The Good Guys Won the Oscars (This Time)

rs_634x1024-140108134218-634.Ellen-Degeneres-Oscar-Promo.jl.010814This year’s Academy Awards were special and historic, and they stood in stark contrast to last year’s ceremony, and to the Oscar’s long history of stealing victory away from deserving progressive films. The tone of the broadcast was radically different than last year, including the way the show was hosted. A year ago we were subjected to Seth MacFarlane’s misogynistic, mean spirited, and offensive “humor” during a ceremony that culminated with Michelle Obama awarding the reactionary film Argo the top prize while surrounded by military personnel.

This year, a strong progressive wind blew through the Academy of Motion Picture Arts and Sciences. If last year’s Oscars were a reactionary celebration of “guy culture” this year was a progressive tribute to the oppressed minorities of society, including women, the LGBT community, and black people. Ellen DeGeneres, an openly gay woman, hosted the ceremony for the second time. Her jokes were funny without the need to be offensive simply for the sake of shock value, and her best line of the night was when she alluded to the ceremony’s racist history. “Possibility #1: 12 Years a Slave wins Best Picture. Possibility #2: you’re all racists.” It was a joke, but it definitely contained an element of truth.

Ellen also made several genuine attempts to connect to the audience in a personal, fun way. At one point she ordered pizza for the audience, and then got the celebrities to cough up money for it later on. She also took a hilarious selfie with several actors crammed into the frame, and then posted it on Twitter, involving the audience around the globe. As of now that image has over 3 million retweets, breaking the previous record set by Obama’s tweet announcing his reelection campaign. The ceremony also included a tribute to The Wizard of Oz in which the singer Pink sang a beautiful rendition of “Somewhere Over the Rainbow,” which reinforced the progressive theme of the evening, celebrating women in film and supporting oppressed minorities. Overall, it was a refreshing and much needed alternative to the open celebration of reactionary values from a year ago.

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Most importantly, and perhaps amazingly, virtually all the major awards went to progressive films, capped off by the historic victory of 12 Years a Slave, now the first film principally about the oppression of black people to win Best Picture. Director Steve McQueen became the first black person in the history of the Academy to win a Best Picture Oscar. Lupita Nyong’o won the statue for Best Supporting Actress, marking just the 15th time a black actor has taken home an Oscar, and John Ridley won for 12 Years‘ Adapted Screenplay, which is only the 2nd time a black person has won an Oscar for writing.

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Dallas Buyers Club, a film that powerfully skewers the corporate health care industry while embracing the humanity of the oppressed LGBT community and those suffering from the HIV/AIDS epidemic, also won three Oscars. Matthew McConaughey and Jared Leto received both of the male acting awards for their transformative performances, and the film also won for Makeup.

The most prolific winner of the night was Gravity, which won seven total Oscars, including almost all of the technical awards as well as Best Cinematography for Emmanuel Lubezki and Best Director for Alfonso Cuaron. Given that female actors are still paid significantly less than their male counterparts and most major blockbusters are male driven films, Gravity proved that original, female driven films can be both highly entertaining and financially successful, and hopefully Hollywood is getting the message.

Best Actress went to Cate Blanchett for her brilliant role in Woody Allen’s film Blue Jasmine. Despite the controversy surrounding the director, Blanchett didn’t hesitate to praise Allen in her acceptance speech, which was brave considering it would have been all too easy to simply avoid the issue. Piggy-backing on Gravity‘s success, she spoke about the importance of making female-centered films and argued that they can connect with audiences, while celebrating Allen’s contribution to women in film.

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While it’s important to focus on the progressive winners, it’s also worth noting what didn’t win. The film that glorifies Wall Street hedonism, The Wolf of Wall Street, went home empty handed, despite heavy campaigning by Leonardo DiCaprio. In a delightful irony, DiCaprio’s other film, the one he didn’t go to the mat for, The Great Gatsby, won two Academy Awards (Production Design and Costume Design). American Hustle, the drastically over-hyped snooze-fest, also went home with zero Oscars, and the deeply pessimistic film with the most publicized Oscar campaign of the year, Inside Llewyn Davis, received only a single nomination and also went home with its tail between its legs.

The only potential missteps during yesterday’s Academy Awards were in the Documentary Feature and Foreign Feature categories. While 20 Feet From Stardom is certainly a progressive documentary about important issues, considering the gravity of alternatives like Dirty WarsThe Square, and The Act of Killing, it was perhaps a missed opportunity for the Academy to make a major statement on some very serious and controversial issues.

It’s also a shame that The Broken Circle Breakdown, a brilliant Belgian film about a couple in a folk band suffering through a religious conflict during a personal tragedy, lost out on the Foreign Feature award. The Academy had the opportunity to make a significant progressive statement and they passed on the chance.

Though, it’s worth mentioning that this year’s Academy Awards closely mirrored the traditionally more progressive Independent Spirit Awards. All the same actors won in both ceremonies, as well as 12 Years a Slave for Best Film, and John Ridley for Best Screenplay. The Independent Spirit Awards also honored 12 Years‘ director Steve McQueen and cinematographer Sean Bobbitt. Gravity, which wasn’t eligible for the Spirit Awards, won those two awards at the Oscars.

You might be asking, who cares? What’s the point? Why does it matter who wins Oscars and who doesn’t? The Academy Awards have always been political, and these days the studios spend a lot of money to lobby for Oscar wins. Given that all films serve one sort of politics or another, and represent the worldview of the film makers in some way, the awards handed out by the Academy carry political weight and can be interpreted as approval for what a film stands for. An Oscar gives prestige to a film and guarantees that people will seek out those winners for years to come. So, when the Academy honors reactionary films, or chooses not to honor quality progressive work, it does actual harm to society.

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This year however, progressive politics held sway at the Academy Awards in a way they never have before. In past years when powerful progressive films were up for major awards, such as Reds in 1981, Brokeback Mountain in 2005, Avatar in 2009, or even Django Unchained last year, invariably those films aren’t allowed to win, and often films with reactionary politics are upheld instead (The Hurt Locker, Argo). And given the history of progressive films being denied on Oscar night, that just makes this year’s progressive sweep all the more powerful and important.

Steve McQueen’s film 12 Years a Slave strikes directly at America’s ugly, racist history, and forces the audience to confront the true nature of this society. Its victory at the Oscars reinforces and amplifies this powerful progressive message against slavery and ongoing racial oppression, and guarantees that it will be seen for decades to come, rather than being swept conveniently under the rug.

Last night, for once, the good guys won decisively, overcoming the reactionary forces that often influence the Oscars’ outcome. Though you can bet that next year a strong campaign will be mounted on behalf of a reactionary film in retaliation for this year’s defeat at the hands of progressives, for now, we can celebrate the victories of Gravity, Dallas Buyers Club, The Great Gatsby, Blue Jasmine, and especially 12 Years a Slave.

The Top 10 Films of 2013

Film is an amazing medium that combines a huge variety of artistic pursuits, and 2013 was a year that saw a great diversity of quality films. The goal of this list is to highlight the best and most socially important films, some of which were widely seen, and others that deserve a much wider audience than they received. Each in its own way, they speak to what it means to be human and they have important things to say about the world we live in and the societies we’ve created. I definitely encourage everyone to seek out these special films, and to embrace the genuine art that finds a way to succeed under conditions that often discourage creativity.

Enjoy this list, and please feel free to comment with your own favorite films and top 10 lists.

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1. 12 Years a Slave

One of the most powerful films in decades, 12 Years a Slave tells the true story of Solomon Northup, a free black man who was kidnapped and sold into slavery. Steve McQueen directs this beautiful film that thrusts the audience directly into America’s ugly history. As Northup awakens to the terrible shock of having his freedom suddenly wrenched away, the audience is forced to confront the brutal horror of an institution upon which a nation was built right along with the central character. People may think they understand what slavery looked and felt like, but depicting the entire process from the beginning, showing the dehumanizing impact on a man who was once free, forces the audience to acknowledge slavery with new eyes.

12 Years a Slave is a film that comfortably explores duality. It is both subtle and direct, nuanced and bold. It’s a powerful examination of the human condition, illuminating both the best and the worst in mankind; the will to persevere against all odds, and the forces of oppression bent on achieving total domination over others. A devastating contrast, for example, is made between a “good” slave owner and a “bad” slave owner, and of course, both scenarios are equally awful experiences for Northup, damning slavery from every angle, and refusing to give apologists an inch. Its ending, just like the rest of the film, brilliantly inspires conflicting emotions; the joy of freedom paired with the bitter pain of ongoing institutionalized racism.

Chiwetel Ejiofor turns in a commanding and heartbreaking performance as Northup, who struggles throughout the film to maintain his human dignity and hold onto hope in the face of incalculable hardship. Hans Zimmer provides a haunting musical score that perfectly accentuates the emotion of the film, especially the sinister tones that accompany Northup’s trafficking into the South, and Sean Bobbitt’s cinematography is breathtaking, contrasting the beauty of the natural world with the ugliness of slavery.

Steve McQueen has crafted a near perfect film, a masterpiece that cries out to be seen, because by illuminating the past we can better understand the root causes of the ongoing horrors of the present. 12 Years a Slave is the best and most important film of the decade.

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2. Prisoners

Prisoners is a mesmerizing crime story about two families whose daughters are kidnapped in broad daylight on Thanksgiving in suburban Pennsylvania and the desperate search to find them. The film is a slow, agonizing burn, gradually building tension as the investigation stretches on over the course of several days, testing the moral strength of both sets of parents, and the skill of the lead detective on the case.

Hugh Jackman’s intense performance as Keller, a desperate father who takes the law into his own hands, is one of the best of his career, and Jake Gyllenhaal also crackles as an edgy, arrogant detective who has to meticulously comb through the clues and evidence while also keeping an eye on the suspicious activity of the missing girls’ families.

Prisoners takes a story that could have easily been dumbed down to the level of a “Law and Order” episode and elevates it to high art. Not only is the film exquisitely made on a technical level, due in large part to Roger Deakins’ masterful cinematography, it also incorporates heavy moral, philosophical, and religious themes on top of the narrative’s mystery.

The title of the film refers not only to the kidnapped girls, but also to the person Keller believes holds the key to his daughter’s location, as well as those who are trapped under the spell of religious fanaticism. The film, featuring strong supporting roles by Terrence Howard, Viola Davis, Paul Dano, and Melissa Leo, is a searing and emotional exploration of the limits and hypocrisy of religious morality.

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3. Before Midnight

The third film in Richard Linklater’s fantastic ‘Before‘ series might be the best yet, which is extremely high praise. Midnight arrived right on cue, nine years after Before Sunset (2004), which came nine years after the original, Before Sunrise (1995). The latest installment in this cinematic dissertation on love follows the star-crossed relationship of Jesse and Celine, played by Ethan Hawke and Julie Delpy, who also co-write the films along with Linklater. They know their roles inside out and they embody their characters so deeply that they don’t appear to be acting at all, allowing Linklater to shoot very long, naturalistic takes. This technique pulls the audience into the film as if it were an extension of real life, making the exploration of contemporary love all the more compelling.

In Midnight, we step into Jesse and Celine’s lives while they’re on vacation in Greece after they’ve been a couple for several years. The film sets up a scenario where there are couples from several different generations gathered together, and they have the opportunity to discuss the dynamics of romantic love at various stages of life. Jesse and Celine fall somewhere in the middle, and this moment allows them to evaluate their relationship and examine what they’ve each sacrificed to be together. While Before Sunrise is about the thrill of new possibilities, and Before Sunset is about the regret of missed opportunities, Before Midnight is about the consequences of actually getting what you want. It strips away the fantasy and idealism of the first two films and dives right into the everyday reality and struggle of sustaining a long-term relationship.

Given the empty, formulaic romantic comedies that Hollywood has churned out for decades, Linklater’s Before series is a breath of fresh air. All three films are both humorous and serious, and they provide a huge number of topics and themes to ponder long after the credits role. Hopefully Linklater, Hawke, and Delpy revisit this brilliant romantic series in 2022. Before Twilight, perhaps?

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4. Big Sur

Based on the novel of the same name by Jack Kerouac, the film picks up the story of the legendary author’s life as he struggles with the success of his classic On the Road. After helping to define the Beat Generation, Kerouac feels a great burden on his shoulders. People expect him to be Sal Paradise, his alter ego from Road in his mid twenties, but the real Jack Kerouac is approaching middle age, and the world is changing around him. The film follows Kerouac as he seeks refuge and solitude in the Big Sur region on the central coast of California.

Michael Polish’s film is exceptionally beautiful, and not just because of the natural scenery on location. His camera captures the magnificence of the surroundings- the forest, the sky, the waves on the beach, and the dramatic rock formations jutting upward from the ocean- in a way that appears effortless, but is the result of a perfect union of subject and artist. Polish conjures a true character from the environment surrounding the cabin that Kerouac inhabits as he undergoes an existential crisis. A last gasp, of sorts, as his restless soul continues to struggle for meaning in life.

Big Sur integrates Kerouac’s words into the film through a beautiful use of voice-over, which, in combination with the breathtaking scenic elements, is almost Terrence Malick-esque. The film also has a fantastic musical score by composer Kubilay Uner and brothers Aaron and Bryce Dessner of the rock band The National. All the performances in the film are very high caliber. Jean-Marc Barr plays the aging Kerouac with great depth. It’s not easy to carry a film as an actor, but Barr does so with a nuanced performance that owns the screen without overshadowing the supporting actors. Josh Lucas plays Neal Cassady, who even as he approaches middle age, shows shades of what made him such a charismatic and inspirational figure in Kerouac’s life. Rhada Mitchell plays Cassady’s wife, and a strikingly beautiful Kate Bosworth plays his mistress. Big Sur is a magnificent film; a genuine work of art in all aspects of the medium.

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5. Gravity

In a Hollywood that pumps out sequels and comic book films at an alarming rate, Gravity was perhaps the most refreshing big-budget film of the year. It centers around astronaut Ryan Stone, played by Sandra Bullock, who after an accident in outer space must survive a series of obstacles in the harshest of environments. Alfonso Cuaron’s exciting film follows Stone on a metaphorical life cycle from fetal state to birth as she struggles to rediscover her will to live while up against seemingly impossible odds, and by the end she must either “evolve” or die.

Gravity is a technical and artistic marvel, blending life-like digital effects with human performances in perfect harmony. Emmanuel Lubezki, arguably the greatest cinematographer working today, composed several long shots that develop character while moving the narrative forward, maintaining a sense of motion and a heightened state of suspense throughout much of the film. In perhaps the best use of 3D technology yet, the screen seems to melt away, enveloping the audience in the action.

Though the film suffers from some weak dialogue that feels a bit forced and at times unnecessary, Gravity is one of those rare gems that thrills through the sheer force of its unique concept while simultaneously allowing the audience to connect to the human drama.

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6. Fruitvale Station

Oscar Grant, a 22 year old black man, was murdered on New Years day in 2009 by a white police officer at the Fruitvale BART station in San Francisco. Fruitvale Station follows Oscar on the last day of his life, painting a vivid portrait of a man, flaws and all, attempting to change the direction of his life during difficult circumstances, before it was unjustly cut short.

The film cuts through stereotypes, allowing the audience to get to know Oscar both as a fully developed character, and as a human being, which amplifies the tragedy of his death. During the course of a single day we meet Oscar’s girlfriend, daughter, mother, grandmother, and several friends, as well as a couple new acquaintances. We witness the struggle of his everyday life. He just lost his job but doesn’t want to fall back into a life as a drug dealer. Unsure of how he will make ends meet in the future he decides to have a fun night out with friends to celebrate the new year. His spontaneity, his kindness and compassion, his positive outlook, and his desire to do the right thing are all illustrated through several episodes that all lead up to his murder at the hands of the police who don’t see him as a nuanced human being. To them, he’s entirely defined by his race, and all his human complexity is ignored.

Fruitvale Station is the first feature film by director Ryan Coogler, a Bay Area native who felt compelled to make a film about an event that rocked his community in the hope of showing people the humanity of a person who became a symbol to rally around. And in his first leading role, Michael B. Jordan brings Oscar’s story to life in haunting fashion. Octavia Spencer, fresh from her Academy Award winning role in The Help provides a powerful cornerstone for the film. Fruitvale Station is an important film. By telling this story, hopefully people will understand that it’s important to see each other as human beings, to not be so quick to leap to conclusions, and also to understand the real role that police play in this oppressive society.

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7. The Great Gatsby

Others have tried to adapt Fitzgerald’s classic novel to the big screen and achieved nothing but lifeless tedium, which makes Baz Luhrmann’s successful attempt at The Great Gatsby all the more impressive. Luhrmann is definitely a true artist, and his film is alive, colorful, and exciting. While other film makers have struggled with a way to translate the internal monologue of the novel to the screen, Luhrmann solves that problem in the boldest ways possible. He puts Fitzgerald’s words directly on the screen and places the narration front and center, which allows the prose to drive the narrative, just as it does in the novel, while utilizing a visceral and inventive visual style to establish the setting.

The Great Gatsby is a film that simply must be surrendered to. It has flaws, some of which are inherited from the source material, but the film is a force of nature. While perhaps not exactly the anti-Wolf of Wall Street, Gatsby is a loud, bold look into American style capitalism that succeeds while Leonardo DiCaprio’s other major film on the same subject fails. Though Gatsby does maintain a certain level of admiration for the pursuit of wealth, it does so with great disdain for the outlook of the elite, personified by Tom Buchanan’s paranoid racism, greed, and misogyny, as well as Jay Gatsby’s own corruption, and the story clearly articulates the consequences of giving material wealth greater value than human life.

Luhrmann’s style has always been divisive because of his willingness to take artistic risks, but here it pays off in extremely entertaining fashion, as long as you give yourself over to the unconventional experience and enjoy the ride.

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8. Don Jon

Joseph Gordon-Levitt’s directorial debut, Don Jon, in which he also stars, is a surprisingly layered and intelligent film about relationships in the age of internet pornography. The title character, Jon, is obsessed with porn and masturbates compulsively and almost ritualistically. He lives a highly structured and routine oriented lifestyle, keeping to his weekly schedule of working, cleaning his apartment, going to church with his family, working out at the gym, and going to the club with his friends to pick up women. There’s nothing out of place and nothing to disrupt his pattern until he encounters Barbara (Scarlett Johansson) at the club.

Jon and his friends always stand in the center of the club to look for women to potentially take home, sizing them up from a distance, instantly rating them on a scale of 1 to 10. Barbara is “the most beautiful thing” Jon has ever seen, and he becomes determined to make her his ultimate sexual conquest. This is the point where Don Jon could have easily descended into formulaic drivel typical of romantic comedies, but it masterfully avoids going down that road and instead takes on a wonderful complexity.

Don Jon becomes a major statement against a culture that celebrates pornography as a form of women’s liberation. Having developed totally unrealistic expectations from his pornography obsession, Jon is unsatisfied by the real women he objectifies, and he must be jolted out of his old habits. Barbara starts him on the right path, but the brilliance of the film is that it isn’t black and white and it criticizes her controlling perspective, too, ultimately arriving at a highly enlightened view of romantic relationships.

Gordon-Levitt’s film is what great art is all about. It’s entertaining in a way that’s very accessible, but it packs an extremely relevant and important message. It suggests that we might all be better off by breaking with some debilitating habits that we’re convinced are normal, altering our rigid routines that isolate us from the world, and learning to truly connect with other people as equals.

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9. Dallas Buyers Club

Set in the mid-1980s, Dallas Buyers Club is about Ron Woodroof, a hard living racist and homophobic man who is diagnosed with AIDS and told he only has one month to live. After overcoming the denial that he has a “faggot” disease, he seeks help through a drug trial for the experimental treatment AZT. However, he soon realizes that the drugs he’s been given are doing more harm than good, and, unwilling to give up, he searches for ways to circumvent the medical establishment. Along the way he has to become allies with people he previously despised in order to combat the powerful forces of the for-profit medical establishment and the government.

Woodroof is played by Matthew McConaughey who lost a significant percentage of his body weight for this incredible, career defining role. He’s supported by by Jared Leto, who turns in an iconic performances as Rayon, a transsexual Woodroof meets in the hospital who forces him to put his bigotry aside for mutual benefit.

Dallas Buyers Club is no technical marvel. It’s a sparse film that used almost no artificial lighting and put little effort into visual style. It also suffers from several noticeable background props out of place in the 80s. But these problems become virtually insignificant next to the overpowering substance of the narrative. What makes this film great is the way it exposes the collusion between the government, pharmaceutical companies, and health care practitioners to make a profit at the expense of patient’s health, and the lengths ordinary people must go in order to get the care they need.

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10. Lore

Germany is losing World War II, and as the Allied forces push into the country, the rank and file Nazis scramble to avoid justice. Hannelore (Lore for short) is the eldest daughter of a Nazi officer. After being abandoned by her parents she is forced to care for her siblings as they flee to the countryside.

Having been poisoned by Nazi ideology throughout her life, Lore harbors a deep hatred of Jewish people while blind to the true horror of Hitler’s genocide. So, when she and her young family encounter a Jewish refugee on their journey she has to confront the beliefs her parents and Nazi society instilled in her head on.

Lore is a fresh look at an era that has been documented extensively in film, showing the collapse of Nazi Germany from the perspective of children and adolescents. It’s a coming of age story set in the upheaval of a crumbling society; a loss of innocence as the central character comes to understand the true horror of the Holocaust, and that everything she thought she knew is a lie.

Lore is a beautiful film that flows through its narrative arc with a dream-like quality, as if being recalled from a deeply repressed memory. Indeed, the film drew inspiration from director Cate Shortland’s husband’s family history. Saskia Rosendah leaps off the screen as Lore in her first major role, and Kai Malina turned in a haunting performance as Thomas in which he refused to say most of his scripted dialogue, allowing the pain behind his eyes to speak louder than words. And the film’s ending is a powerful break from the poisonous ideology of Fascism as Lore rejects the temptation to turn a blind eye to genocide.

 

10 More 2013 Films I Highly Recommend

The Broken Circle Breakdown
Her
Frances Ha
As I Lay Dying
Blue Jasmine
August: Osage County
The Place Beyond the Pines
Something in the Air
Upstream Color
Spring Breakers

The Worst Films I Saw in 2013

The Wolf of Wall Street
42
Man of Steel
Inside Llewyn Davis

The Wolf of Wall Street “Missed the Boat Entirely”

TheWolfofWallStreet_iTunesPre-sale_1400x2100There is a scene in Martin Scorsese’s new film The Wolf of Wall Street where a Forbes magazine article is published about the story’s central protagonist, Wall Street con-artist Jordan Belfort, played by Leonardo DiCaprio. Belfort is enraged by the “hatchet job” that calls him out for his deceptive practice of selling practically worthless penny stocks for huge commissions by misleading faceless victims on the other end of a phone. He thinks the article will ruin him, but his wife calms him down by saying that all publicity is good publicity. She turns out to be right. Following the article’s publication Belfort’s firm, Stratton Oakmont, is swarmed by people looking for jobs, and his business grows exponentially.

That Forbes article was intended to be a damaging exposé, but it backfired, just as Scorsese and DiCaprio’s film itself is backfiring now. If the tandem, now on their 5th collaboration, are to be believed, they set out to make a film that shines a light on Wall Street corruption and greed. But that’s not the film they actually made. Not by a long shot. And The Wolf of Wall Street, like the Forbes article in the film, appears much more likely to inspire, rather than discourage, another generation of materialistic greed and exploitation.

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In 1987, Oliver Stone’s film Wall Street put the phrase “greed is good” into the cultural lexicon while attempting to skewer the financial sector. Gordon Gekko was the film’s villain, meant to personify everything wrong with 80s-era excess, but to a generation of people looking to get rich quick, Gekko’s catchphrase became a powerful mantra. Jordan Belfort himself was among that wave of young people who flocked to Wall Street in those days. While Belfort never utters the phrase “greed is good” directly, he fully embodies that mentality, openly instructing his subordinates to take money from their investor’s pockets and put it in their own without any regard for the client’s well being, all while indulging in the most hedonistic lifestyle possible.

Belfort innovated a method of selling cheap stocks to unwitting investors, retaining a 50% commission on the trade, manipulating the stock price, and then leaving the investor holding the bag when the bottom falls out of the stock. The brokers cash in while the investor’s go into debt. Belfort champions a ruthless approach of hard selling and pumps up his team with daily profanity laced inspirational tirades before the market’s opening bell.

the_wolf_of_wall_street_trailer_tWatching The Wolf of Wall Street is comparable to being run over by a freight train, in all the worst ways possible. Everything about the film is long, loud, and obnoxious. There is no subtlety or nuance, every performance is paper thin, and virtually every scene is longer than it needs to be. The Wolf clocks in at just under 3 hours of headache inducing parties, sex, drug use, and yelling. Lots of yelling.

What’s important to understand about this is that simply depicting certain behaviors isn’t necessarily the same thing as condemning them. In order to condemn what’s being depicted an artist needs to provide the proper context, and The Wolf of Wall Street is totally lacking the necessary context to condemn the activities of Jordan Belfort and his band of cronies. According to DiCaprio and Scorsese, who are now on the defensive about the intended message of the film, the audience is supposed to witness the reckless greed, misogyny, and debauchery on screen and come away with the idea that those things are wrong, but they never give any context to guide the audience to that view.

Without proper context, showing drug-fueled orgies with prostitutes set to music is a glorification of that behavior. Without proper context, showing ruthless stock market manipulation and fraud for personal gain at the expense of others, which allows for extravagant lifestyles complete with enormous yachts, beautiful women, all driven by a “fuck everyone” mentality, is glorification, not condemnation.

As a side point it should be mentioned that the film puts a huge number of nude women on display, but the only glimpse of a male sexual organ is a half-second shot of Jonah Hill masturbating in public, and the anatomy shown is almost certainly a prosthetic. It says a lot that the film is willing to objectify women so blatantly on screen while preserving the men’s dignity, even as they engage in very public sex acts. Besides looking totally unrealistic, it demonstrates the ongoing double-standard women face in society.

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DiCaprio, who was recently quoted in an interview by Hitfix, said that those who accuse the film of glorifying Belfort’s activities and lifestyle have, “missed the boat entirely.” He goes on to say, “I mean ultimately I think if anyone watches this movie, at the end of Wolf of Wall Street, they’re going to see that we’re not at all condoning this behavior.” But this is not the case, and it’s actually DiCaprio and Scorsese who have missed the boat.

Ironically, in the same Hitfix interview, he explains exactly why Scorsese made a film that lacks the context needed to give the story the meaning he claims was intended. “The unique thing about Marty,” DiCaprio says, “is that he doesn’t judge his characters. And that was something that you don’t quite understand while you’re making the movie, but he allows the freedom of this almost hypnotic, drug-infused, wild ride that these characters go on. And he allows you, as an audience — guilty or not — to enjoy in that ride without judging who these people are.”

What is difficult to understand here is how Scorsese and DiCaprio thought they could make a film that condemns the financial activities and hedonistic lifestyle Jordan Belfort exhibits without personally judging him in any way. By making a film free of moral judgement, told exclusively from Belfort’s point of view, which entirely ignores the suffering of his penny stock scam’s victims as well as the larger context of Wall Street corruption, we’re left with a movie that effectively glamorizes everything it shows. The closest thing to a victim shown in the film is the secretary who is paid $10,000 to shave her hair off for the entertainment of the whole office, and even that is within the office’s walls, oblivious or indifferent to the suffering they’re causing outside.

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Granted, a lot of things eventually go wrong in Belfort’s life. He gets divorced twice, he sinks a yacht, almost watches his friend suffocate while high on drugs, loses millions of dollars in a Swiss bank account, and ultimately spends a short time in a country club prison. But no true tragedy befalls him. No real lesson is learned. At the end of the film Belfort isn’t remorseful about the damage he’s done or the lives he’s ruined, and he even starts a lecture series teaching others how to get rich. This positive ending is shown in the film without any irony or judgement, and as the film comes to a close it becomes obvious that The Wolf of Wall Street is a 3 hour love letter to Jordan Belfort. What else could it be without the moral judgement of the film maker and the proper context to show the audience the real damage people like Belfort do to the world?

The saddest part about all this is that as wild and reckless as Stratton Oakmont is shown to be, Scorsese never clearly illustrates that Belfort and his buddies are just small potatoes. Why even bother to tell this particular story without making the point that it’s just a tiny microcosm of a much larger systemic problem? Unless, of course, the real intention is to glamorize and glorify Belfort and people like him.

The fact that he’s not Goldman Sachs and that he has a “fuck you” attitude toward the larger Wall Street firms seems to be something that Scorsese admires, as if Belfort is some sort of noble renegade outsider fighting against the system. It’s easy to get the sense from the film that Scorsese empathizes with the “anti-establishment” mentality and the creative cut-throat business practices Belfort employs. But even if the director doesn’t personally condone Wall Street greed and corruption, there would be no way to know based on his self-admittedly judgement free film that refuses to show the real fallout of Belfort’s actions and the true context of the story.

The audience gets 2 hours and 45 minutes of wild partying, sex, and drug use, 15 minutes of Belfort’s mostly consequence-free “downfall,” and 0 minutes spent on the proper context that would give the story a more meaningful point about the nature of the system, or on the damage Wall Street greed does to other people. All the audience sees is how Belfort is effected, and he comes out pretty well in the end.

Scorsese and DiCaprio created a film which allows everyone to superimpose their own morality to the subject matter and render their own verdict. If you’re someone who thinks Wall Street greed is ugly and wrong, you might imagine you’ve just seen a film that agrees with you, because it depicted all the behavior you already oppose. On the contrary, if you’re someone who thinks it’s okay to make a profit for yourself and live a life of luxury and excess, everyone else be damned, this film is also for you, because it shows just how glamorous that life can be, without judgement.

It’s obvious that Scorsese and DiCaprio wanted to make a big film. It does take some artistic risks, but in most cases they fail, mostly because the film has no positive moral position to reinforce. So the party rages on, and after a while, the bloated, obnoxious film feels like a hammer crushing your skull. It’s not pleasant, and given that The Wolf of Wall Street totally missed an opportunity to say something important about the times we live in, it’s not worth the pain.

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Unlike the Forbes “hatchet job” that angered Belfort before it helped him grow his business by leaps and bounds, The Wolf of Wall Street is based on the book written by the wolf himself. Belfort’s account might have been honest about his wild behavior and his willingness to scam people to enrich himself, but it’s definitely not a hatchet job of any sort. This film is designed to ultimately make Belfort look pretty good, and it will likely help to enrich him even more by promoting his lecture series. All publicity is good publicity, after all. DiCaprio even went out of his way to shoot a promo for Belfort’s real life speaking engagements in which he lavishes the man with praise, even though he still owes restitution to many of his victims.

Given what The Wolf of Wall Street is, as well as what it isn’t, and the fact that DiCaprio supports and promotes Jordan Belfort in real life, it’s safe to assume that when Scorsese and DiCaprio try to make the case that their film is meant to condemn the behavior it depicts, rather than glorifying it, that they’re lying. It is uplifting to note that critics as well as the general public are calling them out for their dishonesty and putting them on the defensive. Those people, like the daughter of one of Belfort’s co-conspirators who wrote an open letter opposing the film, are not the ones who missed the boat entirely. Leonardo DiCaprio and Martin Scorsese did, and it’s a good sign that a lot of people aren’t buying what The Wolf is selling.