Democrat tom hanks is number one box office just about everywhere in the world. Democrat Steven Spielberg has recently been knighted. De Niro and Streisand were friends of the Clintons. This year’s best film Oscar nominees Traffic and Erin Brockovich are the latest in a long liberal tradition in mainstream Hollywood dating back through Schindler’s List, Philadelphia, Wall Street, One Flew Over the Cuckoo’s Nest, Guess Who’s Coming to Dinner, In the Heat of the Night, Spartacus, Citizen Kane, 12 Angry Men and Casablanca. Few stars graced George W Bush’s inaugural ceremony.
And further back things weren’t much different. Bacall turned Bogie into a Democrat. Gene Kelly, John Garfield, Olivier and Danny Kaye marched on Washington against McCarthy. The icons-Monroe, Brando, Dean, Clift-were all Democrats. It’s the same outside the US. In Britain, Thatcher could muster almost no movie supporters. In Spain, cinema exploded after Franco. We all know about outcrops of reaction in the movie world like Ronald Reagan and Charlton Heston but they were the exceptions.
Or so we have long assumed. In fact there’s an interesting political secret to be pulled out of the Hollywood cupboard, and it does not concern merely the mild conservatism of many mainstream blockbusters, or the frontier values of the old western and its modern successors. Look, rather, into the very heart of American counter-culture and you will find films like Taxi Driver and Blue Velvet, films which penetrated the mainstream with a spirit of the avant-garde. Yet at the core of their innovative visions there is also a spirit of right-wing libertarianism and rage against modernity. They are reactionary films. And the left has never appeared to notice, or mind.
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