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Daniel Greenfield

Sean Penn’s Unfair Game

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Posted on November 24 2010 5:00 pm

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Sean Penn and Saddam

(Crossposted from Sultan Knish)

Imagine North Korean dictator Kim Jong Il financing an Anti-American movie to be released in thousands of theaters. Well you don’t need to imagine it anymore, because with “Fair Game,” we have the next best thing. “Fair Game” is an Anti-American movie financed by Imagenation Abu Dhabi, a company owned by the UAE royal family, and the chief difference between North Korea and the UAE is better PR. Both are brutal dictatorships ruled over by vicious little men which built ridiculous resorts and gargantuan projects for their own self-glorification. But unlike North Korea, the UAE has managed to get gullible Westerners to show up to their Dubai slave paradise without asking any inconvenient questions.

When the US contemplated taking out Bin Laden in 1999, two years before the September 11 attacks, they were unable to do so, because Uncle Osama was passing the time with UAE royals. Now Imagenation Abu Dhabi, a company run by UAE royals, is funding Anti-American movies like “Amreeka,” “My Name is Khan” and “Fair Game.” “Amreeka” and “My Name is Khan” focus on the mistreatment of Muslims by America after 9/11. “Fair Game,” on the other cleverly moves the Muslims to the background, and instead focuses on more photogenic versions of leftist frauds Joseph Wilson and Valerie Plame.

“Fair Game” is the ugly shotgun marriage between leftists and Islamists, with both sides working together to undermine and smear America. It features the likes of Sean Penn, who visited Iraq before the war to defend Saddam Hussein‘s regime. Then there’s director Doug Liman, better known for the first Bourne movie or his MoveOn.org commercials. The screenplay is by Jez Butterworth, a British devotee of radical leftist Harold Pinter.

This is a movie that panders to liberal fantasies about Plame and Wilson by recasting them as younger and more photogenic heroes, splices their dueling books together into one fantasy. Like Leni Riefenstahl, it tries to transforms propaganda into pop culture, fusing the already truth-challenged narrative of Wilson and Plame with Liman’s Bourne movies to create a lie completely detached from reality.

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