The Blind Side – Film Review by Robert Henderson


There is none so blind that can PeeCee.

The Blind Side

128 minutes

Main cast: Sandra Bullock, Quinton Aaron, Tim McGraw, Kathy |Bates, Jae Head, Lily Collins

Director John Lee Hancock

If you require a primer on the white liberal mentality in general and their perception of blacks in particular this is your film,

“The blind Side” ploughs the same rescuing-the-black-underclass furrow as “Precious” . But where “Precious” depicts the central character in the context of her day-to-day ghetto life and allows her to have some distinctly rough and unappealing edges, her equivalent in “The Blind Side” is a paragon, albeit one so bloodless as to be next to transparent. , Both films are fairy stories:  “Precious” is one by the Brothers Grimm, “The Blind Side”  a  white liberal version of  “And they all lived happily ever after”.

So off we go. Once upon a time there was a  rich white family consisting of Leigh Anne Tuohy (Sandra Bullock), Sean Tuohy (Tim McGraw), a son of about eight known as SJ (Jae Head) and a teenage daughter who decide to take in a homeless black adolescent named Michael Oyers (Quinton Aaron) despite being (shock, horror!) Republicans, Christians and Southerners.

As befits a fairy story, Michael is a truly fabulous creature.  At the beginning of the film he is sixteen or seventeen. We are told that his mother is a hopeless crack addict who has borne  ” twelve children… or maybe more”  to  many of  whom she cannot  put a father  (when the mother fleetingly   appears she is the healthiest looking long  term crack user and  high-volume producer of offspring you ever did see.)

Michael’s childhood has supposedly been a mixture of physical, material and emotional insecurity in a classic  black ghetto – a violent, drug infested world – , glimpses of which were are shown as he occasionally revisits the projects where he grew up.  At the beginning of the film we are told that his  education has been next to non-existent and  his IQ has tested as a lowly 80. .  However, Michael has two things going for him: he is very large and very athletic. This gets him  into a decent private school where he encounters the Tuohys, whose children attend the school,  and eventually to university and a professional American football career.

Despite his upbringing  Michael is conscientiously non-violent, won’t look at a drug, finds alcohol distasteful and, Heaven forefend,  shows no apparent sexual interest in girls, despite being a teenager  with presumably raging hormones.   Even more amazing he has perfect manners. After his first  night at the Tuohys,   he immaculately  folds the bedclothes he has been given before leaving the house.  A little later there is an unintentionally hilarious scene when the family celebrates Thanksgiving. While  the Tuohys  take their plates and sit around the television, Michael, bless his ghetto etiquette educated heart, takes his plate to eat from the dining table.  Leigh Anne sees this and the Tuohys are  immediately shepherded  to the dining table to follow the superior manners of  their remarkable  guest.

The family are equally unbelievable in their reception of Michael. Leigh Anne is a veritable modern Mrs Jellaby, the terminally disagreeable character in Dickens’ Bleak House  who is  deeply concerned with the benighted natives of Africa and  negligent  of her own children.  She does not go to Africa for her benighted native, she finds him on her doorstep, the boy being  invited into the house  in the most casual way when she encounters him walking along a road,  never having previously spoken to the boy . From that  wildly  implausible start, Michael becomes a permanent fixture in the home without any meaningful discussion amongst the family as to whether he should do so.  Not only does no  word of protest about this gross intrusion into their lives fall  from the lips of the husband or children,  the family  immediately re-orients their lives to make Michael the focus of their family and fall over themselves to be nice to him – the son SJ does this in an extravagantly  precocious manner which would incline one to forgive Herod if the wretched child  had been included in the slaughter of the first-born.   Most wondrously, the  children  show no resentment or jealously  no matter how extravagantly their parents pander to Michael and, boy, do they pander.

Michael  is given his own newly furnished room, fed and clothed, provided with a private tutor (Kathy Bates) to help him get the grades he needs to take up a football scholarship, is taught to drive  and on his birthday receives as a present from the family a brand-new sports-utility vehicle.

When Michael celebrates his new car by taking the Tuohys’ son for a ride he crashes due to his wilful  inattention and injures SJ.  Leigh Anne far from being in a rage about the injury to her only son is all concern for Michael’s feelings and rushes to assure him it wasn’t his fault. The rest of the family don’t refer to the accident. The final cherry on the let’s-be-nice-to-Michael-at-any-cost-cake is the Tuoys offering to be Michael’s guardian, something which is met with universal  hyperbolic family joy.
This eerily unreal air of ecstatic jubilation at Michael’s very existence exuded by the Touhys seeps over into the parade of university reps who come to try to persuade Michael to  attend their university.

The  white liberal guilt trip rises to a crescendo when Michael is interviewed by a public official about why he wants to go to a certain university. The official is a black woman who is concerned that ol’ whitey is up to his evil ways by trying to emotionally capture black boys with athletic talent  who they can then direct to their own satisfaction. . She suggests to Michael that the only reason the Tuohys have done all that they have done for him is because they wish to direct his athletic  prowess to their old university. Notwithstanding the preternatural generosity shown him, Michael immediately becomes outraged at this shocking thought and  turns on Leigh Anne before going missing. Cue for  Leigh Anne  agonising about whether she and her family  have been trying to make choices for him, She frantically seeks Michael out and, wait for it, apologises for  even suggesting that he might want to go to a university for which she had affection.

But the  liberal  desire to wallow in guilt is a form of masochism, and like all masochists they wish to control the pain. They are happy to humiliate themselves only on their terms,   This means Apart from a few snatches of ghetto life “The Blind Side” takes place in a remarkably white world  of white home, white school, white tutor, white football coach. If there is an abuse of Michael it is his almost complete removal from people of his own race.  What the Tuohys want is a Michael  made in their image. .

There are three important  sub-plots. The first concerns anyone Leigh Anne knows or meets who makes any suggestion which can be interpreted as racist, a word which in the strange world liberals have foisted upon us can mean virtually any expression of opinion which is other than wildly enthusiastic about the joy of diversity. Leigh Anne’s lunching club female friends who have the temerity to suggest that she might be biting off more than she can chew or that this is just her latest worthy cause, are first reprimanded then cast into the outer darkness after one of them is rash enough to suggest there might be just a hint of danger in having a large black male adolescent in their house when they have an attractive  teenage daughter. This, of course, panders to another primary white liberal trait, an intense desire to play the role of the morally superior being.;

The second involves Michael’s education.  As already mentioned,  his IQ is   a “tested 80″ , a surprising intrusion of realism into the film because  the average IQ of American blacks is 85 .  However, that is where the realism ends about Michael’s intellectual ability  because he then proceeds with the help of a special tutor to gain the necessary grades for university entrance.

 The film does not actually say so, but the clear implication is that those pesky old IQ tests which are always showing blacks with a substantially lower average IQ than whites or Far East Asians such as the Chinese are really just indicators of social circumstances. (Interestingly, “Precious”  uses the same device with the central character making a mess of an IQ test early in the film).  This is an unpersuasive argument because ,despite the vast amount of money and manpower put into schemes such as Head Start, there has never been a proven case of IQ being substantially and permanently raised by teaching.  There is also the glaring fact that if it were possible to raise IQ substantially and permanently by teaching  the rich would long ago have purchased the privilege for their children. They have not because no such teaching exists.

The upshot is we are left with the startling idea that someone with an IQ of 80 can handle a degree course, startling because an IQ of 80 is the point at which most psychologists working in the field of intelligence testing think that an individual begins to struggle to live an independent life in a developed economy such as the USA.  Just to add to the wonder of it all, Michael, someone who supposedly has had no meaningful education until he is sixteen or thereabouts, is writing fluently about his life not long after we first  meet him  and before he has a personal tutor.

The third  sub-plot is the absurd portrayal of  Leigh Anne as a dominant woman.  The white men she meets throughout the film are wet in the extreme, an amazing fact as the main white male characters are all southerners, folk not generally noted for their subservience to the gentler sex.  .  Leigh Anne  addresses them as if they were naughty schoolboys in the manner of  a dominatrix with  the type of  shouty all purpose  “Southern” accent that is the American equivalent of the English “Mummerset”, To this  abuse  these Southern males merely bow their heads meekly and gaze in wonder at the marvel of the woman.  The nonsense reaches its apogee when at the end of the film she is searching for the missing Michael and ventures into the ghetto from which Michael has supposedly come. Here she harangues  a distinctly nasty looking gang of “rude boys” who cringe before her threats.  In the real world she would most probably have ended up dead or raped or both.

There are other problems with the film. The Tuohy family seem to live in a world of  not only almost perpetual circumstantial light, but of light which is dazzling. Nothing but nothing brings gloom and doom, not even SJ’s injury.   The characterisation is one-dimensional with Michael being  little more than a looming physical presence who acts as a reflecting board for the white liberal mentality.

The screenplay has been written by numbers with frequent exchanges of brute sentimentality.  The writers fondly imagine that they have been subtle in putting in the odd scene which clashes with the general air of undiluted worship of Michael, for example, on  the boy’s  first night in the Tuohys’ house  Leigh Anne makes a show of wondering if he is going to steal form them or wreck the place.  However, when such scenes arise, and they are very occasional, the non-pc thought is immediately squashed by a another scene which shows how ridiculous and racist is the very idea of Michael behaving badly .

 The screenplay’s cringe-making quality  is epitomised by the exchange when Michael is asked whether he wants the Tuohys to become his guardians: “Would you like to become part of the family, Michael?”. Michael: “I thought I already was”. There are plenty of other saccharine gems like that so those diligent enough to see the film are advised not to eat anything before viewing.

That this ridiculous piece of  political correct agitprop should have not only been an Oscar contender,  but landed Sandra Bullock the Oscar for best actress (no pc whining about gender specific awards when it suits the feminists note) demonstrates the grip which political correctness has on the US elite. . Unlike “Precious” which was a powerful film, this is simply feeble failing on every important criterion by which a film is judged: plot, screenplay, characterisation, and  acting. If you must see it, go as a duty to see what the multicultural  enemy is up to  not for recreation.

Why do white liberals behave in this grotesquely patronising fashion? Simple, blacks are their clients not their friends. Liberals do not see blacks as equals or even as fully fledged human beings. They relate to them in much the same way they might view an exotic animal which has become a fashionable pet.

 The problem with being a client of those with power and influence is that fashions change. In Britain forty years ago the role of liberal client  was played by the white working class, now the position is filled by a growing army of ethnic minorities.  The white working class lost their position by  disgracing  themselves in white liberal eyes through their failure to accept that they should  remain as pristine proletarians jealously guarding their working class culture without any aspiration to become middle class and  because of their growing hostility to the consequences of the white liberal policy of mass immigration, consequences which those who promoted the immigration ensured they avoided.

What would an interesting film involving white liberals acting as Lady Bountiful  to the black underclass be like in these pc times? How about this, a white liberal  family  takes in an adolescent  black ghetto gang member  who is heavily into drugs and guns, is functionally illiterate, has no inclination to be educated and  is sexually incontinent.

The white family then go on one of those  “journeys”  beloved of progressives,  from liberal fantasists to  race realists as the erstwhile gang member introduces the children to drugs, gets the teenage daughter pregnant, robs the family, beats up the parents and reduces the family home to ashes in an act of arson before being gunned down after re-joining his  ghetto  gang , I am not saying that would represent everyday reality, but it would be a good deal more plausible than “The Blind Side.”

Somehow I doubt whether that film will ever see the light of day.

Robert Henderson
31 3 2010

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5 responses to “The Blind Side – Film Review by Robert Henderson

  1. Pingback: What are the nicest drawer slides you've ever come across in a set of kitchen cabinets? · Extension Drawer Slides

  2. Graham Davies

    Good review, which no doubt some people will find most upsetting.

    Is it right though to label the PC-bots ‘White liberals’?

    These people seem to suffer from a curious conflict of consciously enforced racial ignorance on the one hand and a suppressed intuitive appreciation of the reality of racial differences on the other. The resulting ethnic self loathing and nervousness around non-whites leads to the kind of schizophrenic patronisation and pandering seen in this film and no doubt felt by its makers.

    The PC-bots deliberately shun reality in favour of aligning themselves with the new theocracy of PC. Is that liberalism or something else?

  3. Did we forget that this is based on a true story? Ask Michael how much of it is true. We’re just too politically correct to be able stand what the truth really is.

  4. MrJanieWatkins

    Why are all weak, sissy men afraid of a strong woman? We as men should bow to the overall superiority of the so called weaker sex.