By Robert L. Hilliard
Hollywood Speaks Out explores that infrequent Hollywood characteristic that dared to take on red-hot, social concerns when American society used to be gripped by way of the convulsion and controversy they generated.
- Explores why Hollywood has continuously been risk-adverse, and the way so much characteristic flms care for debatable matters lengthy after the debate is past
- Organized round such very important concerns as poverty, racism, sexism, conflict, anti-Semitism, and homophobia
- Discusses the relevance and the impression of function motion pictures from Modern Times to WALL-E
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Additional info for Hollywood Speaks Out: Pictures that Dared to Protest Real World Issues
Now our country calls. qxd 29/12/2008 10:34 Page 30 In those brief segments of dialogue, All Quiet on the Western Front captures the rationale and approach used in all wars, past and future, and by all countries, to convince people to go to war, but revealed as travesty in very few films other than this one. Hitler’s second-in-command, Hermann Goering, a war criminal convicted at the Nuremberg Trials, stated it this way: Of course, the people don’t want war. But, after all, it’s the leaders of the country who determine the policy, and it’s always a simple matter to drag the people along whether it’s a democracy, a fascist dictatorship, a parliament, or a communist dictatorship.
One film made shortly after an ostensible war action was Black Hawk Down, an adventure movie on America’s ineptly conducted and too-obviously staged raid on Mogadishu, Somalia, in 2001. The film concentrates on the graphic delineation of war’s brutalities. In that respect, it is somewhat similar to the opening sequences of Saving Private Ryan (1998), with its remorseless, merciless, raw representation of the carnage of D-Day in World War II. And, like Private Ryan, Black Hawk Down is only anti-war to the extent that it shows the horrors of war and its effect on individual soldiers, but at the same time lauds the valor of the American combatants and motivates pride in America’s armed forces.
It was a kind of ultimate hole card in a game where the stakes were life on earth. Then Kubrick’s film opened with the force of a bucketful of cold water, right in the face. 16 Along the same lines, critic Jonathan Kirshner wrote: Made at a time when anti-communism pervaded American society, and people could still get in trouble by saying the wrong thing [Dr. Strangelove] subverted the very idea of the Cold War itself. R. S. . 17 Director Sidney Lumet’s Fail-Safe, essentially the same plot-line, was a straightforward, serious telling of the story.
Hollywood Speaks Out: Pictures that Dared to Protest Real World Issues by Robert L. Hilliard