Wednesday, December 07, 2005

I LaHayte You

Color me tickled-pink at the response I've gotten to my previous post on "Left Behind," the end-of-the-world series written by Tim LaHaye and Jerry B. Jenkins.

One of my fellow regulars, Brendan/Rath, pointed me toward a treasure-trove of online articles and resources on this morally/theologically/philosophically questionable best-selling series, and I'm grateful to him.

Of the articles I've perused, the most accessible is's "Fundamentally Unsound." The writer makes some interesting connections between policies and actions undertaken by this country in recent years, and the beliefs espoused by Left Behind and its authors. A brief excerpt:

The Left Behind series provides a narrative and a theological rationale for a whole host of perplexing conservative policies, from the White House's craven decision to cut off aid to the United Nations Family Planning Fund to America's surreally casual mobilization for an invasion of Baghdad -- a city that is, in the Left Behind books, Satan's headquarters.

The article goes on to explore the anti-semetic undertones (overtones?) of the books, and at two pages its a quick read. Go and edumacate yerselves.

Brendan's blog, Rake at the Gates of Hell, can be accessed HERE. He's got a fun list of the best and worst animated villians in the Disney canon that, for a Disneyphile like myself, was great fun to read. He's dead-wrong about Hercules, though. Solid family flick. Of course, any musical featuring the lyricist from City of Angels gets some slack from me.


At 7:48 PM, Blogger Bud said...

LaHaye sucks. Hard.

I mean, I've done a lot of thinking about this, and I really believe you can make the argument that he's the 21st Century version of Charles Coughlin.

That being said, thanks for the kind words. I, too, like Hercules, but as some have pointed out, it's one of those movies where Disney was basically playing with variations on "The Formula."

Woods is killer, the animation's pretty original, Tate Donovan manages to be not annoying, and Susan Egan (she of the Broadway Beauty and the Beast) belts the shit out of the big love song, still one of my favorite Disney numbers ever. It's too bad that the actual score itself is so schitzophrenic--ranging from a Michael Bolton power ballad to Egan's girl group 60s throwback to the gospel numbers of the other stuff. It lacks the coherency of the other films and is distracting.

But, you know, at least it isn't Pocahontas.

At 1:07 AM, Blogger codemorse said...

My pleasure, bud. I enjoyed reading your thoughts, and I appreciated your forwarding me that info. Feel free to do so again, should the mood take you.

Re: Hercules
Woods is phenomenal. The fact that so much of his dialogue was supposedly improvised boosts my respect for the man tenfold (and I don't have much respect for him. Get me drunk and I'll tell you one HELL of a James Woods story). The animation's glorious to look at, and represents an admirable effort to break away from "The Formula," at least in part. That Susan Egan song makes this hetero man a little bit gay every time I hear it, and the Donner Superman subtext of the whole thing tickles my joy-bone.

I understand what you're saying about the musical mishmash, but I'd argue that, given the quasi-Warner Bros. feel of the film, it works well.

The less said about Pocahontas the better. That movie redefines "Suck."

Possible alternate-choice for your villian list: Marvelous Mad Madame Mim. The Wizard's Duel remains one of my favorite animated sequences, thanks to Bill Peet's simple, scruffy designs and the sublimely screechy voicework.


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