Daniel Hannan has a good post up about a poster promoting Michael Moore's latest book, which contains blurb to the effect that if rich people were drafted into the military "they won't be so eager to start ridiculous wars". Hannan points out that Moore's trope is rather undermined by the fact that John McCain has a son serving in Iraq (McCain of course also served his country), while soldier sons of both Sarah Palin and Joe Biden are heading over there soon.
Hannan headlines his post 'Michael Moore: the stupidest white man', but he misses the point. Moore is crafty, cynical, manipulative, a prolific liar and a vile human being, but he isn't stupid. Along with other propagandists on the left he's making a fortune selling his particular brand of the 'two Americas' shtick to losers, who will pay good money to be reassured in print and film that their lowly station in life is no fault of their own, but rather is the result of a vast conspiracy waged against them by rich and powerful elites.
In his movies Moore is simply offering a cruder version of the fare that's been pumped out by 'serious' filmmakers these past few years, to critical acclaim that's proven inversely proportional to box office receipts. And slapstick outsells satire every time, although the awards and approval that have come Moore's way – notwithstanding the fact that his 'documentaries' don't even come close to fulfilling the criteria for that genre – are a nice bonus.
There's a conspiracy all right – and it's being waged against the ignorant and the self-loathing, by Moore and the rest of the powerful, elitist Left. But Moore is one of the few people getting rich out of it.
Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts
Tuesday, September 9, 2008
Thursday, November 29, 2007
Will Hollywood learn from its Iraq flops?
I've been meaning to post for a while on the disastrous performance of the various anti-Iraq war/War on Terror movies that have been released over the past few weeks. I'd not long started blogging when the buzz began about Lions for Lambs, Rendition, Redacted, In
The Valley of Elah and the rest, and I posted on the subject here and here.
At the time the Surge was just starting to show signs of success, and I wrote: ‘Hopefully continued progress in Iraq and Afghanistan will diminish the public's appetite for fictionalised bad news stories. […] and if movie-goers shun the anti-war polemics, then Hollywood will be hit where it hurts – at the box office – and might just get the message.’
Continued progress was far from guaranteed at that point. There was a real risk that a few terrorist 'spectaculars' could have reversed the momentum of the Surge, and that the aforementioned films would have been released against the backdrop of a growing chorus of calls for withdrawal, been hailed as reflecting the ‘mood’ of the nation and fed yet more disillusionment and defeatism back into the system.
Instead the opposite happened. Progress in Iraq exceeded the wildest expectations of most supporters of victory, and General Petraeus’s report to Congress did much to silence critics and rally the faithful, so that by the time the films were released the narrative was changing.
We’ll never know how the films would have fared had the US death toll continued to increase, and if President Bush had still been under widespread pressure to begin pulling the troops out. Maybe they’d have flopped anyway: if the situation in Iraq had continued to deteriorate there’s no reason to think that people would have flocked to the cinema for yet more bad news.
But with the tide turning so dramatically, Redford, Streep, De Palma and the rest never had a chance. Fittingly De Palma’s Redacted, by far the nastiest movie of the sorry bunch, has been the most spectacular flop of all, with an opening weekend audience of around 3,000 and receipts of £25,000.
Even In The Valley of Elah, directed by Oscar-winner Paul Haggis and starring Tommy Lee Jones and Charlize Theron, which was clearly meant to do big box office despite its ‘serious’ subject matter, took just $6.7m in its entire run, little more than The Kingdom – a straightforward action movie in which the Americans were the good guys – took in its opening weekend.
The films aren’t doing much better in the perceived ‘anti-American’ overseas markets either – The Ten O’Clock Scholar has a round-up of figures (it doesn't include Elah which has taken less that $4m). Elsewhere, Roger L. Simon of Pajamas Media has a two-part analysis of why the movies failed here and here.
It remains to be seen whether films due to be released next year – notably Imperial Life in the Emerald City, directed by Paul Greengrass and based on the book by journalist and Saddam crony Rajiv Chandrasekaran – will do any better, particularly if progress is maintained in Iraq, and whether filmmakers will heed the message from audiences and rethink their attitude to filming the war.
As Roger L. Simon points out, no one in Hollywood is likely to lose their shirt as a result of the poor performance of these movies, but those who fund them – whether studio bosses or millionaire activists – are unlikely to keep throwing money away indefinitely, however badly they want to make a 'statement'.
The Valley of Elah and the rest, and I posted on the subject here and here.
At the time the Surge was just starting to show signs of success, and I wrote: ‘Hopefully continued progress in Iraq and Afghanistan will diminish the public's appetite for fictionalised bad news stories. […] and if movie-goers shun the anti-war polemics, then Hollywood will be hit where it hurts – at the box office – and might just get the message.’
Continued progress was far from guaranteed at that point. There was a real risk that a few terrorist 'spectaculars' could have reversed the momentum of the Surge, and that the aforementioned films would have been released against the backdrop of a growing chorus of calls for withdrawal, been hailed as reflecting the ‘mood’ of the nation and fed yet more disillusionment and defeatism back into the system.
Instead the opposite happened. Progress in Iraq exceeded the wildest expectations of most supporters of victory, and General Petraeus’s report to Congress did much to silence critics and rally the faithful, so that by the time the films were released the narrative was changing.
We’ll never know how the films would have fared had the US death toll continued to increase, and if President Bush had still been under widespread pressure to begin pulling the troops out. Maybe they’d have flopped anyway: if the situation in Iraq had continued to deteriorate there’s no reason to think that people would have flocked to the cinema for yet more bad news.
But with the tide turning so dramatically, Redford, Streep, De Palma and the rest never had a chance. Fittingly De Palma’s Redacted, by far the nastiest movie of the sorry bunch, has been the most spectacular flop of all, with an opening weekend audience of around 3,000 and receipts of £25,000.
Even In The Valley of Elah, directed by Oscar-winner Paul Haggis and starring Tommy Lee Jones and Charlize Theron, which was clearly meant to do big box office despite its ‘serious’ subject matter, took just $6.7m in its entire run, little more than The Kingdom – a straightforward action movie in which the Americans were the good guys – took in its opening weekend.
The films aren’t doing much better in the perceived ‘anti-American’ overseas markets either – The Ten O’Clock Scholar has a round-up of figures (it doesn't include Elah which has taken less that $4m). Elsewhere, Roger L. Simon of Pajamas Media has a two-part analysis of why the movies failed here and here.
It remains to be seen whether films due to be released next year – notably Imperial Life in the Emerald City, directed by Paul Greengrass and based on the book by journalist and Saddam crony Rajiv Chandrasekaran – will do any better, particularly if progress is maintained in Iraq, and whether filmmakers will heed the message from audiences and rethink their attitude to filming the war.
As Roger L. Simon points out, no one in Hollywood is likely to lose their shirt as a result of the poor performance of these movies, but those who fund them – whether studio bosses or millionaire activists – are unlikely to keep throwing money away indefinitely, however badly they want to make a 'statement'.
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