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American Depravity by William Norman Grigg
-- Released last year to rave reviews, the movie 'American Beauty' is nothing more
than propaganda for the latest American depravity. --
Last November, the producers of the film 'American Beauty', which received eight Oscar
nominations, received a phone call from the White
House.
Co-producer Dan Jinks told the March 28th issue of the homosexual journal 'The
Advocate' that Hillary Clinton had personally called "to tell
us how much she and the president loved 'American Beauty'."
>From the Clintonite perspective, what's not to like?
'American Beauty', which extols the "redemptive" power of adultery, adolescent
self-indulgence, drug use, and sexual degeneracy, is a
celluloid assault by Hollywood's homosexual "Velvet Mafia" upon conventional American
values.
Lester Burnham (Kevin Spacey) is a stock character, a 40-something man trapped in a
pointless job and a joyless marriage.
Despised as an inept loser by his wife Carolyn (Annette Bening) and daughter Jane
(Thora Birch), Lester somnambulates through his dismal
life until he sees Jane's friend Angela (Mena Suvari) cheerleading at a high school
basketball game.
Lester becomes obsessed with Angela, and that obsession leads to supposed redemption
as he quits his job, blackmails his boss, and embarks
upon a second adolescence.
Lester's spiritual guide and "personal hero" is teenage neighbor Ricky Fitts (Wes
Bentley), who has made a small fortune as a drug dealer.
Ricky's father (Chris Cooper) is a tyrannical ex-Marine colonel who watches old Ronald
Reagan movies, has an extensive gun collection, and
demands a drug test from his son every six months.
On the other side of the Burnham house resides the one "normal family" in the story
--- Jim and Jim, a homosexual "couple" who are the very
soul of domestic tranquility and neighborliness, and the key to the film's message.
"Our marriage is just for show," Lester informs the colonel after learning that
Carolyn has begun an adulterous affair.
"It's a commercial for how normal we are, when we're anything but."
The grim hypocrisy of Lester's marriage plays in counterpoint to the warm, fulfilling
"partnership" supposedly enjoyed by his sodomite
neighbors.
"After seeing the movie people have sad almost as an after-thought, 'You know, I just
realized that the only normal people in the movie are
the gay couple,'" producer Dan Jinks told the March 28th issue of 'The Advocate'.
Promiscuity is a given in the lives of the film's teen characters, as is deviant sex:
On two occasions Jane is asked by her teenage friends
if she has an incestuous fixation upon her father.
It is also worth noting that all of the teenage characters smoke (which provoked not a
syllable of criticism from Hillary and her fellow
anti-tobacco zealots at the White House) and the language used by the female
characters in this movie would bring a blush to the cheeks of
Howard Stern.
The film's denouement is dictated by propaganda concerns, in this case the need to
display (in the words of a review published by 'The
Advocate) "homophobia and its murderous consequences."
The colonel, convinced that Lester is a homosexual who has been molesting his son,
sneaks into the Burnham home and blows Lester's brains
out.
Faithfully following their ideological checklist, the filmmakers reveal that the
colonel, who had earlier condemned "faggots" and had told
his son, "I'd rather that you be dead than a [homosexual]) is himself a repressed
homosexual.
'American Beauty', observes 'The Advocate', represents "the coming-of-age of gay
Hollywood heavyweight David Geffen's fledgling studio,
DreamWorks SKG."
(Geffen, according to a new expose, reportedly updated the notorious Hollywood
"casting coach": Many young actors desperate for a break
from Geffen learned that to get by in Hollywood, they would have to get "bi" in
Hollywood.)
Steven Spielberg, one of Geffen's partners in the SKG studio, personally gave the film
a green light and was delighted with the finished
product.
Alan Ball, the screenwriter for 'American Beauty', is a homosexual activist;
co-producers Dan Jinks and Bruce Cohen are as well.
According to Cohen, 'American Beauty' represents a breakthrough for the lavender
lobby's film auxiliary: "The excitement about mainstream
films is the chance to get these messages across subtly in films that mainstream
America is going to see.
We have definitely hit a segment of the audience that is not used to seeing gay and
lesbian characters."
'American Beauty' is the most successful film adaptation yet of the strategy outlined
in 'After the Ball, a 1989 blueprint for the mass
media's campaign to normalize homosexual perversion.
Written by Marshall Kirk and Hunter Madsen, Harvard-trained experts in neuropsychiatry
and social marketing, 'After the Ball' urged the use
of "the visual media" to indoctrinate mainstream society.
'The Advocate' observes that 'American Beauty' portrays "homosexuality as part of the
warp and weave of American life."
Kirk and Madsen point out that the homosexual movement has advanced by "conspiring
with liberal elites within the legal and legislative
system" and warned that without propaganda support, such conspiracies will collapse.
Films such as 'American Beauty' are not works of entertainment, but rather propaganda
support for conspiracies of the type described by Kirk
and Madsen.
SOURCE: The New American, April 10, 2000, page 11.
The New American web site can be accessed at:
http://www.thenewamerican.com/tna/2000/04-10-2000/vo16no08_american_depravity.htm
Bard
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