Hollywood loves war, it is their glory. War lines the pockets of Hollywood liberals while giving them a forum to moralize their position at the cost of box office totals. And war is what most Hollywood lefties turn to when they dream of marching the streets with blood made of sugar-water and red-dye number three on their phony hands.

In 2002 a group of Hollywood stars met to discuss ways to protest the war in Iraq. The meeting took place in a private swanky home, only an hour or so after President Bush took to the airwaves to announce the commencement of the military conflict.

The group — called themselves Artists United to Win Without War — with merry huckster members Susan Sarandon, Ethan Hawke and Jessica Lange speaking out from the east coast. The Grand Poobah of this rank and file of brilliant geopolitical-analysts was none other than Rob Reiner. The rest of the troops were made up by Sally Field, Blythe Danner, Christine Lahti and husband Thomas Schlamme (director of The West Wing), MASH star Mike Farrell, Dharma & Greg’s Mimi Kennedy, Bradley Whitford and then wife Jane Kaczmarek, writer/director Audrey Wells, producer Robert Greenwald, actress Fionnula Flanagan, TV stars Lindsay Wagner, Daniel Benzali, Sharon Lawrence, David Clennon and rising star Troy Garity, the son of Jane Fonda and Tom Hayden. (This group has grown to over 140 members.) It was announced at the event that the Barbra Streisand Foundation was donating $5,000 to keep the group going. I assume the donation was for the Russian beluga and Crystal served to these wealthy Democrats by the Venezuelan help on loan from Hugo Chavez.

It is in the very heart of Hollywood, as misguided and self-serving as it is, to march in the streets, to make movies about their positions, and to yell like banshees: “War is not the answer!” The problem with Hollywood celebrities shouting anti-war babble is their inability to ask the question, “Without war, where would Hollywood be?”

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When they spoke, they spoke in one voice, and they were heard. They were black, they were white, they were Irish, they were Polish, they were Catholic, they were Jews, they were one. That’s what a union is: one… 

Why it’s a left-wing film

Set in the Deep South, director Martin Ritt’s “Norma Rae” is yet another Hollywood entry that gushes over the selfless virtues of Big Labor and demonizes both the corporation and the individuals who would prefer not to be forced into the Borg Collective. White collar management is naturally made up of bullies who tap phones and work an old man literally to death and the “exploited workers” themselves who oppose being community-organized are motivated primarily by racial bigotry and the ignorant belief that unions are nothing more than a New York, communist conspiracy run by the Jooooozzzz…

In other words, there are no intelligent or sound arguments allowed from the other side. Everything is presented — both literally and figuratively — in the simplest of black and white terms, and this includes religion. In an important scene laced with the symbolism of having a man of the cloth paint over the black porch railing leading into his church with whiter than white paint, the spiritual center of the town is revealed as racist. This insidious message ends up being a major turning point in the character of Norma Rae (Sally Field), for she sees the light and quits the congregation, her spiritual home since childhood.  

The story is based on real-life union activist Crystal Lee Sutton, who reportedly did bring the North Carolina textile mill she was working at to a stop and won the day for the union when, in a final act of defiance after being fired, she stood on her work table and held over her head a piece of cardboard with the word “UNION” scrawled on it. This moment, reproduced in “Norma Rae,” would become one of the most iconic scenes in the history of cinema. (more…)

In an industry notorious for wasteful pretentiousness — directors shooting a hundred takes, crews taking all day to light a single shot, gazillions spent on the latest effects — Hal Needham was a rebel. Directing? “There is no magic to it, you know. All you have to do is look through the camera and see if it’s got the lens on it that you want. . . I don’t really think it’s that tough.” Cinematography? “We’re not doing Gone with the Wind or Fiddler on the Roof. It’s action/comedy. . .don’t give me none of this artsy-fartsy stuff, just shoot the film.” Expensive locations? “I like to get outside whenever I can. I think it gives a film energy to be outside. . . and beauty.”

And so Smokey and the Bandit was made fast and loose, outside, on a low budget. In Reynolds’ words, they worked “lightning quick,” with first-time director Needham “reigning over crew and camera with instincts that made him, in my humble opinion, the best action director in the business.” The entire film was shot on location in the South. “We moved all over Georgia. . . It was a screwy chase picture, but Hal’s fun, outlaw, hell-bent-sensibility made it sparkle.” (more…)

The cruel exploitation of the impoverished masses has been a staple of Hollywood storytelling since the earliest days of movie making.  In fact, thanks to big-screen classics from The Grapes of Wrath to Slumdog Millionaire you might say that grinding poverty has been a real gold mine for Tinseltown.  Given Hollywood’s progressive politics you might also think that a good chunk of the vast box office earnings inspired by the world’s poor might by now have filtered down to the same unwashed throngs who are, in a sense, responsible for it.  And in most cases you would be wrong.

Crystal Lee Sutton, 68, died a couple of weeks ago of brain cancer.  You might know her better by her Hollywood name: Norma Rae.  Crystal’s life story was the inspiration for the 1979 Sally Field blockbuster that grossed $22 million (in 1979 dollars), four Oscar nominations, and two Oscars including Best Actress for the aforementioned Ms. Field.  Norma Rae’s character is #15 on the American Film Institute’s list of all-time greatest screen heroes; Norma Rae is rated 16^th of their “100 Most Inspiring Movies of All Time.”  Given all this you probably think that Crystal Lee Sutton died in relative comfort, content with her life’s work and unencumbered by material concerns such as medical bills.  Well, guess again. (more…)

President Obama has made the rehabilitation of the reputation of our country one of his top priorities. He wants to be the Sally Field of the international politics and know that other nations like us!  They really, really like us. To achieve that end he has apologized for just about every action of the Bush Administration and yet at the UN this past week several of the people the President has been trying to win over still seemed a bit distant. His new BFF Hugo Chavez did give him a nice “smells like hope” compliment, but several other still haven’t gotten the message.

President of all Iranians — both living and dead in the streets — Ahmadinejad still wants to build a few nukes even though Mr. Obama has told him not to. Colonel Qaddhafi, or Gaddahfi or Khaddafi, or Kaddafy or however you spell it, isn’t on board the love train either.

This has not deterred President Obama! Moving swiftly, he said he will name a new Apology Czar, rumored to be either Jimmy Carter or Maxine Waters and set a schedule for more apologies to settle all past wrongs of the United States. (more…)

The movie business is not generally kind to women when they pass the age of 40, and Julia Roberts (now 41) is learning that lesson the hard way. The former Pretty Woman has returned to the big screen this weekend in Tony Gilroy’s Duplicity (Universal), and one prominent blogger wrote this headline:

Duplicity soft: Julia’s Comeback? Audiences Say Go Back

Julia Roberts and Clive Owen star in the fun, smart DUPLICITY, from writer/director Tony Gilroy

Roberts’ last starring role was in 2003’s Mona Lisa Smile ($63.8M domestic), and since then she has become a full-time Mom. Overall, she has 8 movies on her resume that have reached $100M in the US with her as a lead (I’m not including the Ocean’s Eleven franchise). Her most successful string of movies started in 1997 with My Best Friend’s Wedding ($127.1M cume) and ended with her Oscar winning performance in Erin Brockovich ($125.6M cume). During that span, she starred in 6 movies, generating an average of $115M in domestic box office.

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