Long-time friend David Souther once told me that whenever there’s a radical discrepancy between the verdicts of the critics and those of the commoners on the popular movie review site Rotten Tomatoes, you should safely go with the commoners. This is certainly the case with Dinesh D’Souza’s explosive new (and highly successful) documentary Hillary’s America: The Secret Life of the Democratic Party. At this writing, the certification is 4% fresh for the critics and 80% fresh for the commoners, the greatest discrepancy I’ve ever seen.
The commoners are mostly right, but the critics are not entirely wrong.
D’Souza, convicted of campaign finance violations in helping a friend’s failed political quest, served the evenings of eight months in prison and must fulfill five years of community service for his crime. D’Souza claims he was unfairly targeted by the Obama administration, whose namesake he had himself targeted in his highly successful 2012 documentary Obama’s America. D’Souza’s thesis in that movie, based on his book of the same title, is that Obama’s goal has been the dismantling of American influence in the world and the diminution of prosperity at home. D’Souza flatly — and correctly — asserts that the ensuing four years have verified his thesis. On the basis of that fulfilled prediction, D’Souza now turns his attention more broadly to the Democratic Party and to its 2016 presidential nominee.
In Hillary’s America, D’Souza parlays his prison experience into an explanation for the Democratic Party’s agenda to control America and impose its radical agenda. Like the cons D’Souza met in prison who concoct unscrupulous schemes to bilk the naïve out of their money, the Democrats are pulling the wool over the eyes of simple Americans and pilfering their way of life. Their goal is to divert America from its heritage and rob Americans of their country.
The Not-So-Secret History of the Democratic Party
D’Souza begins with “the secret history of the Democratic Party,” exhibiting its roots in Andrew Jackson’s inveterate racism, slavery support, and sexual exploits. He also reminds viewers that it was the Democrats that sequestered Native Americans on reservations and in effect launched the KKK. He equally indicts the Democrats in Congress in both the 19th and 20th centuries for their persistent support of slavery and, after the Civil War, their staunch anti-black sentiments. He documents Democratic President Woodrow Wilson’s widely attested but less-mentioned racism, and he notes that more congressional Republicans voted for the 1960’s civil rights legislation than Democrats.
D’Souza links the Democrats’ racist past with the present by suggesting that today’s slavery plantations are the black ghettos, where the party essentially provides social programs in exchange for minority votes. D’Souza argues that the reason blacks today vote so overwhelmingly for Democrats is FDR’s New Deal, which assisted them economically at a time they were impoverished. It has nothing to do with the party’s movement away from racism, which persists. D’Souza contrasts the GOP, a party begun as a protest to slavery and which has constantly countered the Democratic Party’s racist sentiment and policies before, during, and after the Civil War.
One of the most riveting scenes of the movie is the interview with Vanderbilt’s African-American professor Carol Swain, who left the Democrats after researching the racist roots and subsequent flowering of it in the party of the vast majority of her fellow African-Americans. The Democratic Party is pulling a big con, positioning itself as the altruistic party of racial minorities and their interests when it’s anything but (D’Souza himself is an Indian-born American).
Hillary in America
D’Souza breaks off his exposé of the Democratic Party to unmask Hillary Clinton, whom he links with the self-serving, mob-inspired radical Saul Alinsky. Hillary, a “Goldwater girl” in her youth, was radicalized by Alinsky as a college student and brought him to her alma mater Wellesley College to speak. D’Souza claims that even in her college and law school days she was aware she had mediocre political instincts, so she latched onto tall, popular fellow student Bill Clinton. She saw her role as providing the (radical) political philosophy, and Bill as providing the popularity and political success. D’Souza argues that Hillary has always tolerated Bill’s numerous sexual dalliances because the marriage is one of political convenience. This explains why Hillary vilifies all the women who claim they were bedded or even raped by Bill Clinton, and why Hillary herself once seemed to make light of an accused rapist whom she was appointed to defend even though she believed him guilty.
D’Souza takes aim at the Clinton Foundation, notably its alleged fraud in its fundraising for Haiti and its quid pro quo influence peddling for a Canadian businessman and one of their big donors.
If Americans expect to preserve their country, they must wrestle it away from the Democrats and Hillary Clinton.
He’s right about that.
This commoner critic’s criticisms
Hillary’s America is far from flawless, however, though the defects do not diminish the impact of the movie’s factual content. Still, they are well worth mentioning.
First, D’Souza does not create a logical or even artistic link between the racism of the Democratic Party and the crookedness of Hillary Clinton. In fact, it seemed at times as though I were watching two one-hour movies rather one two-hour movie.
Second, D’Souza launches the movie with another attempt to vindicate himself in his own legal case, despite the fact that he pleaded guilty. True or not, the notion that the Left targeted him for prosecution does nothing to bolster his case against the Democratic Party and Clinton.
Third, D’Souza engages in gratuitous motive questioning. For example, he states that Clinton became disengaged from the notorious Benghazi debacle because there was no money in it for her. Where he came up with this idea or how he could prove it is beyond me.
Fourth, Hillary’s America offers a whiff of conspiracy thinking, an odor D’Souza actively cultivates. In his visit the DNC headquarters to uncover the real truth about the party, we see D’Souza furtively slipping into an off-limits door to enter the basement, where allegedly the hidden, damaging documentation is found. The irony is that most assertions he makes about the party are readily discoverable, and that is why in this review I never included a spoiler alert: there is no concealed plot to spoil. Everything he reveals as a secret history is as secret as a sixty-second Google search of D’Souza’s legal problems.
Finally, in the beginning of Hillary’s America, D’Souza declares that the Left in the Democratic Party is dedicated to controlling every aspect of the lives of every American. That thesis is far from far-fetched. Unfortunately, D’Souza doesn’t attempt to link his documentary research with that thesis. Apparently we’re left to assume that political racists, sexists and influence peddlers want to steal America. That thesis may be true (I think it is), but it’s far from self-evident. Here D’Souza missed a major opportunity to make a major case.
Hillary’s America: The Secret History of the Democratic Party is at its best when it documents the racism and sexism of the Democratic Party and the crookedness of Hillary Clinton, and it’s at its worst when it postulates unconfirmable motives and conspiracy theories that only undermine its case among reasonable people and when it fails to connect the dots between bold assertions and facts that support them.
That’s a pity, because Hillary Clinton is bad for America, and the evils of the Democratic Party are no secret.