| RATING: | 100% |
| FORMAT: | DVD |
Death to Ruling Class
Clever political satire on the exclusivity inherent in White culture and its neurotic conflation of Realism with Racism.
The film tells the story of a wealthy White man who rose to wealth because he married into it by rejecting his ethnic and cultural heritage; profiting Whites in the process by making it clear that others want to be be both accepted by Whites and accepted as if they were White.
His rapid demise comes about because he chose to accept his illegitimate Black son. He was supposedly very much in love with the mother of his son but did not wish to marry her because his career mentor told him marrying a Black woman would be bad for business.
The film shows how he had to adjust to the lack of support from family & friend and started viewing things from the other side of the tracks where Whites make great efforts to keep people poor because of their birth circumstances, not because of any innate inability.
Throughout most of the movie he was being a wimp and suffered for it. Then toward the end learns some things about himself and endeavors to persevere. This movie understands the
Here, the ultimate fear of Whites is that Blacks will do to Whites what Whites have always done to Blacks, if Blacks are accepted as equals. Whites are shown as having no personal friends - only political ones - such that trust is impossible between people who can send each other to Coventry on slight disagreements over doctrine. House Negroes are attacked for knowing their place and agreeing with White supremacists in order to appease Whites - despite the fact that appeasement never works. Since the central character refuses to play the White man’s game, he is forced to live life as both a Jew and a Black - to see how the other half lives by experiencing being blackballed by their own institutional racism. He suddenly finds he has no true friends - and never had. There is even a reference to the necessary sexual repression inherent in White supremacy where we discover that the hero’s wife has hidden sexual longings while appearing on the surface to be above that sort of thing.
Like Gentleman’s Agreement, the White culture depicted relies on its White supremacy being an unspoken fact - a guilty-but-open secret - for its effectiveness, until someone overtly states the case and all hell is let loose. This elephant in the room approach is effectively mocked here as all attempts to prove god is White and that, therefore, only Whites matter are shown to be the essence of White culture. Being a race traitor and a
Absurdly, even Jews are not White enough to enter the Whiteness Protection Program designed to exclude any and all possible competition. The film also understands the psychopathic nature of White culture in its use of emotional-manipulativeness, arrogance, callousness indifference & egomania in its vain efforts to appear superior to others.
Jews talking about their own repression via blacks tries to save them from white wrath and deflect it against blacks for reminding whites - by their very presence - how whites depend on racism for their success.
The performances and characterization are superb, especially the
The style is brisk; making the plot move along at a good speed; yet still allowing the complex theme of White cultural insecurity to be fully explored.
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