Category Archives: drama

Trumbo

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To say that Hollywood is inhabited by narcissistic egomaniacs is perhaps an understatement and self-evident. However, that’s not to say that the Hollywood creative class is without talent, skill or deeply held ideological convictions. If nothing else, Hollywood films are very good at promoting Hollywood’s own brand of self-righteous mythology. Specifically, that Tinseltown is inhabited by collection of pious crusaders who are On the Right Side of History.  Trumbo is unequivocally one of these films. 

Trumbo is a biopic which dramatizes the life of screenwriter Dalton Trumbo. It also touches on issues of free speech, free markets, the anti-Communist witch hunts of the 50’s and the Hollywood Blacklist. This film is roughly analogous to Reds in that it dramatizes a figure of the American Left who had Communist sympathies and was persecuted for his convictions. It is far inferior because in contrast to Redsit utterly fails to pinpoint the failure of Marxist ideology. Nor does it acknowledge the reversal of roles that has taken place between the Right and the Left in contemporary society. In the latter respect, Trumbo is dismal bit of partisan hackery. It seeks only to reinforce the mythology of the American Right as corrupt, vacuous authoritarians who are Wrong About Everything. Conversely, it portrays the Left as the principled, virtuous rebels On the Right Side of History whose voices and spotless moral rectitude are under perpetual assault by dirty ReTHUGliKKKans. It’s refreshing to get a Hollywood film that wears its political stripes on its sleeve, but the solid philosophical points it makes are completely undermined by its partisanship.

Trumbo starts off on very shaky ground and only devolves. We’re presented with an extravagant poolside party with Bryan Cranston’s Trumbo arguing passionately in favor of the beleaguered proles whose labor creates so much surplus value for the greedy Hollywood capitalists. The soulless and indifferent Hollywood executive with whom he was arguing haughtily dismisses him as a Dirty Red and walks away leaving a cloud of contempt in his wake. This incident portends the ostracism to come. Principled, Compassionate Leftist is just trying to speak his mind and stick up for the Little Guy and he’s just shut down by an Evil, Heartless Conservative. Poor Comrade Trumbo. 

In a subsequent scene on the plush ranch he purchased from the earnings he made from the dirty capitalist system, Trumbo is taking his daughter Niki on a horseback ride. Niki nervously asks him if he’s a Communist to which he answers clearly and unequivocally, “Yes.” She asks him if she’s also a Communist. Instead of educating his child with history, economics, and sound reasoning, he lays out a half-baked, simplistic analogy which offers no sound foundation upon which to make an informed choice. Rather than expounding on why he was sympathetic to Marxist politics, he likens Communism as being exactly equivalent to sharing a sandwich with a student at school. This is the level of vile sophistry to which Hollywood has descended. Socialism is just charity and caring for your fellow man, proles. That’s all. Utterly contemptible and loathsome.

Anti-communist sentiment was on the rise, and Trumbo and his screenwriter colleagues banded together to oppose the ascendant persecution. Ironically, they proclaimed the freedom to assert their political convictions on First Amendment grounds. In another gathering of Hollywood elites, David James Elliott brilliantly channels John Wayne’s cartoonish patriotism and his anti-Communist bloviations. The roomful of executives and actors express their agreement with cheers, applause and laughter at every proclamation. Once again, we see the Dirty, Evil Conservatives in the thrall of patriotic groupthink and the Fearless, Intrepid Leftists who just want to assert basic American Constitutional principles. The gathering ends with a confrontation between Trumbo and Wayne in which Wayne is taken down a peg when Trumbo reminds him that his patriotism was only tested in the comfort of a Hollywood studio. Not in the trenches of the battlefront. As failed actress, gossip columnist, and all around contemptible bitch, Hedda Hopper, Helen Mirren giddily informs Trumbo that he will be ruined in the court of public opinion by her column.  The film’s attempt to attribute Hopper’s media Star Chamber to conservative/anti-communist ideology is yet another example of the film’s sheer dishonesty about the contemporary Left.  

Despite making waves for his political sensibilities, Trumbo lands a lucrative contract with MGM. As he’s about to sign on the dotted line, Louis Mayer holds up Hopper’s column and warns him not to make these kinds of headlines. He signs and simply advises him not to read the papers. His career lift is soon cut short as he’s served a subpoena to appear before the House Un-American Activities Committee. He is subject to an interrogation that most have come to associate with the term McCarthyism. He refuses to answer questions on the grounds that he’s not being charged with an actual crime. Trumbo is ultimately charged with contempt of Congress, and sentenced to time in the federal penitentiary along with nine others. The infamous Hollywood Ten are born. Once again, the film is placing all of the toxicity on one side of the political equation.

Hopper exerts her influence even further in a private meeting with Mayer. She pressures him into refusing employment to those on the Blacklist by threatening to tar him in her column and manipulating him with appeals to patriotism. Mayer tries to push back, but caves in when he realizes he’s cornered. She plunges the knife in further with a few choice anti-Semitic digs at him and other Jewish studio heads. Here, we see the filmmakers peddling the mythology of racism, Nazism, authoritarianism and fascism being the sole province of the Political Right. Never mind the Nazi’s application of Keynesian economic policy in the run up to World War II which mirrored FDR’s applications. Never mind FDR’s internment of the Japanese. The filmmakers clearly want the viewer to associate Nazism and fascism with the Political Right.

While in prison, he befriends a gruff and surly inmate, Virgil Brooks, who is in charge of prison supplies and happens to be black. Naturally, since Trumbo is a Leftist and Friend of the Dispossessed and Unjustly Persecuted, he is able to ingratiate himself to him sufficiently in order to obtain work typing up requisitions. Brooks offers him the gig, but reminds him that he will “fuck him” if he violates his trust at any point. During his period of incarceration, a former Trumbo actor colleague, Edward G. Robinson, is called to HUAC to testify. The inmates are able to watch the hearing on the communal television. Robinson confesses to being a liberal Democrat, but outs his own former colleagues as Communists just to avoid the ostracism that Trumbo and the remaining Hollywood Ten received. After the testimony, Brooks says that if anyone in prison snitched like that, they’d be killed. That’s right, proles. Truly ethical behavior and real human virtue can be found in the prison population of America. The American criminal justice system is surely guilty of being overzealous in prosecuting an ever expanding sphere of illegality, but this persistent effort to invert reality and attribute virtue to all things Leftist is positively odious. This phenomenon is due in no small part to activism from both the black community and liberals alike. You’re more likely to hear idiotic lectures about white privilege than you are admissions of their respective roles legislating these outcomes.

In another bit of blatant partisanship, Trumbo encounters fellow inmate and former HUAC committee member and interrogator, J. Parnell Thomas. Thomas was sentenced for corruption charges, and Trumbo takes a shot at him by reminding him that he’s the only real criminal between the two of them. Apparently, only conservatives are corrupt and abuse political power.

After serving his year long sentence, Trumbo returns to his family and attempts to revive his flagging career prospects. He’s forced to sell his plush ranch and the Trumbo family take up residence in the Los Angeles suburbs. His neighbors are aware of him and the persecution continues with threatening anonymous notes and vandalistic messages on their property. Desperate for work, Trumbo makes a deal with B-movie kingpin, Frank King and agrees to write scripts under a pseudonym. During this time, he secures work for his blacklisted colleagues and enters into a period of relentless output and perpetual solitude. In a family meeting in which Trumbo conscripts his family into his semi-clandestine script writing factory, Niki wonders how she will fit in time for her studies and her Civil Rights activism. Got that, proles? Leftists are smart, studious, industrious and of course, care deeply about Social Justice. Trumbo’s star is also quietly rising as he wins Oscars for penning Roman Holiday and The Brave One, but cannot claim credit due to his blacklist status. His relationship with his family is increasingly strained as a result of his punishing work schedule, and things come to head during Niki’s sixteenth birthday. She cannot believe that her own father cannot spare even a minute to share a piece of birthday cake on this momentous occasion. She storms off in a fit of frustration. Trumbo seeks her out in order to attempt a reconciliation and finds her fighting #PATRIARCHY and #RACISM at the racially integrated café. For once, the Hollywood film portrays the father as a positive influence on his daughter. Apparently, even Leftists have to affirm family values and the virtues of fatherhood every now and then.

Trumbo’s fortunes finally turn when Kirk Douglas asks him to work on the script for Spartacus. Douglas is able to win Trumbo over by telling him that Spartacus is the story of a man who stood his ground when the world was against him. Trumbo’s script catches the attention of filmmaker Otto Preminger and he’s offered another big opportunity to write the script for Exodus. Hopper’s defamation campaign is relentless and she attempts to manipulate and threaten Douglas for employing Trumbo, but ultimately caves in to Douglas’ resolve. “When did you become such a bastard?” asks Hopper. “I’ve always been a bastard,” retorts Douglas. What appears to be Spartacus’ Randian message of individualism against the tyranny of the collective is transformed into the facile collectivism of #JeSuisCharlie. The reign of repression is finally broken when Preminger goes to the press with an open admission that Trumbo is the writer of Exodus.

Trumbo is canonized with an award in the final scene, and here, the film commits its final atrocity of intellectual dishonesty and smug, self-congratulatory partisanship. In a speech, Trumbo asserts a hypocritical and contemptible moral relativism by claiming that there were “no heroes and no villains” during the anti-Communist purges. After two hours of demagoguery and demonization of the Political Right, the filmmakers just want you to believe that this was just a non-partisan slice of history without an agenda from which you can draw your own conclusions. It’s not as though the politicization of Hollywood began under FDR and has continued to push government propaganda ever since then. It’s not as though leftists have triumphed overwhelmingly in their legislative pursuits over the past century and those policies have contributed to any of the negative outcomes in America. It’s not as though leftists have overwhelmingly colonized academia and Hollywood and nearly all of the messaging reflects a solidly leftist ideological bent. It’s not as though leftist social justice activism has taken on the exact same characteristics as the McCarthyist witch hunts and people now lose their jobs and fortunes in the Star Chamber of social media. There are no failed leftist policies and there is no reckoning to be made with the historical connections to failed socialist states and contemporary leftist policy. Nope. It’s just those dirty conservatives and their nationalism, authoritarianism, racism, and dumb, selfish devotion to capitalism.

Trumbo is a an interesting story which touches on an earlier and highly politicized atmosphere in America from which important lessons can be drawn. Unfortunately, it’s just peddling the same lesson that Hollywood is almost always selling. As long as you’re a Leftist, you’re a Good Person. If not, you’re evil, racist and stupid and on the Wrong Side of History. Setting aside his socialist politics, Trumbo’s life stands as a testimony to the importance of free speech. It reminds us of the inextricable link between individual freedom and economic freedom that can only flourish under capitalism.  It serves as as a warning against the pernicious influence of politicians who exploit the power of the State in order to carry out political vendettas. Regardless of political affiliation, everyone can learn from these examples. It’s just too bad they’ve been papered over with the facile talking points of the Left.

Reds

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I admit it.  It’s not the Marxist lovefest I expected.  

I went into Warren Beatty’s 1981 opus expecting it to be another Hollywood love letter to socialism.  Instead, what I witnessed was a remarkably honest portrait of a doomed love affair between two seminal American communist radicals. Their ideals pitted them against one another and drove them apart despite their deep devotion to one another. 

Reds is a sweeping historical political drama which encompasses the roots of the American socialist Left, World War 1, and the Bolshevik Revolution.  The film is built around the tempestuous love affair between John Reed and Louise Bryant played by Warren Beatty and Diane Keaton respectively.  Its major achievement is how it manages to expose the limitations of Marxism by showing how the central characters’ allegedly revolutionary ideals undermined their ability to simply be with one another. 

As expected, the film spells out some of the facile appeal of socialism at the outset.  Beatty takes a very classical approach to filmmaking and the themes of the film are embedded in the characters. Louise Bryant is the aspiring writer and avowed feminist with libertine sexual mores who scandalizes Portland’s high society.  John Reed leaves jaws agape at the Liberal Society when he openly opines that the motivation behind the war is the capitalistic profit motive.  Louise is enthralled by Reed and asks him for an interview. They spend an evening together in which Reed bores the shit out of her regales her with his passionate desire to foment a socialist revolution.   Socialist feminist and Marxist revolutionary meet and the seeds of a deep love affair at a momentous time in history are sown. 

All of the touchstones of leftist bohemian ideals and political activism are present. The couple shared a permissive attitude towards sexual promiscuity and polyamory. Their disdain for capitalism, anti-war sentiment, artistic idealism, and initial refusal to submit to traditional bourgeois values are attitudes that would define the Left for decades. Most importantly, they shared a naïve hope in the promise of a worker’s revolution.  

Reed and Bryant eventually travel to Greenwich Village and we’re introduced to the seminal figures of America’s socialist Left including Emma Goldman and Max Eastman. The atmosphere is ripe with revolutionary spirit. Reed’s attempts to cover labor organizing efforts for his socialist magazine take him away from Bryant and drive an emotional wedge between them.  Meanwhile, Bryant tries to peddle her writing, but fails because her writing sucks. Bryant tries to assert her independence, but can’t confront how much she ultimately wants and needs Reed.  The couple resolve to remain together and set out to Provincetown, MA with Eugene O’Neill to live as artists in a quasi-communistic manner. 

Reed’s activism leads him away from the idyll of Provincetown, and on to the campaign trail to canvass for Woodrow Wilson.  Bryant has an affair with O’Neill, and Beatty draws out the conflict between monogamy and the bohemian spirit of free love.

Bryant and Reed separate again, but are reunited when Reed follows her to France. He asks her to join him on his journey to Petrograd to cover the imminent Bolshevik Revolution.  Though their love is rekindled in the fires of the Revolution, their activity is not viewed favorably by US federal authorities.  Reed is given a platform at a Bolshevik rally and stirs up the proles with some good old fashioned demagoguery.  It’s impeccably staged and plays like an Occupy Wall Street protest if it weren’t run by a bunch of pussies. 

They return to the US with a renewed hope in revolution, but with the Feds hot on their tail.  Adding to their travails is their renewed tensions with the American Socialist Party.  Reed is a member of the Industrial Workers of the World and tries to persuade them toward a Bolshevik spirit. His views are at odds with the leadership of the party. Reed breaks with the main party and forms his own more “pure” Socialist Party and is voted as the leader to seek the sanction of the Bolsheviks in Moscow. Here, the film turns a corner and starts to show how the revolution and Marxist dogma ultimately implodes and pits socialists against one another.  The bickering and tests of purity which the party members apply to one another translates perfectly to modern day purges carried out by social justice progressives today.  

After enduring imprisonment for improper paperwork, Reed travels back to Moscow is ultimately conscripted by the party elites to be a propagandist.  The consequences of his choice hit hard as he is denied return to the United States. He finds his appeals to the Party squashed by crushing authoritarianism. Reed is crushed to discover that he is unable to get a simple communication to his wife due to the palsied bureaucratization, incompetence and backwardness of life in Soviet Russia.

He is ultimately reunited with the recently deported Emma Goldman and he ponders his fate in her squalid apartment.  In a devastating monologue, Goldman tries to appeal to his sense of reason by pointing out the tragic failure of the revolution.  Instead of emancipating the proletariat, the Bolshevik regime has metastasized into a brutal and repressive police state. Not only is the dictatorship of the proletariat intolerant of dissent, it has driven the economy into deep contraction and dysfunction.  Blinded by his idealism, Reed brushes it off and says that you just can’t have a revolution without cracking a few skulls.  

Reed is sent on a fateful mission to Azerbaijan to bring the gospel of Bolshevist Socialism to the Muslims.  To his dismay, he discovers that his propaganda speech was mistranslated by Party kommissar, Zinoviev.  Drawing an excellent and accurate parallel between Marxism and Islam, Zinoviev replaced “class war” with “Holy war”.  Reed gets upset that his voice and intent was subordinated by the will of the Party and launches into a screed against the tyranny of the collective.  It’s good stuff. 

The train is sacked by counter-revolutionaries and a stunning battle scene involving cavalry, muskets and cannons ensues.  

Meanwhile, Bryant travels to Russia to try and find Reed.  They are ultimately reunited, but Reed contracts typhus and he spends his last days in a Soviet hospital.   

Despite the patina of revolutionary politics, Reds is a traditional romance which ultimately affirms monogamous bourgeois values.  Reed and Bryant were variously portrayed as marginal talents and busybodies who were trying to reconcile their artistic ambitions with their political sensibilities and libertine sexual desires. These values worked at cross purposes more often than not and each paid an emotional price.  

Reds is an impeccably produced film which tackles a lot of pithy material while succeeding at being a solid dramatic romance.  It reveals the roots of socialism’s enduring appeal while also showing where it went off the rails.  Socialist ideals still hold a lot of appeal with the Hollywood set, but Beatty deserves a little credit for tackling it head on and with a higher than expected level of intellectual honesty.  

Spotlight

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Besides being a surprisingly engaging dramatization of the Boston Globe spotlight team’s exposé of the child sex abuse epidemic of the Catholic Church, Spotlight is a soaring testimony to the importance of free speech and a free, independent press.  With freedom comes great responsibility, and just as this film affirms these principles, it also reminds us that the pursuit of the truth takes real courage. 

Spotlight falls solidly in the tradition of films such as All The President’s Men.  It’s another great example of how a story of individuals in the press who doggedly pursued the truth and real moral virtue in the face of institutional opposition and threats of ostracism can make compelling screen drama. 

All of the elements of this film click.  Everything from the casting to the writing to the details of the victims to the quintessentially Bostonian vibe of the film, Spotlight epitomizes intelligent, economical cinematic storytelling. Out of all the films that have billed themselves as Boston Films in recent years, this and Black Mass were the most successful in terms of their portrayal of the scenic details, accents, personalities and provincial attitudes. 

The tension of the film centers around the ever escalating opposition and stonewalling the team faced as they deepened their investigation. An especially great scene which captured the courage that each player had to muster was Marty Baron’s first meeting with Cardinal Law; roles played by Liev Schreiber and Len Cariou respectively.  Prior to the meeting, the Globe lawyers filed a suit to unseal public records pertaining to past abuse cases. Baron is a model of composure as Law tries to seduce him into the conspiracy of silence between institutional powers.  “Things go well when our institutions work together, don’t you agree Marty?”, asks Law.  “Actually, I think the press works best when it stands alone.” BOOM! Fuck off, Law. 

It’s difficult to imagine anyone coming out of this film with anything other than a deep-seated contempt for the Catholic Church hierarchy. The enormity of the damage done to the lives of the victims is harrowing all by itself, but what is even more galling is the combined sense of denial and above-the-law entitlement exercised over many years.  The scale of the scandal beggars belief. 

The most abiding message of the film is its fearless affirmation of free speech and a free, independent press. Good journalism is an invaluable public service and having the courage to suspend confirmation biases, challenge institutional power and pursue facts wherever they lead should be the guiding principle for any journalist and the standard to which journalists are held accountable.  Since we live in an era of sensational clickbait journalism, academics who obscure reality by cloaking theories in pretensions of impenetrable profundity and publications which pursue an agenda driven interpretation of “facts”, the film reminds us that there are objective, verifiable facts and obtaining them is often more difficult than any of us imagine. 

House of Cards Season 1

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After years of enduring Aaron Sorkin’s sanctimonious and insufferable fantasies of virtuous government do-gooders in shows and films like The West Wing and The American President, we finally have a show which goes behind the platitudes and gets closer to the true nature of political power.  Even better, the main character is a Democrat and for once, we are presented with a show which destroys the veneer of self-righteous moral rectitude that has been so assiduously constructed around the cult of liberalism through years of Hollywood and media propaganda.

House of Cards is basically the inverse West Wing.  It is a breath of fresh air for so many reasons, but mostly because it reveals how our relationship to power fuels every pathological tendency you can identify. The true conduit and amplifier of deceit, duplicity, vindictiveness, avarice, manipulation, spite, and violence is, for once, correctly identified.  After a seemingly endless parade of films and shows which demonize capitalism and money as the source of evil in the world, HoC points the finger in the right direction by focusing on state power.  HoC also reveals the political process as the zero-sum game that it is. All of the idiotic clichés that are routinely ascribed to capitalism (e.g. “dog eat dog”, “kill or be killed”) are more accurately represented as descriptions of life in government.

With a career that already has many iconic performances, Kevin Spacey’s portrayal of Frank Underwood is easily among his finest.  Frank Underwood is the ultimate Machiavellian antihero; the Majority Whip in the House of Representatives who describes himself as a plumber who “keeps the sludge moving”. When his bid for Secretary of State is rebuffed by the newly elected, charismatic president, Frank sets his sights on getting his due. He’s the guy who will stop at nothing to get what he wants, but he’ll win because he already has you figured out and you’re drawn in by his wry smile and gentle southern drawl. You don’t know that he’s slipped the knife in your back until it’s too late.

In the opening scene of Season 1, Frank discovers an injured dog which belongs to his neighbors. He sees that the dog is suffering, but he takes it upon himself to kill the dog before reporting the incident to his neighbors. Why? Simply because it must be done.  Frank is terrifying because his conscience is completely unclouded by doubt or fear.  At the same time, you kind of admire him for his ruthlessness, his masterful manipulations and dispassionate sense of purpose. Frank is the perfect sociopath. He is always calculating the odds and he’s always two moves ahead.

Robin Wright’s icy performance as Claire Underwood is a perfect complement to the cunning sociopathy of Spacey’s Frank. With a set of dubious morals combined with a strangely believable devotion to her husband, the Underwoods are undoubtedly partially modeled after the Clintons.  Claire is also the executive of the Clean Water Initiative and the subplots involving the CWI provide some refreshing commentary on the myriad ways that even the most seemingly altruistic endeavors make common cause with jackals of the state.

Kate Mara does a brilliant job as the narcissistic, fame seeking journalist, Zoe Barnes.  Zoe strikes up a relationship with Frank which proves fruitful for her career at first, but discovers the real courage that one needs to have ethics and pursue the truth as a journalist.  Zoe’s tale offers poignant editorial on the ascendancy of clickbait journalism, the way politicians use the media to manufacture public opinion, as well as the ways in which women use their sexual wiles to get what they want.

Corey Stoll turns in a great performance as the doomed representative from Pennsylvania, Pete Russo. Russo is an idealistic freshman from a working class district whose moral compass and sense of self-control are already compromised and only degenerate further once he arrives in Congress. His story is a vivid reminder that fallible humans who are bestowed with power which exempts them from moral judgment and isolates them from the consequences of their actions is something that should be avoided at all costs. It is simultaneously a cautionary tale of the seduction of state power as well as the price one pays when loyalty takes precedence over principles.

By far, the best aspect of the show is that it is an extended exploration of power and the ways that it pollutes, perverts and destroys every fiber of human decency in those who wield it or crave it.  All too often, politicians point the finger at corporations and blame money as the sole force of corruption in politics, but they’re engaging in a game of misdirection.  The political apparatus is inherently corrupt because it is inhabited by people who sell corruption in the first place! This show is honest about this fact. Frank says it best when he expresses his disappointment at a former assistant turned lobbyist:

Such a waste of talent. He chose money over power. In this town, a mistake nearly everyone makes. Money is the Mc-mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries. I cannot respect someone who doesn’t see the difference.

HoC is blessedly free of the tiresome trend towards gender correctness and takes aim at the scurrilous nature of identity politics.  With so many films and shows bending over backwards to kowtow to the Cult of Feminism by portraying the now obligatory Strong Female Character or the endless grating paeans to multiculturalism dutifully regurgitated by irritating social justice warriors, HoC commits the unspeakable transgression of portraying women and minorities as…FLAWED. I know! It’s hard to believe, but they went there.

The women make bad choices in men. They display insecurity, vindictiveness, and pettiness. The black and Latino characters aren’t just there to fill some checkbox of progressive virtue as prescribed by the Multicultural Politburo. They’re believable well-rounded characters with foibles and shortcomings.

The show fearlessly tackles the petty politics of character assassination that are all too commonplace nowadays.  Nowadays, you don’t need an actual Star Chamber. Thanks to identity politics, you can crucify people in the court of opinion and ruin their lives in ways that are worse than any state sanctioned tribunal could ever do. Zoe Barnes uses her sexuality to gain access and influence with men, but is more than willing to play sexual politics to ruin the reputation of her employer after he calls her a cunt.  Frank is more than willing to exploit his wife and lie about her emotional distress to discredit a labor attorney and win sympathy from the public in order to avoid getting destroyed in a televised debate.

The moment that’s perhaps most emblematic of the pernicious confluence of identity politics and character assassination is a funny scene in which Russo is deployed to visit a “libertarian drug fiend marinating in a trailer home” to get dirt on the character that was nominated for Secretary of State over Frank.  Russo’s job was simply to ascertain whether Kern penned an article unsympathetic to Israel while in college.  He didn’t, but it didn’t matter.  The innuendo that proliferated through the mediasphere was enough. Kern’s nomination for Secretary of State was torpedoed, he got branded a racist and was consigned to oblivion anyway.

Simply put, House of Cards is a treasure trove of viewing pleasure.  Premium channels have been a fertile ground for cutting-edge television in recent years, and kudos to Netflix for having the stones to put this out.  This is a show for the ages.  Highly recommended.

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A Most Violent Year

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Despite the provocative title, this film is not the crime bloodbath you might presume. 

This film tells the story of Abel Morales, an immigrant businessman who is doing everything in his power to retain a sense of morality during one of New York City’s most violent years. 

That’s right.  This is a story of a virtuous, moral immigrant capitalist.  

Abel is besieged on all sides. His oil shipments are being hijacked.  He’s being investigated by an overzealous DA.  His loan funding dried up on a deal that would allow him to expand his business. His family is threatened.  

Just about everything that could break his spirit happens, and yet Abel remains unbowed. 

In my estimation, this film is a rare phenomenon.  Hollywood generally resorts to caricatures of capitalists and the business world in general and portrays them as soul crushing, greedy and corrupt.  

For once, we are given a film with a character who is doing everything in his power to walk the line when everything around him is putting him to the test. 

And he’s an immigrant to boot.  

It’s a great reminder that the free market is not inherently corrupt. Rather, it is the free market that challenges you to look within yourself to determine whether you have what it takes to live up to its promise.  

Jessica Chastain turns in another great performance as Abel’s tough-as-nails wife. 

Good stuff.