artium and moribus, Cinema & Movies, Novus Ordo Seclorum, Politics

DARK IS THE HOUR

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by David Beilstein

Director Kathryn Bigelow’s new film Zero Dark Thirty, chronicling the dramatic hunt for Osama Bin laden – once the most wanted man in the world – has been on the horizon for sometime. The film has gathered a labyrinth of controversy, most noticeably by national security conscious Republicans.

The cooperation of CIA and Obama administration officials with the makers of the film has attracted stirring criticism from out-of-touch, pent-up Republicans.

But Big Hollywood.com, a conservative website, dropped a bomb recently. Progressives are now dumping on the film – not because any lack of verity, but because the film supposedly promotes torture.

Given what I know about movies, I highly doubt this.

I do not consider enhanced interrogation techniques as torture. Nevertheless, the film chronicles in dramatic narrative the process by which American intelligence agencies and Special Forces’ activities found and killed Osama Bin laden in a Pakistani compound.

Conservatives ought to be the first suits in a room to abhor censorship. Narrative filmmaking is a freedom to be guarded. It is an expression of culture, good and bad.

Mr Christian Toto of Breitbart.com’s Big Hollywood summarises,

No nod to Jessica Chastain for her brilliant performance or director Kathryn Bigelow for commandeering a challenging story without resorting to cheap theatrics.

Nope.

Clennon disagrees with the film’s depiction of a key battle in the “so-called” War on Terror. is it any wonder Bigelow got snubbed for her work this year?

The role of cinema is to capture the verity in either real or feigned life, in a narrative framework. Those in Hollywood who would not recognise the benefit of such a narrative film are denying the beauty and importance of cinema as an artistic art form.

The notion those involved in the Oscars desire to ignore a quality film betrays the superficial and meaninglessness of the Hollywood machine. If Zero Dark Thirty captures the truth of the hunt for Osama Bin Laden – accurately dramatising such an event – it would be a great disservice for culture and filmmaking (in general) – to be ignored.  If one is not interested in the reality Ms Bigelows’ film portrays, a simple solution awaits: do not see the film.

But for those who desire to see it: Zero Dark Thirty is a great and good freedom to be celebrated. In a sense, such issues show the progressive hunger of Hollywood and the Democratic Party in the aggregate to war against a tolerant liberalism. For if such a film – or anything else – challenges the leftist status quo – the message has become somewhat simple: freedom of expression is to be maligned and opposed from on high.

And that is not the attitude arising out of a free society.

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