Nancy Mace Owns Tampon Tim Walz: Can't Define a Woman, But Sure Can...
BOOM! Quiet Death: Pete Hegseth Reveals US Sub Torpedoed Iranian Warship – Epic...
Tim Walz Goes Full Deer in Headlights When Jim Jordan Busts Him About...
Rep. Emmer Goes Nuclear: Ellison Grilled, Accused of Shielding Somali Fraudsters in Explos...
Elizabeth Warren Left a Classified Briefing and Quickly Proved Why She Shouldn't Get...
Communist Posterboy Forced to Eat Crow and Retract Wild Lies About Kevin O'Leary's...
Dem Golden Boy James Talarico Is a Bible-Twisting Hypocrite Who Thinks Mary Could've...
Bill Melugin's Question About Dem Hypocrisy Forces Hakeem Jeffries to Play the 'It's...
Leftist Trans Couple Arms Up Against 'Fascists' ... Proceeds to Shoot Their Own...
What Gives the US the Right? 'The B2 Bomber.' – Chamberlain's Brutal Iran...
Kristi Noem Made Dem Sen. Chris Coons' Line of ICE Questioning Backfire With...
Jasmine Crockett Loses Dem Senate Primary to Hoax-Boosted James Talarico - Blames Republic...
Patch Dispatched: Steve Toth Scores Double-Digit Republican Primary Upset Over Incumbent D...
National Post: Don’t Deport Truck Driver Who Killed 16 Canadian Teens
Man Who Had Security Clearance Revoked for Leaking Documents to Iran Has Thoughts...

The Economist looks at the challenge of troubling art of the past, citing 1983's 'Trading Places'

Why is The Economist publishing a critique of an Eddie Murphy/Dan Ackroyd movie from 1983? Because although some people consider it a Christmas movie, it’s actually a New Year’s Eve movie. And a New Year’s Eve scene from the movie makes us tackle the challenge of troubling and offensive art of the past.

Advertisement

The author’s name is hidden behind a paywall (perhaps on purpose?) so we’ll just have to credit it to The Economist, which reports:

… there are lots of cringe-inducing moments: racial stereotyping, explicit and vicious racism that is presented as reprehensible but played for laughs, casual homophobia, a caricature Irishman and gratuitous nudity.

Most important are the two moments when, startlingly, Mr Murphy breaks the fourth wall, looking directly at the camera and through it at the audience.

In these frames Mr Murphy’s expression is defiant, infinitely unsurprised, accusatory, coldly furious: a wordless, powerful indictment of racism—including the viewer’s. These fleeting, jolting seconds seem to belong to another movie entirely.

From this editor’s memory, the gratuitous nudity was not cringe-inducing.

Advertisement

Advertisement

No kidding. Mr. Robinson’s Neighborhood? Classic.


Related:

Join the conversation as a VIP Member

Recommended

Trending on Twitchy Videos

Advertisement
Advertisement
Advertisement