Let joy be confined
Amusing, if contrived, road‑movie sex‑comedy marred by the reactionary sexual‑politics so typical of White Christians; viz, that sex is really only for procreation and that any simple pleasure aimed at any other purpose is to be scorned.
Not content with the have-their-cake-and-eat-it mentality of visually‑indulging in the very carnal activity that is being relentlessly decried as shallow and superficial, the film also offers the hypocritical notion that women are somehow being used and exploited for the sexual activity that they also crave. Given the natural immodesty of women, this is a viewpoint not supported by the life experience of those not wedded to religious ideology and crypto‑fundamentalism.
White people’s attempt to repress their sexuality makes them far more conscious of sex - like trying to remember to forget something. This makes them more sexual than would normally be the case because of the syndrome of forbidden fruit apparently tasting sweeter.
Modesty is forced upon White women, in White culture, by White men because – in capitalist countries – sex interferes with business. Women are forever fighting this restraint because it represses their nature; their natural tendency being toward boldness in dress and openness in conversation.
Are White women really incapable of enjoying sex for its own sake, without expecting recreational‑sex to be more fulfilling than it ever could be? And, if they are, why do they then persist in sleeping with such unsuitable candidates for the more serious sexual relationships they claim to want? Do they possess no objective criteria for correctly judging the character of others – nor even their own?
The central male character has no real problem to address, since he does not feel his life lacks anything of any real value to him; making the drama too flat and goal‑less for its own good. He enjoys sex‑for‑pleasure and feels no genuine shame nor regret about this. Here, he is merely being condescended‑to and lectured‑at by vengeful women who believe - without evidence - that they are worth more than just a roll‑in‑the‑hay: White women who cannot find Mr Right
because they do not know how to, nor even of how to be Miss Right
; resulting in a false epiphany as a climax to a film as superficial as its heterosexually‑motivated male lead.
This sexual dishonesty is fueled, compounded & then re‑fueled by feminine whining and self‑pity regarding youthful sexual experiences, that they are presented as being unable to psychologically get‑over and move‑on from. The lack of any chemistry between the two leads also inadvertently reinforces the White tendency to talk about sex rather than just get on with life and simply enjoy their bodies by communicating their pleasures to each other and their honest reasons for engaging in such potentially‑joyful activity.
Here, Whites engage in sexual intercourse as a substitute for masturbation (as if wanking were a sin), that relives sexual tension more than it offers a means of sharing one of the many and varied pleasures of being human. There is a terrible, underlying sense, here, that Whites believe sex is something bad and that people can (&, indeed, should) only do it if they can fake emotions as often as they fake orgasms – as if physical pleasure could somehow be separated from love; love somehow separated from self‑esteem.
The odd conflation, here, of naturally‑selfish solo masturbation with sexual‑intercourse - a naturally‑sharing one, makes this a less interesting comedy than it could have been precisely because this all‑important issue is comedically‑unexplored here. By trying to rise above their human instincts, Whites render themselves passionless, sexually‑neuter &, like the eunuch, unable to live fully‑human lives; while continuing to absurdly‑pretend such self‑repression is some kind of gateway to eventual personal fulfillment.
Despite their Master Race pretensions, Whites are reminded of their humanity by a sexuality they attempt to downplay. For White people, sex is the equalizer since, no matter how hard they try to feel superior to others, it is always clear that they have exactly the same feelings as everyone else – no more and, often, much less.
Thus, for example, one is constantly bombarded with sex scenes in Hollywood movies showing White couples crashing through bedroom doors tearing at each others clothes; as if sex were some kind of ungovernable instinct that Whites are actually frightened of, of which they wish to be immediately relieved by temporarily giving themselves license to indulge in, as a concession to human nature, rather than as an enjoyable exploration and full embracing of it.
This self‑repressive behavior leads Whites to voluntarily being in conflict with their own natures: A perpetual conflict designed to prove White superiority, when compared to others, but which merely proves their inbred stupidity – when compared to those same others. Self‑repression is also designed to make Whites dependent upon each other for the emotional support a crutch provides in the physical world, since their socializing with People Of Color (POC) will only lead to the resentment occasioned by the realization that others actually enjoy being alive and enjoy being human.
The lack of any psychologically‑healthy characters in this movie (nor any decent dramatic exploration of the unhealthy ones), along with no compelling exploration of the pleasure human beings obtain from sex (one‑night stands, affairs, committed relationships, etc) would make it completely unbearable if it had not been for the movie’s brevity and the many amusing moments along the way.
