John Nolte’s review of “Brüno,” a film I haven’t yet seen, tackles Sasha Baron Cohen’s previous film “Borat,” a film I have seen about twenty times. That being said, Nolte is dead-on in his appraisal of the film: it found favor with the left-wing elitists because it poked fun at us regular folk. But in praising “Borat,” they revealed something about themselves, something I’ve known to be true since the summer of 1994.
That was the best year for movies that I can recall. That summer alone we had “Forrest Gump,” “True Lies,” “Speed,” and everyone was eagerly awaiting the arrival of Cannes winner “Pulp Fiction.” And we also had “The Lion King.” I remember the critic for my campus newspaper, The Red & Black (Go Dawgs!), panned the film, noting that the “Circle of Life” song, sung by a gay man, was really about keeping groups of people, particularly minorities, in their place. I thought this was bizarre and brought it up with some of my classmates.
I was a drama major. Hellooooo! What was I thinking!
Turns out the movie was homophobic and racist. Scar, the villain, was clearly gay, I was told. I missed that. By missing it, i.e. not having an opinion on the sexual preference of a cartoon lion, I was also a homophobe. Huh? As for the charge of racism, the hyenas, famously voiced by Cheech Marin and Whoopi Goldberg, were stereotypes of blacks and Mexicans. But, as I pointed out, James Earl Jones, a black man, voiced the role of Mufasa. The response still floors me: Yes, but he wasn’t portrayed as a black person.
Did you catch that?
Because Mufasa’s not shucking and jiving, he’s not a black person. I can’t pretend to have called my friends on this; frankly, I was stunned. The PC mindset had led my friends to charge the film with racism, and in doing so they revealed themselves to be slaves to stereotypes. Racists? Probably not. But certainly not deserving of their pious attitude toward Uncle Walt and Company.
Which brings me back to “Borat.” I happen to agree with Christopher Hitchens, who notes that the film makes Americans look more tolerant than the left seems to believe. The sequence in a “black” Atlanta neighborhood doesn’t work as humor if the viewer doesn’t have some pre-conceived notions about black street culture. The elitists were falling all over themselves to point out the rodeo audience cheering Borat’s pro-Bush, pro-War on Terror speech–guess they didn’t notice the woman rolling her eyes. I bet there were more reactions like this…on the cutting room floor, of course.
The elitists’ favorite scene, though, was the one that made fun of them intolerant southerners. The one where Borat insulted the host, crapped in a bag, and, in a move that busted up the party, invited over a prostitute. To the elites, the fact that she was OBVIOUSLY a prostitute had NOTHING to do with her presence breaking up the party. You remember, she was black. And this crowd was clearly offended to be in the presence of a black woman.
I don’t think this is the case and the reaction reveals more about the elites than the scene itself reveals about the great unwashed southern masses. In the end, the Liberal elites had to interpret the movie in this way, if only to excuse themselves for embracing a movie with wall-to-wall juvenile poop and penis jokes. With “Brüno,” they’re taking the “Lion King” approach, embracing it less than they did “Borat” and pointing out the stereotypes. I can’t wait to see what it reveals about them.
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