Notes on a demagogue’s favorite movies
Hbefore it is once again. The annual event on the list: “Barack Obama’s Favorite Movies of 2021”. Is it competing with Journalist Awards season? Or is it just another way to convince them that the King of Kalorama thinks like them? A critical friend responded brilliantly to the announcement: “‘God’ is intervening. “
It’s always fun to see how the Obama team keeps its grip on culture. This annual conference from above is designed to show off smarter diversions than an Obama populist. It matches the tastes of mainstream media. Like pollsters and trailblazers, the Obama team astutely researches what attracts the media and what can be sold as hip – the same way pet social policies are promoted during election campaigns.
The odd thing about Obama’s annual Ten Commandments (now a total of 13 Commandments) is that they are always aimed at cultural “betterment”, at demonstrating an evolved taste. This artistic version of progressivism resembles the Soviet talent for socialist realism.
Let’s break it down:
Drive my car at the top of the list, suggesting that Japanese artists imitating Uncle Vanya are more refined than you. This undeniable art film snobbery ignores the marvelous Coming 2 America (Or could this comedy about African heritage resuscitate the dreaded birth certificate controversy?)
Summer of the soul celebrates black music to prove its ethnic authenticity, an easy con artist preferable to Belfastwhite nostalgia, the family half that we do not talk about.
West Side Story keeps America’s past racist shame alive. A tribute to old friend Spielberg who “fundamentally transforms” the classic musical according to Obama’s vision of the fractured United States. The BFG. (cf Make Spielberg awesome again.)
The power of the dog slams American history and toxic masculinity, hiding behind the skirts of Jane Campion’s imitating feminism.
Pork distracts from Bill Ayers, an old-fashioned radical police insult with a gourmet tip story, a politically correct understatement of an elite for leaving a “tip.”
Who passed mixes racial and gender identity while paying homage to outdated black literature.
The card counter condemns the war in Iraq, the US military, the prison system and flirts with interracial sex. A quadruple campaign platform.
Judas and the Black Messiah twists the black activism of the 60s. Funny the new Messiah himself likes that.
The worst person in the world is an ironic justification for personal peccadilloes regardless of popular approval.
old henri replaces Faulkner’s racial profundity with a new American antipathy. This corrupt and unpopular western proves that these films are not consensus favorites.
The last duel is a chic feminist rewrite of history. Her analogy asks: Can Michelle replace Hillary?
Macbeth’s tragedy is a fruit at hand. If you make the obvious comparison, it’s either called a conspiracy theory or you’re canceled.
Go on! Go on tells a story that is such a broken family, broken nation coincidence that it easily sounds like a Barack-Michelle public service announcement.
Quo Vadis, Aïda? Eh? His Serbian subject, which revisits the tragedy in Bosnia, reminds us that foreign policy is never far from Obama’s thoughts. But why this and not Zola wink at trans activists exasperated by Dave Chappelle?
No sane person believes that Obama actually saw and judged the films for himself. All these choices are demagogic, turned towards the seduction of the electorate. The list perpetuates prejudice, dedication and gullibility. This is how movies and politics work.
The Obama team must think Hollywood needs to be reminded that the great Renaissance man is on his side and his constituents need better taste. Or does the former president just want your allegiance?