Sunday, 23 April 2017

Coherence
(2012)


Also Known As:
Unknown
Version
needed to precede following dl
Languages:
English language
Length:
84 minutes (Uncut)
Review Format:
DVD
Year:
2012
Country:
United States
Predominant Genre:
Science‑Fiction
Director:
Director

James Ward ByrkitJames Ward Byrkit
Outstanding Performances:
None.
Premiss:
A passing comet has surreral effects on reality for a group of friends at a dinner party.
Themes:
Advertising | Aggression | Alienation | Art | Atheism | Black people | Capitalism | Christianity | Civilization | Coming‑of‑age | Compassion | Communism | Corporate Power | Courage | Curative | Curiosity | Destiny | Eastern world | Emotional repression | Empathy | Equality | Erotophobia | Ethnicity | Evolution | Family | Free Speech | Friendship | Genocide | Globalisation | God | Grieving | Guilt | Gynophobia | Humanity | Identity | Individualism | Justice | Loneliness | Love | Loyalty | Mankind | Materialism | Mercy | Narcissism | Nationality | Nature | Nostalgia | Original Sin | Parasitism | Passivity | People Of Color (POC) | Personal | Personal change | Political | Political Correctness | Pornography | Positive Discrimination | Preventive | Propaganda | Rationality | Redemption | Religion | Religious fundamentalism | Republicanism | Role modeling | Sadomasochism | Schizophrenia | Science | Self‑Esteem | Self‑Expression | Sex | Sexism | Sexual Repression | Social class | Society | Snobbery | Solipsism | The State | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy
Similar to:
Carnage (2011 film) Garden of Forking Paths (1941) Much Ado About Nothing (2012 film) Primer (film)

Would that I were you

Summary: Whiny Caucasians discover a portal to their true selves.

A group of superficial, easily‑panicked and somewhat stupid Whites gather for dinner and experience a quantum event that leaves them doubting the reality they thought they understood.

As with all White attempts to deny reality and replace it with something more interesting than the everyday, workaday mundanity that is White culture, this movie posits the idea that the thought experiment of Schroedinger’s cat makes some kind of sense; rather than being a dead‑end theory of a world of physics that has simply run out of new and workable ideas.

What is discovered here is that underneath the sans souci White familiarity, there is paranoia, schizophrenia, insecurity and self‑loathing: The belief that talking about life is just as good as living it.

The emotional hesitancy of the characters reflects their inability to understand their experience and to know what to do and, more importantly, what not to do about the essential emptiness of their lives. The fundamental fear here is that one’s friends will either not mature or mature at a different rate than each other and that this will mean loneliness unless each person represses the others and tries to prevent the others from growing‑up and moving‑on.

The characters, here live off each other, rather than with each other; using each other as emotional crutches because they cannot themselves for whom they truly are because they are so busy running away from their true natures. Without any self‑knowledge (subjective reality), one has no yardstick for comparison with other people’s self‑presentation. Without any grasp of objective reality external to oneself, one similarly lacks a yardstick to compare other people’s comments or behavior to. Without a deep‑seated character to express or conceal, this movie becomes more of a horror‑story for Whites (about Whites), than the science‑fiction movie it is claimed to be.

There is, moreover, an odd nosy‑parker tendency among these so‑called friends, allied with a faux‑innocent desire to convince others that everything they say is true; while being surrounded by people who disbelieve one because they are just as prone to telling lies – so think you are just the same as them. The failures’s desire to be someone other than themselves is evident here but, again, is never dramatically explored.

As a character‑study, this movie fails to differentiate its characters, so that they all appear to be facets of a single, energetic Caucasian; bereft of any grounding in objective reality. The movie occupies the same quantum space as its characters; allowing the audience no opportunity to properly reflect on what it is watching, because the film itself possesses no self‑understanding that would make any rational comprehension possible.

Entertaining, but ultimately as thin, meager and as unfulfilling as its characters.

Sunday, 16 April 2017

Camp on Blood Island
(1957)


:
Unknown
needed to precede following dl
:
English language Image of the national flag of Japan
:
80 minutes (Uncut)
Review Format:
DVD
:
1957
:
United Kingdom
Predominant Genre:
War
Director:
Director

Val Guest
Val Guest
:
Outstanding Performances

Barbara SHELLEY
Image of Actor Barbara SHELLEY
Premiss:
Wartime brutality and sadism.
Themes:
Aggression | Emotional repression | Narcissism | Political | Political Correctness | Propaganda | Sadomasochism | Schizophrenia | Snobbery | Solipsism | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy
:
The Bridge on the River Kwai (1957) Empire of the Sun (1987) Paradise Road (1997 film) Tenko (TV series) Three Came Home (1949) A Town Like Alice (1956 film)
Spin-offs:
The Secret of Blood Island (1964)

Jap War Crimes Exposed!

Summary: An emotionally-sensational movie, with little else to offer.

Although well-made, this is the usual White whining about how awful Japanese imperialists were - with no mention of how awful British imperialists were. (For a film set in the past, it is completely lacking in historical context, as if the events depicted had only happened on another planet.)

Rank with the hypocrisy of White supremacy, this is an angry movie made by Whites who think only they have the right commit atrocities they conceal, while other ethnic groups must be tried for their crimes. This anger at such barbarous behavior comes from those who did not experience it at first-hand; making it feel like a tale told by an armchair brigadier; imagining the combat he would fear to face in real life. More the product of White supremacist anger, bitterness & resentment than an exposé of inhumanity: It is Lest we forget – when Whites are degraded – but Get over it!, when anyone else suffers.

The Japanese are racially‑stereotyped in a way that Germans (in White war movies) never are. The implication that Asians are genetic inferiors and, thus, much more prone to such barbarity is belied by the equally-barbarous Caucasian cruelty, sadism & savagery of the British Empire; revealing Caucasians to be just as potentially awful as the Asians condemned here.

The Japanese are poorly-characterized and their fears masked by their sadism are not dramatically explored; leading us to the White supremacist conclusion that they are somehow less than human beings. Even the White characters the film focuses upon are little more than ciphers‑to‑be‑abused - the excellent actors doing the best they can with underwritten parts.

Despite claiming to show the brutal reality of some human nature as honestly as possible, this movie has no real understanding of that nature. It is a fundamentally‑dishonest and amoral pretense; allowing Whites to wallow in the degeneracy of others in order to occult their own and, in the process, claiming Aryan supremacy over those they ultimately defeated for preaching and practicing Whites’ own, selfsame political & moral ideology: A classic example of smashing a mirror because of the terrifying accuracy of its reflection.

The rampant hypocrisy of Whites in rarely exposing Caucasian war crimes is elided here in favor of claiming the movie is based on actual events. But this does not excuse the one‑sided portrayal of those events: If it did, then the Nazi extermination of 6,000,000 Jews would be fully justified - at least from the Nazi point‑of‑view.

Despite fine acting, the screenplay lacks a political context that would explain the behavior on show, allow audience empathy and, thereby, reach some kind of understanding of the events depicted. Fully‑realized characters in drama exist precisely for the purposes of empathy, yet the only empathy the film seeks is that of a White audience for its White characters, in commercially‑exploiting the White supremacy inherent in White culture. This supports the White delusion that only other ethnic groups can ever be institutionally‑barbaric, but not the fact that the Japanese in East Asia were little more than the Eastern counterpart of White, Western barbarity.

This stance of Caucasian propaganda is maintained throughout and remains entertaining despite it offering only the pornographic and pseudo‑cathartic sensational release – without an emotional or a spiritual dimension – so typical of White supremacy. Unlike its contemporaries (eg, A Town Like Alice or The Bridge on the River Kwai) this film is deliberately shot as a horror movie, rather than as a less melodramatic and more insightful work; counter‑productively trivializing the suffering on show in offering a nightmare‑without‑meaning, rather than an example of how real people respond to genuine adversity, in terms of human suffering and inhumanity and the will to endure despite the odds.

Sunday, 9 April 2017

Beguiled
(1970)


:
Unknown
:
A Painted Devil
needed to precede following dl
:
English language French language
:
100 minutes (Uncut)
Review Format:
DVD
:
1970
:
United States
Predominant Genre:
Drama
Director:
Director

Donald SiegelDonald Siegel
:
Outstanding Performances

Entire cast
Entire cast
Premiss:
While convalescing in a girls’ boarding school, an injured soldier cons his way into each of the lonely women’s hearts; causing them to turn on each other and, eventually, on him.
Themes:
Aggression | Alienation | Capitalism | Christianity | Coming-of-age | Corporate Power | Courage | Curative | Curiosity | Destiny | Emotional repression | Erotophobia | Grieving | Guilt | Gynophobia | Loneliness | Narcissism | Nostalgia | Parasitism | Passivity | Personal | Political | Republicanism | Sadomasochism | Schizophrenia | Sex | Sexism | Sexual Repression | Solipsism | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White people | White supremacy
:
Misery (1990)
Summary: Make War; Not Love.

The most interesting of the five collaborations between star Clint EASTWOOD and director Don Siegel; with EASTWOOD playing-against-type as an emasculated loser.

Vanity project

EASTWOOD plays an unlikable White soldier surrounded by emotionally-repressed White women whose outwardly-civilized personae are twisted by recurrent bouts of a humanity they can never fully repress.

Inevitably, such futile attempts at suppressing human nature lead to a classic Southern Gothic‑type scenario in which the desire for death is compounded by sensual longings, sexual jealousies & rampant invidiousness. It would have been difficult to make this film work if it were not for the physical attractiveness of the leading actor (his limited acting ability does not detract from this); making EASTWOOD’s good looks a basic theme of the melodrama.

What makes this movie so interesting is how much it reveals about the misogyny and gynophobia of its makers. White women are presented as being quintessential castraters whose only goal is to tame men, sexually, in lieu of being able to trust them – sexually. White men are shown as inherently-unreliable and sexually-rapacious; White women, as unfulfilled by a culture that denies them the very fulfillment they demand revenge for, yet choose to do nothing about.

That such twisted psyches could only exist in a repressive culture like that possessed by Whites is dramatically-evaded by never comparing White sexuality with any other ethnicity - despite the presence of a Black slave who is clearly somewhat more emotionally-mature and somewhat less love-starved than the White characters. However, the latter character functions not so much as a dramatic contrast to the Whites, but more as another example of historical White violence.

Sex, Violence & Vindictiveness

Whites associate sex with violence because they spend so much time trying to violently-suppress their sexual feelings which then violently return to haunt White nightmares. This desire to try and rise above their own natures in order to justify the White  belief that they are superior to other ethnicities, makes women want to avenge themselves on men before they have betrayed any exclusive sexual love, rather than after by trying to make sure men are sexually-controlled enough to take-on the responsibilities of meaningful personal relationships.

But, introducing politics into the bedroom, in this way, only makes such relationships and such responsibilities ever harder to find. Whites are little more than the slaves of their sexual obsessions, because they possess a culturally-dictated compulsion to want it that way; leading them to lash out in invidious rage at anyone not so self-frustrated.

The White actresses portray their roles so phenomenally-well that they actually seem to become a single woman with multiple facets: The guilt‑ridden White woman who refuses to enjoy sex for its own sake without the guilt-reducing solace of an exclusive love – but this is a love they cannot really feel because it is allegedly-tainted with sexual lust. The characterizations are subtle and to-the-point.

White supremacy

White women are told that if they enjoy sex they are bad; if they do not, they are castrating. To be accepted by other Whites, White women accept that they must allow politics to enter the bedroom such that White men’s sexual expression must be controlled to make them men – when all this really does is make White men frustrated and, thus, far more likely to engage in prostitution, pornography, adultery & concubinage.

The obvious answer to all this sex-frustration is to make friends with people of ethnic groups who are not so sex-obsessed; thereby, learning a better way to fully-experience their true humanity. But this would risk Whites losing the benefits of a White supremacy that equates repression with civilization & Whiteness with racial superiority – the fear of the social ostracism attendant upon thus becoming Nigger-lovers or race-traitors is too great for the White mind to bear with equanimity. It also runs the risk of Whites realizing that those they deem inferior are actually better-off than they are and that the comforting White belief that everyone else is as miserable as Whites are is just that – a self-serving delusion. In this way, endemic White masochism becomes inevitable.

Whites would much rather live as slaves, with the repression, than live as free individuals, without it. The latter requires taking personal responsibility, rather than blaming others for one’s own mistakes; the former means not taking such responsibility, while desperately-seeking scapegoats to compensate for such a poor choice. White culture is thus a gilded cage for Whites within the limits of which happiness is a chimera and vindictiveness the only solace. The never-ending White conflict between human emotions and the masochistic desire for White acceptance leads them to perpetually knock down its walls without ever really intending to leave the prison, since they then immediately rebuild them, albeit with a different color-scheme.

The anti-war message of the movie in critiquing the willingness of soldiers to obey orders – no matter how immoral – is drowned-out by the pervasive sexual atmosphere that is most-closely redolent of pornography than a standard Hollywood drama. In this, it is akin to a Robert Aldrich melodrama (eg, Whatever Happened to Baby Jane?; Hush… Hush, Sweet Charlotte; or, The Killing of Sister George). Here, favoring lovemaking over the Christian warmongering that claims God is on our side can only lead to tragedy when love in such martial cultures is never fully-expressible.

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.




About Us:

My photo

Frank TALKER - Truth-Teller