Guest Contributor – The Fat Man – Movie Review – Ford v Ferrari

Ford v Ferrari is the true story of the effort by Ford Motor Company, led by Carol Shelby, to build and race the first American car to win the Le Mans Gran Prix, the most prestigious road race in the world. The film was directed by James Mangold, starring Matt Damon as Carol Shelby and Christian Bale as Ken Miles, the lead driver for the Ford team. The movie is something of a small miracle; a mostly live action Hollywood film shot on real locations. Also, there is no political agenda. All the actors are who they actually were, white men, and they fight, lie and cheat, which is to say they compete, for the purity of winning. How did this happen in 2019 America?

It is a wonderful spectacle to behold. Matt Damon as the Texan Shelby battling the soulless suits, led by Josh Lucas, who has made something of a specialty out of playing dastardly weasels. The movie is unconcerned with cultural appropriation, casting the Jewish Jon Bernthal as the Italian-American auto industry icon, Lee Iacocca. He does a fine job. Even Henry Ford II has a substantial role played by Tracy Letts. And to top it off, the film is centered on Miles’ intact heterosexual family of three, a supportive, if somewhat feisty wife and his heartbreaking 10-year-old son, who will witness his fiery death.

Now the movie aims for iconic myth-making but I’m happy to report it is at least soundly competent. I have been wondering the last few years if the industry was still capable of making a real movie. Apparently in some corners, it is. The racing scenes are fun, much of it CGI, but still enjoyable. Grown men past sixty, as were many in the audience, will have a different experience from everyone else. If you were around in the 1960’s but still too young or too working class to be in college, cars was the most important thing in life. They are the material and cultural medium that ties the suits to the cowboys and the Brits to the Italians. They hate each other in all the deplorable ways we make believe is unnatural. It is the very nature of men and it is their crafts and creations, mechanics, racing, auto making that channels their animal spirits to a higher plane. They compete, they innovate and even when they lose they tip their hats to the winner, as Enzo Ferrari does to Miles.

Bale and Damon go a little over the top now and then as does the film itself when the Ford scion is reduced to a sort of weeping orgasm at his first experience of real racing at the hands of Shelby. But these flaws are welcome and authentically quixotic in their ambition. If the film ultimately misses the mark myth-making, it doesn’t matter. It succeeds at something more important, reminding us what real movies and real men once looked like.

 

 

 

 

Breitbart’s Tinseltown Travelogue

As I mentioned in an earlier post, Breitbart put together a three-part article that combined an historical narrative on Hollywood’s communist roots along with a first-person story of left-wing bias against anyone who is to the right of Karl Marx.  Reading it I learned something that I hadn’t known.  The Hollywood Blacklist was actually a reaction to the Leftist Hollywood Graylist that had existed since the beginning of Hollywood and which controlled the ideology of movies by only permitting communist approved scripts from communist script writers.  I had always known that the golden age movies were mostly the product of leftist and even communist writers and directors but I never realized that the control of the union that controlled the screen writers was a man who eventually became the president of the American Communist Party.  Basically, the blacklisting was the result of the US government doing something about the Soviet Union controlling the largest propaganda machine in the world, Hollywood.

And more than sixty years later the Soviet Union no longer exists but Hollywood is even deeper under the control of people who believe in an ideology that combines the worst tenets of communism with an anti-western, anti-family anti-normal cult that threatens the very existence of this country.  And they expect us to pay them for their poison.

So, what do I think of all this Hollywood uproar?  All these actresses coming out of the woodwork and complaining about Weinstein, Damon, Crowe, Affleck et alia?

Not my problem.  I wouldn’t let a woman I cared about within a mile of those creeps.  We were told by Meryl Streep that Harvey Weinstein is a “god.”  Of course, Baal was a “god” so maybe we didn’t get enough details.  Harvey himself told us Hollywood had the best moral compass because it had compassion.  Well I guess if you’re a four-hundred-pound satyr it probably makes sense to hope that those you attack have a whole boatload of compassion but maybe he’s right.  After all they haven’t changed their minds about Roman Polansky and you’ve got to admit it takes a lot of compassion to overlook what he did to that 14 year-old-girl.  Funny thing about that.  Wonder if Meryl is rethinking her position on that one?

Recently the news is full of the disastrous ratings and ticket sales for TV and movie properties.  Now why would that be?  Well, in my estimation, white men have abandoned Hollywood and broadcast TV.  And why have they done this?  Because Hollywood has very clearly assigned white men (and especially normal white men) as the oppressor of everyone else.  In their movies we are the enemy.  At best we’re insensitive rubes who don’t respect the legitimate hatred of all these oppressed groups toward us.  And at worst we’re cartoon villains twirling our moustaches as we tie the transgendered woman to the railroad track.

Then if you’re a normal white man what has Hollywood got that you want to pay for?  Well, pretty much nothing.  Even the action movies that used to lure us into theaters have been poisoned with venom against us and filled up with 95-pound girl-power heroines karate chopping their way through stadiums full of full sized men.  Even the super hero and sci-fi summer blockbusters have become sermons against the dangers of being white men.  They’ve kinda taken the fun out of it.  Yep.

So, is it any wonder that demand is starting to tank?  The article is written in the end as a cautionary tale meant to wake up the Hollywood establishment to their danger of running out of audience.

Yeah, well, no.  Please don’t wake up.  Run the damn thing into the ground and hurry up about it.  Pump out another five hundred George Clooney/Matt Damon movies like Suburbicon.  Please, by all means.  Plough through every last cent of your capital on those kinds of projects.  With any luck, you’ll be completely out of business by 2020.  I guess that means the 3% of Hollywood types who are actually conservative will be out of work too.  People I really like too.

Well, that’s too bad because it needs to go out of business.  Because it’s a terrible place and it produces too much evil to make up for the little bit of good it does produce.  Shut it down and sell it off for scrap to the Chinese.

Then maybe we can start from scratch and creative people will make movies that people want to see.  Movies about people like us.  People they can root for and care about.  And movies that don’t tell them that they are bad people and that they should be replaced and that they should just disappear.

So that’s what it is.  We want them to disappear, not us.  Doesn’t seem too much to ask for.