I read something awful the other day, and it had to do with Hollywood. It seems a truly ghastly horror movie called Sinners earned all sorts of awards from an industry of such moral corruption that even witless oafs with filthy underwear and filthier minds are appalled. I will get to this abomination in a jiffy, but first a few thoughts about Hollywood past and present.
The articulate and smooth-as-silk speech of Clark Gable in Gone with the Wind, the clipped, biting wit of Clifton Webb in Laura, and the earnest but unmistakably American moralism of Dana Andrews in The Best Years of Our Lives are gone, replaced by the aggressive, foul-mouthed and inarticulate utterances of mumbling vulgarians posing as actors. Space prevents me from listing the great and wonderful movies of the past; suffice it to say films no longer deal with human emotions (besides anger), and thus we are no longer drawn to them as irresistibly and rapturously as we once were.
Nowadays, the moronic youth to whom movies are marketed prefer the visible to exceed reality—ergo the endless car-chases, explosions, and sci-fi fantasies. An intelligent film is as rare as a non-swearing teenager; being able to quote Breaking Bad’s best bits is the new measure of cultural refinement. With few exceptions, the quality of screen-writing, acting, and directing is now abysmal.
One of the latest movies to have the Hollywood crowd crowing with ecstasy is that anti-white horror flick Sinners. (I haven’t seen it, but I did read about it in two magazines.) That such a racist film, made in America, can find such an admiring audience makes my blood boil. Is there no one in La-La Land aware of how damaging this crap is? How can Warner Bros. finance a movie so damaging to society and race relations? Greed is the answer, because the audiences of today love to see whitey get bashed. But Warner’s greed surpasses the normal Hollywood kind, and if there is any justice in this universe I hope the studio pays for it in triple. Alas, anti-whiteness sells and sells big.
My friend Michael Mailer’s last two films have involved children and morality and a miracle-performing young woman. They are both artistically very good and carry positive, compelling messages. By contrast, disuniting the nation seems to be the goal of these Hollywood ghouls. The competing agendas of political radicals, minoritarian zealots, religious sectarians, and a mishmash of social progressives make it very difficult to please everyone where entertainment is concerned. Unquestioned national unity—as in, say, 1945—is no longer possible. But instead of trying to unite a divided nation, these untalented hustlers pick on whitey. Yet social solidarity, as well as democracy, depends on a unified national identity, one that can inspire both loyalty and affection.
Do today’s moviemakers encourage subversion? Of course they do, because they think there’s money in it. But Uncle Sam is a pretty tough guy and can take it. Political sympathies for illegals play well at Tinseltown cocktail parties next to the swimming pool (except when the illegals attempt to make an entrance, that is). And another thing. Whites, especially white males, are no longer behind the cameras—they’ve been purged like anti-Stalinists back in 1935.
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Here are the facts: The people who decide what gets made in Hollywood are those who run the studios. They are, to a man (or woman), very, very liberal. Hence ultra-woke, LGBTQ+ creeps, nerdy types who shed tears when Tom the cat threatens Jerry. They see John Wayne as a national villain, someone who belongs among the monsters of the ages.
So there you have it. All our past heroes, including those who beat the Brits and created this nation, are the bad guys. A perpetual stream of anti-white content in movies and television is now the norm. I often wonder what the great directors like John Ford, William Wellman, Howard Hawks, Elia Kazan, and their ilk would have done had the studios of their time been headed by our modern girlie-men. What about the giants of acting: would old pros like Burt Lancaster, William Holden, Cary Grant, Gary Cooper, and Jimmy Stewart have stayed in the profession if they had to put up with today’s woke outrages? The divine Debbie Reynolds perhaps, but no one else.
