With “Taken” debuting at the box office today, we’re inching closer to the melting of the post-9/11 “Thou Must Whitewash Islam” commandment.
Since 9/11, Hollywood is taken with the politically correct idea that they’re not allowed to portray Muslims as terrorists, or when they do, it’s to glorify the terrorists and justify their behavior–that America deserves it and made them do it. Or–a la “24”–that Muslim terrorists are always working for the American White man. Instead, Hollywood, post-9/11, made terrorists and hijackers, everyone BUT Muslims. There were Black Men with AIDS from Africa (“The Interpreter“), Federal Air Marshals and airline stewardesses, er . . . “flight attendants” (“Flight Plan,” exec produced by my uber-leftist cousin, Charles J.D. Schlissel), White Christians (a number of movies and TV shows) and everyone else you can think of . . . except Muslims, who make up the majority of real-life terrorists plotting against America today.
Part of this is the ultra-PC mentality of Hollywood, which hates all religion but for Islam because so many Muslims share Hollywood’s hatred for America. The other part of it is that Hollywood execs are lazy, and they want to pacify the constant Islamic Whine Industry–the cretins at unindicted HAMAS-funding co-conspirators CAIR, MPAC, ADC, and the rest of the alphabet soup of halal baloney.
But this 9/Eleventh commandment of Hollywood is thawing in tiny, subtle ways. Last year, in “Vantage Point,” although the terrorists aren’t identified outright as Muslims, we’re subtly told that they are. One of the main terrorists opens his locker at work, and in it, we see a quick shot of a picture of his wife in a hijab, the Muslim headscarf for women.
In “Taken,” retired CIA agent Liam Neeson’s daughter is kidnapped by an Albanian Muslim sex slavery ring in Paris. And while the movie doesn’t outright tell us they are Muslims, the filmmakers show us several quick close-up shots of tattoos on the hands of the men who head the ring–crescents and stars, the religious symbols of Islam.
Then, there are the people who “acquire” his daughter. They are obviously Arabs, who speak Arabic, and they are Muslims–their boss is “the Sheikh” on the yacht (Sheikhs are exclusively Muslim). And for once, they are the criminal thugs, the sex slavers, the murderers–without apology or excuse.
Just the way it was on 9/11.
It’s partly for this reason that I liked “Taken” immensely. But also, it’s just a great, clever, action thriller. Read my full review of this and the other new releases at the box office, including the surprisingly good “The Uninvited,” and “New in Town,” which endlessly mocks and derides Middle America. You know?–Small town Americans with good values. Sadly, there’s no Hollywood Commandment against vilifying them. And so it continues.
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