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Company Who Squashed “The Path To 9/11” Produces ‘Master-Race’ Film “Secretariat”?
Posted By Chris Yogerst On October 9, 2010 @ 2:00 pm In NewsReal Blog | No Comments
A few years ago, my girlfriend (a devoted horse lover) made me sit through Seabiscuit. I spent the whole time wondering why Jeff Bridges signed on to the project. It an act of consistency, I also eventually sat through the atrocious Flicka, though I refuse to watch the sequel (I have to draw a line somewhere).
I like horses, but lets be honest, films based on them are usually less than stellar. At worst, they are mildly annoying. At best, they give me no reservations about getting up to grab another beer. While there are a ton of reasons for a critic to destroy these films in a review, one thing I never thought would be a focal point when discussing the new Secretariat film is master-race paranoia.
In the midst of “Hope and Change,” Bush Derangement Syndrome is still alive and well with a never ending barrage of Hitler analogies two years into Obama’s first term. This child-like tactic, triggered by fear, is exactly what prompted the Clinton Machine to scare Disney and ABC into silencing The Path to 9/11 miniseries that was wildly successful (more info here). However, according to some fire breathing leftists at Salon, “family-friendly” is just code for fascist entertainment.
Oozing with leftist paranoia, Salon writer Andrew O’Hehir weighs in on Disney’s Secretariat:
I enjoyed it immensely, flat-footed dialogue and implausible situations and all. Which doesn’t stop me from believing that in its totality “Secretariat” is a work of creepy, half-hilarious master-race propaganda almost worthy of Leni Riefenstahl, and all the more effective because it presents as a family-friendly yarn about a nice lady and her horse.
For those who don’t know, Riefenstahl was a filmmaker hired by Adolf Hitler to make propaganda films. In fact,her talent, regardless of her fascist sympathies, inspired many influential filmmakers; including George Lucas who wanted to duplicate some of her technical expertise from Triumph of the Will in his Star Wars films.
Of course, O’Hehir’s intentions are not to refer to talent but to cry “master-race” at a movie about a horse. He thinks that the Right is using sneaky Alinsky tactics to push a radical agenda in a film produced by a company that has been controlled by the intimidation of leftists. This makes absolutely no sense, one has to wonder which film this clown was actually watching.
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