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June 11, 2008
The commissariat of inclusion
If you've been wondering what's behind the scenes in the ridiculous fight that Spike Lee started with Clint Eastwood, don't miss Roger L. Simon's analysis. He thinks the motivation is simple jealousy, cloaked in the form of Lee's bitter identity politics: ....for more than a decade Spike has barely made a film any of us can remember. Compare that to Eastwood, who, although some twenty-seven years Lee's senior, is at the top of his career, having scored big in 2003-2004 with Mystic River and Million Dollar Baby.I couldn't agree more. Bearing in mind that the black Marines at Iwo Jima served in segregated units, from a purely artistic standpoint, including them in a film about the raising of the flag would have been a distraction, as it introduces a very different, although otherwise legitimate theme. Films like this -- like any form of art -- simply cannot depict everything, and I dislike demands that art be altered for "inclusionary" political purposes. And how far does this go? Who else might have been excluded? What if there were closeted gay soldiers oppressed by the then-universal climate of civilian and military homophobia? Do they too have to be in every war film? Why? Because the Spike Lees of the world want to be unelected Commissars of Identity Politics? Let me admit my personal bias. I like Clint Eastwood's films, and I don't like Spike Lee's films. But films should stand or fall on their own merit, based on their popularity with the public, not based on politicized demands of competing directors. (Fortunately, the government is not producing these films and no one is forced to watch them.) posted by Eric on 06.11.08 at 08:39 AM |
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The Thunder Run has linked to this post in the - Web Reconnaissance for 06/11/2008 A short recon of what’s out there that might draw your attention, updated throughout the day...so check back often.