TAKE TWO: Moral Dilema

Moral dilemma: How do we separate the work from the person?

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Moral dilemma: How do we separate the work from the person?

by Bruce Kirkland

The #MeToo movement has already had a profound effect on society in general, and the entertainment industry in particular, especially in the United States.

This of course is a good thing, with the rules of engagement beginning to balance out in the Battle of the Sexes. The day of reckoning for perverts, deviants and sex criminals has become a year of vengeful justice, at least in the court of public opinion. Former film producer, Harvey Weinstein, is now a pariah who faces multiple charges. In September, comedian Bill Cosby was finally convicted of aggravated sexual assault and sentenced to prison after decades of eluding punishment. There are many other guilty parties, many of whom have had their careers, reputations and lives disrupted and/or destroyed.

The fact that #MeToo has done nothing to effect change in the White House, where an accused sex offender remains as U.S. president, is no reflection on the movement. Instead, it illustrates the insanity of American partisan politics.

But this column is not about politics – it’s about the entertainment industry. Getting Weinstein out of action and into court is a blessing. With dozens of accusers, and at least 13 women who allege that Weinstein raped them, this man should never be allowed to wield power and use it to abuse women. Nor should anyone else be so empowered, on any scale.

However, I’m struggling with an unfortunate side issue. How should I, or anyone else who supports the #MeToo Movement, deal with the cultural artifacts left behind? People I know, and respect, have struggled for years when watching actor/ director Woody Allen’s films, which include a clutch of American classics. Likewise, the often stunning work of actor/ director (and convicted sex offender) Roman Polanski is under scrutiny as he continues his career in exile. Polanski is about to shoot J’accuse, a truelife, 19th century drama about the Dreyfus affair – a miscarriage of justice.

Meanwhile, what do we do about our feelings towards the dozens of films produced by Harvey Weinstein since 1981? It’s easy to forget about his debut The Burning, a cheesy horror flick. It is difficult to deal with Pulp Fiction, The English Patient, Good Will Hunting, Shakespeare in Love, Gangs of New York, Cold Mountain, The Aviator, The King’s Speech, The Artist, Django Unchained, Lion and many, many more titles.

CAPTION: Harvey Weinstein

Can we free ourselves of guilt by ignoring Weinstein’s involvement, instead focusing on the writers, directors, actors and technicians who made the films? This is my choice, but I do not feel 100 per cent confident. Doubts remain. Did any of these filmmakers know of Weinstein’s behaviour during their productions? If some of them did know, did they choose to let it slide for personal gain?

Other films not involving Weinstein are easier to deal with directly. But the moral choices are still challenging. American Beauty is also an American classic. Yet it happens to star Kevin Spacey, who is under investigation for a series of alleged sexual assaults in the U.S. and Britain. Right now, and perhaps forever, I cannot look at Spacey’s face in American Beauty, in past episodes of the otherwise brilliant TV series House of Cards, or in anything else.

And the sad truth is that Spacey is not the only one who has already ruined the experience of watching great films or TV shows.

Bruce Kirkland‘s career spans more than four decades, working as a film critic for The Toronto Star, The Ottawa Journal and for 36 years at The Toronto Sun.

A life-long film buff, Bruce now shares his passion and insight with Active Life readers.



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