Sunday, February 22, 2009

It's because of Eric Bana

More google hits for Robbie Graham and Matthew Alford from fellow New Statesman blackleg John Pilger, another person who probably hasn't actually seen Munich, but is happy to call it a 'a corporate-backed endorsement of Israeli policy,' which it really isn't. Pilger goes on to ask film critics to be, essentially, political journalists like himself, accusing those many film critics who panned Brian De Palma's Redacted of trying 'to taint the film as a kind of heresy and to bury it.' If a film criticizes any aspect of US foreign policy, it is the film critic's duty to support that film.

But back up, go and read the original Village Voice piece, and gosh darn if Pilger isn't talking a complete bunch of bullshit, unless the Voice was trying to bury the film by giving it substantial and not unsympathetic coverage.

Anyway, film critics frequently 'speak out' as Pilger demands; they do it all the time. And they generally do better than this:

These days, there are two types of censorship. The first is censorship by introspective dross. Betraying its long tradition of producing gems, escapist Hollywood is consumed by the corporate formula: just make 'em long and asinine and hope the hype will pay off. Real talent is absorbed. Ricky Gervais is his clever comic self in Ghost Town, while around him stale, formulaic characters sentimentalise the humour to death.

So... Hollywood for long produced gems like Birth of a Nation, The Green Berets, and all the racist westerns and (you’ll have to read this bit for yourself but seriously) proto-neo-con second-world-war movies he refers to earlier in the piece; but now it produces long, asinine, introspective dross, all according to formula – a recent development – and relying on publicity to attract an audience, another completely unprecedented tactic in the annals of entertainment history. Ho-hum. It actually gets worse when he compares Hamas with the French resistance, but some stuff kind of fisks itself.

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