Putting A Dent Into Liberal Hollywood

Roger L. Simon notes the two big winners tonight, and writes that “The 2010 Academy Awards may not have marked the end of “liberal Hollywood” as we know it, but they certainly put a solid dent in it:”

With the pro-military “The Hurt Locker” winning over the enviro-pabulum of “Avatar” and Sandra Bullock garnering the Best Actress Oscar for a Christian movie, the times are a-changin’ at least somewhat, maybe even a lot.

But one thing is now certain. It is time for conservative, center-right and libertarian filmmakers to stop feeling sorry for themselves and go out and just do it. Their “victocrat” days are over. No more excuses. “The Hurt Locker” and “The Blind Side” have proven that it can be done. Get out of the closet, guys and gals. If you want to make a film with themes you believe in, quit whining about Industry prejudice and start writing that script and trying to get it made. That’s not an easy thing, no matter what your politics.

Right siders can take inspiration too from Sunday’s Oscar ceremonies themselves. They weren’t defamed for a moment. Missing in action was the usual libo-babble, no extended hymns to the cause du jour or ritual Bush-bashing. And Barack Obama wasn’t even mentioned. Not once. But the troops were – several times by Kathryn Bigelow.

And, yes, we can all take pleasure in her being the first woman to win Best Director, again no matter which side of the political spectrum we come from. She did a Helluva job.

And, oh yes, I thought Steve Martin and Alec Baldwin did a reasonable job of hosting too – a lot better than the likes of Letterman, etc. They kept things moving along (except for the unbelievably tedious “salute to horror” and the traditionally soporific dance numbers). And didn’t you like the look on Sean Penn’s face when Bullock won for “The Blind Side”?

More tomorrow on Poliwood with Lionel Chetwynd.

While you’re waiting for Roger and Lionel’s next Poliwood, don’t miss this edition from February 16th, in which they compared the Hurt Locker to Avatar, and explained why a film with an $11 million budget is infinitely better moviemaking than one with a $237 million(!) budget. (and also last week’s edition, which reviewed the regressive mindset that produced the primitivistic Last Tango In Paris in 1972, versus The Blind Side.)

Update: In Chinatown, John Huston’s Noah Cross character told Jack Nicholson, “‘Course I’m respectable. I’m old. Politicians, ugly buildings, and whores all get respectable if they last long enough.” But as Tim Blair notes, a building can obtain “legendary” status remarkably quickly in today’s Hollywood; on the other hand it’s also the sort of town where actresses risk being “burnt at the steak” — nobody tell PETA!