Just last week at the Cannes Film Festival, actor Peter Fonda called President Obama a “fucking traitor” and now, according to the Telegraph, we discover he’s encouraging his own grandchildren to take up arms against the president due to some upcoming conflict between the haves and have nots.

Does Peter Fonda consider himself a “have” … and what about his inherited-wealth grandchildren?

Secret Service to the white courtesy phone…

CANNES, France (AP) – American director Terrence Malick’s expansive drama “The Tree of Life” won the top honor at the Cannes Film Festival on Sunday, while Kirsten Dunst took the best-actress prize for the apocalyptic saga “Melancholia.”

The Palme d’Or prize was accepted Sunday by two “Tree of Life” producers, Dede Gardner and Bill Pohlad, for the notoriously press-shy Malick, who has skipped all public events at the glamorous Cannes festival.

Malick is “infamously shy and low profile … (but) I know he would be thrilled with this,” Pohlad said.

“The Tree of Life,” which opens Friday in the United States, stars Brad Pitt, Sean Penn and Jessica Chastain in a far-flung story of family life that plays out against a cosmic backdrop, including glorious visuals of the creation of the universe and the era of dinosaurs.

Dunst won for her role in the end-of-the-world tale “Melancholia,” whose director, Denmark’s Lars von Trier, was banned from the festival after sympathetic remarks for Adolf Hitler at a movie press conference. (more…)

From AFP:

Danish film director Nicolas Winding Refn said on Friday he was ‘repulsed’ by remarks by fellow Danish director Lars von Trier, who was banned from the Cannes film festival for saying he had “sympathy” for Adolf Hitler. Nicolas Winding Refn is competing for the Palme d’Or with “Drive”, the story of a Hollywood stunt driver who drives getaway cars in the LA underworld by night.

Ed. Note: My take is here. — JN

Who can forget the way Natalie Maines singlehandedly damned her little country trio – the Dixie Chicks – to infamy by bashing President George W. Bush in March 2003?  She was on tour in Europe criticizing our president while he was in D.C. sending troops to liberate Iraq. Country music fans rightly viewed Maines’ criticism as a move more befitting someone like Bill Clinton, who also protested American wars while on foreign soil (the Vietnam War), and the Dixie Chicks quickly disappeared from radio airwaves.

Here’s Maines’ quote:

 Just so you know, we’re on the good side with y’all. We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas.

For the record: I’ve been critical of Maines’ attack on Bush ever since and plan to continue being critical of it. Because the bottom line is this: The American people — the salt-of-the-earth, work-hard-everyday-to-make-ends-meet, sign-up-to-fight-in-the-military people — don’t like to see someone standing with Europeans and hurling criticism at our President on the eve of war. They rightly equate that with criticizing the mission before it begins.

But this is not to say that the American people don’t support the freedom to criticize a president at the right time and in the right way, even overseas. And as a matter of fact, I’m betting that 99.9% of those same salt-of-the-earth folks who were outraged by Maines’ criticism of Bush are giving a standing ovation to Peter Fonda for calling President Obama a “[bleeping] traitor.” (The other .1%  will have a problem with the “[bleeping]” part.) Furthermore, I can imagine people throughout flyover country giving each other high fives as they read Fonda’s words.

(more…)

I’m a major Peter Fonda fan, think he’s one of the best character actors working today and can’t imagine life without “Easy Rider,” but this is way, way over the line. The sentiment is hard to disagree with and I’m no Obama fan, but he is the President of the United States and trashing him in this manner overseas at Cannes is hardly different than what all but ended the Dixie Chicks career.

CANNES, France (AFP) – Peter Fonda launched a four-letter attack on US President Barack Obama at the Cannes film festival on Wednesday, calling him a traitor over the handling of the aftermath of the Gulf oil spill. …

Fonda — a keen environmentalist and co-producer of the film which centres on the explosion of the BP oil rig Deepwater Horizon, the ensuing spill and its consequences — accused Washington of trying to gag reporting on the issue.

“I sent an email to President Obama saying, ‘You are a f(expletive) traitor,’ using those words… ‘You’re a traitor, you allowed foreign boots on our soil telling our military — in this case the coastguard — what they can and could not do, and telling us, the citizens of the United States, what we could or could not do’.”

(more…)

***UPDATE: This article has been corrected to fix a factual error.

The Cannes Film Festival Board of Directors is unwilling to lay out a set of excuses for director Lars von Trier’s pro-Nazi comments yesterday. If memory serves this is the first time Cannes has ever declared “persona non grata” a director of astonishingly dull and pretentious films only liars and masochists claim to have watched all the way through*:

CANNES, France – Danish director Lars Von Trier was expelled from the Cannes film festival on Thursday after remarks he made at a news conference, apparently in jest, in which he declared himself a Nazi and Hitler sympathizer.

“The festival’s board of directors … profoundly regrets that this forum has been used by Lars Von Trier to express comments that are unacceptable, intolerable, and contrary to the ideals of humanity and generosity that preside over the very existence of the festival,” the festival said in a statement.

“The board of directors firmly condemns these comments and declares Lars Von Trier a persona non grata at the Festival de Cannes, with effect immediately.”

(more…)

***UPDATE: An emailer just alerted me to the fact that the article referenced here that was published at “Roger Ebert’s Journal” was written by Chaz Ebert, not Roger Ebert. I’ve updated the headline and post to reflect the correction.

If you remember, on Sunday night, film critic Roger Ebert was all excited after Salon’s Joan Walsh and NBC’s David Gregory (two people with racial issues of their own) called Newt Gingrich out for the hideous crime of labeling our failed food stamp president the “Food Stamp President.”

Here’s his tweet:

So “food stamp President” is “coded racism,” but when you fast-forward a mere couple of days to today you’ll find Roger Ebert publishing at his Chicago Sun-Times Journal a report written by Chaz Ebert that contains a lot of excuse-making for a famous director of pretentious films trashing Israel and proudly declaring he’s a Nazi:

[Von Trier] said he grew up thinking he was a Jew, and he was very happy to be a Jew. Then he discovered he was a Nazi, and that also gave him some pleasure. “Yes, I am a Nazi!”, he declared.

While his cast (Charlotte Gainsbourg, Udo Kier and John Hurt) looked on in horror, Kirsten Dunst tapped him on the shoulder and whispered to him to moderate his comments. He looked at her in confusion and said, “But this has a point, it will be okay.”

Then he proceeded to dig himself in deeper, saying that he understood Hitler, and that he could sympathize with his being down in that bunker toward the end. He continued, “Well that doesn’t mean I have anything against Jews, except Susanne Bier (Danish filmmaker, “In a Better World”).

“Well, Israel is a pain in the ass …

“Okay, I am a Nazi…

(more…)

Some things never change. If it’s a day ending in a “y” you can be sure there is more bad news coming out of Iran. It’s like an Islamist Groundhog Day of horror shows in endless loop. Outside Iran itself, no one is becoming more aware of that self-evident reality than the Cannes Film Festival and the world film community. On this very day last year, internationally renowned Iranian film director Jafar Panahi was locked away without official charge in a crypt-like solitary confinement cell in Evin prison’s notorious Ward 209. In response, Hollywood’s top filmmakers issued a petition calling for Mr. Panahi’s release last April. Cannes soon followed in calling for Mr. Panahi’s release in May.

—–

That event is perhaps best remembered by Mr. Panahi’s empty jury chair and actress Juliette Binoche’s tearful plea. Mr. Panahi responded to Cannes’ supportive efforts to liberate him by smuggling out a thank you note from Evin. The regime’s response to that heinous offense was to sentence Mr. Panahi to an additional two months in Evin, followed by a Gestapo-like raid on his home to terrorize his family into media silence. Yet the international pressure seems to have worked then, as Mr. Panahi was freed from prison on May 25. Mr. Panahi’s liberty turned out to be short-lived. In December, Mr. Panahi was convicted of “propaganda against the system” by an Islamist kangaroo court in Tehran and sentenced to six years in prison.

Mr. Panahi was also banned from the film arts and leaving the country for 20 years. In effect, the regime issued Mr. Panahi an artistic death sentence. This time, however, Mr. Panahi had notable company. Director Mohammad Rasoulof, who had campaigned for Mr. Panahi’s freedom last year from outside Iran, was issued a matching sentence for his alleged crimes against the Islamist state. Both filmmakers are currently out on bail awaiting appeal. So once again, Cannes is neck-deep in campaigning for Mr. Panahi’s exoneration as well as Mr. Rasoulof’s now. The organization just issued a statement linked to a petition containing 17,000+ signatures that reads like a who’s who of the film world.

(more…)

In 2008, when Woody Allen last spoke of Barack Obama to a group of Spanish journalists, he declared that it would be a “disgrace” if the then-U.S. Senator failed in his quest to become the 44th President of the United States. Now, 16th months into Obama’s first term, Allen has apparently mistaken La Vanguardia, a Spanish newspaper, for the Make-A-Wish Foundation.

The famous director proclaimed in a recent interview:

“It would be good…if (Obama) could be dictator for a few years because he could do a lot of good things quickly.”

If Allen had any regard whatsoever for the U.S. Constitution and Bill of Rights, he would never fathom such a scenario. The day that the citizenry of this nation is forced to live under a tyrannical dictatorship, the great American experiment would suffer an unimaginably horrible demise; our cherished land of the free and home of the brave would be relegated to nothing more than dirt and real estate.

For whom exactly would an Obama dictatorship be good for? (more…)

The political thriller Fair Game premiered at Cannes today. (Pause for giant, collective yawn from Big Hollywood readers…)

The Sean Penn-Naomi Watts “starrer” (hey, it’s fun using unnecessarily awkward Variety-speak!) revisits the Valerie Plame Wilson scandal, an episode I’m not even going to bother recapping, because to do so would simply be coma-inducing for all of us. Besides, I already summed up the affair and dissected the screenplay’s political slant for Big Hollywood here. Suffice it to say, it’s a tale the Hollywood Left is hell-bent on getting Americans to care about.

As are its water-carriers in the media. In a deceptive puff piece an article last week for the Los Angeles Times, Rachel Abramowitz discusses the film and interviews its director Doug Liman. The first clue that we’re about to be sold a crockpot of hooey comes when she describes Valerie Plame as “the undercover CIA operative whose name was leaked to the media by the Bush White House in an effort to discredit her husband, former Ambassador Joe Wilson.”

Notice how matter-of-factly those lies are delivered. Matter-of-fact because the left-dominated entertainment industry clings to its anti-Bush narrative about the affair as received wisdom: courageous patriot Joe Wilson dared speak truth to power by exposing the lies neocons used to promote a “war of choice,” and then the wicked Bush and his flying monkeys Rove and Cheney plotted vengeance against him from their White House lair. (more…)

Not only did Michael Douglas tell a French radio station it would be “unfair” for him to sign the latest “Free Polanski“ petition floating around Cannes for “somebody who did break the law,” he did so hours before the Charlotte Lewis story broke. 

Unlike some who are now rethinking their Polanski support in the face of these new allegations, one child rape was enough for Douglas.

This week, as the buildup to the upcoming movie “G.I. Joe” continues, the L.A. Times claimed that…

Yet overseas, where big action films often earn 60% or more of their ticket sales, rah-rah American sentiment doesn’t play well. So those references have vanished from the advertising.

Big Hollywood’s John Nolte gave that theory a thorough fisking, providing numbers showing that while “rah-rah America” movies aren’t guaranteed big foreign box-office returns, they aren’t automatically guaranteed to fail. He also points out that many “anti-rah rah” movies have even less appeal.

Oh, is it still okay to say “foreign?” Just checking, seeing as many schools are replacing “foreign language” departments with World Language departments. We’re all just one, big, happy World Family, right?

Okay, back to the topic at hand. John’s post got me to thinking. If anti-war movies such as “Rendition” and “A Mighty Heart,” despite the hype and the A-list star roster didn’t bring in the beaucoup bucks, how about anti-American movies made by one of the biggest anti-Americans on the planet, Michael Moore? (more…)

Antichrist hasn’t even come out in the United States and I’m already bored.  

If you haven’t heard about Antichrist yet, you will.  It’s the latest movie from Danish art film director Lars von Trier, who has made a name for himself with critically-hailed movies that push the limits his audiences’ tolerance for bizarre sex, bloody violence and artistic pretension.  One of his recent movies focused on an American town where slavery never ended, while another had pretty much an entire American village raping Nicole Kidman.  A third film ends with the American authorities hanging Icelandic rock waif Bjork.   Sensing some themes?   By all accounts, Antichrist is a similarly delightful romp.

Naturally, the critics adore him, and combined with the fact that von Trier despises Americans, you would expect that he would get cut some slack by the French audience at Cannes last weekend when the festival screened Antichrist.  Not so – the few cheers were apparently drowned out by a tsunami of boos when the lights went up.  What happened?  

Maybe, just maybe, people are starting to catch on to the fact that shocking art has become anything but.  The problem for Mr. von Trier and those like him who specialize in transgressive art is that there’s really very little in the way of conventional morality left to transgress.  (more…)

During the 1963 Moscow International Film Festival, few doubted Federico Fellini’s “8 ½” was a masterpiece. The film was not merely contending for the Grand Prize; it was clear that no conventional prize could put a tag on the sheer artistic genius and refreshing power of the movie. Threatened by Fellini’s highly formalistic language, the Communist Party’s movie department (who were making decisions behind the scenes), as usual, suspected something potentially harmful for the cause of the international proletariat. They put pressure on the head of the jury, a Soviet filmmaker Grigori Chukhrai, not to award the Grand Prize to “8 ½.”

Chukhrai was in a tight spot. He had his share of problems with the system with his 1959 war movie “The Ballad of a Soldier,” when he did not depict Nazis as stupid animals but rather as a highly organized and evil intelligence. Because of that, some in the government tried to ban Chukhrai and label him a Nazi sympathizer. They failed. First, Chukhrai’s movies about the war were Soviet classics and second, Chukrai himself was a war hero who fought through almost every battle of the war all the way to Berlin. (more…)