“Screams Before Silence”: Sheryl Sandberg’s gripping film on the sexual violence of October 7

April 27, 2024 • 11:30 am

By now there is ample evidence not only that sexual violence was part of Hamas’s attack on Israel on October 7, but also that this violence was part of the overall plen to brutalize and humiliate the Jews.  This much has been admitted even by the United Nations, whose UN Women group took way too long to even denounce that violence.

The UN’s official report, whose summary you can find here, concludes this, though results are still coming in:

Based on the information it gathered, the mission team found clear and convincing information that sexual violence, including rape, sexualized torture, cruel, inhuman and degrading treatment has been committed against hostages and has reasonable grounds to believe that such violence may be ongoing against those still held in captivity. In line with a survivor/victim-centered approach, findings are conveyed in generic terms and details are not revealed.

In the context of the coordinated attack by Hamas and other armed groups against civilian and military targets throughout the Gaza periphery, the mission team found that there are reasonable grounds to believe that conflict-related sexual violence occurred in multiple locations during the 7 October attacks, including rape and gang-rape in at least three locations, namely: the Nova music festival site and its surroundings, Road 232, and Kibbutz Re’im. In most of these incidents, victims first subjected to rape were then killed, and at least two incidents relate to the rape of women’s corpses.

The mission team also found a pattern of victims, mostly women, found fully or partially naked, bound, and shot across multiple locations. Although circumstantial, such a pattern may be indicative of some forms of sexual violence, including sexualized torture, cruel, inhuman and degrading treatment.

. . .Overall, the mission team is of the view that the true prevalence of sexual violence during the 7 October attacks and their aftermath, may take months or years to emerge and may never be fully known.

Although the report has a bit of both-sideism by mentioning “allegations of conflict-related sexual violence” committed by “Israeli security forces and settlers,” none of that has been documented. Although those allegations persist, most, at least since October 7, have been retracted—even by Hamas.

Nevertheless, part of the attack on Israel is “rape denialism”: either denying that any sexual violence took place (“no proof,” some people say), or to admit that there may have been a small amount, but it was ancillary and not part of the strategy of Hamas (here’s one example of that denialism). The denialism is, of course, part of the denigration of Israel and Jews that has followed October 7.

If you have any doubts about the existence or extent of sexual violence, read the full UN report, remembering that the UN investigatory visit to Israel took place mostly during February of this year. But first, I’d highly recommend that you watch this hourlong movie, “Screams Before Silence”. Created by Sheryl Sandberg; it received its premiere just two days ago and has already been made public for free.  I’m putting the link here and urge you to watch it, even if you’re squeamish. It is immensely moving, disturbing, and yet heartening as the survivors struggle to tell their tale because they want people to know what happened. Most of all, it’s convincing.

As the Times of Israel reports about the movie,

The hour-long film, created in cooperation with Israel’s Kastina Productions, provides first-hand accounts from survivors, freed hostages, first responders, and legal, medical, and forensic experts. Sandberg is present throughout the film either interviewing individuals in a studio or accompanying them to October 7-related sites.

What emerges is not only an understanding of the mass scale and barbarism of Hamas’s sexual attacks against women but also their deliberate, pre-meditated, and systematic nature.

“When the body of the woman is violated, it symbolizes [the violation] of the body of the whole nation,” Prof. Ruth Halperin-Kaddari, former vice-president of the United Nations Commission on the Elimination of Discrimination Against Women, says in the documentary.

The film’s testimonies detail a horrific truth that was largely brushed aside by a report released earlier this week by United Nations Secretary-General Antonio Guterres, in which he declined to include Hamas among organizations suspected by the UN of committing acts of sexual violence during conflict. That report noted there is evidence that sex crimes were committed during the Palestinian terror group’s devastating October 7 attack on Israel, but did not specifically attribute responsibility to Hamas.

Guterres is, of course, an odious, Israel-hating git, and that’s nowhere better demonstrated than in his refusal even now to admit that Hamas committed sexual violence during its attack. (It also, as you’ll see in the movie, did so to some of the hostages.)  Since many of the victims are dead, and there is still a dearth of witnesses, much less bodies that can give evidence of rape or other sexual violence, there is certainly enough to buttress the UN’s report—and to show Guterres up as the liar he is.

But I digress. In this movie, which you can see by clicking below, Sandberg largely stands aside but listens as survivors, witnesses, and forensic experts tell the story. If this doesn’t move and anger you, well, I don’t know how that could happen to anyone with a heart.

Click below and then on the “watch full film” box. NOTE:  Some of the material is not for those who can’t bear to hear about the often horrible violence done to women. As I said, if you are squeamish about that, you might not want to watch.  I was horrified at some parts, but I also think that one can’t comprehend such a phenomenon without confronting it directly rather than through words like “sexual violence happened.” But your mileage may vary.

The Golden Steve Award Winners

April 21, 2024 • 11:15 am

A while back I posted about my cinemaphilic nephew Steven’s nominees for the “Golden Steves,” which he humbly presents as a better alternative to the Oscars. As he says,

Far and away the most coveted of motion picture accolades, Golden Steves are frequently described as the Oscars without the politics. Impervious to bribery, immune to ballyhoo, unswayed by sentiment, and riddled with integrity, this committee of one might be termed in all accuracy “fair-mindedness incarnate.” Over 200 of the year’s most acclaimed features were screened prior to the compilation of this ballot. First, some caveats:

1) Owing to a lifelong suspicion of prime numbers, each category comprises six nominees, not five.

2) A film can be nominated in only one of the following categories: Best Animated Feature, Best Non-Fiction Film, Best Foreign Language Film. Placement is determined by the Board of Governors. Said film remains eligible in all other fields.

3) This list is in no way connected with the Academy of Motion Picture Arts and Sciences—a fact that should be apparent from its acumen. Please look elsewhere for Oscar analysis.’

Click to read and see all the winners.

The nominees for the “big” categories are below, and I’ve put in bold the winners. Remember that there are eight categories below but 12 on the original list, so I’ll put the four extra winners at the bottom.

Best Picture

Afire
All of Us Strangers
Anatomy of a Fall
Killers of the Flower Moon
May December
Trenque Lauquen

Best Director

Laura Citarella, Trenque Lauquen
Andrew Haigh, All of Us Strangers
Todd Haynes, May December
Christian Petzold, Afire
Martin Scorsese, Killers of the Flower Moon
Justine Triet, Anatomy of a Fall

Best Actor

Paul Giamatti, The Holdovers
Benoit Magimel, Pacifiction
Cillian Murphy, Oppenheimer
Franz Rogowski, Passages
Andrew Scott, All of Us Strangers
Michael Thomas, Rimini

Best Actress

Jodie Comer, The End We Start From
Lily Gladstone, Killers of the Flower Moon
Sandra Huller, Anatomy of a Fall
Natalie Portman, May December
Emma Stone, Poor Things
Teyana Taylor, A Thousand and One

Best Supporting Actor

Jamie Bell, All of Us Strangers
Robert Downey Jr., Oppenheimer
Glenn Howerton, BlackBerry
Charles Melton, May December
Paul Mescal, All of Us Strangers
Mark Ruffalo, Poor Things

Best Supporting Actress

Penelope Cruz, Ferrari
Merve Dizdar, About Dry Grasses
Claire Foy, All of Us Strangers
Anne Hathaway, Eileen
Rachel McAdams, Are You There God? It’s Me, Margaret.
Da’Vine Joy Randolph, The Holdovers

Best Non-Fiction Film

Apolonia, Apolonia (Lea Glob)
Beyond Utopia (Madeleine Gavin)
Menus-Plaisirs Les Troisgros (Frederick Wiseman)
Orlando, My Political Biography (Paul B. Preciado)
Our Body (Claire Simon)
To Kill a Tiger (Nisha Pahuja)

Best Foreign Language Film

About Dry Grasses (Nuri Bilge Ceylan)
Afire (Christian Petzold)
Anatomy of a Fall (Justine Triet)
Fallen Leaves (Aki Kaurismaki)
Trenque Lauquen (Laura Citarella)
The Zone of Interest (Jonathan Glazer)

And the other winners:

Best Screenplay–Adapted: All of Us Strangers (Andrew Haigh)

Best Screenplay–Original: Do Not Expect Too Much from the End of the World (Radu Jude)

Best Animated Feature:  Robot Dreams (Pablo Berger)

Best Original Song: Live That Way Forever,” The Iron Claw (Richard Reed Parry, Laurel Sprengelmeyer)

Here’s that best original song:

I guess I’ll have to see “May December” as it took home three Golden Steves. My moviegoing has been thin in the past year, and I know nothing about this movie save that it got a 91% Critics Rating (but only a 65% Viewers Rating) on Rotten Tomatoes. Here’s the trailer, showing the costars Julianne Moore and Natalie Portman.

 

California school tries to censor new documentary movie that shows some embarrassing stuff (attempts to remove A.P. classes, propagandizing of students, etc.)

April 8, 2024 • 12:00 pm

There’s a new 38-minute movie out, “Man of Steele”, made by filmmaker Eli Steele about diversity, the attempted removal of AP classes, and antisemitism in a ritzy California school district.  The movie, however, was was apparently removed from both YouTube and Vimeo—just for two seconds of video that someone claimed constituted “copyright infringement”. It appears to be fair usage, which isn’t really infringement, but fortunately you can still watch the movie. As Steele notes in the second headline below (click on each one to read):

The complainant was Menlo-Atherton High School’s newspaper, M-A Chronicle, and they objected to the inclusion of a two-second clip in the Killing America trailer. I checked the trailer’s YouTube page and, indeed, it had been removed.

Here’s are three Substack sites that explain the situation (the links to the movie are below, or you can click on the first headline).

I’ve watched the movie, and you won’t lose much more than half an hour if you do, but I have to say that it’s a bit of a dog’s breakfast, as it mixes together diverse subjects (removal of AP classes from a high school, equity, diversity, a school board’s musing over the advanced-placement classes, and the reaction of one parent whose son goes to the Bay Area school at issue).  Perhaps I was tired, but I didn’t find it particularly coherent. That said, it’s still worth watching to see the parents battle over whether “tracking” students creates inequities and is unfair, or whether it allows students to reach their full potential. It’s worth it to see the school board dissimulate, and it’s worth it to see the odious, antisemitic and pro-Palestinian lies that some teachers tell to their students. But the film fails explain clearly how equity is connected with anti-Semitism, although one can intuit that the connection is via a DEI mentality, which promotes equity and denigrates Jews at the same time (Jews are seen as white, oppressive colonialists). And the occasional insertion of Russian stuff, like their national anthem, baffles me. Is Steele saying that Marxism is behind some of this? Who knows?

In the end, one doesn’t know what happens in the school district, but perhaps because the school board hasn’t decided what to do.

Here, from one of the posts, is the creator’s explanation of why he wanted to get the movie out (I know him only by the name “Man of Steele”):

That is why I’m releasing the film now — to force the following issues to the forefront:

  • Free Speech — what are we teaching students at high school newspapers when we tell them to embrace censorship, not free speech, as their weapon of choice?
  • Artistic Expression — are we going to let documentaries and other art forms be censored by activists, especially those in wealthy, elite neighborhoods?
  • Hate/Antisemitism — Why has this school and district largely ignored the rising antisemitism on campus? We know if it was blacks who were on the receiving end, the response would be different. This double-standard must end.
  • Ideological Capture/Lowering of Education Standards — For too long these education activists, many from Stanford University and beyond, have been given free reign to impose their ideologies onto students. As a result, the quality of education has declined significantly.

People often ask why I made Killing America and Diana Blum, the film’s main subject, once said something that summed up my thoughts perfectly: “With this film, I wanted to give parents a voice because they’ve been silenced and ridiculed for so long by the school board, activist teachers, and the school authorities. This film is our way to get around that ideological resistance and be heard for once and for all.”

I don’t have to say it but the irony here is that it is these education ideologues that are trying to take our voice away once again.

To watch the movie, click on the headline below, go here (same place), or watch it on Steele’s tweet below.

Again, I emphasize that you should watch this movie, but realize that it’s not a fully-formed documentary. The fact that the school is trying to censor it on trivial grounds tells you all you need to know.

If you want to donate to Steele to support the movie, go here. I also found this on the donation page, which clarifies the film a bit.

THE STORY: In August of 2023, I was contacted by Bay Area parents who recently learned that Sequoia Union High School District had been removing honors classes for the past 8 years. Not only that, they were infusing other classes with liberated ethnic studies curricula. At first, I thought that this was an old story. We saw how Virginia and Manhattan parents fought over the schools for the past three years.

Then October 7 happened.

It quickly became apparent to us how the immediate and unapologetic rise in antisemitism in the Bay Area schools was related to the elimination of honors classes as well as the oppressor-oppressed model that ethnic studies brought into the classroom. We knew then that we had a film here and “Killing America” is the result.

h/t: Luana

 

Caturday felid triefecta: Newlyweds adopt cat who crashed their wedding; full body acupressure cat massage; and earliest videos of cats

April 6, 2024 • 11:00 am

From yahoo!life, apparently originating at Fox News, we hear of a stray cat that interrupted a wedding.  The outcome was inevitable; click on screenshot below to read:

An excerpt:

A stray kitten was adopted by an adoring couple after she interrupted their wedding last year.

Cat owner Cara racked up over 3 million likes after posting video of her meow-filled wedding ceremony on TikTok. The wedding was held at Curry Estate in Hopewell Junction, New York in September 2023.

Video shows the groom reading his vows to the bride when audience members suddenly hear a cat – now named Daisy – loudly meowing.

Cara told Fox News Digital that she originally didn’t hear the chatty cat.

Here’s what I think is that the Tik Tok video:

@gatsby.and.daisy

The cat distrubtion system was working overtime for this one! #cat #weddingtok #catdistributionsystem

♬ Here Comes the Sun – Relaxing Instrumental Music

Besides the wedding, there is of course another happy ending: the stray kitten got adopted:

Cara’s sister, who served as the maid of honor, then called the couple’s attention to the matter.

“[She] kindly let us know that there was a cat right there meowing,” the wife explained. “She was so perfectly perched on a tree stump behind us demanding to be heard.”

According to Cara, she and her husband were already “huge cat people” before the ceremony – and the feline’s unexpected appearance was a highlight.

“We have a cat that we adopted together, Gatsby, [and] our friends have celebrity nicknamed us Catt (Cara + Matt), and we even had cat cake toppers,” she explained.

“It felt like this was all meant to be when she showed up.”

After the bride and groom fell in love with the kitten, the couple’s families and friends worked hard to look for her – but had no luck.

“All anyone could talk about was the cat. It was the highlight of the night… I knew we had to have her.”

All’s well that ends well:

Two weeks later, Cara and Matt were contacted by their wedding venue. After trying for days, staff were finally able to lure the stray with leftover shrimp from past weddings.

“We were on our honeymoon [when they said] they had gotten her and that she was headed to a shelter if we wanted to adopt her,” Cara explained.

Cara said Daisy perfectly integrated into her household. She was named after Daisy Buchanan from “The Great Gatsby” to match with her sibling, Gatsby.

“She is the most affectionate cat and loves nothing more than spending the day curled up inside our sweaters,” Cara said. “It got even better when our resident cat, Gatsby, befriended her so quickly.”

And a wonderful three-minute news video of the whole affair. Be sure to watch the whole thing showing Daisy finally adopted by the ailurophilic newlyweds.  I love that the cats are named after characters from The Great Gatsby.

****************************

Ginger, who sent this video of a New Age full-body cat massage, said, “You don’t have to watch/listen to the whole thing, but that is one HAPPY cat!  Every cat should have such treatment a least a few times in their nine lives.”

The maker, itzblitzz, adds this note:

(Update: We adopted her). Hi everyone  In today’s video, I will be giving our current foster kitten a relaxing massage . This has been one of my most HIGHLY requested videos of all time! I hope you find it relaxing and enjoyable. We have fostered 4 cats so far this year and it has been a very rewarding experience.
Start the video at 2:30 when the ad ends and the massage begins. It’s pretty New-Agey, so you can just look in on this 41-minute video. However, there’s no doubt that this is one happy cat!

****************

Here are three cat films, each of which purports to be the first video ever of a cat. But only the third one seems to have precedence.

First, an old silent film from 1906, colorized, fixed up and, most important, showing a CAT. Reader Jon says the short film is “a good way to modernize history (and show cats haven’t changed much over the years).”  This isn’t the earliest cat video, though; the two below it were made earlier.

The YouTube information (I didn’t alter caps or anhything):

We have learned so far that this film is “Le déjeuner des Minet” made in 1905, and released in 1906. This is a french movie, and many viewer lipread french words.

What we don’t know yet : The name of the director. The name of the young girl, and her grandmother,

Old film restoration with the following workflow : – Cleaning dust and scratches, degraining, stabilizing, sharpening, auto-levels and auto-white balance with AVISynth – Upscaled and Colorized using neural network to 4k – Frame interpolation up to 60 fps

And one from 1899 by Louis Lumière. It also claims to be the first cat video, but apparently it’s not.

This early silent film is the first cat video to be made in 1899 featuring a young girl feeding a rather energetic cat. The film was directed by Louis Lumière.

In fact, the REAL earliest video of a cat is this one released in 1894 by Thomas Edison Studios of two boxing cats.  I don’t like it because of the pugnacious, fighting moggies.  But the YouTube notes say this:

This film is the product of Thomas Edison’s (yes, that Thomas Edison!) Manufacturing Company. Why did the brilliant men – namely producer, W.K.L. Dickson – who worked for Thomas Edison feel that they needed to use this new technology to show the world “boxing cats” is a question that has boggled the minds of film historians for over 100 years.

 

h/t: Ginger K., Jon

Nominees for the Golden Steve Awards

March 12, 2024 • 11:30 am

Each year my cinemaphilic nephew Steven gives his nominations for the best achievements in motion picture production, all vying for the coveted “Gold Steve” awards.  They appear on his website Truth at 24, and if you click below you can see the whole list of nominees. There’s not much overlap with the Oscar nominees. The title comes from one of the nominated movies below (“Fallen Leaves”):

Here’s Steven’s introduction to the nominees (the awards will come “sometime in April”), written with his characteristic modesty:

Presenting…the 2023 Golden Steve Awards.

Far and away the most coveted of motion picture accolades, Golden Steves are frequently described as the Oscars without the politics. Impervious to bribery, immune to ballyhoo, unswayed by sentiment, and riddled with integrity, this committee of one might be termed in all accuracy “fair-mindedness incarnate.” Over 200 of the year’s most acclaimed features were screened prior to the compilation of this ballot. First, some caveats:

1) Owing to a lifelong suspicion of prime numbers, each category comprises six nominees, not five.

2) A film can be nominated in only one of the following categories: Best Animated Feature, Best Non-Fiction Film, Best Foreign Language Film. Placement is determined by the Board of Governors. Said film remains eligible in all other fields.

3) This list is in no way connected with the Academy of Motion Picture Arts and Sciences—a fact that should be apparent from its acumen. Please look elsewhere for Oscar analysis.

I’ll present the nominees in the most followed categories, but be aware that there are more on the site. Also, Steven has excellent taste in movies, so it would behoove you to pay attention to the list.

Best Picture

Afire
All of Us Strangers
Anatomy of a Fall
Killers of the Flower Moon
May December
Trenque Lauquen

Best Director

Laura Citarella, Trenque Lauquen
Andrew Haigh, All of Us Strangers
Todd Haynes, May December
Christian Petzold, Afire
Martin Scorsese, Killers of the Flower Moon
Justine Triet, Anatomy of a Fall

Best Actor

Paul Giamatti, The Holdovers
Benoit Magimel, Pacifiction
Cillian Murphy, Oppenheimer
Franz Rogowski, Passages
Andrew Scott, All of Us Strangers
Michael Thomas, Rimini

Best Actress

Jodie Comer, The End We Start From
Lily Gladstone, Killers of the Flower Moon
Sandra Huller, Anatomy of a Fall
Natalie Portman, May December
Emma Stone, Poor Things
Teyana Taylor, A Thousand and One

Best Supporting Actor

Jamie Bell, All of Us Strangers
Robert Downey Jr., Oppenheimer
Glenn Howerton, BlackBerry
Charles Melton, May December
Paul Mescal, All of Us Strangers
Mark Ruffalo, Poor Things

Best Supporting Actress

Penelope Cruz, Ferrari
Merve Dizdar, About Dry Grasses
Claire Foy, All of Us Strangers
Anne Hathaway, Eileen
Rachel McAdams, Are You There God? It’s Me, Margaret.
Da’Vine Joy Randolph, The Holdovers

Best Non-Fiction Film

Apolonia, Apolonia (Lea Glob)
Beyond Utopia (Madeleine Gavin)
Menus-Plaisirs Les Troisgros (Frederick Wiseman)
Orlando, My Political Biography (Paul B. Preciado)
Our Body (Claire Simon)
To Kill a Tiger (Nisha Pahuja)

Best Foreign Language Film

About Dry Grasses (Nuri Bilge Ceylan)
Afire (Christian Petzold)
Anatomy of a Fall (Justine Triet)
Fallen Leaves (Aki Kaurismaki)
Trenque Lauquen (Laura Citarella)
The Zone of Interest (Jonathan Glazer)

A brief take on the movie “Rustin”

March 9, 2024 • 12:00 pm

I’ve just finished watching the movie “Rustin“, which came out last year.  Civil rights leader Bayard Rustin (1912-1987) was most famous for organizing the March on Washington in 1963, the event at which Martin Luther King gave his famous “I Have a Dream” speech. Over 250,000 people showed up, and the force of their presence, and of MLK’s speech, was arguably the pivotal event leading to the Civil Rights Act of 1964. And he influenced Martin Luther King’s approach to civil rights activism, particularly by emphasizing nonviolence. But despite Rustin’s influence, how many people remember him?

They will if they see this wonderful movie, which recounts not Rustin’s whole life, but the short period of a few months over which he organized the March. Played by Colman Domingo in a bravura performance, Rustin was marginalized by the movement largely because he was a former Communist and had been arrested and served time for homosexuality—”sex perversion,” as it was called in those days. His homosexuality figures largely in this movie, threatening at times to derail the March, but King, with whom he had a fraught relationship, defended Rustin publicly and got the event back on the rails.

Domingo’s performance has earned him an Oscar nomination this year for Best Actor (awards yet to come), and the film nabbed a critics’ rating of 84% on Rotten Tomatoes, with a viewers’ rating of 85%.  Although it starts a bit slowly, it quickly gains momentum and culminates with King’s famous speech given as Rustin stands by with smiles and tears. By that point I was in tears, too. At the end, Rustin, taught to see anybody who helped their people as a worthy person, appropriates a garbageman’s sack and starts cleaning up the grounds around the Lincoln Memorial

Wikipedia notes that “Rustin” was produced by Barack and Michelle Obama’s production company Higher Ground, and it’s a worthy effort. It’s definitely a film worth seeing, and also carries lessons today about how a combination of peaceful behavior, a righteous cause, and civil disobedience can move mountains. I remember those times, but they seem to have vanished.

Here’s the trailer for the movie:

If you watch the film, you’ll surely want to learn more about Rustin, and, fortunately, you can do that by reading  Coleman Hughes’s new article in The Free Press by clicking below:

An excerpt:

When I was an undergraduate at Columbia University during the turbulent years of the Trump administration, there was a racial controversy on campus almost weekly, with some students claiming they experienced white supremacy “every day.” Yet as a black student myself, I detected almost no racism at all. In my search to explain this gulf between rhetoric and reality, I looked back at texts from the civil rights era and found, in the essays and letters of Bayard Rustin—texts I had never encountered on any syllabus—a prescient analysis of everything going on around me.

Rustin, who was born in 1912 and died in 1987, was a key ally of Dr. Martin Luther King Jr.

. . . . Rustin himself was a discovery; a courageous activist, organizer, writer, and descendant of slaves who had been arrested and beaten for refusing to sit at the back of a Jim Crow bus in 1942, when he was 30 years old—a full 13 years before Rosa Parks made history by doing the same. A Quaker and conscientious objector, it was Rustin who introduced Martin Luther King to Gandhi’s theory of nonviolent resistance and persuaded King, his close friend and confidant, to found the Southern Christian Leadership Conference in 1957, though Rustin omitted the word Christian in his original plan.

Six years later, Rustin organized the landmark March on Washington for Jobs and Freedom, where King gave his famous “I Have a Dream” speech. Rustin had put it together in a matter of months and created “the blueprint for the modern American mass political rally.”

How was it possible for a figure so central to the civil rights movement—who had not only envisioned but helped bring about a world in which black Americans demanded and achieved full citizenship—to wind up, in the words of his biographer John D’Emilio, “a man without a home in history”? By any objective measure, Rustin belongs in the pantheon of great Americans every schoolchild should know. And yet, as D’Emilio put it in his biography, Lost Prophet, “Rustin hardly appears at all in the voluminous literature produced about the 1960s.”

The short answer is that Rustin lived as an openly gay man at a time when every state in the U.S. outlawed homosexuality. His civil rights colleagues could imagine the end of legalized white supremacy but could not envision a world in which Rustin could live as a gay man without fear of arrest. The long answer has something to do with those prophetic essays.

You can read about his “prophetic essays” and ideas in the rest of the article—views that are especially salient during today’s “racial reckoning.” Read the article (Hughes is, of course, a “heterodox” black man) and see the movie.

The Oscar nominees

January 23, 2024 • 11:15 am

The Oscar nominations are out, and the NYT lists all the big ones (and more) in the article below, which you can access by clicking. But I’ll list the nominees for eight categories as well:

Part of their summary:

Oscar voters lined up behind a classic studio blockbuster on Tuesday, giving 13 nominations to Christopher Nolan’s “Oppenheimer,” the most of any movie, and setting up the long-awaited coronation of Nolan as Hollywood’s leading filmmaker.

No film by Nolan has ever been named best picture. He received his second nomination for directing on Tuesday. Here is the full list of nominees.

The recognition for “Oppenheimer” had been expected. But the Academy of Motion Picture Arts and Sciences threw surprises into all of the other major categories.

Most prominently, Greta Gerwig did not receive a nomination as best director for “Barbie.” Instead, the increasingly international academy gave a first nomination to the French filmmaker Justine Triet, who directed “Anatomy of a Fall,” a did-she-or-didn’t-she thriller. “Barbie” also failed to figure into the best actress category, with Margot Robbie overlooked for bringing the doll to zany life. Instead, Annette Bening was honored as a best actress candidate for her obsessive, aging swimmer in the Netflix film “Nyad.”

In the best picture category, “Oppenheimer” will contend against “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Oppenheimer,” “Past Lives,” “Poor Things” and “Zone of Interest.” The entries in this field had been widely expected; no surprises.

Sadly, I’ve seen few of the Oscar-nominated pictures this year: only two— “Oppenheimer” and “Killers of the Flower Moon,” and I’d give the nod to the latter. Readers are welcome to weigh in with their favorites in each category

Here. are the NYT lists:

BEST PICTURE

“American Fiction”
Read our review

“Anatomy of a Fall”
Read our review

“Barbie”
Read our review

“The Holdovers”
Read our review

“Killers of the Flower Moon”
Read our review

“Maestro”
Read our review

“Oppenheimer”
Read our review

“Past Lives”
Read our review

“Poor Things”
Read our review

“The Zone of Interest”
Read our review

***********************

BEST DIRECTOR:

Jonathan Glazer, “The Zone of Interest”
Read our review

Yorgos Lanthimos, “Poor Things”
Read our profile

Christopher Nolan, “Oppenheimer”
Read our profile

Martin Scorsese, “Killers of the Flower Moon”
Read our Critic’s Notebook

Justine Triet, “Anatomy of a Fall”
Read our profile

***********************

BEST ACTOR:

Bradley Cooper, “Maestro”
Read our profile

Colman Domingo, “Rustin”
Read our profile

Paul Giamatti, “The Holdovers”
Read our profile

Cillian Murphy, “Oppenheimer”
Read our profile

Jeffrey Wright, “American Fiction”
Read our review

***********************

BEST ACTRESS:

Annette Bening, “Nyad”
Read T Magazine’s profile

Lily Gladstone, “Killers of the Flower Moon”
Read our profile

Sandra Hüller, “Anatomy of a Fall”
Read our review

Carey Mulligan, “Maestro”
Read our review

Emma Stone, “Poor Things”
Watch “Anatomy of a Scene”

***********************

BEST SUPPORTING ACTOR

Sterling K. Brown, “American Fiction”
Read our review

Robert De Niro, “Killers of the Flower Moon”
Read our review

Robert Downey Jr., “Oppenheimer”
Read our profile

Ryan Gosling, “Barbie”
Read our profile

Mark Ruffalo, “Poor Things”
Read our review

***********************

BEST SUPPORTING ACTRESS:

Emily Blunt, “Oppenheimer”
Read our profile

Danielle Brooks, “The Color Purple”
Read our profile

America Ferrera, “Barbie”
Read our profile

Jodie Foster, “Nyad”
Read our review

Da’Vine Joy Randolph, “The Holdovers”
Read our review

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BEST ORIGINAL SCREENPLAY

“Anatomy of a Fall”

“The Holdovers”

“May December”

“Maestro”

“Past Lives”

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BEST ADAPTED SCREENPLAY:

“American Fiction”

“Barbie”

“Oppenheimer”

“Poor Things”

“The Zone of Interest”

I just realized that the categories of “actor” versus “actress” (terms that are no longer politically correct), the Academy is assuming a sex binary.  This will, I suspect, lead to big trouble in the future when we have transgender actors in movies.

The BBC and its Hollywood movie erase the words “Jew” and “Jewish” from the story of Nicholas Winton, a hero who saved Jewish children from the Nazis

January 10, 2024 • 9:40 am

The story of Nicholas Winton (1909-2015) is about as heartwarming as it gets, but also has, as I’ll claim, a double overtone of sadness. Born in London in 1909 to Jewish parents who had immigrated from Germany, Winton was a broker and stockbroker, but in 1938 moved to Prague to work with the British Committee for Refugees from Czechoslovakia. (The country was at that time already occupied by the Nazis).  And he became a man on a mission: to save Jewish children from falling into the hands of the Nazis.  It was tough, and he had to get the kids through the Netherlands, where they could board a ship to England.

In the end Winton saved 669 children, nearly all of them Jewish, though, sadly, their parents remained in Europe because only children younger than 17 could be rescued. Nearly all their parents later died in the camps or ghettos.  Here’s the account from Wikipedia.

Alongside the Czechoslovak Refugee Committee, the British and Canadian volunteers such as Winton, Trevor Chadwick, and Beatrice Wellington worked in organising to aid children from Jewish families at risk from the Nazis.Many of them set up their office at a dining room table in a hotel in Wenceslas Square. Altogether, Winton spent one month in Prague and left in January 1939, six weeks before the German occupation of Czechoslovakia. Other foreign volunteers remained, such as Chadwick, Warriner and Wellington. In November 1938, following Kristallnacht in Nazi-ruled Germany, the House of Commons approved a measure to allow the entry into Britain of refugees younger than 17, provided they had a place to stay and a warranty of £50 (equivalent to £3,397 in 2021) was deposited per person for their eventual return to their own country.

Netherlands

An important obstacle was getting official permission to cross into the Netherlands, as the children were to embark on the ferry at Hook of Holland. Following Kristallnacht in November 1938, the Dutch government officially closed its borders to any Jewish refugees. The Royal Netherlands Marechaussee searched for them and returned any found to Germany, despite the horrors of Kristallnacht being well known

Winton succeeded, thanks to the guarantees he had obtained from Britain. Following the first train, the process of crossing the Netherlands went smoothly. Winton ultimately found homes in Britain for 669 children, many of whose parents perished in the Auschwitz concentration camp. His mother worked with him to place the children in homes and later hostels.Throughout the summer of 1939, he placed photographs of the children in Picture Post seeking families to accept them. By coincidence, the names of the London and North Eastern Railway steamers which operated the Harwich to Hook of Holland route included the Prague and the Vienna; the former can be seen in a 1938 Pathé Newsreel.

Back in Britain, Winton lived to the ripe old age of 106, and the children he saved had become middle-aged.  Many of them, unknown to him, were in the audience during a 1988 episode of the BBC show “That’s Life”. At that time Winton was 79.  He knew the show was celebrating his life, but had no idea that the audience consisted not only of the children he saved (now grown up) but of their own children and grandchildren. When they stood up to identify themselves, seen in the clip below, the magnitude of what he’d done became clear, and he wept.  I always do, too, when I see this video. I challenge you not to mist up when you watch this!:

Winton was modest and didn’t flaunt his achievements. In fact, they were unknown to his wife, who discovered them only when she found a scrapbook in their attic with the names of the children and of their parents.  She gave the scrapbook to a Holocaust researcher, who tracked down many of the children, finding 80 of them in Britain.  Many of them are in the video above. The rest is history.

Winton eventually accrued the honors he deserved, and got a knighthood in 2003 for “services to humanity, in saving Jewish children from Nazi-occupied Czechoslovakia”.

As the old Jewish proverb goes, attributed to Hillel the Elder, “Whosoever destroys one soul, it is as though he had destroyed the entire world. And whosoever saves a life, it is as though he had saved the entire world.”  I interpret this to mean that “the entire world” refers to the world apprehended by the person who lives or dies. (I often think of this when saving ducklings.) Well, Winton saved 669 entire worlds, and that’s something to marvel at.

Recently the BBC made a movie about Winton, using the title “One Life” taken from the proverb above. It stars Anthony Hopkins as Winton—an excellent choice—and has been critically acclaimed,  garnering a 89% critics’ rating and a 96% public rating on Rotten Tomatoes. Well worth seeing, I’d think. (It also features Helena Bonham Carter and Lena Olin.)

But watch this 2-minute trailer, which includes a version of the scene above. But you may notice that one thing is missing: the trailer doesn’t use the words “Jew” or “Jewish.” They say “the children” and refer to them several times, but you’d have no idea from this trailer that they were Jewish children. The only sign of what’s happening is one scene in which there are a few Nazi flags.

Is this omission an accident?  I tried to convince myself that it was, but after seeing the video and reading the articles below, I decided that it was no accident. They left “Jewish” out because they thought it might turn off the prospective audience. (Of course, once the audience has their butts in the theater, the movie can use the word more often.) But I’m not sure how often they use it. Can you imagine “Schindler’s List” having a trailer that doesn’t use the word “Jew”? It is, after all, about another man who saved Jews. (Winton is often called “The British Schindler”). And sure enough, it does: it mentions the word several times and shows lots of people wearing yellow stars, a Jewish wedding, and other tropes.  What’s going on is very clear. Things sure have changed in the last thirty years (“Schindler’s List was released in 1993.)

Now, what about “One Life?” Here’s “Israeli filmmaker, director, and activist Yuval David [speaking] about the antisemitic environment in Hollywood and the purging of Jewish references in marketing of ‘One Life.’” David, who knows what he’s talking about, has absolutely no doubt that the omission was deliberate, engineered by the progressive ideology that pervades Hollywood (I’m starting to wonder if “Jew” or “Jewish” even appears in the film!). Have a look:

And below is an article from the popular entertainment magazine Variety that discusses how, in the movie’s promotion, they omitted mentioning the religion of the children who were saved, which of course is why they had to be saved.  Click the headline to read.  And here’s an excerpt from that piece about how they erased “Jewish” from the marketing materials, using instead the words “Central European.” That is shameful:

The marketing materials for Anthony Hopkins latest feature film, a Holocaust biopic titled “One Life,” are set to be amended after controversy ensued over the lack of reference to Jews.

“One Life” tells the story of Nicholas Winton (played by Hopkins), better known as the British Oscar Schindler. Winton helped save the lives of over 600 children – the majority of them Jewish – from the Nazis during World War II.

But there has been disquiet over marketing for the movie after it was claimed Jews had been erased from the synopsis.

The furore started after British media retailer HMV tweeted about the film and referred to the children saved by Winton as “Central European” rather than Jewish. A number of independent cinemas also used the term “Central European” instead of “Jewish” while describing the film on their websites. [JAC: This makes no sense: children who were “Central European” but not Jewish weren’t usually endangered.]

See-Saw Films, who produced “One Life,” and Warner Bros. Pictures., who are distributing it in the U.K., subsequently also came under fire for omitting the word “Jewish” from their marketing materials when describing the children saved by Winton, although they did not use “Central European.”

Warner Bros. in the U.K. declined to comment but Variety understands that following the criticism all Warner’s official marketing for the film will be amended to describe the children as “predominantly Jewish,” which reflects the fact that while most of the 600+ Czechoslovakian children were Jewish, a handful of them were non-Jewish political refugees.

Click:

At least they fixed the materials, but it’s clear that they left Judaism out of the materials on purpose. It’s the progressive Zeitgeist: Jews aren’t exactly the world’s most popular group.

The BBC itself, however, continues to omit any mention of Jews in its article below (click to read). There is not a single mention that the children were Jewish, which of course drives the whole movie. In case the BBC has a social-media promoted “change of heart,” you can find the original BBC article archived here.

Click to read:

I’ve put the entire text of this article below the fold, and you can do a search for “Jew” or “Jewish”. You won’t find it.  That has to be a deliberate omission, for the reason the kids were saved simply must be part of the story. 

Finally, there was a series of tweets about whether the BBC used the word “Jewish” in stores about the Holocaust. Their score: 50% (2 out of 4). Given the history of the BBC’s antisemitism, I call the omission deliberate, especially for the Winton movie. And, as you saw, I’m not alone,

Here are the tweets. Reader Jez says this about the first Tweeter:

Cath Leng, whose tweet alerted me to it, is a former BBC employee herself. She just posted a piece about how the BBC broadcast an unbalanced piece about the man who won a recent women’s pool competition – the woman he was going to face in the final politely declined to take part, forfeiting the prize. The BBC didn’t even interview her, and just focused on the man’s feelings.

As Vonnegut said, so it goes.

h/t: Jez, Malgorzata

Click “continue reading” to see the BBC story:

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