PoliticalChic
Diamond Member
For those of us who have had to sit through predictable movies/plays/books that evince the accepted Liberal memes, you know: evil white folks, greedy big corporations and wonderful long-suffering minorities and native Americans, with wisdom beyond the ordinary, the times, they may be a-changin!
Check this out:
Late in David Mamets recently premiered Race, something happens that, for those accustomed to the pro forma left-liberalism of typical Broadway fare, is little short of stunning. The play deals with a black-white legal team defending a prominent white client accused of raping a powerless, young black woman. Theyve just learned that the centerpiece of their ingenious strategy to prove his innocence was leaked to the prosecutionthe culprit being their stylish, newly minted female black associate, the protégé of the white, liberal attorney (James Spader).
What? The villain isnt an old white guy?
There outta be a law!
And, even worse- a comparison with Ms. Messaiah!
Grier stalks over to a file, pulls out the young womans college thesis, and begins reading aloud. Its full of the inchoate, anti-white rage characteristic of such effortsindeed, it recalls Michelle Obamas at Princeton. You think you know this woman, Greer tells Spader; you think she likes you, but shes an affirmative-action babe, a perpetual victim. Thats how she sees herself, and this is her revenge.
Where did this version of David Mamet come from? since he came out as a quasi-conservative early last year in a Village Voice essay entitled, Why I Am No Longer a Brain Dead Liberalfeaturing his memorably succinct reaction to a soft-voice New Man on NPR on his car radio: Shut the f*** up!
It hardly needs saying that ideological diversity in the American theater is long overdue but among those that strive to make some kind of political or social point, the uniformity of perspective is mind-numbing. race hatred - antiwar plays - anticapitalism plays - plays about looming ecological disaster - plays celebrating gay life - and angry feminist . Most dont hesitate to take easy swipes at religion or conservative political figures.
But now-
But now, with Race, Mamet seemed to be aggressively confronting those assumptions, clomping over turf no other playwright, never mind one of his lofty stature, even dared approach.
Why?
The answer, my friend, is blowin in the wind.
Read the article here, theres a little bit for everybody.
Free David Mamet! by Harry Stein, City Journal 30 December 2009
Check this out:
Late in David Mamets recently premiered Race, something happens that, for those accustomed to the pro forma left-liberalism of typical Broadway fare, is little short of stunning. The play deals with a black-white legal team defending a prominent white client accused of raping a powerless, young black woman. Theyve just learned that the centerpiece of their ingenious strategy to prove his innocence was leaked to the prosecutionthe culprit being their stylish, newly minted female black associate, the protégé of the white, liberal attorney (James Spader).
What? The villain isnt an old white guy?
There outta be a law!
And, even worse- a comparison with Ms. Messaiah!
Grier stalks over to a file, pulls out the young womans college thesis, and begins reading aloud. Its full of the inchoate, anti-white rage characteristic of such effortsindeed, it recalls Michelle Obamas at Princeton. You think you know this woman, Greer tells Spader; you think she likes you, but shes an affirmative-action babe, a perpetual victim. Thats how she sees herself, and this is her revenge.
Where did this version of David Mamet come from? since he came out as a quasi-conservative early last year in a Village Voice essay entitled, Why I Am No Longer a Brain Dead Liberalfeaturing his memorably succinct reaction to a soft-voice New Man on NPR on his car radio: Shut the f*** up!
It hardly needs saying that ideological diversity in the American theater is long overdue but among those that strive to make some kind of political or social point, the uniformity of perspective is mind-numbing. race hatred - antiwar plays - anticapitalism plays - plays about looming ecological disaster - plays celebrating gay life - and angry feminist . Most dont hesitate to take easy swipes at religion or conservative political figures.
But now-
But now, with Race, Mamet seemed to be aggressively confronting those assumptions, clomping over turf no other playwright, never mind one of his lofty stature, even dared approach.
Why?
The answer, my friend, is blowin in the wind.
Read the article here, theres a little bit for everybody.
Free David Mamet! by Harry Stein, City Journal 30 December 2009