One of the things that came out of the “Hollywood hearings” about communist influence in Hollywood during the 1930s and ’40s was how certain movie writers, directors and producers (looking at you Dalton Trumbo) covertly inserted communist propaganda into films.
Of course, as we have all learned from school, books, TV shows, PBS specials, movies, clucking politicians and celebrities, there was no such thing as communist messages in any movies, any communist influence in Hollywood; in fact there were no communists at all in Hollywood. It was all just a figment of Richard Nixon’s imagination… Ahem…
Anyway, I bring this up because I caught Sylvester Stallone’s “Assassins” the other night on TV. For me it’s an enjoyable time-waster from 1995. Stallone is Stallone. Antonio Banderas puts on one of his best performances as Stallone’s rival hitman who has just a bit too much energy and envy. Julianne Moore is at her sexiest as “the mark.” (I know, she’s a superliberal and big-time pro-abortion ding-a-ling but she’s still a doll.) The script is by the (then) Wachowski brothers and Brian Helgeland. Nice names but I understand that the Wachowskis have disowned the movie (along with other things apparently) and Helgeland acted as a script doctor.
The director is the reliable Richard Donner. Not greatest or most stylish director but quite competent. His better-known films include “The Omen,” “Superman” (Christopher Reeve version), “Ladyhawke,” “Lethal Weapon,” “Scrooged” and “Maverick.”
I bring this up because seeing the movie again reminded me of something you see in a lot of movies and TV shows but rarely in such a ham-fisted way. Slipping political (always liberal) messages into the background.
For instance, in a scene in an elevator a rich woman wearing a fur coat gets on. Julianne Moore’s character then proceeds to subtly spray paint the back of the coat without the lady being aware. Then she smugly smiles as the lady exits the elevator. Donner and his wife Lauren Shuler Donner were/are well-known anti-fur activists.
In a couple of city scenes the buses have anti-NRA messages on the side panels. In one sequence, the Antonio Banderas character, in the middle of a gun battle, is pressed up against one of these panels. I’m sure Donner was laughing the whole time at the irony.
In a scene near the end, located in a plaza in a Latin American country, a woman wearing a “Pro-Choice” t-shirt approaches Julianne Moore’s table and dominates the screen for at least 10 seconds. “Pro-Choice”? In a Latin American plaza? Talk about your ugly American.
The “Pro-Choice” t-shirt may have been Moore’s idea or Shuler Donner’s or Donner’s or all three.
Why was this done? There was nothing in them germane to the movie. One could have marked the elevator scene down to it being a character trait of the Moore character — she’s a cat lady and something of an arrogant loner. However, everything else is straight-forward liberal propaganda.
It’s just a liberal taking advantage of their position and trying to insert political messages where they don’t belong. Remember, liberals try to politicize everything. They won’t leave any venue, any moment of life alone. They want to command everything and you must see it their way. They cannot live and let live.