Baby Driver, The Big Sick: Where are the real men?
Two films have generated all the buzz of late: Baby Driver and The Big Sick. Both have garnered wonderful reviews and are doing well, though neither is a blockbuster.
Baby Driver is about a young man, orphaned when young, who suffers from tinnitus and so listens to music constantly. His foster father is deaf, so he signs and read lips. "Baby" is beholden to a very bad man, a criminal "mastermind" played by Kevin Spacey, and so must be the getaway driver for his crew of miscreants hired to pull off the crimes he plans. The kid is the only character with a modicum of a moral sense but is, of course, flawed, to say the least. He goes along to get along while his discomfort with his cohorts' crimes is duly noted. The boy, Ansel Elgort, is a wonderful actor and fun to watch, but the film is an empty vessel, like Ronin years ago. There are a few good car chases but little substance to the story. And yet it is being hailed as an "awe-inspiring action thriller," a "unique cinematic voice," even a "romantic musical thriller disguised as a car chase thriller." It is none of these things. The Fast and Furious franchise has more substance and better car chases. This film is a egoist director's boy toy: all hat, no cattle. Is the boy a good kid at heart? Yes. Does he make poor decisions? Yes. Does he redeem himself? Sort of.
Equally praised by the critics is The Big Sick. This film is based on the true semi-romantic relationship between a Pakistani comic living in Chicago and the unlikely object of his affection, Emily, an American student whom the young man knows he could never bring home to his culturally Pakistani parents without meriting permanent banishment from his family. He lies to his parents, and he lies to Emily; he is torn between two cultures, one of them immutable. So he breaks up with Emily. Then she gets sick, really sick. While she is comatose, he rethinks, meets the parents, wins over the parents. She wakes up, clueless about his change of heart. It all works out in the end, but the takeaway is that each of the men is weak – weaker than the women in their lives. Kumail, the main character, is submissive to his mother's demand that he marry a Pakstani woman. Terry, Emily's father, and Azmet, Kumail's father, are both wholly submissive to their wives, even when they know better. Each of them is a very good man, but each of them seems rather childish. What has our culture done to men over these past two generations? Their women love them but control them! How weird is that? It is how it is.
For at least two generations, the feminist movement has been sabotaging the futures of women everywhere. They preach not only hatred of men, but overt discrimination against them, especially white men. Feminist activist women teach their daughters to loathe men, especially those without college degrees. College administrators treat young men as potential rapists. Is it any wonder that men no longer want to attend college in numbers equal to women? Do informed parents want to subject their sons or daughters to the nonsense that is the enforced diversity of race, class, gender, and political tyranny of college campuses today? Most do. It's a status thing. Those who do are sentencing their children to years of leftist indoctrination and the inculcated inability to think critically. Good little Marxists they will be. Their sons will be servile to unhappy women who yearn for real men who can teach their sons to be real men. That is the nature of the human race. Despite the "gender is a social construct" nonsense, women want men to be men, and men want women to be women, the way it used to be. That's the way it actually still is outside D.C. and academia!
Baby Driver and The Big Sick are both good films, but they reveal the damage done by two generations of the tyranny of feminism, of political correctness and the watering down of any sense of morality. The Baby of Baby Driver has a moral sense, eventually, and so is a hero? The men of The Big Sick prevail but only because the women in their lives have set the stage and led them to where they want them to go. Feminism and the politics of race, class, and gender have emasculated the men of two generations, which is what the movement set out to do. Erasing white men entirely is now the goal of the social justice warriors. This ambition is what produces films like Baby Driver and The Big Sick.
So, to those women who are freezing their eggs because there are no college-educated men they can find to marry, look to your feminist mothers or to the leftist academia that brought us to this moment in time – a time when men are not supposed to be men and women are not supposed to be women. Both are supposed to be something else altogether. It's not working. The progressive left's agenda, completely aside from their LGBT support, is a crime against Western civilization, against the natural order of things.
The films our critics honor and praise say everything about our culture. Hollywood is not making films like Twelve Angry Men, To Kill a Mockingbird, Scent of a Woman, The Edge, etc. anymore, or films like True Grit or High Noon. The heroic men of those films would be mocked by young people today, who have been taught that any pretension of masculinity is brutish.
Why do films like the James Bond movies, Clint Eastwood's Grand Torino, Taken, and the Fast & Furious franchise do so well? No matter how ridiculous, they let men be men. They will always do better than films like Baby Driver and The Big Sick. No matter how much progressives want to alter the nature of humanity, they may succeed in the short run, but they will fail in the end. The propagation of species depends upon it.