Hollywood has fallen and can’t get up

Hooray for Censorship is on Hollywood's banner in 2020, Hollywood, where the artist’s new role is to serve the mob. Opinion.

Jack Engelhard ,

 Jack Engelhard
Jack Engelhard

That screenplay you’ve been working on all these years, tough luck. You will have to trash it and start all over again.

Straight out of Huxley, Orwell and Kafka, new rules from the Academy of Arts and Science, if you ever want your completed film submitted for Best Picture toward 2024.

Let The New York Post’s Miranda Devine explain, in one paragraph, what you will need to consider before writing or re-writing --

“For example, lead actors must be from an ‘underrepresented racial or ethnic group . . . Asian, Latinx, Black, Native American, Middle Eastern, Native Hawaiian or other Pacific Islander. At least 30 percent of the rest of the cast otherwise must be chosen from at least two of the following victim identities: women, underrepresented racial or ethnic group, ‘LGBTQ+’ and the disabled.”

Got that?

Simply, every movie must include a fraternity of people identified as minority or victims.

The announcement of this new policy, of tyrannical self-imposed censorship, was made public last week without shame…from the same Hollywood that once fought the Blacklist.

Long ago, JFK said, “The highest duty of the writer… is to remain true to himself and let the chips fall where they may.”

That was America 1963…and thus spoke a Democrat back then. But this is America 2020.

So back to the present. That’s where the artist’s role is to serve the mob. After that, to succeed in Hollywood, and to avoid being shunned, shamed and cancelled… writers, directors and producers, and possibly their wives, husbands, children, cousins, aunts, uncles, will all have to bring papers to prove that they are diverse.

Diversity uber alles.

Hooray for censorship.

The Commissar assigned by the Academy will make sure that you are not hiding someone White or Jewish in your past. Your grandmother, perhaps? Ach zo.

We have ways to make you confess.

Take, for example, the twins, Julius and Philip Epstein who, along with Howard E. Koch, are the credited screenwriters for “Casablanca.”

That movie was made in 1942, released in 1943, and remains, many still say, the most beloved movie of all time.

Trouble is, the Epstein brothers were Jewish, so no way would they be compliant with Hollywood 2020. One of them would have to change gender or color.

Difficult for twins.

Worse, much of the cast, and plenty behind the scenes, were newly arrived refugees from Hitler’s Europe…inconveniently White and Jewish.

Not so Humphrey Bogart or Ingrid Bergman, but they too are insufficiently diverse, so perhaps Bogart could be changed to Native Hawaiian…Bergman to transgender.

But that too won’t work, won’t comply, because the boy-girl motif is likewise obsolete and a non-starter. The saying in Hollywood used to be – “every movie is about two people.”

Remember? Boy meets girl. Boy loses girl. Boy wins girl back.

From now on, Boy needs to meet her entire mishpacha, and they all better be different…different enough to fill all 30 requirements.

Some movies are about one person. I’m thinking “Lawrence of Arabia.” Worked fine with Peter O’Toole carrying it all by himself.

Today, writer Robert Bolt and director David Lean would need the hero to be accompanied by an entire clan of squabbling, diverse relatives.

Forget Gary Cooper standing alone against the Miller Gang in “High Noon.”

Cooper, who knew his limitations and his own worth, used to advise the studios about how to cast him – “Just make me the hero.”

Has anyone in Hollywood spoken up against the newfangled censorship?

Can we get at least one current star to protest and play the hero?

New York-based bestselling American novelist Jack Engelhard writes regularly for Arutz Sheva.

He wrote the worldwide book-to-movie bestseller “Indecent Proposal,” the authoritative newsroom epic, “The Bathsheba Deadline,” followed by his coming-of-age classics, “The Girls of Cincinnati,” and, the Holocaust-to-Montreal memoir, “Escape from Mount Moriah.” For that and his 1960s epic “The Days of the Bitter End,” contemporaries have hailed him “The last Hemingway, a writer without peer, and the conscience of us all.” Website: www.jackengelhard.com

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