I liked that “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” was picked for best makeup.
I liked that Reese Witherspoon won as the best female actress as country singer June Carter:
“Oh, my goodness I never thought I’d be here in my whole life growing up in Tennessee,” said Witherspoon, who like co-star Joaquin Phoenix as Carter’s soul mate, country legend Johnny Cash, handled her own singing in “Walk the Line.”
“People used to ask June how she was doing, and she would say I’m just trying to matter. I know what she means,” said Witherspoon, who told the audience the Oscar made her feel she was doing work that matters.
However, I did not like that George Clooney won supporting-performer for his anti-American role in “Syriana” (that anti-American award was the “opening act” for the night, after showing Clooney lying in bed with Stewart), where the “hero” is a self-exploding terrorist bomber, while the enemy is the U.S. government. As Krauthammer wisely declared yesterday (see his full text below):
Tonight, as the Oscars are honoring Syriana, American soldiers will be fighting, some perhaps dying, in defense of precisely the kind of tolerant, modernizing Muslim leader that Syriana shows America slaughtering.
I did not like that filmmaker Ang Lee, who won the best-director prize for the fiction tale of two old cowboys who carry on an homosexual love affair they conceal from their families for years (well, at least he did not win for best movie of the year, yeah!) Lee, whose martial-arts epic “Crouching Tiger, Hidden Dragon” won the foreign-language Oscar five years ago, became the first Asian filmmaker to win Hollywood’s main filmmaking honor. “I’m so proud of the movie,” Lee said backstage, where he was asked if he was disappointed that his film about gay cowboys lost best picture and what might have kept it from winning. “Why they didn’t go for it, I don’t know. You’re asking a question that I don’t know the answer…” (My comment: Lee, you are totally wrong on portraying the Chinese as masculine tigers while portraying the American male Cowboys as feminine and coward homosexuals. Please, oh dear movie-goer, dont buy that lie!)
My question is: Is this Chinese director trying to “feminize” the American culture to weaken it more and more, to the point to make it unable to defend against terrorists, against a Chinese Communist Imperialism and against anti-Americans like that Clooney (read it as ‘Clowney‘)?
The other ‘awards‘ to such “weakening of America through homosexuality” promoted by Hollywood was given to its musical score composed by Gustavo Santaolalla, from Argentina, and to the adapted screenplay for Larry McMurtry’s original homosexual fiction that he femininely entitled “Lonesome Dove“, and its co-adapter Diana Ossana, all of them wrongfully insinuated, when receiving their “second of glory“, that being it “love,” nothing else mattered. Oh, Really?
You want to see the really destructive for the American society weak, coward and selfish behavior of homosexuals? Just see the attitude and behavior of the other ‘Oscar‘ homosexual winner, “Capote” (and the deeply deranged, mentally and emotionally life of homosexuals as portrayed in TransAmerica).
To see the extended narrative for the American (or mostly, anti-American) movie bash, go to:
‘Crash,’ Witherspoon Take Home Oscars By David Germain.
Why we seriously oppose the anti-American awarded work of Clooney?
Charles Krauthammer hammers it in his March 4, 2006, piece New nadir for Hollywood in the pernicious ‘Syriana‘:
Nothing tells you more about Hollywood than what it chooses to honor. Nominated for best foreign film is Paradise Now, a sympathetic portrayal of two suicide bombers. Nominated for best picture is Munich, a sympathetic portrayal of yesterday’s fashion in barbarism: homicide terrorism.
But until you see Syriana, nominated for best screenplay ([Directed by Stephen Gaghan] and George Clooney, for best supporting actor) you have no idea how self-flagellation and self-loathing pass for complexity and moral seriousness in Hollywood.
Syriana‘s script has, of course, the classic liberal tropes such as this stage direction: “The Deputy National Security Advisor, MARILYN RICHARDS, 40’s, sculpted hair, with the soul of a seventy year-old white, Republican male, is in charge” (Page 21). Or this piece of over-the-top, Gordon Gekko Republican-speak, placed in the mouth of a Texas oilman: “Corruption is our protection. Corruption is what keeps us safe and warm. … Corruption … is how we win” (Page 93).
But that’s run-of-the-mill Hollywood. The true distinction of Syriana‘s script is the near-incomprehensible plot — a muddled mix of story lines about a corrupt Kazakhstan oil deal, a succession struggle in an oil-rich Arab kingdom and a giant Texas oil company that pulls the strings at the CIA and, naturally, everywhere else — amid which, only two things are absolutely clear and coherent: the movie’s one political hero and one pure soul.
The political hero is the Arab prince who wants to end corruption, inequality and oppression in his country. As he tells his tribal elders, he intends to modernize his country by bringing the rule of law, market efficiency, women’s rights and democracy.
What do you think happens to him? He, his beautiful wife and beautiful children are murdered, incinerated, by a remote-controlled missile, fired from CIA headquarters in Langley, no less — at the very moment that (this passes for subtle cross-cutting film editing) his evil younger brother, the corrupt rival to the throne and puppet of the oil company, is being hailed at a suitably garish “oilman of the year” celebration populated by fat and ugly Americans.
What is grotesque about this moment of plot clarity is that the overwhelmingly obvious critique of actual U.S. policy in the real Middle East today is its excess of Wilsonian idealism in trying to find and promote — against a tide of tyranny, intolerance and fanaticism — local leaders like the Good Prince. Who in the greater Middle East is closest to Syriana‘s modernizing, democratizing paragon? Without a doubt, President Hamid Karzai of Afghanistan, a man of exemplary — and quite nonfictional — personal integrity, physical courage and democratic temperament. Hundreds of brave American (and allied NATO) soldiers have died protecting him and the democratic system they established to allow him to govern. Tonight, as the Oscars are honoring Syriana, American soldiers will be fighting, some perhaps dying, in defense of precisely the kind of tolerant, modernizing Muslim leader that Syriana shows America slaughtering.
It gets worse. The most pernicious element in the movie is the character who is at the moral heart of the film: the physically beautiful, modest, caring, generous Pakistani who becomes a beautiful, modest, caring, generous … suicide bomber. In his final act, the Pure One, dressed in the purest white robes, takes his explosives-laden little motorboat head first into his target. It is a replay of the real-life boat that plunged into the USS Cole in 2000, killing 17 American sailors, except that in Syriana‘s version, the target is another symbol of American imperialism in the Persian Gulf — a newly opened liquefied natural gas terminal.
The explosion, which would have the force of a nuclear bomb, constitutes the moral high point of the movie, the moment of climactic cleansing, as the Pure One clad in white merges with the great white mass of the huge terminal wall, at which point the screen goes pure white. And reverently silent.
In my naivete, I used to think that Hollywood had achieved its nadir with Oliver Stone’s JFK, a film that taught a generation of Americans that President Kennedy was assassinated by the CIA and the FBI in collaboration with Lyndon Johnson. But at least it was for domestic consumption, an internal affair of only marginal interest to other countries. Syriana, however, is meant for export, carrying the most vicious and pernicious mendacities about America to a receptive world.
Most liberalism is angst- and guilt-ridden, seeing moral equivalence everywhere. Syriana is of a different species entirely — a pathological variety that burns with the certainty of its malign anti-Americanism. Osama bin Laden could not have scripted this film with more conviction.
(Krauthammer is a Pulitzer Prize-winning syndicated columnist based in Washington, D.C.)
Related to the other “winner” from Hollywood, the mentioned Chinese Ang Lee’s homosexual caricature, or parody, of the real American Cowboys (hey, Mr. liar Ang Lee et al, I am in TEXAS!), that’s just the fiction feminization of America, a trash falsehood piece called “Brokeback Mountain“, worthless even to make comments on it.
So, don’t be seduced by “good looking guys” like that charmer Clown George Clooney or those two “homosexual false Cowboys” portrayed in that feminizing and anti-American ‘Un-Hollywooding’ liberal junk!
And the next one is for you, oh twister liar Mr. George Clooney:
“from Hattie McDaniel (supporting-actress winner from “Gone With the Wind,” the first black performer to receive an Oscar) which you mentioned as one of the boasting glories of Hollywood, to terrorist self-exploding suicide bombers, there is a world of a difference! (one was tender, loving and faithful with her Masters, while the others are a serious danger to humanity, yourself included, big moron!)