That’s what makes it conservative right?

Fair enough, and it’s worth adding that it’s truly funny, as are his other films. But I think the message can be both, so this positive side (which is probably the more intentional message) can coexist with an unintended, regressive message (which seems to be a product of the way the filmmaker pictures their world, not part of the explicit narrative or themes).

Nabakov makes a nice point about Forest Gump. I wonder if it would have been practically possible to elect the real Gump, had we not been prepped by Hollywood first. There is no Hollywood fantasy, no matter how awful, that does not come true.

I think ‘Metropolitan’ is unique because it’s the only classically conservative movie (as opposed to simply reactionary or neocon) on the list. I think the message has something less to do with class and more to do – when they show up at Von Slonakcer’s [sp] house, the value of shame and cultural mores. I still the exchange ‘Ah, I’m so embarassed’ ‘well some embarassement would do you good’.’

I also enjoyed their claims on Forrest Gump that Forrest follows a straight and morla path while Jenny is seduced by evil hippiedom. Gosh, I always thought that jenny’s desire for escape had something to do with the fact that she was sexually abused by her father as a little girl, but that’s just me.

http://rudepundit.blogspot.com/2009/02/national-review-s-list-of-best.html

Metropolitan – Isn’t that the film where most of the characters are scandalised by a couple of people choosing to act as individuals.

Forrest Gump – Isn’t that the film where unthinking responses to fate always lead to money and fame.

I’d like to see someone comment it, too. I think this is another spot-on one. The movie is deeply rooted in its appeal to class resentment and envy, which is the engine of reactionary politics: hate your betters, then vote to give them tax cuts because: a) you’re one of them, even though you’re not and b) one day you’ll be one of them, even though you never will (I’m looking at you, Joe the Plumber). It also tends to equate wealth and culture, which is a common error I’d associate with the same strand (class resentment) of conservatism. (I’m also reminded of the director’s other film, Barcelona, with it’s tired “foreigners are anti-American” jag.)

What about this?

Gary Cooper’s robot-staccato – is this a hidden message? “Help, I am a prisoner in a homily factory”

for a second I misread that as “Serendipity” and I was thoroughly confused!

Come on, someone comment on “Metropolitan,” please!