ESTHETICS:

Iron Curtain (1948)

2020-03-03T00:00:00.000+00:00

Rating: 40%

(www.themoviedb.org)

:

Unknown

:

needed to precede following dl

:: 1948
:
:: 87 minutes (Uncut)

Review Format:

Digital: DVD

:

Predominant Genre:

Non‑Fiction

Director:

Director

:

None.

Premiss:

Soviet cipher‑clerk Igor Gouzenko was posted to the Soviet Embassy in Ottawa in 1943 and defected to reveal the extent of Soviet espionage activities directed against Canada.

Themes:

:

Goebbels Was Right

Summary: Caucasian propaganda disguised as entertainment.

Propagandist view of history which pretends to realistically‑present the clash of civilisations represented by the ongoing Cold War between Communism and Democracy.

(https://ocdviewer.com)

All it really succeeds in doing is to pretend that inside every Communist is a Democrat desperate to escape, with no attempt made to explain why any sensible person would believe in the merits of Communism, in the first place - as if Communism were somehow a self‑evidently insane proposition.

Like the movie’s black & white photography, the political issues are presented in the most simplistic black & white terms. Communists are presented as two‑dimensional cartoon villains and obviously‑soulless robots, who could not possibly hide‑in‑plain‑sight as real spies must in order to be effective. This, in the desperate hope that the audience do not get to like them; as hypocritically and in exactly the same manner in which the Communists are shown warning all of their number not to empathize nor to fraternize with the allegedly free‑born White Westerners.

As drama, this movie fails because the characters of both sides of the political divide are so unconvincing and because they are really political mirror‑images of one another - that there is no inherent conflict here is a fact which the film is politically and dramatically unwilling to be honest about. After all, Russians who commit treason are labelled “Defectors”; while Americans who betray their country are called “Traitors”, yet there is no real moral difference between one form of treason and another.

(http://rarefilm.net)

If it were not for the presence of good and likable actors doing their best with political speeches disguised as dialogue, this would be quite unbearable. L'Affaire Farewell was far superior to this propaganda nonsense.

Day of the Triffids (1962)

2018-02-25T16:17:00.000+00:00

Rating: 80%

(www.standbyformindcontrol.com)

:

Unknown

:

needed to precede following dl

:: Irrelevant
:: 1962
:
:: 94 minutes (Uncut)

Review Format:

Digital: DVD

:

Predominant Genre:

Science‑Fiction

Directors:

Directors

:

Uncredited Directors

:

None

Premiss:

After an unusual meteor shower leaves most of the White population blind, a merchant navy officer must find a way to conquer tall, aggressive plants which are feeding on people and animals.

Themes:

:

Fiction:

Non‑Fiction:

Unknown

:

Unknown

Awards:

Unknown

In the kingdom of the blind, the one‑eyed man is king.

Summary: The Great White Fear of what would happen if the Caucasian world were threatened by aliens.

Effective, cheap ‘n’ cheerful science‑fiction horror movie from the 1960s. The special effects could have been better, but it is amazing what you can do with a few empty Fairy Liquid bottles and some Christmas decorations.

(www.standbyformindcontrol.com)

The Caucasian social‑parasite politics of John Wyndham’s source novel are still much in evidence, as the White world divides into the blind and the seeing (those who witnessed the blinding alien invasion & those who did not); a distinction that is purely a matter of luck – as are birth circumstances in snobbish cultures. Even survivor guilt is touched upon.

The moral character of the hero is highly involving as we see the collapse of a White civilisation which only had a paper‑thin veneer to begin with. Presumably, making this plain was the original author’s intention?

However, this movie has two parallel and geographically‑separate stories; charting different solutions to the Triffidus celestus menace. An alcoholic research scientist with a still‑supportive wife; a lone mariner saving a girl and a woman – eventually ending‑up protecting the family he lacked the commitment toward before the Triffid invasion.

These latter scenes were added by an uncredited Freddie Francis after the original cut of the movie came in under its intended running time; partly explaining why these plots are never fully‑integrated into a greater dramatic whole. This makes it harder than necesary to get emotionally worked‑up in the hyperbolic (albeit entertaining) dramas of each: A pity, since this is an above‑average science‑fiction movie based on a book by an under‑rated science‑fiction author.

Quiz Show (1994)

2018-02-18T16:15:00.000+00:00

Rating: 100%

(https://ricochetscinematicabode.wordpress.com)

:

Unknown

:

needed to precede following dl

:: Irrelevant
:: 1994
:
:: 133 minutes (Uncut)

Review Format:

DVD

:

Predominant Genre:

History

Directors:

Directors

Robert Redford

:

Outstanding Performances

Entire cast

Premiss:

A young lawyer investigates a potentially‑fixed game show featuring a big‑time show winner.

Themes:

:

Fiction:

Unknown

Non‑Fiction:

Unknown

:

Unknown

Awards:

Unknown

The quick brown fox jumps over the lazy dog

A revolution is not a dinner party or writing an essay or painting a picture or doing embroidery; it cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous.

(1893‑1893), founder of the People’s Republic of China. Report, March 1927 (published in Selected Works, volume 1, 1954).

Summary: [Review Summary].

Unlike much drama, which is a lie that tells the truth, this movie is based upon a true story about the lie at the heart of White culture: That Whites are only superior at cheating. So much so that, when discovered, the liars are forgiven (lying is generaly not a crime in White culture) so that those who wish to be lied‑to can continue listening to flattering lies about the alleged superiority of their culture.

John’s first work was a set of Monarch Notes. Some of you may remember these from high school, a way to get by in English class without doing the required reading! At any rate, Gatto’s first book was originally published in 1975, a Monarch Notes guide to Ken Kesey’s One Flew Over the Cuckoo’s Nest.

GETTING OFF: Pornography and the End of Masculinity (2007)

2018-02-04T16:40:00.000+00:00

External Links:

Web‑post copyright © 2017 Frank TALKER.
You can freely reproduce &/or redistribute this posting in any form;
citing: “(http://franktalker5.blogspot.co.uk)”.
All other rights reserved.

Colony (2013)

2017-12-31T13:05:00.000+00:00

Directors

Jeff Renfroe

Outstanding Performances

Laurence FISHBURNE	Bill PAXTON	Kevin ZEGERS

Premiss:

By 2045, weather machines control the climate, which break down when one day it snows and does not stop. Underground bunkers help the survivors to escape the extreme cold.

Themes:

Fiction:

Non‑Fiction:

Unknown

Awards:

Unknown

Survival – but to what end?

In such condition there is no place for industry, because the fruit thereof is uncertain, and consequently no culture of the earth, no navigation nor the use of commodities that may be imported by sea, no commodious building, no instruments of moving and removing such things as require much force, no knowledge of the face of the earth, no account of time, no arts, no letters, no society, and which is worst of all, continual fear and danger of violent death, and the life of man, solitary, poor, nasty, brutish, and short.

(1588‑1679), English philosopher. Leviathan, part 1, chapter 13 (1651).

Summary: The self‑defeating ways of Caucasians.

Entertaining‑enough movie, despite it absurd premiss, because of the mostly‑good actors who do their utmost to make us believe in it.

Yet, somehow, despite global warming, a new global ice age has transpired with only a handful of human colonies left to carry on the human race; each containing only a handful of humans. No other animal life is evident, nor is the Earth‑wide freeze ever logically‑explained.

As usual with White cinema, there is the usual inherent Caucasian belief that human beings are essentially bestial and that White civilization is self‑repressed precisely to avoid a return to a feral past (which never really existed). White supremacy is predicated on the belief that early humans were amoral and only White culture could ever possibly hold back a decline into prehistoric barbarity by its self‑repression. But it is the repression, itself, which causes such beliefs, not human nature, since repression creates the necessary fear of self required for such beliefs to fester and spread.

However, this never explains any of human progress, since it is hard to imagine people emerging from such a red-in-tooth-and-claw primitive past to create any kind of civilization if human nature were really this rotten and self-destructive.

The truth, of course, is that White people consider their own (self‑denying) natures rotten and that this new Dark Age of mankind is the inevitable result of not living in harmony with nature – despite the fact that the old Dark age was largely a European phenomenon. This inevitable White lack of historical and political perspective leads the screenwriter to simultaneously imagine the end of White culture while simultaneously positing a scientific solution to the problems White science has created since the Great Divergence.

There is no attempt to go back to a more primitive style of living as dictated by the circumstances in which the characters now live, but instead to appeal to the very scientific practices that got them where they are now, to save them from the very scientific practices that got them where they are now.

Dog‑eat‑dog and every‑man‑for‑himself has rarely been the way humans have lived on the Earth, as far as is known, so this definition of human nature is really nothing more than a definition of White nature. A nature that refuses to live in harmony with both nature and others, such that internecine conflict can be the only inevitable result – no matter what this film thinks otherwise.

There is no way for any culture to survive, in the long‑run, without a clear morality that this film and its makers clearly lack. This begs the question as to what price survival for Whites, since their desire to be top‑dog in the world, their desire to be the last men standing and their desire to live without a code of ethics can only help ensure their deaths – as individuals and as a culture. It is as if Whites are in a maze of their own making and have forgotten where the entrance is; while pretending that they never knew it. As if Whites know that they can never be top dog, since the War on Terror makes them look foolish in trying police a world they never wish to understand.

in a fit of typically-racist pique, whites have decided that if they cannot have their own way in the world (& they cannot), then that can only mean the world is unworthy of them and is, thereby and therefore, doomed to end badly.

Bad Education Movie (2015)

2017-12-24T15:43:00.000+00:00

Grizzly Man (2005)

2017-12-03T16:40:00.000+00:00

Shaka Zulu (1986)

2017-11-26T16:40:00.000+00:00

Notes, footnotes or references:

‘Shaka Zulu’: Negative Metaphor For South African Blacks

Shaka Zulu is a gory, foolish and demeaning 10‑hour miniseries. The script is awful at worst, comical at best.

And Shaka Zulu is identified as "the greatest project yet undertaken by the SABC" – and important for the nation's "image abroad" – in the public record of a 1984 South African parliamentary debate held in advance of shooting.

Mardi Gras: Spring Break (2011)

2017-11-19T16:31:00.000+00:00

External Links:

Let Us Prey (2014)

2017-11-12T16:21:00.000+00:00

Ricki and the Flash

2017-11-06T17:17:00.000+00:00

Ultramarines (2009)

2017-10-08T12:12:00.000+01:00

Rating: 40%

(https://es.paperblog.com)

Also Known As:

Unknown

Version

Languages:
Length:: 74 minutes (Uncut)

Review Format:

DVD

Year:

2009

Country:

Predominant Genre:

Science‑Fiction

Director:

Director

Martyn Pick

Outstanding Performances:

None

Premiss:

In the future, lots of aliens get killed for no particular reason.

Themes:

Similar to:

Nostalgia for the Future

Summary: White supremacy for teenagers.

The usual White supremacist tosh about non‑White immigrants‑as‑aliens; races who lurk and plot and from whom Whites need protecting through genocidal warfare and endless blood‑lust.

Despite being set in the grim darkness of the far future, this movie is profoundly nostalgic for a Roman‑style imperium – with Whites in unassailable command.

However, unlike the Roman empire, this one is not multi‑cultural, but a mono‑cultural polity wherein Whites struggle to survive potential defeat at the hands of space‑age Barbarians living on the periphery of the empire – a chaotic struggle against the alleged chaos of others. The Nordic production design makes clear the Nordic supremacy on offer, here.

As usual with Whites, when the rules of war are not followed by the enemy, it is desecration; when Whites throw out such a rule‑book, themselves, it is valorous and glorious never to yield to your enemies nor ever to take them prisoner.

That no consistent moral philosophy is stated nor acted upon, makes it hard to understand any of the characters and, thus, impossible to empathize with any of them, amid the Caucasian lust for violence as a substitute for a culture worth defending or friends worth risking one’s life for.

By presenting the enemy aliens, daemons and home‑grown traitors as two‑dimensional, there is no understanding of their motivations and weaknesses that could lead to an easier way to defeat or to make peace with them – and certainly nothing to aid this propaganda exercise in becoming anything like an emotionally‑engrossing drama.

This is a movie as superficial as the culture which produced it, where even its religious aspect reflects the White Christian dogma of public virtues and private vices in order to give the false impression that White Christianity gives Whites the moral virtue they actually lack.

With no‑one to root for and no political issues being explicitly explored, one only has the action scenes, the SFX and the brevity of this movie to speak in its favor. The gloomy death‑worship with which this film is imbued – which ultimately overwhelms and sinks it – suggests nothing more than a masochistic Caucasian martyr‑complex.

Despite possessing superior firepower, Whites feel doomed to die in constantly teetering on the brink of extinction at the hands of sub‑human outsiders they cannot, ultimately, control nor defeat. This renders Whites as helpless victims of their own paranoia and self‑victimization - as with the ancient Greeks, constant warfare will put paid to White civilization, since spending all your time & money on war leaves very little else to spend it on.

Like the Japanese unwillingness to surrender in the Second World War, the White willingness to die for the emperor, here, serves no practical purpose but the ultimate suicide of a culture, its people & its hypocritical values.

Hand to Mouth (2016)

2017-10-01T13:44:00.000+01:00

ESTHETICS:

Iron Curtain (1948)

Fiction:

Non‑Fiction:

Goebbels Was Right

Summary: Caucasian propaganda disguised as entertainment.

Day of the Triffids (1962)

Fiction:

Non‑Fiction:

In the kingdom of the blind, the one‑eyed man is king.

Summary: The Great White Fear of what would happen if the Caucasian world were threatened by aliens.

Quiz Show (1994)

Fiction:

Non‑Fiction:

The quick brown fox jumps over the lazy dog

Summary: [Review Summary].

GETTING OFF: Pornography and the End of Masculinity (2007)

Further Reading:

External Links:

Colony (2013)

Fiction:

Non‑Fiction:

Survival – but to what end?

Summary: The self‑defeating ways of Caucasians.

Bad Education Movie (2015)

Grizzly Man (2005)

Shaka Zulu (1986)

Notes, footnotes or references:

Mardi Gras: Spring Break (2011)

External Links:

Let Us Prey (2014)

Ricki and the Flash

Ultramarines (2009)

Nostalgia for the Future

Hand to Mouth (2016)