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Tom Hanks participates in a cultural war over his role as a gay man in Philadelphia, but does not mention his most insensitive metaphor – Alastair Stewart

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Tom Hanks talks about the movie Elvis last month in Graceland, Memphis, Tennessee (Photo: Getty Images from Justinford / Sirius XM)

Hanks has been a staple of Western cinema for decades. Along with Tom Cruise, he belongs to the last mate of the all-purpose blockbuster movie star who made the movie for entertainment.

But Hanks has become the latest actor to talk about Hollywood’s diversity and expression issues – and as always, logic is abandoned in favor of 2D Virtue Signaling.

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Hanks said in an interview with The New York Times that if the movie Philadelphia was made today, it wouldn’t play the role of Andrew Beckett, a gay man with AIDS. When asked if Straightman could now play that role, he said: “No, and of course.”

His performance in the 1993 film won Hanks’ first Oscar and was a commercial and significant success. It belongs to the great tradition of American History X and the intense commentary that was born on July 4th, opening their hearts to the frontier of the viewer’s experience.

Hanks said the only reason he played Beckett at the time was that people weren’t too “feared” of movies about gay men with AIDS, even if heterosexuals played the leading role. increase.

He concluded that today’s people do not accept “the injustice of a straight man who plays a gay man.”

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Hanks is clever, old, and ugly enough to know that the audience isn’t stupid. You can’t expect a real gang to play a godfather more than you can expect a real robot to play a terminator. Movies are basically interesting, and the cultural, artistic, and social messages they carry are accidental.

This makes experienced hand comments like Hanks mysteriously stupid and almost criminally hypocritical.

Hanks admits that Forrest Gump was another of his “timely films.” But no, teacher, life is not like a box of chocolates. Where is the serious embarrassment of playing a cognitively impaired character presented as a gentle idiot?

By the mid-’90s, sensitive people had evolved enough to know that certain words and attitudes were terribly unpleasant for people with mental illness.

Rain Man with Dustin Hoffman raised much more awareness. “Rain Man was the best thing that happened to autism,” wrote psychiatrist Dr. Darold Treffert. “Huge public education and public relations could not have created the sensational perception Rainman brought to national and international radar screens.”

If Hanks apologized as he suggests, he would take pictures of his Academy Awards and return them in the name of his discovered principles.

Laurence Olivier played Muhammad Ahmad with a blackface in Khartoum. He also played Othello that way. No one in their right mind suggests that this is right now. In 2012, David Leonard, chair of the Critical Culture, Gender, and Racial Studies Division at Washington State University, explained:

Still, as Spike Lee called it, “magical negro” is a popular metaphor. In movies like The Legend of Bagger Vance, “Super Large Magical Negro” is a stock character that helps white people selflessly. This includes the Green Mile, another movie with Hanks.

For lean actors who have never been obese, using prosthetic limbs to transform into a completely unrecognizable overweight character is increasingly disastrous. In contrast to Christian Bale’s weight gain for the role of American Hustle and Vice, Gary Oldman used fatsuits to portray Winston Churchill in the darkest hours. Colin Farrell did the same for Batman’s penguins, as did Chris Hemsworth for Thor. And so did Tom Hanks in this year’s Elvis movie.

Looking further at the rank double standard Hanks catalog, nothing is as bad as a terminal.

Hank’s character, Viktor Navorski, is a common Eastern European stereotype stuck at an airport terminal in New York when denied entry into the United States due to a military coup in his home country.

Friendly and poorly dressed, Navorski is an adorable mid-wit who has broken English and struggles to deal with Western genre. I hate him.

To make matters worse, it is actually based on the Iranian refugee Mehran Karimi Nasseri, who lived in the departure lounge of Terminal 1 at Charles de Gaulle Airport from August 26, 1988 to July 2006.

Steven Spielberg and Hanks double their stupidity from Krakozi, a fictional country that resembles all Western misconceptions about post-Soviet republics, civil wars, coups, and genocide eastern nations. I am writing.

All action films of the last three decades have monosyllabic bad guys from the Balkans and Eastern Europe, usually covered in prison tattoos, shooting vodka at 10am and slamming AK-47 rifles. If they aren’t criminals, they’re Borat.

The Hanks character speaks Bulgarian as his native language, Krakodian, with Russian accents. In one scene, a map of Krakozia is displayed on one of the airport’s television screens in a news report on an ongoing conflict. The border is that of today’s Macedonia.

If the attitude changes and Hanks insists that he is sorry for some of his past roles for his present sensibility, he should apologize for all the insensitive metaphors that made him money.

A backwater man who is stuck at a New York airport, survives a mustard bag, and bathes in a sink, “talks about America this way,” is a moving story about a gay man in Philadelphia in the 1990s. It’s an unpleasant stereotype rather than a win.

Will Hanks soon mourn it?