Who knew? This year’s Academy Awards weren’t just about tasteless Jewish jokes, boobs, and pratfalls

According to the far left dhimmis, communists, and their Islamist whiner pals at the Socialist Worker, this year’s Oscars were all about –  drum roll – “ISLAMOPHOBIA!”

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Socialist Worker Commentary on the 85th annual Academy Awards, which took place on Sunday night, boiled down to a couple of themes. Among commentators who looked beyond the stars’ wardrobe choices, many focused on the barrage of tasteless, offensive and often sexist jokes from host Seth McFarlane.

The smackdown of McFarlane’s awful “jokes” was certainly warranted. But much less attention was paid to the terrible politics of some of the big winners of this year’s award season–particularly, two films and a television series that attempt to wrap Islamophobic stereotypes accurate portrayals in a slick, sophisticated package for a liberal audience.

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THE BIG winner on Oscar night was Argo, the political thriller directed by Ben Affleck that is loosely based on a real covert operation in which a CIA officer posed as the producer of a non-existent movie in order to sneak several U.S. embassy workers out of Iran during the 1979 hostage crisis.

Argo panders to the worst racist stereotypes about the Iranian Revolution (What race are Iranians?)–which, in reality, was a mass popular uprising that overthrew a vile U.S.-backed tyrant, the Shah of Iran (only to replace him with a vile Russian-backed group of IslamoFascist mullah dictators who subjugated the people under brutal oppression). The Islamists who ultimately came to dominate Iran were on the right wing of the revolution–but such distinctions are totally beyond Argo, which treats almost every Iranian as a fanatic screaming in un-translated Farsi.

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In response to such criticism, some fans of Argo point out that the opening sequence of the film uses storyboard-like animation to explain how a CIA-backed coup overthrew a democratically elected Iranian leader, Mohammed Mossadegh, in 1953, setting the stage for the Shah’s brutality to come.

It’s true that this is more historical context than most American films set in a Muslim-majority country offer. But the value of this sequence is immediately undercut by the first live-action sequence of the film, in which a horde of Iranians storms the U.S. embassy like it’s the Iranian zombie apocalypse (what other kind is there?).

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While the Muslim masses outside the embassy are depicted in mostly wide shots as an undifferentiated, unintelligible crowd, the moment we go inside the embassy and meet American characters, we get close-ups, humanity, individualized characters and dialogue we can understand. Throughout the film, Iran is depicted as a terrifying place where traitors are hung in public and menacing Muslim mobs lurk around every corner, ready to confront the protagonists each time they venture outside. (It IS!)

The film is particularly selective in using subtitles to humanize certain characters and not others. The token “Good Muslim,” a young female servant in the home of the Canadian ambassador where the American characters take shelter, is given a name and translated dialogue. When Americans speak Farsi, their words are almost always translated. The political chants and banners that might help us understand the demands of the protesting crowds almost never are. (Who cares?)

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Whether the filmmakers intended it or not, Argo hit theaters at a time when U.S.-initiated sanctions on Iran are causing a currency crisis and shortages of vital medicines. (Of course, blame the Americans, not the Iranians who are spending the country’s currency on building nukes and terrorizing their neighbors) Aside from the historical sleight-of-hand of extracting a heroic American story from the events of the Iranian Revolution, a film that portrays Iranians as violent, irrational religious fanatics isn’t simply a neutral piece of entertainment. (No, it isn’t, it’s the truth)

But it’s certainly not alone. At the Golden Globes, which gives awards for television as well as feature film productions, the clear winner for TV was Homeland, Showtime’s drama about female CIA officer Carrie Mathison (Claire Danes) and the former American prisoner of war Nicholas Brody (Damien Lewis) who she believes may have been sent back to the U.S. as a terrorist sleeper agent.

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The series, based on an Israeli television show, is rife with Islamophobic clichés bold-faced facts and inaccuracies realities about Islam and the Arab world, leading Laila Al-Arian to call it “TV’s most Islamophobic show.” Yet it is clearly designed to appeal to liberals. (Amazingly, ‘Homeland’ manages to appeal to conservatives, who have longed to see Muslims doing what they do best – killing people – ever since 24 was cancelled, and to liberals, who are appeased by the few and far between attempts at political correctness)

While the show’s premise is essentially identical to Fox’s Bush-era 24–international terrorist conspiracy to destroy America–it features a smart, complex female protagonist who mostly uses her brain instead of her fists. It should be noted, however, that Homeland‘s CIA interrogators are not above using sleep deprivation, exposure to cold, sensory overload and even acute physical pain when they feel it’s needed to get the job done–along with threats, psychological and emotional manipulation. (Tried and true methods that actually work or they wouldn’t use them)

Brody, US, Marine turned terrorist/ congressman secretly converted to Islam in Iraq

HOMELAND’S Brody, US, Marine turned terrorist/ congressman secretly converted to Islam in Iraq

The show attempts to give some of the terrorist characters understandable motivations, although it makes sure to keep their actions so diabolical that we can never fully sympathize with them. (What exactly are “understandable motivations” for killing innocent civilians?)

And anytime you begin to think Homeland might be more nuanced than you first thought, it goes off the deep end–like the way Brody’s wife reacts when she finds out he converted to Islam (Off the deep end? She should have left him right then and there, knowing that she would now be subjected to genital mutilation and beatings, all permitted under Islamic law), or the ridiculous episode in which Beirut’s posh Hamra Street, home to Starbucks and H&M, is depicted as a nest of sinister Hezbollah operatives (Gee, last I heard Hezbollah’s home base was in Lebanon)

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FAR AND away the worse example of Islamophobia on film last year was Zero Dark Thirty, the kill-bin-Laden thriller from Mark Boal and Kathryn Bigelow, the writer-director team behind The Hurt Locker.  (It isn’t Islamophobia when you are trying to kill the chief financier of 9/11)

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Like HomelandZero Dark Thirty features a tough, crusading female CIA officer named Maya, who battles institutional sexism and scary Muslims (are there any other kind?) to track down and kill Osama bin Laden. Zero Dark Thirty shares Argo‘s Muslim hordes (Pakistani protesters outside the U.S. embassy) and Homeland‘s endless supply of Arab/Muslim terrorists. But this film does stand out for how it rationalizes and props up the crimes of U.S. imperialism. (You mean the $$billions in US taxpayer dollars we send Pakistan every year and get nothing in return kind of U.S. imperialism?)

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Zero Dark Thirty aims to assure anyone who has qualms about the use of torture in the “war terror” that it’s all worth it (It IS!). Everyone Maya tortures in the film’s brutal first half-hour is, without a doubt, a certified terrorist and not an innocent person caught up in the U.S.’s rendition and detention nightmare. (To leftists and muslims, ALL terrorists have been set up, either by the US or Israel)

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When Zero Dark Thirty opened in wide release in January, it was hailed by many critics as a sure contender for Best Picture. But the film quickly became mired in a controversy over its depiction of torture, including threats of a congressional hearing (Oh, right, imagine the Republican-controlled House holding a hearing about the First Amendment rights of movie makers when they haven’t even gotten around to impeaching the traitor in the White House yet)

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Strangely, politicians seemed to have far fewer problems with the film’s ending, in which U.S. Special Forces move through the house where they believe bin Laden to be hiding, cold-bloodedly murdering every adult in sight. (No, they didn’t, unfortunately, they allowed the breeders and their child terrorists-in-training to live)

What is clear is that ArgoZero Dark Thirty and Homeland have all been critically praised and embraced by audiences that would have scoffed at Jack Bauer’s crude antics in 24. (Most real Americans LOVED 24’s Jack Bauer until the CAIR litigation jihadists forced them to take the focus off of ‘Muslim’ terrorists) Islamophobic stereotypes certainly existed before 9/11, but during the past 12 years of the “war on terror,” they have become so commonplace that film and television viewers now often absorb them without even noticing.

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While it may be easy for some viewers to write off a movie or TV show’s problematic politics by saying “it’s just entertainment,” these ideas have an impact in the real world. (One can only hope)

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32 comments on “Who knew? This year’s Academy Awards weren’t just about tasteless Jewish jokes, boobs, and pratfalls

  1. Bonni I stopped going to the movies ages ago.The Hollywood i knew as a kid died years ago Do you think the Warners Louie B and the Goldwyns would have tolerated this anti Jewish cockwash?I for one WILL NOTsupport with my dollar this garbage that is being spewed out by no talent actors and directors.In the old Hollywood they would have thrown out on their collective arses.RIP HOLLYWOOD.

    • AM, I cannot remember the last time I was in a movie theater. Occasionally I watch one on Pay-per-View at home, There is only one movie I want to see in a theater when it comes out – ’24’ The Movie. I have every season of ’24’ on DVD and watch them all the time. Too bad it went downhill after they were forced to stop targeting Muslim terrorists.

  2. I am surprised they didn’t whine about gatekeepers and five broken cameras (the two Israel bashing flicks getting thye thumbs down. The producer of the second turkey had a prepared script to whine about Israel’s “persecution” of the palestinians. But nobody called him up to the stage. LOL.
    PS Somebody in ICE knows what side the toast is buttered on. They were all set to send him back to turkey until he called jabba the hutt (michael moore) for help.

  3. It’s getting so that you can’t even count on animation anymore for getting away from PC and commie-influenced ideas!! Feature films are a disaster! Ironically, however, every year I see a slew of terrific foreign films (at our local, but famous, international film festival)made by leftists that tell a poignant story but still manage to NOT be bogged down by PC and an ignorant political point of view like so many American films are these days. It’s ironical, actually, but a very welcome state of affairs!

  4. @ saxon ! why !!! ,they are both propaganda but based on your post ! you seem cluless anyway ! ( the best thing to happen to lincoln by the way was his assassination ! )

    • argo was just a load of anti British rubbish, that lying clown who directed it put some pure untrue shite in it, no wonder the septic tanks voted for it

      • The Brits are pretty anti British themselves these days. As I said, I haven’t seen it, but the fact that it pissed of Liberals make me curious.

  5. Holy moly “American” commies are some twisted f*cks!

    Mobs of muslims storming embassies is “sterotypical”?!? WTF are they smoking?

    What’s more frightening to me is that I am sure they believe their own propaganda. Like that arrogant little c*nt over on the Wilders thread.

    Once we’ve dealt with the mohammadan problem we need to deal with the commie problem once and for all. We need to resurrect Mccarthy and make sure he does it right this time.

    I feel like going and punching the crap out of some commie wannabe, limp-wristed pencil neck geek at the local uni now.

      • mohammadan? Commie? Who can tell the difference?

        Both are in thrall to dictatorial, soul-crushing ideologies.

        Both believe in punishing freedom of conscience.

        Both want to keep the majority ignorant and dependent.

        Both spew copious amounts of lies as easily as you and I breathe.

        Both make excuses for or deny the atrocities committed by the other.

        Both revere violent, hateful, evil little men who were only interested in their own self interests.

        Neither believes in God.

        Perhaps the only way to tell the difference is the sniff test. If it stinks of bo and hashish, it’s most likely a mohammadan.

      • IC, if and when they ever get to the point where one must eliminate the other, who do you think will win? I’ll go with the commies, the real commies, not the leftist loons in the US and EU.

    • “Once we’ve dealt with the mohammadan problem we need to deal with the commie problem once and for all”.
      I_C, we need to deal with them both together, they both feed off each others crap.

  6. You are correct, BNI. They should have killed the lot of ‘em. They have left dangerous ‘terrorists-in-training’ alive.

  7. ” a film that portrays Iranians as violent, irrational religious fanatics isn’t simply a neutral piece of entertainment. (No, it isn’t, it’s the truth)”.

    i completely disagree.
    the Iranian leadership may, indeed does, fit that description.
    the Iranian people do not.
    they are largely pro west and peaceful.
    as for being religious fanatics;
    ” – Iran is governed by Sharia law but here it has the lowest mosque attendance of any Islamic country. ”
    http://www.bbc.co.uk/worldservice/documentaries/2008/09/080925_children_of_revolution_one.shtml

    “This article aims to specify the reasons for the
    low rates of mosque attendance among Iranians. The data for the article come from the World Values Survey that was conducted in Muslim countries1″
    http://web.clas.ufl.edu/users/kenwald/pos6292/Tezcur%20et%20all%20Critique%202006.pdf

    “Despite the investigation of millions of dollars on building the mosques by Iranian government and religious organizations, the mosque attendance has declined widely among Iranian people.”
    http://www.mohabatnews.com/index.php?option=com_content&view=article&id=3144:low-mosque-attendance-prompts-iranian-clergy-to-take-their-teaching-to-the-streets&catid=35:inside-iran&Itemid=278

    hardly something the mullahs would want to shout from the roof tops.

  8. This is great! Thanks for sharing. Of course there IS no such thing as Islamophobia, but I’m sure glad the Left and its Muzi backers are having cows about it.

  9. i thought the breeders had been wounded. loved 24 if WND is correct there has been a massive underground explosion (about a month ago) at Iran’s nucloear facility. probably leaking radiation. is it the only facility? i hope so. telling the truth about muslims is a necessity.

  10. As much as I would love to believe Hollywooders are Islamophobes, I’m not buying it. If Michael Moore makes a movie about Mo and his pre-school wife, Aisha, I might believe it.

    • WOW KK! JUST what I was thinking. Has Bonni lost it?

      “…setting the stage for the Shah’s brutality [?] to come.”

      Surprised Bonni didn’t catch that. Wasn’t there 100 times as much brutality under the sick and evil Ayatollah Khomeini and his successors? And didn’t the Shah’s ouster lead to the war in which Iran (a once honorable Zoroastrian country – Persia) used HUMAN SACRIFICES? Hundreds of thousands of brainwashed teens and preteens were given hashish and a plastic “Key to Heaven”, then sent marching into minefields and against machine guns, and to their certain deaths. Meanwhile, the ‘brave’ imams and mullahs, trained in Joseph Goebbels’ propaganda methods, urged their peasants to the front, from the safety of their mosques. Sick bastards.

      “The political chants and banners that might help us understand the demands of the protesting crowds almost never are.”

      Maybe those ‘chants and banners’ would have been embarrassing to the leftard film producers, or upset the delicate feelings of islamist cair.

      “The show attempts to give some of the terrorist characters understandable motivations, although it makes sure to keep their actions so diabolical that we can never fully sympathize with them.”

      A tad less diabolical and we WOULD fully sympathize? I bet a thousand dollars that any sinislam PoS watching a pirated copy of any of these movies is TOTALLY and unequivocally behind ANYONE attacking the West/America/Israel.

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