Oscar awards are not only ludicrously theatrical,
but also incredibly political. As a
Liberal-run home of the Academy of Motion Picture Arts and Sciences (AMPAS), liberally
politicized Hollywood speaks for the State of California, to the chagrin of
the non-progressive voting population of the largest "Blue State" in the United
States.
First Lady Michelle Obama participated in the
Oscar-award ceremony via satellite to make it obvious not only to all Americans
but to billions of television viewers across the globe that the Academy Awards
Night bears the acclamation and endorsement of Hollywood, and sealed with White
House's imprimatur. Mrs. Obama announced the movie "Argo"
as the "Best Picture" of the year 2013.
Many television viewers questioned why "Argo" when film Director Ben Affleck
didn't even get a single nomination for Oscar award.
Well, "Argo"
was not a film that normally should win an Oscar award, but it was a movie about
the liberation of American diplomats from terrorist captivity in Iran. American
diplomats were imprisoned then held hostage for ransom by the economically impoverished
anti-American regime of Ayatollah Khomeini.
Ergo, the release of the U.S. captured
diplomats under the able leadership of then President Ronald
Reagan approximates the success of President Barack Obama's fight
against terrorism, which culminated in the killing of Osama bin Laden. It may be argued that Obama succeeded where
President Bill Clinton and President George W. Bush failed.
In this sense, "Argo" is Hollywood's
ultimate propaganda "machine" that would run on the consciousness of millions
of moviegoers, not only in the United States but all over the world, whichever angle
a friend or foe would look at it.
To monumentalize this politically-correct
scenario shown by the First Lady during the Oscar award night, the staff in
gala uniform standing behind her while she was announcing the winning motion
picture of the year was staged in such a way that the eye of the television
camera did not miss the message this military background is trying to
communicate to the viewing public, as previously professionally pre-arranged.
Sex and violence as filmdom's top
moneymaker has an unusual connotation - it negatively affects the moral structure
of our social landscape. The result is macabre and dangerous owing to the
general decline of morality, giving rise to atypical sexual behavior, and the prevalence
of violence and bloodshed. In real life, these so-called "crimes
of passion" due to sexual infidelity, can happen between people with strong
emotional bonds.
In a "loving" relationship between man
and woman, their wandering libido is the cause of 57% of passion crime or
killing of women, being the weaker partner in such sexual relationship. This percentage
is broken down as follows: Approximately "30%
female murder victims were killed by their spouses, 18.3% were killed by ex-spouses, and 8.7% killed by
a stranger -- U.S. Bureau of Justice Statistics. There
is more in another published report on Why Do We Kill.
Award-winning motion pictures exposed
movie-going teenage boys to sexual aggressiveness and young girls to early
pregnancy. Also exposed are child
molesters, pedophiles, and sexual perverts. Sexual liberation and the freedom of
sexual encounters among the young and the old and those of the same sex, had
created this problem of the libido that is running wild and out of control. This following published report with a title
link "Exploded" is alarming:
"Teenage sex and
violence have EXPLODED in the
past decade!!! Adolescents are reaching puberty at younger and younger ages
than EVER before, and resorting to out-of-control, drunken, sexual lifestyles!
Teenage pregnancy rates are at an ALL TIME HIGH!!!"
Of those Academy-award-winning movies in
question is Monster Ball. The art of
love-making and sexual intercourse are scripted and acted with a convincing realism,
and the characters in the film have to "perform"
this scene not only in bed but in any place anywhere, even in the corner of the
office and/or corridor of the workplace where they frequently bumped on each
other. Showing an intense sexual intimacy in the screen as directed in the
story, their lips are always touching each other and their bodies entwined
while either standing against the wall or in similar position or reclined on
the sofa or on top of one another atop the table or laying down on the floor,
locked in the heat of passion. What is
flashed in the screen is a virtual pornographic reality.
We were once watching the 1972 version
of Bertoluci's Last Tango in Paris with at least two Oscar nominations for Actor and
Director. As a 45-year-old American
exile, Marlon Brando has a "sadomasochistic" relationship with a young,
full-breasted, very sexy 20-year-old Parisienne Maria Schneider. It was an
"erotic" film. Brando and Schneider have
a sexual intercourse scene in this movie that viewers hardly forgive or
forget. I belonged to that "forget-me-not" gentry of critics of this film.
Again I must say: That objectionable
scene was unnecessary. Without it, the Last Tango in Paris would not have been
less powerful. Like Tarantino, Bertoluci just wanted to be remembered as a
film-maker who was not afraid to step out of the box. But to step out of the
box only to become a sadomasochistic film artist is morally objectionable to me
and dangerous to the mores and moral foundation of American society. Film producers with a hippie-like mentality
cannot be trusted no more than a drunk driver can be trusted to drive us around
to discover and appreciate the rationale of film-making as an ultimate "Art".
However, it does not surprise me at all
why in the motion-picture industry today's actors and actresses must excel in
their performance of this graphic role on sexuality, not necessarily as an art
for art sake but in order to win an Oscar nomination or Academy award. What does this tell us
about the Academy? Anyway, Halle Berry won her Oscar for Best
Actress in 2002 for realistically emoting sexual orgasm in an erotic love scene
she acted in Monster Ball.
Movieland's powerful influence in reshaping the moral fiber
of the young and old among us with regards to sexual promiscuity that results
in unwanted pregnancy and in committing violent crimes is so horrendous to
contemplate. The Oscar awards that honor sexual depravity and violence is not
only morally offensive but it is also becoming a danger to a society that is
struggling for the revival of its long-lost conservative traditions and
run-away moral values.
(Note: You can view every article as one long page if you sign up as an Advocate Member, or higher).
