I will be watching all 10 nominees from 1937 before I move on to the next year. The goal here is to watch them and have an internal discussion among them to try to piece together a “history” of the year. Let’s get to it.
J’accuse… the nonsense self-interest of the economical man; the quibbling political machinations of the machine; the political, militaristic, duplicitous charge – forward from childishness and backward from sophistication.
J’accuse… the difference between the man who acts is the man who is and the individual who collects ideas can conspire to decimate those of another tout simplement parce que.
J’accuse… Over a century later and nothing has changed and it feels as though as we get “smarter,” we can shift the conversation; there’s anger here; and the anger is, in hindsight, directed at the whole complex that General Eisenhower warned us of fifty years after the Dreyfus Affair, but fifty before the age of the militarized police. The timing of The Life of Emile Zola, 1937’s Best Picture Winner, is curious and prescient in hindsight, striking a modern nerve only compounded by technology and perpetuated by an endless and self-referential news cycle. Zola’s writ polemic, only in print in 1898, is a classic example of public momentum realpolitik to expand coverage for what many consider to be a landmark in writ opine. The Dreyfus Affair, they call it, is a century-old singularity; a case-in-point. Today, for every j’accuse…there’s plural others. It continues to be curious, however, that the the words that rang from Paris to South America at the turn of the 20th century mean less and less. What does it all mean? Continue reading