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Monokultur » Brexit forstyrrer en filmanmeldelse


Brexit forstyrrer en filmanmeldelse

Brexit, Diverse, Kunst og kultur, Politik, USA, venstrefløjen, Økonomi og finans — Drokles on July 4, 2016 at 11:13 am

Det er svært at læse venstresnoede medier uden at blive konfronteret med deres chok og afsky over at et flertal af briter ikke mener det er en god ide at være medlem af suprabureaukratiet EU. I The New Yorkers filmanmeldelse af Steven Spielbergs seneste børnefilm, Big F****** Giant, sniger galden sig ind med en næsten parodisk forståelse af samspillet mellem børn og fiktion

Children’s worst new lesson in the British political process comes not from the Brexit fiasco but from Steven Spielberg’s live-action adaptation of Roald Dahl’s “The BFG.” When the titular Big Friendly Giant (Mark Rylance) and the little girl, Sophie (Ruby Barnhill), who lives in his lair need the help of the British Army, they visit the Queen (Penelope Wilton), who summons her generals and orders a commando raid on behalf of the beleaguered duo—but before she does so she makes phone calls to two political leaders. She lets “Boris” know that she might need airspace clearance and tells “Nancy” that she needs to talk with “Ronnie.” (“Well, wake him!”) Yet Spielberg offers no sense whatsoever that the British have an elected government and that it’s the Prime Minister’s job, not the monarch’s, to call out the troops.

Maybe Spielberg is just being subtly subversive. It’s easy to imagine a child, after seeing this movie, wondering why—with Great Britain facing a traumatic withdrawal from the European Union and its own possible even-more-traumatic internal breakup into independent countries—the Queen doesn’t just put her foot down and bring an end to this nonsense. And, if Her Majesty (or, as the language-garbling giant says, “Her Majester”) can’t or won’t do so, then why have a monarchy at all?

Vreden over at et andet folkefærd har afholdt en folkeafstemning over hvilken retning, de gerne ser deres land bevæge sig i (mod suverænitet, nu beder jeg dem fru Heilbundt) er så indgroet at den endda forkludrer evnen til at forholde sig sagligt til fiktionens univers. Kan man virkeligt undre sig over at Spielberg ikke forvandler et eventyr for børn til en politisk thriller? Skulle der være noget særligt eventyrligt ved at følge en eventuelt nedsat kommisions arbejde eller måske høre oppositionens indveninger i forhold til økonomiske omkostninger og sikkerhedspoltiske analyse særligt med henblik på forholdet til allierede og samhandelspartnere. Måske man kunne snige en charmerende gennemgang dans om de socioøkonomiske konsekvenser ind?

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