Sunday, 31 July 2016

Ehe der Maria Braun
(1979)

RATING:100%
FORMAT:DVD

[Marriage of Maria Braun]

Making the Personal Political

Hanna SCHYGULLA – the best actress Germany has produced in decades – completely dominates this brilliant movie. She fully symbolizes the moral and political collapse of post-Second World War West Germany; literally matching the collapse that was implicit before.

Survival by the most adept, enterprising and intelligent is the order‑of‑the‑day – that this future comes from not facing the past explains the former Wirtschaftswunder.

As changeable and capricious as women are, the West Germany shown here moves from Nazi fanaticism to democratic capitalism with false ease. A desire for independence coupled with a dependent need to be thought desirable; like a determined master‑of‑disguise, West Germany became a desirable woman who made the men (the rest of the world) envious.

Sunday, 24 July 2016

Captain America
(2011)

RATING:60%
FORMAT:DVD

Genetic Supremacism

Amusing White-supremacist nonsense about how Whites have the right to stick their noses into other men's wars in order to vainly prove the genetic superiority of Whites.

All modern superhero stories are based upon the myth of an Aryan Herrenvolk in which a sexually-inadequate White male redeems himself through the violent overthrow of a local (or global) bully so that he can get the girl. The screenplay tries to downplay the Wagnerian/Darwinist/Hitlerian aspect of the story with a standardized Good German character; the Nazis being shown to be even worse than a racially-segregated United States Army; and, plentiful, sub-Ken Russell digs at the film's own obsession with its attempts to create White super-humans.

In contemporary terms, of course, this is a thinly-veiled example of Western wishful-thinking in terms of the current war against Al-Qaeda - and its ilk; pointed references to a planned bombing of New York make this parallel obvious. It pretends that such wars come from nowhere and that Whites played no part in creating the problems for which they claim to be the sole agents of the problems' defeat. By placing the action in the past, in a Second World War that is alleged to have been morally-right, the drama allows itself to present such conflicts as Black & White battles between Good & Evil. Yet racial segregation is never mentioned and Black soldiers are seen working together with White - as if American racism were somehow of a better kind than the National Socialist variety - and,worse, that we are all (somehow) working together in the great struggle for (White) freedom! This is Whites trying to have it both ways by seeking to live in an alternate reality where Whites are the Herrenrasse!

Yet the film entertains as it was designed to and the supporting characters (particularly those played by Hugo WEAVING & Tommy Lee JONES) provide such good value that you are partly-convinced to almost take it all seriously. Given the culturally-declining present, it is perhaps no surprise that a mythological re-interpreting of an anachronistic past should be one of the few means for present-day Whites to imagine themselves as a force for good in the world. A film that glorifies violence-as-entertainment, but not violence-to-a-moral-purpose.

Sunday, 17 July 2016

Kentucky Fried Movie
(1977)

RATING:60%
FORMAT:Cinema

Jewish Sexual Insecurities

The casual and unexamined White supremacism aside, this is the usual hit-and-miss of not-so-funny, funny and hilarious comedy sketches.

The review format only really works coupled with an overarching theme governing what we are watching, that is absent here. The implicit theme is an undergraduate fixation on sexual activity that finds it difficult to come to terms with the alleged sexual prowess of Black men as compared with White.

This sex‑obsession is especially so in the ethnic-minority humor of the special features regarding the parental Jewish fears of miscegenation among their offspring, along with the resultant fear, among the latter, of Black sexuality as such.

The other obsession of the movie is a desire to upset one’s parents for their being such cultural stick-in-the-muds. This explains the voluminous bad taste and the fact that it is all made acceptable through the use of classy performers.

Sunday, 10 July 2016

When the Levees Broke
(2006)

RATING:100%
FORMAT:DVD

Despite the inordinate length of this documentary, there is not a second of padding here. Moreover, and unusually, the director's commentary is actually worth listening to.

A documentary about the disaster of Hurricane Katrina hitting New Orleans in 2005 exacerbated by the disastrously slow and unprioritized response of the various federal agencies - with the notable exception of the US Coast Guard. Looting took place not only for the usual materialist reasons but because food, water and medical aid was not forthcoming from the federal government. Looting that even the police took part in as often as they were trying to stop it.

This entire documentary is a searing indictment of the attitude of White America toward Blacks & poor Whites - whose lives count for less than affluent or wealthy Whites. Blacks trying to escape the carnage into White areas were forced at gunpoint to return. It becomes obvious that many White witnesses are desperately trying to conceal their racism behind the shooting of looters; while the Black witnesses are not so surprised at the White response of not taking the storm as seriously as the situation demanded. Here, the White fear of Blacks manifests itself in trying to police the survivors rather than actually help them; using the National Guard as an occupying force rather than a relieving one.

How such a thing could happen in a rich country like the United States beggars the imagination but, when one considers that that wealth was built on the suffering of Blacks, perhaps that is not so surprising. When help finally came, its resemblance to a slave auction is palpable along with the claim that Blacks were "Refugees" (rather than "Evacuees") as if they had suddenly become stateless in their own land. Along with the odd belief that Black lives were improved by a kind of act-of-god slum-clearance program called Katrina. The sense here is that Blacks were deliberately allowed to drown by Whites because of an inadequate levee protection system and that dispersing Evacuees to other states was really a way of getting rid of Blacks from New Orleans. The lack post-Katrina compensation only made things worse - the Federal Emergency Management System (FEMA) is more of a disaster than the storm ever was. The bald-faced lies of the US president regarding Whites' conventionalized fear of Blacks are summed-up best by Sean Penn: 'This was America; this was today; and, this was a Third-World scene'. A national embarrassment and a national disgrace where Blacks are viewed as literally picayune by Whites who claim Blacks are natural-born looters, trespassers and that their predicament is their own fault, anyway. The difference between the BBC & CNN reporting was that the former focused on victims; the latter, on the physical destruction.

What impresses most is the desire of so many New Orleanais to rebuild what has been taken away from them both by the storm and the federal government. As well as the largely unshakeable humor of the residents.

Sunday, 3 July 2016

HARRY POTTER AND THE DEATHLY HALLOWS:
Part 2
(2011)

RATING:40%
FORMAT:DVD

Gratuitous special effects, arbitrary plotting, characterless melodrama and wanton destruction - all of the things we have come to know and love from the terminally-awful Harry Potter franchise.

A drama about loveless childhoods vainly-redeemed by the self-delusion and wishful-thinking involved in imagining oneself to be special in order to achieve solace. For the sake of our sanity, thank God it is all over and let us hope that its author (J K Rowling) does not write any more filmable novels in the series.

Contact Form:

Name

Email *

Message *

Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.