart’s Big Peace site had a post headlined, “Pope Francis Attacks Capitalism, Calls for State Control.” In response, Peggy Noonan wrote what I thought was one of her weaker columns defending the Pope as a non-economist and saying, “I don’t think he’s saying be a leftist but something more revolutionary and fundamental: Be a saint. Be better, kinder, more serious and loving, and help create systems that reflect good, kind, loving people.” I much preferred the touchingly ferocious and loyal post from Rebecca Hamilton at Patheos, “If You’re Looking for Me, You’ll Find Me Standing With the Pope.” She lets go with both barrels at commentators on the left and right who try to tailor Catholicism to fit their political point of view:
These people have become so arrogant that they think they can talk to the Pope the way they talk to their toady political religious leaders that they’ve bought and own. Since they can’t even get an audience with the Pope, they are going directly to their cult-like following among their readers and listeners and are doing their best to get them riled up into a froth of Pope-hating.
Best of all, by my lights, was the scholarly Michael Novak’s piece “Agreeing With Pope Francis,” over at NRO. Novak points out that the original Spanish of the Pope’s message is more nuanced than the English translation, and that Francis’s South American experience might have given him a different view of capitalism than he would have gotten here in the states. Novak feels that what the Pope means is that capitalism alone won’t help the poor without restraints of both law and conscience.
A hilarious lead in Great Britain’s socialist newspaper The Guardian reads: ”It has picked up almost universally positive reviews and is being tipped for Oscars glory next year. Now Alfonso Cuaron’s Gravity has begun to pick up praise from a surprising source – Christian critics who say the 3D space spectacular celebrates the presence of God in the universe.”
What is hilarious about this is the word “surprising.” Who, after watching this picture, could fail to see that it celebrates the presence of God in the universe? Oh yeah! Socialists — who also can’t see that the universe celebrates the presence of God in the universe!
Life intervened and I didn’t get to see Gravity in a theater. And after being told that it could only be fully enjoyed in 3D, I was reluctant to watch the screener DVD. Ultimately, though, I felt I ought to know what was in such a popular flick, so I turned it on. And I thought it was terrific, 3D or 2: innovative, minimalist, sincere. A good old-fashioned adventure with heart. A two-handed play with special effects, its cast, characters and plot stripped to the bone. And it’s ironic that a film that depends so little on human presences onscreen should be one of the most humane movies of the year. But Gravity works because its filmmakers understand that in the vast emptiness of space the human heart is the only oasis, and in the vast emptiness of the human heart God is the only center of, you guessed it, gravity.
The plot’s so small, I won’t give anything away. But it’s also so outspoken in its point of view that it’s difficult to miss the point. Anyone who can’t see that this is a story about the Love that dies for us and returns to save us and give us abundant life is so blind… well, he should be working for The Guardian.
I watched this film over the Thanksgiving weekend and the more I think about it, the more I think its approach to its subject is kind of remarkable.
Kill Your Darlings is based on the true story of a murder that took place at the inception of the Beat literary movement. It stars former Harry Potter Daniel Radcliffe as the poet Allen Ginsberg and details how, as a student at Columbia University, Ginsberg came under the sway of his charismatic fellow student Lucien Carr, played by Dane DeHaan. With William S. Burroughs (Ben Foster) and Jack Kerouac (Jack Huston), the group conceived the idea of the New Vision, which ultimately produced Ginsberg’s famous neo-Whitmanesque poem Howl, Burroughs’ Naked Lunch and Kerouac’s On The Road.
But before all that happened, Carr stabbed then drowned his sometime lover David Kammerer (played by Dexter’s excellent Michael Hall), claiming Kammerer had attempted to sexually assault him. Because of a law that gave special dispensation to straight men under attack by homosexuals, Carr got off with a light sentence and went on to a long career with United Press International. I will refrain from making any comments about the kind of people who go into mainstream journalism. The facts speak for themselves — or would, if there weren’t mainstream journalists to cover them up!
My friend and City Journal colleague Myron Magnet has delivered an absolutely terrific new book for history buffs and lovers of America. It’s called The Founders at Home and it’s a wonderfully retold tale of the intellectual underpinnings of the nation’s founding, with a special eye toward what the founders’ houses had to say about their ideals.
I’ve been reading portions of this book as they were published in City Journal, but the book includes lots of new material. And, as I expect from Myron, the writing is graceful and the scholarship and thinking are profound:
A key reason the Revolution succeeded was its strictly limited scope. The Founders sought only liberty, not equality or fraternity. They aimed to make a political revolution, not a social or economic one, and they didn’t seethe with an Old-World intensity of social rancor or class rage. … Because democratic self-government requires a special kind of culture — one that fosters self-reliant selves — the Protestantism of the Founding Fathers also helped the Revolution succeed. Their Protestant worldview placed an intense value on the individual — his conscience, the state of his soul, his understanding of Scripture, his personal relation to God, his salvation. It was an easy step for them to assume that, as each man was endowed by his Creator with an immortal soul immediately related to God, so he was similarly endowed with rights that are “not the Donation of Law,” as Constitution signer William Livingston put it, but “prior to all political Institution,” and “resulting from the Nature of Man.”
You don’t need me to tell you that the work of these past giants is under threat from the intellectual pygmies who command the political heights today. A book like this isn’t just a delight, it’s also a bulwark against the ignorance and misinformation that leaders like Barack Obama encourage and on which they depend.
Great Christmas gift, truly. A 35 dollar list price, but only around 22 bucks from Amazon. It’s about 17 dollars on Kindle but, in my opinion, the beautifully produced hardcover is well worth the extra fin. This one you’ll want to keep on your shelf.
[If you have a moment, please watch the wonderful three minute movie scene above through to the end.]
It always annoys me when a church waxes mealy-mouthed in celebration of the military. They do this, I know, because the church leaders think such celebrations detract from their aura of Christly peace. “We pray for those serving in the armed forces around the world,” goes one Episcopalian formulation — which is twice mealy-mouthed because it not only fails to pray for the right people, it’s fashioned to make you think that you ARE praying for the right people. You can tell yourself you’re praying for those serving in OUR armed forces around the world, but you’re not. You’re praying for the soldiers of North Korea too — and, Lord, if you’re listening, as far as I’m concerned, you can feel free to smite those sons of bitches at any time. Don’t hold back any smiting on my account.
Jesus blessed the peacemakers. In this fallen world, that sometimes means good guys with guns. Just as neighborhoods are safer where homeowners go armed, so the world is more peaceful where free nations maintain a strong military. I am aware every day — every day — that I read, write, love, pray and simply walk down the street — because there are those who risk their lives to protect me from the armies of the bad guys. If you think that detracts from my aura of Christly peace, so be it. Personally, I think it gives the aura a fresh layer of realism and honesty.
Love is not love that will not stand and fight.
God bless our veterans and those serving today. Just like the Man said.
Today — November 5th — is the official publication date of my new young adult thriller — an adventure story and ghost story combined — Nightmare City. I seriously hope you’ll consider getting a copy or two to read secretly before giving them to the young adults in your life.
Meanwhile, here are some brief thoughts on writing stories for the youth market.
Edgar Allan Poe wrote a short story called The Imp of the Perverse. The imp was that demon inside all of us that pushes us to do the wrong thing, the thing that is certain to harm ourselves and others. You feel the imp inside you when you stand on a precipice and have the urge to throw yourself off. Maybe it’s just another name for the devil, or maybe it’s a personification of that sinful nature that, to paraphrase St. Paul, makes us do what we would not while being unable to do what we would.
Nowhere is the Imp of the Perverse more active today than in the stories and images we give to our young people. The imp is in the beckoning toward self-degradation and self-destruction that underlies so many songs and movies and books, in the blithe romanticization of promiscuity, drugs and foul language, in the strutting pride in transgression not of outdated social mores but of one’s own inner conviction of what is noble and good. There are plenty of wonderful songs and stories out there, but there really does seem an aggressive movement in parts of the entertainment industry to sell behavior to young people that, simply put, will make their lives not better but worse. I don’t have to name the garbage. You know what it is.
Criticize the selling of self-destructive behavior to the young and you’re “puritanical,” or “slut-shaming,” or being “unrealistic about the modern world.” But in fact, this effort to normalize the degraded is itself perverse in the extreme. It’s the incarnation of that imp within who urges us to do ill to what we love the best: ourselves and our children. The people who peddle this trash curse those who dare to criticize them so loudly precisely because they know they are doing wrong and can’t stop themselves. Believe me: the person who accuses you of “slut-shaming,” is herself deeply ashamed.
[CONTAINS SPOILERS TO THE FILM THE EAST.]
A cute new Ford commercial (echoing a cute old Coke commercial) promotes the superiority of AND over OR. Good horsepower AND good mileage is better than horsepower OR good mileage, just as hide AND seek is better than hide OR seek. And so on.
This is largely the way I feel about the arts. I have no desire to silence the cultural voices of people I sometimes disagree with. I only want to ensure that other voices aren’t gray listed, demonized, or stifled out of existence.
When I saw the film Prisoners the other day, it had moved from the mainstream theaters to one of the local art houses. As I waited for the show to begin, I wandered the lobby looking at the posters for upcoming shows. There were four: a movie about a gay Catholic priest who falls in love with a man; a movie about a lesbian love affair; a movie about a little Muslim girl who has to learn the Koran in order to win a bicycle; and a Yiddish film about a love affair during the Holocaust.
Now truly, I have no problem whatsoever with any of these films being made or distributed. A gay priest choosing between his religion and love is an inherently dramatic situation, as is a Jewish love affair during the Holocaust. The film about the little girl is by Saudi Arabia’s first female director and so should have some real insights into a world we rarely see. And when the lesbian film comes out on DVD, you’ll be able to skip ahead to the ten minute sex scenes. (Oh, all right, I’m joking…)
My problem, as always, is with the films that aren’t getting made. Like, say, the one about the not-gay Catholic priest who heroically tries to help sex slaves in Turkey until he’s assassinated by a man shouting “Allahu Akbar!” Or the one about Norman Borlaug, who led the green revolution credited with saving over one billion people from starvation, despite the attempts made to stop him… by environmentalists.
Speaking of environmentalists, the other day my wife and I sat down to watch an obscure thriller called The East, which I’d heard was good. It began with a terrorist attack on an oil executive by radical environmentalists. ”Don’t tell me the environmentalists are the bad guys,” said my wife, surprised. “No,” I said wearily. “The female agent will go undercover to stop the terrorists but will fall in love with their leader and discover that they’re actually the good guys and the oil companies she works for are evil.” To which my wife replied, “You know, it’s not always that much fun to watch movies with you.”
But it’s not me, really it’s not. When only one point of view is being told, the arts will by necessity become boring, predictable and solipsistic. It’s the sound of one hand patting itself on the back.
In an article called “Who Killed the Halloween Horror Movie?” USA Today recently noted the dearth of big budget horror films this Halloween, the Carrie remake being the exception. Don’t blame me for this, since I’ve done my little all to provide you with a Kreepy Klavan Holiday via my new young adult ghost story Nightmare City (now available to pre-order) and the reboot of Neal Edelstein’s ghost story app Haunting Melissa — script by me — now getting a shiny new 2.0 reboot.
And in fact, it’s not that there are fewer horror stories out there, it’s that there are so many that they can’t be confined to one time of year or to one medium. Horror has gone mainstream, and the zombie-like hunger for Halloween fare can be satisfied at any time and in any number of ways. The Conjuring was released in theaters in the summer, and is out on DVD for October. World War Z, The Evil Dead and Insidious 2 all broke this year and two out of three are available now. And whatever other spooky-dooky tale you want to experience on Halloween or any other time, you only have to stream it or DVR it or, for all I know, have it injected directly into your brain. Like the real world, the fictional world has no shortage of horror — none at all.
Does the mainstreaming and mainlining of eerie fare tell us anything about ourselves, I wonder. I’m always suspicious of such generalizations, but here’s something I’ve noticed for myself. After a career of realistic crime writing with only occasional forays into ghost stories, I’m finding it harder and harder to describe my vision of the world in fiction without resorting to the supernatural.
I guess it says something about the state of movie-making these days, that I sat watching Prisoners thinking, “Wow, this is so sharp, it could almost be a TV show!” The two and a half hour thriller about two girls who go missing in suburban Pennsylvania would have made a great three part drama on New Television but it holds up well on the big screen because of its cast and its theme.
There’s just about nothing I love more than good crime writing, and this is very good. Screenwriter Aaron Guzikowski’s excellent script languished for six years, and was even put on the famous Black List of the best unproduced scripts in the business. Hollywood doesn’t like bleak and likes children in danger even less. (It took ten years for my kidnapping novel Don’t Say A Word to get produced, and then it only happened because of a threatened strike.) I suspect it was the writing quality and the sheer number of good roles that finally got this to the screen. Guzikowski’s only other produced film is Contraband, an intelligent but flat remake of an Icelandic film. He has an original series coming up on the Sundance Channel, The Red Road, and I’ll watch for it after seeing this.
Look, you can pick at points of the Prisoners plot, but why would you? It’s intense, suspenseful, smart and the characters and actors are terrific. Hugh Jackman plays the troubled but devoted father who takes the law into his own hands in the ugliest possible way. And Jake Gyllenhaal plays a great cop, but one so disconnected from life that he can only mouth platitudes in the face of the parents’ emotional agony. It’s one of the script’s signal features that it makes you root for both these guys, even when they go over the line. Also, I should point out that while there are disturbing story elements, the gore and boo scares are kept to a minimum. The film earns its suspense through good ideas instead of cheap shots.