A most tiresome group of people, aren't they?
Frankly, the Palestinian Arab cause has become quite boring, even to President Trump.
Theirs is a show without end, and no other people on this earth crave as much attention. They’ll go anywhere to put on their act, uninvited, and we all know the routine.
Kvetch…kvetch…kvetch.
SNL is not always funny, but at least they give us fresh material every Saturday night.
Somebody needs to tell the Palestinian Arabs…” your story has gotten old and cold, and we have all got our own troubles. Give us a break.”
“You need a new skit, so we can all laugh together at the legitimacy of your gripe”
“If anybody’s got a gripe, it’s the Boston Red Sox. Or Joe Burrow of the Cincinnati Bengals.”
“So far as ancient civilizations, you are about as ancient as SNL, or Bob Dylan” …and I’m glad I brought that up.
If you missed the Oscars, you missed their latest act, up on stage, Sunday night, to collect an Oscar for a documentary about Israel.
You expected “Exodus?” You expected “Cast a giant Shadow?”
They don’t make them like that anymore, not in Hollywood, and those were the days when Israel still had a shot…despite Vanessa Redgrave.
The story of modern Israel’s founding was a must for the big screen as a romance between a people and the land they re-conquered after being homeless for 2,000 years.
This could only be told as an epic. Audiences responded favorably, and only the few, like Kirk Douglas and his box office prowess, were able, and willing, to get such epics made.
There were still multi-talented risk-takers back then, like Dalton Trumbo, who wrote the screenplay for “Exodus,” and he wasn’t even Jewish.
There were still Zionists back then, like Kirk Douglas, who starred in “Cast a giant Shadow,” and he was Jewish.
These days, Hollywood is small. In the golden days, as Norma Desmond would say, Hollywood was big. The faces were big. The stories were big.
TV reduced everyone and everything to eight inches tall. Moviemakers began thinking that way. “Gone with the Wind” and “Lawrence of Arabia” were not filmed for a small box.
Neither was Cecil B. DeMille’s “The Ten Commandments,” which today, would never get made, for being so “one-sided.”
No wonder that today’s movies have lost that magic touch. There is no thinking, literally, outside the box.
The movie that was awarded Best Picture last Sunday was about prostitution, the pitch being how terrific it is to be “a sex worker.”
Yes, really…and no wonder it bombed at the box office, as did all the other pictures in the same category.
People don’t go to the movies anymore…and the studio tycoons wonder why? For smut like this?
Which brings us to the people who crowded up to the stage Sunday to accept the award for Best Documentary…which is about the conflict between the Palestinian Arabs and the Israelis.
So what else is new?
Seems that every Oscars program, one year to the next, brings up the same winners with the same message…blame the Israelis.
The makers of this documentary are a mix of die-hard Arabs and soft Jews…as is always the case.
For once, for this generation, can we please rise at the Oscars for a movie about Israel that is only about Israel, the glory of the land and the exploits of the people?
How refreshing that would be.
For once, I say, let the Palestinian Arabs have their cause…but not in my movie.
New York-based bestselling American novelist Jack Engelhard writes regularly for Arutz Sheva.
He wrote the worldwide book-to-movie bestseller “Indecent Proposal.” His novel, “Compulsive,” motivated John W. Cassell to declare “Jack Engelhard is a writer without peer, and the conscience of us all.” Contact here
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