Sunday, 3 September 2017

OUR LADY OF THE FLIES: WHY HOLLYWOOD IS FAILING



Sorry, boys. You've been voted off the island



Hollywood is rapidly becoming the home of modern entertainment, not as a result of the films it produces, but thanks to the absurdity of the reasons for making those films in the first place. It is years since I saw a new Hollywood film, and the ones I did see in London were uniformly crap. Now, they have become the bully pulpit for the Pansy Left, such as it is in Hollywood, with political correctness a priority over plot, acting, script and all those other fuddy-duddy - and probably patriarchal, racist and way too white - considerations.

Political messages have always lurked in celluloid, of course. There have been way too many university seminars devoting to ‘deconstructing’ the Western and what have you. Now, though, the messages have less to do with Communism or fascism and more to do with identity politics. The latest manifestation of this gloomy fetish comes with the announcement of a remake of Lord of the Flies, the 1963 cinematic adaptation of the 1953 novel by William Golding. My review of the book, incidentally, can be found here. The novelty of this ‘re-imagining’, to use a faddish and guffaw-worthy film term, is that it will feature an all-female cast.

There is a passing craze for re-making films with female casting, or black casting, or whatever this week’s fashion is. Personally, I await the transgender remake of The Magnificent Ambersons. But that’s just me. As always, there are several obvious points to be made.

Firstly, the perceived oppressed™ - my coinage, incidentally, as far as I aware – are in no way helped by this outbreak of tokenism. A black James Bond, paraplegic Dr Who or transgender Spiderman will not ease the supposed plight – only real in the case of paraplegics – by one iota. Leftists never actually care about the identitarian groups they use to bludgeon straight white men with. The bludgeoning is an end in and of itself, and the means are simply dispensable ciphers.

Secondly, the film will be a dismal failure made simply to score some obscure ideological point. The writers – two men, which has already outraged the feminist contingent, or should that be cuntingent? – will have to be screen-writing contortionists to make all the girls in the film seem like good people. The castaways will have to be shown outperforming men and also as moral paragons in line with the Leftist groupthink which now dominates the ‘entertainment’ industry. It will be a spectacle without dignity.

Thirdly, I suspect the film will bomb. Hollywood is already in slow decline, relying on comic-book franchises for most of its successes. Tinseltown suffers from a malaise that actually affects many Western governments in that it believes that if it produces something ideologically sound, the great unwashed will flock to see it in an orgy of virtue-signalling and tacit agreement that remaking films with all-female casts is profoundly to be desired.

I imagine it will only be a matter of time before we see The Girls from Brazil, The Woman with the Golden Arm, All the President’s Chicks and so on.








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