If we concede that Brokeback's $70 million-plus at the box office "is a sign of American mainstream status," we are still left with another question. "What is $288 million or even . . . $370 million" a sign of?
This question was posed by columnist Terry Mattingly. The numbers he's citing are the comparable box-office takes for The Chronicles of Narnia and The Passion of the Christ, respectively. These films not only made many times what Brokeback did, they did well in every part of the country. By Rich and company's logic, this would place them and their Christian messages squarely in the "mainstream." But don't hold your breath waiting for such an acknowledgment.
The truth is that, as Mattingly writes, "Brokeback Mountain is a solid, artistic niche movie for the hard left in American life." This group is "dominated by Oscar voters and Hollywood's most loyal supporters in blue zip codes."
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Just Think About This
If lawyers are disbarred and clergymen defrocked, doesn't it follow that electricians can be delighted, musicians denoted, cowboys deranged, models deposed and dry cleaners depressed? Laundry workers could decrease, eventually becoming depressed and depleted!
Even more, bed makers will be debunked, baseball players will be debased, landscapers will be deflowered, bulldozer operators will be degraded, organ donors will be delivered, software engineers will be detested, the BVD company will be debriefed, and even musical composers will eventually decompose.
On a more positive note though, perhaps we can hope liberal politicians will be devoted.
"It is the duty of nations, as well as of men, to own their dependence upon the overruling power of God and to recognize the sublime truth announced in the Holy Scriptures and proven by all history, that those nations only are blessed whose God is the Lord." --Abraham Lincoln
Jews run Hollywood, some say. If they do, one might expect them to produce films that better reflect their heritage and values, rather than serve as apologists for those who wish to exterminate the Jewish people.
This Sunday's Academy Awards ceremony will not only be about the gay-friendly flick "Brokeback Mountain," but also about whether the Academy of Motion Picture Arts and Sciences will award an Oscar to a film called "Paradise Now," which in January won the Golden Globe for Best Foreign Film. The Golden Globes often foretell which movies are likely to win Oscars.
"Paradise Now" is well-produced propaganda for the Arab-Muslim-Palestinian side and a justification for people who blow themselves up and take innocent children, women and men with them. The film is about two young Palestinian males and their decision to become homicide bombers (I deliberately use the word "homicide," because it better reflects the true intentions of the killers, rather than "suicide," a word used to describe people who take only their own lives).
The film recalls a real event when a homicide bomber boarded a bus in Haifa, Israel, on March 5, 2003. Ironically (or maybe deliberately), this Sunday, March 5, is the date of the Oscar presentations. The killer dispatched 17 people from there to eternity. Nine of the dead were schoolchildren, ages 18 or younger. Most people would find such a horrific act beyond the pale of any religion or politics, much less entertainment, but apparently Hollywood thinks it good movie material.
Yossi Zur, the father of one of the dead children, inspired a petition drive that at last count had collected more than 30,000 signatures. The petition asks the Academy to revoke the "Paradise Now" Oscar nomination. In an article written for The Israel Project, Zur expresses his grief for his then-16-year-old son, Asaf, adding, "'Paradise Now' is a very professional production, created with great care for detail. It is also an extremely dangerous piece of work, not only for Israel and the Middle East, but the whole world."
Zur went to see the film and wonders, "What exactly makes (it) worthy of such a prestigious (Golden Globe) award?" He asks if Hollywood might also think a film sympathetic to the objectives of the 9/11 hijackers could someday be made. Why not? Didn't those men believe their act was righteous and in their "desperation" thought it the only way to get America's attention for their "plight"? Zur wonders if the terrorists get their hands on a nuclear, biological or chemical device that they use to kill 100,000 or more people whether the film industry will think that worthy of cinematic and sympathetic treatment.