Doyle: You dumb guinea.
Cloudy: How the hell did I know he had a knife?
Doyle: Never trust a nigger.
Cloudy: He coulda been white!
Doyle: Never trust anyone.That exchange has been excised from the versions of the film used on Turner Classic Movies, iTunes and Criterion. The film’s distributor, 20th Century Fox, was acquired by Disney before the scene disappeared. It is artistic censorship, straight up; no more acceptable than painting over the breasts Reubens paintings, or bleeping out “damn” is Rhett Butler’s famous kiss-off to Scarlet (as was done regularly when the movie began being shown on network television.)
Again, we are faced with deciding whether the motives here were stupid or sinister. I probably vote for both. The accelerating effort to declare the word “nigger” as taboo regardless of intent, use or context is pure attempted mind-control and Orwellian WrongThink totalitarianism—now embraced, as in other totalitarian tactics, by most of the Left and the Democratic Party. It is also unprincipled pandering to Critical Race Theory extremism. The rational mind boggles at what canonical works of art and literature face permanent scarring if the practice is allowed to take hold. Just off the top of my recently repaired head, I can think of several superb films that include “nigger” in the dialogue, like “The Shining,” “In the Heat of the Night,” “To Kill a Mockingbird,” “Mississippi Burning,” “Pulp Fiction,” and of course, “Blazing Saddles.”
Early in William Friedkin’s classic film “The French Connection,” Jimmy “Popeye” Doyle (Gene Hackman) argues with his partner, Buddy “Cloudy” Russo (Roy Scheider) regarding Russo recently sustaining a knife wound in a confrontation with a black drug-dealer:
Doyle: You dumb guinea.
Cloudy: How the hell did I know he had a knife?
Doyle: Never trust a nigger.
Cloudy: He coulda been white!
Doyle: Never trust anyone.That exchange has been excised from the versions of the film used on Turner Classic Movies, iTunes and Criterion. The film’s distributor, 20th Century Fox, was acquired by Disney before the scene disappeared. It is artistic censorship, straight up; no more acceptable than painting over the breasts Reubens paintings, or bleeping out “damn” is Rhett Butler’s famous kiss-off to Scarlet (as was done regularly when the movie began being shown on network television.)
Again, we are faced with deciding whether the motives here were stupid or sinister. I probably vote for both. The accelerating effort to declare the word “nigger” as taboo regardless of intent, use or context is pure attempted mind-control and Orwellian WrongThink totalitarianism—now embraced, as in other totalitarian tactics, by most of the Left and the Democratic Party. It is also unprincipled pandering to Critical Race Theory extremism. The rational mind boggles at what canonical works of art and literature face permanent scarring if the practice is allowed to take hold. Just off the top of my recently repaired head, I can think of several superb films that include “nigger” in the dialogue, like “The Shining,” “In the Heat of the Night,” “To Kill a Mockingbird,” “Mississippi Burning,” “Pulp Fiction,” and of course, “Blazing Saddles.”
Ethics Alarms 