GINGER & ROSA
At the risk of alienating a large portion of the audience, “Ginger & Rosa” is the epitome of why more women are not successful in the movie making industry. Sally Potter wrote and directed the film, and was heralded as a master filmmaker among the condescending hoi polloi of Tinseltown. The hype for Potter waned before the Oscars, and rightfully so. “Ginger & Rosa” is a film only the most liberal minded woman could possibly like. Its storyline is so forced, it is to emotional content what “Hudson Hawk” was to action. There isn’t a single character an audience can empathize with; and its soapbox preaching sounds so silly, Potter sets the tale in the early 1960’s in a feeble attempt to give her ramblings some import. Epic, epic fail.
“Ginger & Rosa” stars Elle Fanning, Annette Bening, Loiver Platt, Timothy Spall, Alice Englert, Christina Hendricks and Alessandro Nivola. Together they embody a dysfunctional family on steroids. They collectively symbolize the tenants of liberal thought and the ultimate disaster which culminates in the ideology. The free thinking liberals of this film are enough to make anyone run out and join the Tea Party.
Early hype for the film spotlighted the performance of Elle Fanning. At 14 years of age, a number of industry quote whores were ready to bestow Meryl Streep’s mantle on her. A cautionary flag should always rise for viewers when the only positive propaganda on a film is the performance of an actor.
KEY SCENES TO LOOK FOR:
1. THE REVEALING OF THE DARK SECRET TO THE FAMILY
Potter, for her part, desires to lecture the viewer in a matronly manner. Her snippets of the liberal philosophy are delivered in short, quick soundbyte fashion to accommodate those with the attention span of a gnat. She bounces from talking point to talking point without expounding nor supporting the blurbs. It’s almost as pathetic as listening to the ridiculous Harry Reid, or the demented Nancy Pelosi speak. Her rants include the dominant themes of Hollywood today: anti-religion and anti-God; humanistic values; anti-military; government nanny states; the power of protest; the inequities of the prison system; the ruling of the masses by the elite class. These themes find themselves worming into most films, but delivered en masse the absurdity of the ideology is apparent. Potter sets the film in the early 1960’s in hopes of holding these foundation-less maxims together under the umbrella of nuclear holocaust. It’s an envelope many of today’s young libs cannot associate with and have only heard about through the spin of public school text books.
The only redeeming value in “Ginger & Rosa” is that, ultimately, it shows the destructive conclusion to those who live their lives under the liberal ideology. Let this film lie, like yesterday’s garbage rotting in the sewers.
THE GRADE FOR “Ginger & Rosa” IS AN ‘F’.
Fiore Mastracci is a veteran filmcritic who does not appreciate a political sermon delivered in the guise of an emotional coming of age story.