The 2015 Academy Awards

There are too many films about washed-up, has-been, celebrities.  A few years ago, “Tender Mercies,” with Robert Duvall in the role of the washed-up guy, won an Oscar, but I still do not know why. 

The only truly, honest, professional, consistent maker of good movies is Clint Eastwood.  He is still going strong, up into his eighties; but when he is gone, so is the art of filmmaking. As long as he is lucid and vertical, he will not be washed-up, he will channel his talent into some kind of useful activity. He is a polymath of talent that does not depend upon Hollywood awards (though he has received more than they would care to admit that he has honestly earned). 

I have read many reviews and looked at several clips of "Birdman," and I saw nothing original in this seemingly plotless film that compels me to want to see it, especially not the ear-punishing sound effects that Hollywood lauds.  The sympathetic pundits cite a litany of clichés, but can cite nothing with substance that reflects that they possess a legitimate knowledge of artistic criticism.   At the Awards, Sean Penn jokingly asked the audience, "Who gave this guy (Gonzalez) a green card?"  Penn, a super-liberal, Fidel Castro fan,  is not prejudiced; he was just trying to dupe everyone into rooting for a faux, Hollywood-anointed, Cinderella underdog.

The first classic Mexican Revolution novel was titled “The Underdogs,"  or "Los de Abajo,” an anti-gringo  work written by a Villista doctor, Mariano Azuela in a  South Oregon Street print shop in El Paso, and serialized in an El Paso newspaper.  All of the "bad guys" were "hueros," (blondes) a trait that the author, Azuela, had to stretch because he could only characterize Mexicans, not gringos; the only people he knew, or had met, in the Revolution were Mexicans.  It is not likely that he got to know any gringos in South El Paso's Second Ward. Hence, he made all the bad guys blonde Mexicans.   The only thing he knew about gringos was what he had heard, but it would have been un-Mexican of him not to judge by hearsay.

The washed-up, has-been protagonist of "Birdman" is not a true underdog figure.  He will remain washed-up.  This "award" is really about Alejandro G.  Inarritu, who uses an initial, "G," for his real surname, "Gonzalez." He is the Mexican director of the film, whom Sean Penn and Hollywood is trying to palm off on us as a bona fide, successful "Cinderella underdog."  He may now be a rags-to-riches guy, but that would be post hoc spoils, thanks to the Academy that anointed him. I predict a subsequent, accelerating slide into oblivion. The Prince (public opinion and sobering transparency) will not make his life happy ever after.

These farcical Oscar "awards" prove once again that Hollywood has become a liberal, political podium, owned by the super-rich Intelligentsia, used to advance their socialist agenda. "Birdman" is more Hollywood politics, steered by globalists that want open borders and one-world government.  “Birdman” is really about amnesty--now that the liberals and their puppeteers can trumpet a Mexican that they have anointed as "creative." Without the programmed, bias of the Academy, no one would have yet heard of Alejandro G. Inarritu.  Sean Penn's "green card" quip was designed to convince us that since the Academy "discovered" a "talented immigrant" from Mexico, that we should open up the border to all of them.  Give me a break! Every movie I ever saw with a Mexican flair was neither original nor creative; on the contrary, their productions seem to nearly always border on plagiarism.