- Also Known As:
- Unknown
- Year:
- 1976
- Country:
- Predominant Genre:
- Comedy
- Director:
- Outstanding Performances:
- Premiss:
- A cashier poses as a writer through whom blacklisted talents submit their work.
- Themes:
- Alienation
- Atheism
- Compassion
- Courage
- Destiny
- Emotional repression
- Empathy
- Free Speech
- Friendship
- Humanity
- Identity
- Justice
- Loneliness
- Loyalty
- Narcissism
- Personal
- Personal change
- Political
- Political Correctness
- Republicanism
Self-belief Self-expression - Solipsism
- Stereotyping
- Totalitarianism
- White culture
- White supremacy
- Similar to:
- Witchfinder General
- Review Format:
- DVD
White Loneliness
Excellent movie about the White inability to have Personal relationships with those they love - in case they lose the friends they already claim to have; choosing, instead, to have Political relationships based on those they can mutually hate. Such loneliness means wanting those one does not like - and who do not like one - to be some kind of forced friend.
This White sense of the alienation and loneliness Whites wish to inflict upon others is well-represented in political pressure being applied to help condemn ones true friends or face being blacklisted and unable to work in the entertainment industry. Ultimately, this leads to family-members denouncing one another: An attempt to undermine the very foundation of the institution of the family Whites pretend to be protecting through their anti-communism and then replace it with loyalty to the State as the highest social good.
McCarthyism, the basis for present-day (2015) Political Correctness, is evident in the emotionally-repressed nature of the witch-hunters compared with the personal warmth of the communists; making McCarthyism a kind of peculiar advert for the adherents of Karl Marx.
This White predilection for witch-hunts (eg, those frequently-directed at Muslims, Blacks, Jews, etc) to scapegoat Whites’ own failings, is well to the fore here - despite Whites’ frequent claims of cultural superiority to other cultures who do exactly the same. There is also a sense here that Whites’ believe true power comes from forcing others to prove a negative: That they are not a communists.
The central character begins as an apolitical schmuck with a cockamamie job who slowly comes to see the destruction of his friend’s lives and their sense of self-worth: He eventually has to decide what side of the political fence he really stands on. The only failing here is that this film does not have enough to say about the free speech the communist writers are being openly-denied.
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