Lone Ranger (2013)

Rating: 80%

(https://reggiestake.com)

:

Unknown

needed to precede following dl

:

2013

:

:

143 minutes (Uncut)

Review Format:

DVD

:

Predominant Genre:

Western

Directors:

Directors

Gore Verbinski

:

Outstanding Performances

Johnny DEPP

Premiss:

Serio‑comic re‑telling of how a White man turned into a legend of justice as two unlikely heroes learn to work together in their fight against greed and corruption.

Themes:

Aggression | Compassion | Courage | Destiny | Emotional repression | Empathy | Genocide | Globalisation | Identity | Loneliness | Materialism | Narcissism | Parasitism | People Of Color (POC) | Personal | Political | Political Correctness | Positive Discrimination | Propaganda | Sadomasochism | Schizophrenia | Sexual Repression | Solipsism | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy

:

The only good Indian is a dead Indian

Summary: How the West was really won.

Although riddled with the ignoble White savagery caused by endemic White guilt, this manages to both subvert White propaganda in presenting the Hollywood heroes of yesteryear (palefaces) as the villains of today; while managing to be a rollicking‑good, wildly‑improbable & amusing adventure yarn.

One is left, however, with the realization that the racist capitalism that created the United States is exactly the same as that which financed the making of this movie: Institutional racism trying to have its cake and eat it – with entertaining results. A sort‑of revisionist Western filled with references to earlier revisionist Westerns like those of Sam Peckinpah, Sergio Leone and Arthur Penn, this is mighty fun that tries its best not to disappear up its own rear‑end as it skewers its own pretension. After all, how many Whites would actually become outlaws against a White supremacy that financially‑benefits them? Not many – and they would certainly never wear a mask to do so.

Johnny DEPP, in particular, has fun mocking the lebensraum‑tendencies and innate narcissism of White people as they struggle with the opposing desires for both civilization and revenge. Inevitably, Whites end‑up preaching a non‑existent genetic superiority which they cannot possibly practice ‑ to the genocidal‑detriment of anyone who happens to be in the way of their self‑styled Manifest Destiny.

Not a history Whites could ever be proud of; hence, the revisionism. The only failing of this film is its lack of anything more substantive to replace the White history it so successfully and so accurately demystifies. In this regard, the movie realistically depicts the relationship between big business and politics in White culture as being symbiotically‑inclined to overrule the democratic principles which Whites espouse, but never really believe in nor practice; making such a political system a mere façade for rampant wendigo‑causing greed and the unending self‑willed anger caused by such schizophrenic public posturing.

All of the performances are excellent, from actors who possess a keen understanding of the kind of film that they are acting in and exactly what is required of them to make the entire morally‑fragile enterprise stay on the same rails as the first transcontinental railroad being depicted.

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Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.

Homme Qui Voulait Vivre sa Vie, L’ (2010)

Rating: 60%

(montenegrotrip)

Also Known As:

Big Picture

Version

needed to precede following dl

Languages:

Length:

111 minutes (Uncut)

Review Format:

DVD

Year:

2010

Country:

Predominant Genre:

Thriller

Director:

Director

Eric Lartigau

Outstanding Performances:

Outstanding Performances

Entire cast

Premiss:

A successful lawyer with a seemingly-perfect life discovers that his wife is having an affair; accidentally killing her lover in a moment of madness.

Themes:

Advertising | Aggression | Alienation | Art | Atheism | Capitalism | Civilization | Coming‑of‑age | Corporate Power | Curative | Destiny | Emotional repression | Grieving | Guilt | Identity | Individualism | Loneliness | Materialism | Narcissism | Original Sin | Parasitism | Passivity | Personal | Political | Political Correctness | Positive Discrimination | Preventive | Propaganda | Sadomasochism | Schizophrenia | Self‑Expression | Solipsism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy

Similar to:

Out of the frying pan and into the fire

Summary: Running away from oneself – the Caucasian way.

Well‑acted and interesting examination of the identity‑crisis and self‑entrapment at the heart of a White culture as narcissistically‑inclined as Caucasia. It fails to address why such moral angst exists among Whites – in the first place – nor what meaningfully can be done about it.

(www.screendaily.com)

Because of the volitional, self-loathing repression necessitated by the White belief in their genetic supremacy over all other ethnic groups, Whites have great difficulty learning whom they are (in contradistinction to those other groups) and, thus, what is best for them. Whites most often struggle through boring jobs, tiresome fair‑weather friends & superficial lives that never fully satisfy them in the way that a life based on a clear awareness of oneself, of others and of one’s potential to be fully‑human ever could.

It is hardly‑surprising, therefore, that the White central character here is living‑out an existential crisis – rather than a real life – until he directly communicates with his emotions and finds that they offer him little pleasure; only an all‑consuming anger and a desperate resort to criminality and immorality.

Venturing to another country to escape the culturally‑conditioned and intolerable responsibility of being himself, this antagonist soon discovers that he is an excellent photographer. He should never have become the lawyer he was, since the latter profession only guaranteed him social acceptance among those as morally‑empty as he, himself – but never self‑acceptance. Yet his basic existential problem remains: Concealing whom he is from others, rather than just from himself.

Jumping from the frying pan into the fire means the central character has to move from country‑to‑country to continually retreat from those trying to ascertain his true identity: An excellent analogy for the White fear of self‑discovery and of being discovered by others for being nothing more than bluffers. And this is where the film fails to deliver in its overly‑contrived and artificial denouement.

The central character never faces‑up to the fact that his culture is a moral trap from which he can never escape, unless he faces up to his crimes. No other culture will accept him – and he will never accept another – which he tacitly acknowledges by never wasting his time trying to gain such acceptance. Instead, the film posits the notion that simply being helpful to others can make‑up‑for and be adequate penance for sins, despite the aid only ever being granted to those who are most likely to be grateful for it. A typical White cop‑out for the fact that White culture offers few rewards for honesty; only an unremitting White guilt, anomie & ennui for lives half‑lived. Without justice, there is no humanity worthy of the name; manifest here as the loneliness produced by parasitic passive-aggression. This kind of White supremacy is Affirmative Action for White people, replete with phony‑redemption and fake self‑esteem.

This film lacks precisely the necessary compassion and empathy for the victims of those Whites too lazy to find out whom they are; undercutting any suggestion that the central character has truly come‑to‑terms with his fundamental humanity. Instead, he must always run from those he has hurt, in order to avoid hurting them more; while avoiding any of their inevitable revenge that might come his way. Without family or friends, this anti‑hero must spend his whole life grieving for a life he never had, does not have – and never will.

The French title (The Man Who Wanted to Live His Life) more accurately captures the existential‑groping of the movie than does that of the original book (The Big Picture) upon which it is based. Yet, the central character never honestly addresses this so‑called big picture: The failure of his culture to provide him with a deep‑seated & rational identity, along with its inability to logically help him in times of existential crisis.

Being White means rarely knowing whom one is, since the unbearable guilt that such knowledge brings can paralyze further thought and action; leading to the resulting belief that such self‑awareness will inevitably incite the knowledgeable to either crime, hermitage or suicide – a consummation devoutly to be avoided. This is well‑reflected in all of the performances here, but the rather obvious and deliberate two‑dimensionality of the characters is never dramatically‑explored because of the undercurrent of emotional‑dishonesty throughout.

Ultimately, this is a big personal picture presented on a narrow political screen. And without meaningful political context, no truly big picture is ever presented to the audience – only the mealy‑mouthed pretense of same that Whites vainly‑hope creates a reality superior to the life‑denying bleakness they created for themselves and their culture. Without a clear path to the future, based on a clear path from the past, no‑one can ever truly extricate themselves from being whom they currently are – despite what this film pretends.

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Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.

Hamlet 2 (2008)

Rating: 80%

(http://imgarcade.com)

Also Known As:

Unknown

Version

needed to precede following dl

Year:

2008

Languages:

Length:

88 minutes (Uncut)

Review Format:

DVD

Countries:

Predominant Genre:

Comedy

Directors:

Directors

Andrew Fleming

Outstanding Performances:

Outstanding Performances

Elisabeth SHUE

Premiss:

A failed actor‑turned‑drama‑teacher rallies his students in conceiving and staging a musical sequel.

Themes:

Aggression | Alienation | Art | Coming‑of‑age | Compassion | Courage | Curative | Curiosity | Destiny | Emotional repression | Empathy | Equality | Erotophobia | Ethnicity | Family | Free Speech | Friendship | Humanity | Identity | Individualism | Justice | Loneliness | Love | Loyalty | Narcissism | Parasitism | Passivity | Personal | Personal change | Preventive | Sadomasochism | Schizophrenia | Self‑Expression | Sexual Repression | Solipsism | Stereotyping | White culture | White people | White supremacy

Similar to:

Enter me with the Holy Spirit, Jesus – and then rape me in the face!

Summary: Homeschooling is more educational.

Clever and rather knowing parody of the inherent White supremacy of inspiring‑teacher movies like Dangerous Minds: If only you Negroes would listen to us Whites, you would almost be as good as we are.

(http://imgarcade.com)

However, this film is also, itself, an example of the genre being parodied; the difference here is that this teacher is unable to actually do what he actually inspires others to do. Instead, in a neat reversal of the usual White‑savior narrative in film, he learns from his students how to grow up.

This movie also neatly skewers the White tendency toward emotional‑repression, which Whites try to exploit as a means of appearing superior to others in pretending to be superior to their own humanity and, thus, the comparative (& invidious) self‑expressivity of others. (To Whites, being civilized means reason triumphing over emotion, despite the fact that such a victory is neither necessary nor reasonable; merely proving deep‑seated fear of innate feelings.)

Here, Whites are shown as possessing no substantive ethnicity – unlike the Latino characters; who are clearly overflowing with the kinds of specific ethnic characteristics which Caucasians regularly eschew concerning their own ethnicity. This difference is particularly evident in the fact that Whites rarely enjoy sex with those of their choice, since they are required by their culture to remain sexually‑closeted in relation to not expressing any sexual feelings for People of Color. This also negatively affects White sexual‑relations with each other, since being human is a take‑it‑or‑leave‑it issue: Either one accepts the whole package or one remains doomed‑to‑failure in believing that one can freely pick‑and‑choose those aspects of human nature that one likes; while rejecting those parts one does not like.

This underlying self‑hatred explains both the overtly‑expressed cultural anger and social fears of the White characters on show here. And is, ultimately, where the film really scores high because talent and aptitude are not worshiped as indicators of genetic superiority. What is more important is enthusiasm, motivation & passion – misdirected or otherwise. This creative tension between having the temperament of an artist as opposed to the actual ability, all serve to make the High School musical put on at the end of the movie as enjoyably‑naff as the audience‑in‑the‑film finds it to be. Hilarious.

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Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.