Archives for posts with tag: anti-Semitism

Wild Card

Revenge for a raped prostitute might sound like less-than-thrilling motivation for an action hero, but it works nevertheless to propel this uncharacteristically character-driven Jason Statham vehicle. The Expendables star here plays Nick Wild, a skid row Las Vegas “security consultant” in Simon West’s quality realization of a thirty-year-old William Goldman screenplay. A British special forces veteran who can take care of himself, Nick is also a self-destructive compulsive gambler and drinker who has to grapple with his own shortcomings as well as the gangsters who want him dead. Something of an odd couple dynamic comes into play when Nick is befriended by a nerdy software millionaire (Michael Angarano) looking to be initiated into the world of danger and excitement. Some of the exchanges between these two have a rather phony and forced cleverness; but the script, on the whole, is highly engaging and full of fun and surprises. The cast of familiar faces includes Stanley Tucci, Hope Davis, Anne Heche, and Jason Alexander in minor roles.

4 out of 5 stars. Ideological Content Analysis indicates that Wild Card is:

6. Misandrist. An abused woman (Dominik Garcia-Lorido) threatens to sever the penis of a cocky misogynist (Milo Ventimiglia).

5. Corporate. A big-titted Latina (Sofia Vergara) squeezes in a quality plug for the junk food complex when she orders a Diet Pepsi. Putting in a good word for the usury industry, Statham’s credit card comes in handy when he uses it put a gash on a bad guy’s head. He also mentions eating Wheaties as a source of energy.

4. Anti-Christian. Set against the tacky blinking backdrop of one of America’s sleaziest, most Judaically resonant metropolises, Christmas is a hollow observance with no meaning. Simon West, in his commentary, relates that “the Christmas theme in the movie meant that I wanted to get some actual Vegas at Christmas footage, but […] unfortunately Vegas doesn’t seem to celebrate Christmas that much.”

3. Anti-Semitic! “You’re not supposed to like Vegas,” Nick explains of the city that Bugsy Siegel built. “It’s just this creeping virus people catch sometimes.”

2. Anti-gun. Nick rejects firearms, demonstrating instead how simple objects like silverware and ashtrays can be used to debilitate armed assailants.

1. Pro-miscegenation and anti-white. Most appallingly, Wild Card contains a scene of flirtation between Nick and an unappealing black hotel maid (Davenia McFadden). “Too bad you got all that British blood in you,” she teases him. “If you was black, I’d bed you good and fast.” “You can make believe,” Nick encourages her. “Nah,” she replies. “Don’t think this is racial or anything, but I never feel like you people are clean. This is a housekeeper you’re talking to, remember? I can tell if a Brit’s been in a room [snaps] just like that.” This dialogue suggesting that Brits are unclean makes little sense until one listens to Simon West’s commentary. “In the original script, the [Nick] character was actually Hispanic,” he reveals, “so we had to change the racial stereotyping.” Mexicans can no longer conscionably be depicted as dirtbags, but Englishmen are apparently still fair game. Three decades ago, when the screenplay was written, the occasional spot of political incorrectness was still permissible at the multiplex; but, fortunately for public morals, Wild Card was filmed in the current year, so to speak.

Rainer Chlodwig von Kook

As Above So Below

Perdita Weeks appears as a female Indiana Jones, an obsessive scholar and archaeologist of the history of alchemy in As Above, So Below. Convinced she has learned the whereabouts of the legendary Philosopher’s Stone, she convinces academic colleague Ben Feldman to accompany her into the labyrinth of catacombs beneath Paris. Unfortunately, as they descend, they find that the tunnels they take are mysteriously closing behind them, compelling the expedition into ever deeper recesses of this subterranean world. Even worse, they are not alone. Directed by John Erick Dowdle, who co-scripted with brother Drew Dowdle, As Above, So Below is a first-person footage film in the long line of Blair Witch imitators and is fine by the standards of that genre; but the tale tends to lose its mystique to the degree that the Dowdles insist on depicting their rather mundane vision of Hell onscreen.

4 out of 5 stars. Ideological Content Analysis indicates that As Above, So Below is:

Pro-miscegenation. Weeks and Feldman, the film suggests, are perfect for each other.

Relativist. “As I believe the world to be, so it is.”

Feminist. Weeks is intrepid and unafraid to the point obsessive insanity. Hinting at the Jewishness of the feminist plague, her character is revealed to be an expert in the Israeli “self-defense” techniques of Krav Maga.

Pro-immigration. Non-white Parisians are depicted as fully assimilated citizens. If anything, it is Africans who are at risk of attack from strange Frenchwomen.

Neoconservative. As Above, So Below is full of Judaic resonances that are never articulated. The film reinforces the engineered impression that Jews and Middle Eastern mythology hold mysterious keys to understanding the universe. Weeks ostensibly makes the decision to bring Feldman along because he knows the ancient Jewish language Aramaic. The remains of six million corpses, the viewer learns, reside in the catacombs, with the number six million triggering audiences’ associations with the “Holocaust” and the history of alleged Christian persecution of Jews. The characters’ subsequent descent into Hell, then, may be understood in this context. The film’s title finds a visual expression in a variation on the Magen David that appears on a wall next to a door on the path to the underworld. The underground realm in which the characters move is revealed to be physically inverted, so that those determined to attach an allegorical meaning to the journey might consider the possibility that, in order to atone and to come to grips with their criminal history of “anti-Semitism”, the goyim must endure the ordeal of having their world turned upside down. Gratuitously endorsing the neocons’ Jewish foreign policy, Feldman berates Weeks as “a crazy lunatic” for traveling to Iran.

As Above So Below Star of David

“As I believe the world to be, so it is.”

Rainer Chlodwig von Kook

Prick Cadillac

Oozing down the street, indeed. Make no mistake, fellow social justice warriors: Bruce Springsteen is pure, unadulterated pink slime.

[Ideological Content Analysis is both pleased and privileged to bring readers this thought-provoking and patriarchy-challenging guest post by Rokuro “Rocky” Roth-Hideyoshi, roving pop correspondent for Beat/Down: A Journal of Queer Quriticism and Aural Experience.]

Does any circumstance better illustrate the unrepentant heteronormative and intra-racial supremacy of corporate radio than the fact that “Pink Cadillac”, Bruce Springsteen’s hate-saturated 1984 B-side to the disturbing “Dancing in the Dark”, continues to receive occasional airplay on nominally non-Aryanist networks and to be hosted on YouTube and other popular websites without censorship or content disclaimers? As Kevin Ransom writes, it is one of those “songs that have practically been pounded into cliché by super-heavy radio rotation.” Springsteen’s ersatz protestations of anti-racist commitment are never convincing – a case, one suspects, in which, as Hamlet would put it, “the hater doth protest too much” – and even assuming the “Boss” has the best and most progressive of intentions, his social justice eruption insurance premium is always going to be on the high side in view of the unforgettable wreck that constitutes his “Pink Cadillac”.

An unabashed paean to European-American sexual exclusivity as well as a puerile celebration of priapic chauvinism, “Pink Cadillac” concerns the leering interest of its self-aggrandizingly amorous protagonist in the “back”, i.e., posterior, of a womban’s “Cadillac”, or objectified, dehumanized, commercialized, and customized “crushed velvet” body – conceptualized in this instance as an empty vehicle-vessel requiring a licensed (i.e., privileged) driver – which is, of course, to say an owner. “But my love is bigger than a Honda, it’s bigger than a Subaru,” he insists, betraying his insecurity while at the same time perpetuating the adolescent cruelty of the miniature Asian male sexual organ stereotype. Springsteen is one of those white men who only feels adequate when he has succeeded in making the other – in this case, the “yellow man” he fantasizes about killing in “Born in the U.S.A.” – feel small and marginalized.

The economic context, one must also remember, found the American worker and music consumer – Springsteen’s primary audience – uncertain about the future of their country’s industrial base in the face of Japanese electronics and automotive competition after nativist propagandists had largely succeeded in riling white Americans into a paranoid frenzy about global trade and the opportunities this presented for economic development in an increasingly interconnected and justice-seeking planetary order. The butt-wiggling braggadocio of the “Boss”, then, must have provided a powerful salve to the chafed egos and bruised sexualities of a generation of self-absorbed and privileged white males in desperate need of perpetual reassurance. Losing at one game, he plays another: reproductive protectionism.

Bruce Springsteen

In 2016? Really?

“Honey, I just wonder what you do there in the back of your Pink Cadillac,” he declares, hovering hairily over the listener, who feels herself almost compelled to detect the beer that is undoubtedly on his breath. He positively belches a pushy, intrusive curiosity about the sexual history of an unnamed female-gendered person, and one is left to glean from the rapist protagonist’s later reference to Eve that Springsteen is addressing a womban. Invading her mental and physical space, he commands her to “come on over here and hug me” in an attempt at projected volition so as to facilitate his intention of sexual assault and simultaneously implicate the victim as an accomplice in his own act of non-consensual violation. His invocation of Eve, too, serves to shame the target of his transgression into complicity by establishing a useful correlative with the temptress of myth.

The song, which Springsteen wrote in its first version under the rapey title “Love Is a Dangerous Thing” in 1981, took on anti-Semitic and white supremacist overtones as it devolved into what would become the honky-tonk clunker “Pink Cadillac”. In an erratic aside, the “Boss” – knowing he has the undivided attention of his impressionable audience – actually interrupts the assault to address his male listeners specifically, wishing to issue a warning to them about an imagined Jewish peril. “Well, they tempt you, man, with silver, and they tempt you, sir, with gold,” he rants, going on to espouse the canard about how the Joooooooz also “tempt you with the pleasures the flesh does surely hold.” Honestly, Mr. Springsteen? In 1984? The “Boss” confirmed for the world the depth and grossness of his anti-Semitism and sexism when he forbade peerless diva Bette Midler to include a cover of “Pink Cadillac” on her 1983 album No Frills.

Springsteen also revealed his frightening adherence to the white supremacist beliefs of the Christian Identity cult when he prefaced a live 1984 performance of “Pink Cadillac” with these contextualizing remarks: “Now, this is a song about the conflict… between worldly things and spiritual health… between desires of the flesh… and spiritual ecstasy… now, where did this conflict begin?… well, it began in the beginning in a place called the Garden of Eden… now, the Garden of Eden was originally believed to have been located in Mesopotamia… but the latest theological studies have found that its actual location was ten miles south of Jersey City, off the New Jersey Turnpike… now, understand, in the Garden of Eden, there were none of the accouterments of modern living… I mean they didn’t have no Laundromats, they didn’t have no like, like little toasters you could put your Pop-Tarts in and then watch Johnny Carson on TV…”

Relocating the Garden of Eden from the geographical Middle East to some presumably pristine white enclave of the American imaginary when it was still free of the tacky consumerist dreck and mass media “brainwashing” peddled by the stereotypical Jewish merchant caricature of anti-Semitic propaganda, Springsteen casts Adam as the progenitor of the Aryans, whom he believes to be the living embodiment of Israel. BDS activists have attacked Springsteen for the singer’s apparent willingness to tour the Zionist state this summer; but these misguided crypto-racist neckbeards miss the point entirely. Springsteen, if the dark history of “Pink Cadillac” is any indication, is venturing to Israel not to entertain the evil Joooooooz, but to conquer and occupy what he, in the fever of his sweaty, race-crazed delusions, regards as the rightful lebensraum of the Aryan Nations of Jersey.

No wonder a 2012 study found that listening to Bruce Springsteen music for seven minutes can turn normal people into racists!

Rokuro “Rocky” Roth-Hideyoshi

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No One Lives Forever BCI

Grab it while supplies last … or not!

Included in the ten-feature action film collection No One Lives … Forever!, released in 2002 by the now-defunct BCI Eclipse DVD label, is an obscure 1999 Israeli oddity, Full Circle, directed by one Bernard McWilliams. The story concerns Boaz Golan, a Mossad agent sent to New York City in 1990 with the task of preventing a shipment of arms from reaching Saddam Hussein’s Iraq.

Golan is psychically scarred by the dual traumas of seeing his mother raped when he was a child and the adult experience of gory warfare in Lebanon (which, the movie deems it necessary to note, caused the hero to soil his pants). An early scene in Full Circle has Golan fantasizing about raping his female analyst, to whom he tells the blackly comedic war anecdote of discovering the bodies of a couple who had been unceremoniously killed in the middle of a blowjob.

Once he arrives in the United States, women find it difficult to resist Golan’s Hebraic charms, and a neighbor woman enthusiastically throws herself at him, enjoying a sex session on top of a table. Hilariously, the woman grabs a handful of what appears to be tapioca pudding and smears it across the Israeli’s ass in the heat of passion. Also true to the movie’s ethnic origin is a perverted scene in which the woman’s daughter discovers the mother’s vibrator and uses it as a toy airplane.

Full Circle Yuval Ovadia

Israeli superspy Boaz Golan in Full Circle (1999)

Being a spy and a Jewish one at that, Golan thinks nothing of lying to people to get whatever he wants. “I may be moving to New York to study engineering,” he gives as his reason for coming to America. He is also eager to demonize Saddam Hussein and to champion Israel as the ally of the U.S. “Saddam Hussein is crazy. He’s capable of doing anything,” Golan claims. “You know, if the Israelis hadn’t bombed his atom shell, he’d be using it right now against the United States.”

The action is stupidly pedestrian, with Golan depicted as a superhuman who is able to swing on a rope like Tarzan and have a fistfight even after being shot in the abdomen. A goofy scene of a dweeby Mossad asset being mowed down by a woman with a machine gun hidden in a baby carriage earns the movie some extra unintentional humor points, however.

The dull presence of singer-songwriter Richie Havens in a supporting role does nothing to enliven Full Circle, although his sassy girlfriend is an entertaining character, an anti-Semite who can smell an Israeli. In another scene indicative of Israeli attitudes toward American gentiles, Golan warms himself by a bum’s barrel fire, but becomes unnerved and flees when a vagrant approaches and giggles with a maniacal look on his face. This, no doubt, is intended as some sort of evocation of the eternal specter of the Shoah that hovers above all Jews.

The dialogue, typically Judaic, is filthy, with characters calling each other insulting names like “dickless piece of shit” and saying repugnant things along the lines of, “Wake up and smell my asshole.” Also quintessentially Israeli are soulless scenes of sleazy sex, meanness, and torture.

Whether or not Full Circle was designed primarily for American consumption is difficult to say. If so, the decision to leave more than one scene of this otherwise English-language film in untranslated Hebrew was poorly considered. Ludicrously, the end credits are interspersed with disingenuous anti-war messages like, “Instead of fighting one another we should fight those who make us fight.” A “special thanks” credit acknowledges the Broadcast Services of the Israeli Consulate for assistance in producing the film.

Yuval Ovadia

IDF veteran and Full Circle producer Yuval Ovadia

So far as this writer has been able to ascertain, the film has no listing at the Internet Movie Database, but the America-Israel Cultural Foundation website’s biography of one of its producers, Yuval Ovadia, gives information about a film titled Orphan of War which also seems to describe Full Circle:

Yuval Ovadia was born in Tel Aviv, Israel in October 31, 1965.

After serving 3 years in the Israeli army he flew to New York, planning to study filmmaking and acting in the best schools he could find.

In NY he studied at Lee Strasburg [sic] Institute, where he studied acting, singing and dancing. Later on he continued his studies at HB Studio, where he spent a long time under the late, famous Herbert Berghof and Bill Hickey. Then he studied all aspects of filmmaking at NYU Film School.

By the years 1996-1998 Yuval worked on a feature film called “Orphan Of War” – a 90 min, 35 mm Action/Drama, co-starring the legendary singer from Woodstock “Richie Havens” [who actually has only a tiny role]. In addition to co-producing this film, Yuval had starred in it, co-wrote the screenplay, edited, and came up with a music album called “Peaceful Circle” – based on songs from the film, which he produced together with Mr. Richie Havens.

[…] Yuval decided to go back to his roots and in 1999 he moved back from New York to Israel, were he got married and is having now 4 beautiful kids.

Full Circle, in short, seems to be as elusive as those notorious “Dancing Israelis” (creepily, Ovadia’s email address is listed as visual911911@gmail.com). The fact that the film is devoted to vilifying the Iraqi government, which would be overthrown by the Jew-puppeteered Bush administration in 2003 with September 11th utilized as the fraudulent pretext – in combination with the circumstance that the doomed Twin Towers make an appearance in the film along with a deck of tarot cards – adds up to Full Circle being a rather unsavory home theater experience. It may be worthwhile, however, for those with an interest in shitty action movies.

Rainer Chlodwig von Kook

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Between gigs as the smirkingly hip host of the “Weekend Update” on Saturday Night Live in the eighties and his present occupation as a soullessly carnage-enthused neocon radio maniac, Dennis Miller appeared in a handful of movies, one of which is the entertaining Tales from the Crypt Presents Bordello of Blood (1996), which followed Tales from the Crypt Presents Demon Knight (1995). Miller plays sleazy Jewish private dick Rafe Guttman, who is hired by prim Christian career woman Katherine Verdoux (Erika Eleniak) to find her brother Caleb (Corey Feldman), who has gone missing after visiting a whorehouse that doubles as a funeral home.

Bordello of Blood coverVampires, as this writer has discussed in further detail here and here, are symbolic stand-ins for the Jews; and Bordello of Blood, written by A.L. Katz and Gilbert Adler, who also directs, evinces a definite knowledge of this traditional understanding. Before being enticed into the vampires’ den of immortal vice, the mischievous Caleb is already doomed to a horrible fate. He does not share his sister’s Christian values, and wears a little Star of David patch on the back of his leather jacket. It seems to indicate that Caleb has been marked for death and foreshadows his later conversion into a happy-go-lucky parasite.

A further indication of the Jewishness of the vampire plague in Bordello of Blood is the choice of giving the name Lilith to the vampires’ queen (Angie Everhart). Lilith, in Hebrew mythology, is Adam’s rebellious first wife, the world’s earliest feminist, who told her husband, “I will not lie below” (i.e., with a man on top of her). In later elaborations of the Lilith myth, she has vampiric traits, and superstitious Jews feared her as a demon who preyed upon boys. In Bordello of Blood, a midget explorer (Phil Fondacaro) in the tradition of Indiana Jones restores Lilith to life, and hopes to keep her under control by means of a charm or “key” decorated with Stars of David. This prop, appropriately enough, is the key to understanding the film.

When Guttman goes to the whorehouse, posing as a horny customer so as to pick up some first-hand intelligence, he finds himself face to face with a vampire in dominatrix Tamara (Kiara Hunter), who of course intends to suck his blood. As Guttman begins to remove his shirt, she is horrified by what she at first mistakes for a crucifix, but is relieved to discover is only a Star of David pendant, to which vampires are clearly immune – another of the film’s indications of the affinity between Jews and vampires. Guttman, however, has no patience for Tamara’s sexual pushiness and succeeds in turning the tables on her and making his escape. During a later adventure, Guttman tracks the gore-gobblers to an abandoned factory, where he remarks, “I’m gettin’ some really bad juju off this place” – which is, of course, to say “Jew-Jew”.

Bordello of Blood key

The “key” to Bordello of Blood

Another interesting feature of Bordello of Blood is Lilith’s relationship with a sleazy televangelist, Reverend Current, played by Fright Night’s Chris Sarandon. (The casting of an actor most closely associated with a vampire role as a Christian minister is itself highly provocative and intentionally insulting to Christians.) “You know, I can’t decide what to do with you,” the bloodsucking super-Jewess tells him in words that seem to resonate with a broader relevance to Jewish attitudes toward Christianity. “Should I kill you or let you live, make you my dog?” – by which she presumably means turning him into a John Hagee type of groveling Christian Zionist Shabbos goy. Lilith settles on the latter. “I want this sanctimonious shit to watch what happens now that I’m free,” she declares, referring to the sadistic, vampiric pleasure her kind derives from watching Christians squirm under the onslaught of the cultural rot inflicted upon them by the very ethno-parasites they revere as “God’s Chosen People”.

i_109_K57Current, though a corrupted man, is reluctant to acquiesce to such evil, and decides to stage a last-ditch effort to stop the vampires in their lair. “I, uh, I know I can’t fight you all, so I’ve come to join you,” he says – but just as no Jew can trust a Christian, no matter his protestations of good will, the vampires see through him and so the battle of the bordello commences, with Current and Guttman dispatching the Judaic creatures with holy water. The preacher, after containing his anti-Semitism for so many years, seems to experience a cathartic thrill in setting the vampire sluts ablaze, consigning them to the flames of a veritable whore-Holocaust. This sequence, significantly, plays out to the tune of the Sweet’s glam rock song “Ballroom Blitz” – the word “blitz” carrying a strong association with a certain European anti-Semitic initiative.

During the final confrontation with Lilith, which takes place in the TV studio where Current does his Christian crusade program, Guttman uses a laser to scorch a cross into the vampire bitch’s back, after which Katherine impales the hag with a populist pitchfork. A rabbi (Robert Rozen) then “consecrates” Lilith’s remains – this mumbo jumbo, one assumes, is some sort of “good Jew-Jew” – after which Guttman and Katherine are free to commence interfaith miscegenation – one of Bordello of Blood’s obligatory concessions to cultural Marxist expectations. A further surprise awaits the viewer, but this writer does not intend to spoil it.

Rainer Chlodwig von Kook

Read more about Jewish movie vampires:

Monsters We Do Not Need

The Vampire Elite

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Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-ONE

Electric Boogaloo

Like most men who grew up in the eighties, this writer has a treasure trove of fond memories emblazoned with the immortal Cannon logo. Producers of everything from musicals and dance exploiters like The Apple (1980) and Breakin’ (1984) to science-fiction weirdies like Lifeforce (1985) and the remake Invaders from Mars (1986), the Israeli moviemaking duo of director-visionary-madman Menahem Golan and “shrewd businessman” Yoram Globus is most closely associated with a string of classic over-the-top action movies including Enter the Ninja (1981), Death Wish 3 (1985), American Ninja (1985), The Delta Force (1986), Cobra (1986), and Cyborg (1989). The wild variety of the Cannon output furnishes much of the wonder of this documentary.

Lightning-paced and packed to the gills with interviews with an array of writers, directors, actors, and editors who share with the viewer their first-hand memories of this crazy company, Electric Boogaloo is a feast of film clips, archival footage, and funny anecdotes. At a disastrous preview screening of The Apple, for example, the complimentary soundtracks provided to the audience ended up being angrily thrown and embedded in the screen! Actor Alex Winter describes director Michael Winner as “a pathologically brutal, sadistic, insecure, egotistical character” who delighted in depicting rape, while Sharon Stone “was hated on the set [of King Solomon’s Mines (1985)]. All the South Africans hated her. She took a milk bath [and] they peed in the water.” Meeting with Clyde the orangutan from Every Which Way But Loose (1978), Golan is said to have turned to his female head of publicity and asked her, “Would you fuck this monkey?” Cannon staple Charles Bronson, meanwhile, is said to have insisted on being chauffered “about three feet from his dressing room” to the set in his personal Jaguar. “It was more like watching a man golf than act.”

Cannon catapulted to prominence (if not respect) in the industry through its formula of thriftily produced exploitation, outrageous content, and pre-sales chutzpah, the end coming when the company grew too big for its britches and tried to make extravagant special effects blockbusters conceived to rival major studio output but ended up with a list of duds like Superman IV: The Quest for Peace (1987) and Masters of the Universe (1987). Responsible for products ranging from turkeys like the midget-in-a-suit chimpanzee film Going Bananas (1987) to the highly regarded Runaway Train (1985), Golan and Globus receive praise and vitriol ranging from actress Martine Beswick’s opinion that they were manipulative, “rotten and horrid”, to director Franco Zeffirelli’s assertion that they were “the best producers I ever worked for.” It is these delicious contradictions of character and clashes of larger-than-life personalities that make the story of Cannon Films such a fascinating ride.

5 stars. Highly recommended. Ideological Content Analysis indicates that Electric Boogaloo is:

3. Multiculturalist. Adolfo “Shabba-Doo” Quinones recalls with pride how the Breakin’ movies brought the races together where even the United Nations had failed.

2. Zionist, endorsing the official War on Terror narrative. “In a way, [1985’s] Invasion U.S.A. was a very prescient film,” reflects editor Daniel Loewenthal. “We didn’t really think about terrorism, the terrorism was more of an abstract idea.” In fact, Cannon had a very conscious agenda of vilifying Arabs in the American consciousness, as evidenced by the portrayals in The Delta Force. Electric Boogaloo: The Wild, Untold Story of Cannon Films alludes to these unsympathetic representations, but approaches the subject with a sense of humor rather than seriousness. Menahem Golan’s birth name was Menahem Globus (he is Yoram’s cousin), but he changed it to Golan in celebration of Israel’s occupation of Palestinian land. They are also credited with helping to popularize the Jewish supremacist term of abuse “shiksa” with American audiences in their Elliott Gould vehicle Over the Brooklyn Bridge (1984).

1. Oy vey, scratch that last one – this movie is anti-Semitic! Golan and Globus are repeatedly described in terms that reek of Jewish stereotypes. Producer Pieter Van Brugge says, “There was always that wheeling and dealing and that wheeling and dealing was very much – I mean, they were Israelis, and they were defined by that culture.” Laurene Landon, star of America 3000 (1986), excoriates: “You people have a cash register where your heart should be.” Described as being “very conservative”, both Golan and Globus thought nothing of corrupting American morals with their cultural Marxist depravity, one interviewee summarizing their winning formula as “something minus good taste”. Editor Mark Helfrich recalls of The Last American Virgin (1982), “An abortion is being played with U2 music under it, and you go from a doctor performing an abortion to some guy cutting up pizza. […] That’s insane. That’s just nuts,” he goes on, adding, “For instance, after the abortion Gary brings her a Christmas tree and a bag of oranges. That must have meant something in Israel.”

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY

Kill the Messenger

Anybody with even a casual interest in conspiracy lore knows at least the outline of the true events that inspired this worthwhile film. Released on the heels of the Ferguson unrest of 2014, Kill the Messenger tells the story of San Jose Mercury News journalist Gary Webb (Jeremy Renner), who discovered that the 80s crack apocalypse epicentered in Los Angeles was facilitated by the Central Intelligence Agency through its sponsorship of the Nicaraguan contras.

Unlike any number of other media stories about police brutality, microaggressions, gentrification, hoodie scares, or other mysterious manifestations of racism and white privilege, Webb’s unsavory revelations give blacks good reason to be angry at their government’s actions. Webb made powerful enemies with his disclosures, which cut across partisan politics but incensed blacks in particular, and understandably so, given crack’s devastation of their families and neighborhoods. Kill the Messenger stops short of alleging that the CIA intentionally targeted black communities for destruction, but does highlight the particular blight these areas have endured.

Primarily, Kill the Messenger is the story of Webb the man, whose life and career were irreparably damaged by the titular smear campaign. Tastefully, but admittedly somewhat disappointingly, the movie leaves to viewers’ imaginations the question of whether Webb, as the official version goes, committed suicide by shooting himself twice (!) in the head or was murdered by some New World Order assassin. Renner is intense as Gary Webb, and the use of actual television news reportage of the day – including CIA shill (and current Ben Carson foreign policy advisor) Duane Clarridge’s jaw-droppingly stupid and smarmy reaction to Webb’s allegations: “Don’t give me that conspiracy bullshit. […] There has never been a conspiracy in this country” – does much to enhance the impression of reality.

4.5 out of 5 stars. Ideological Content Analysis indicates that Kill the Messenger is:

6. Non-partisan. Both Republicans and Democrats are implicated, as is indicated by the opening montage.

5. Pro-gun. Webb keeps a handgun in his home and uses it to scare a spooky prowler away from his car.

4. Drug-ambivalent. Webb and his wife (Rosemarie DeWitt) smoke weed, but a visit to South Central Los Angeles underscores crack’s social ravages.

3. Media-critical. After initially celebrating his breakthrough, Webb’s fellow journalists either distance themselves from him or devote themselves to discrediting his work.

2. Anti-state. This writer must not have been paying attention during his high school civics class when the teacher explained how it was the government’s responsibility to import hard drugs into the country.

1. Borderline anti-Semitic! Richard Schiff plays Richard Zuckerman, a CIA asset and shill utilizing The Washington Post to trash Webb’s credibility. Tim Blake Nelson plays sleazy attorney Alan Fenster, who, while lending crucial assistance to Webb’s investigation, comes across as the stereotypical lawyer who insists even in private conferences on referring to his client “Freeway” Rick Ross (Michael K. Williams) as merely an “alleged” drug dealer. Oliver Platt, meanwhile, appears as Mercury News executive editor Jerry Ceppos, who at first defends Webb’s work but then wimps out in the face of the media firestorm. Perhaps to compensate for these unappealing characterizations, both Webb and his wife as visualized in the movie are darker, less Nordic-looking figures than the biographical subjects.

Gary Webb

Gary Webb

Jeremy Renner

Jeremy Renner

 

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY FOURTEEN

The Gambler

Mark Wahlberg is Jim Bennett, a professor of literature with inherited wealth, good looks, style, and brilliance, but who, for enigmatic reasons, “likes to lose” and seems to be determined to ruin himself. “You are the perfect example of how a person can start off with no problems whatsoever and then go out of their way to make sure that they have all of them,” diagnoses one of his students. Bennett’s poison of choice is gambling and consequent debts to gangsters. The current of self-destruction that runs through The Gambler would make it an unpleasant film to watch if not for its hypnotic quality.

It is difficult not to discern in this movie a metaphor for European civilization’s self-immolation and its potential for resurrection. Indebted to Jewish, Asian, and black gangsters to the tune of something like $500,000, his survival, thanks to his own reckless regimen of self-loathing, depends upon an urgently needed combination of fortune and will power. Will Bennett ever catch a winning hand – and, if so, will he be satisfied with it? Finding out is an idiosyncratically entertaining and anxiety-ridden experience, though the “fuck”-saturated dialogue, one should mention, will not appeal to every viewer’s taste.

[WARNING: SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that The Gambler is:

7. Immigration-ambivalent. “Do you have a problem – wah, wah, wah – like some little fuckin’ girl – wah, wah, wah – or some Somali who can’t process that there’s no food where they live?” This ambiguous statement might suggest either that Somalis are stupid – and therefore undesirable as immigrants – or that they are validated in seeking better lives for themselves in the West.

6. Class-conscious. “Poor people stay poor people,” alleges one of the songs on the soundtrack.

5. Sexist! “Please, tell me you hit your wife harder than that, you fuckin’ pussy.”

4. Reactionary, dispelling egalitarian myths about the power of education. “If you’re not a genius, don’t bother.” Bennett suggests that his bored students are angry over “unequal distribution of talent” and tells them, “If you don’t have the magic, no amount of wishing will change that.” He goes on: “When you leave here today, call your parents and tell them you apologize for wasting their time and more importantly wasting their money, sitting in this classroom learning absolutely nothing.” Genetics is described as “a cruel motherfuckin’ mistress.”

3. Racist! “You know, they expect me to pass you regardless,” Bennett confides to a star basketball player (Anthony Kelley) taking one of his classes. “They want me to give you a passing grade so you can keep going out there and bouncing that basketball around.” Frank, John Goodman’s Jewish gangster character, uses the derogatory term “schwarze” to refer to blacks.

2. Anti-American. “The United States of America is based on ‘Fuck you!’” This position of power, however, has been “lost forever”, and King George III, in retrospect, “looks like a fuckin’ birthday present.” Bennett says of his condition, “If I get to nothing, then I can start over.” He demands an extreme – victory or death – just as western man, presented with no healthy outlets for his manly and his honorable impulses, will fall into dissolution and lose his will to live.

1. Anti-Semitic! Bennett emancipates himself from his cycle of self-destruction by freeing himself from the grip of the Jew Frank, a disgusting blob with an amateur interest in psychoanalysis, whose clout derives from debt, and who threatens the protagonist as follows: “You will get me not just what you owe me from your family. You will get me their accounts so I can have them vacuumed from Russia. You jump off a bridge, you can do it knowing I will kill your entire bloodline.” He expects Bennett to repeat the words “I am not a man” – to verbally castrate himself, in effect – as a condition for one of his loans. For the curious, The Gambler was written by William Monahan, who also penned the screenplay for the great populist Mel Gibson thriller Edge of Darkness (2010).

Rainer Chlodwig von Kook 

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