Post-9/11, the film industry covered itself in shame. The Left is still ascendant in our academies and media. More than that, it is committed to strangling, through blacklists and unfounded charges of racism and bigotry, the intellectual diversity that might challenge their primacy.
Hollywood’s lockstep leftist filmmakers have long busied themselves with a range of shameful enterprises. They have peddled and celebrated a wholly distorted and negative vision of American manners in dishonest films epitomized by American Beauty (1999). They have sold the self-contradicting nonsense of moral relativism in films such as The Reader (2008). They have routinely depicted the U.S. government and U.S. corporations as bad actors in world events, as in The Bourne Ultimatum. And-in what some observers consider a conscious scheme by a likeminded filmland clique-they have maintained a small but steady effort to normalize the sexual abuse of children in films like Little Children, The Woodsman, Towelhead, and more.
But when it comes to sheer shamefulness, the conformist “radicals” of Hollywood outdid themselves in the years after the Islamofascist attacks on 9/11. When the United States responded to these atrocities by attempting to destroy the terrorist staging grounds in Afghanistan and establish a beachhead of Middle Eastern democracy in Iraq, Hollywood reacted by churning out propaganda movies that could only demoralize our allies and bolster our low and savage enemies: Syriana, In the Valley of Elah, Rendition, Redacted, Lions for Lambs, Green Zone, Body of Lies, Stop Loss, and on and on. Many of these films portrayed our soldiers and intelligence officers as rapists, murderers, torturers, or noble fools manipulated by conniving Republicans. Not one of them (including the excellent HBO film Taking Chance and the flawed but powerful Hurt Locker, which at least showed our troops in a positive light) depicted the wars themselves as good or noble endeavors. Besides Chance and Locker, these films were bad and they were bombs, showing that ideology, not art or commerce, dictated their content. It was the dark mirror image of Hollywood’s patriotic response to Pearl Harbor in the 1940s, a living diagram of what the Left has wrought in our cultural lives since then.