When I saw the Village Voice’s denunciation of Harold Ramis as evil racist scum, I assumed it was a one-off event. But no, it’s a pattern. First came the eulogies. Then came the politically correct denunciations and deconstructions.
Salon, which these days is a student newspaper that wishes it was Slate, contributed its own redefinition of Ramis as a reactionary conservative villain. The Village Voice at least limited itself to accusing Ramis of racism and promoting Global Warming skepticism with Ghostbusters (don’t ask).
Salon, as usual, makes the Village Voice look like a model of sanity. Animal House apparently promoted Wall Street fraud. No, really.
Drink, take and lie: translate it into Latin and it could be the motto of the One Percent. It is no coincidence that P. J. O’Rourke, who was editor of National Lampoon when “Animal House” was made and is currently a wisecracking critic of liberalism at the Cato Institute, recently declared that the release of the movie in 1978 marked the moment when his generation “took over” and started to make the world “better.”
…It is also no coincidence that the fraternity at Dartmouth which served as one of the models for “Animal House” has of late become a kind of pipeline into the investment-banking industry, nor should it surprise anyone that Wall Street is home to a secret Animal House-style fraternity of its own
And it’s also no coincidence that Harold Ramis is an anagram for I Love Capitalism. At least if you translate that into the Portuguese and run it through the washer.
Also if you play the Animal House vinyl soundtrack backward, you can hear a Goldwater speech. Don’t tell me that’s a coincidence.
Caddyshack? Obvious paean to the Tea Party movement as embodied by Rodney Dangerfield.
And that makes for a pretty liberal film, right? I mean, who else makes fun of country club grandees except for us lefty authority-questioners?
Well, free-market conservatives do. Google the phrase “Country club Republican” and what you will find, by and large, are right-wing types using it as a synonym for “RINO”: fake Republicans who are in it for the snobbery—not out of faith in the relentless, disruptive forces of capitalism.
So Ramis was really a secret Tea Party member. Who knew. And Ghostbusters? That’s Ronald Reagan all the way.
There is nothing “crypto” about Ramis’s 1984 hit, “Ghostbusters”: Its Reaganism is fully developed, as numerous critics have pointed out. Here the martinet is none other than a troublemaking EPA bureaucrat; the righteous, rule-breaking slobs are small businessmen—ghost-hunting businessmen, that is, who have launched themselves deliriously into the world of entrepreneurship. Eventually, after the buffoon from the EPA gets needlessly into the businessmen’s mix and blunders the world into catastrophe, the forces of order find they must outsource public safety itself to the hired ghost-guns because government can’t do the job on its own.
It was obvious all along, Ghostbusters was all about the Reaganism. The supporting evidence for that is that…
1. They run a ghostbusting business
2. They make fun of an EPA guy
That’s so Reagan. I remember the time Reagan gave that speech about the importance of supporting small businesses that fight ghosts.
While it’s easy to dismiss this whole article as a case of brain damage, Thomas Frank’s rantings reveal the mindset of the left. Either you’re for them and reflect their total worldview or you’re the crypto-Reaganist Tea Party enemy.