Archives for posts with tag: Coen Brothers

Council on Foreign Relations creature Angelina Jolie directs Unbroken , a.k.a. (as it shalt be known for the purposes of this cinematic exegesis) The Unbroken Passion of G.I. Goy, the Judeo-Christian fable of Olympic athlete Louis Zamperini (Jack O’Connell), his war service to organized Jewry, and his long and not particularly interesting tenure as a P.O.W. Equal parts war movie, survival story, and prison film, The Unbroken Passion of G.I. Goy’s most satisfying passage is the section in which Zamperini and two other survivors of a plane crash are stranded at sea for more than a month in a lifeboat. For the remainder of the film, Zamperini stoically endures forced labor and regular torture at the hands of the Yellow Peril. One might have expected something more engaging (or at least more divertingly offbeat) from screenwriters Joel and Ethan Coen, but what the audience gets is tolerable, if judged by the standards of neocon fodder.

3.5 out of 5 possible stars. Ideological Content Analysis indicates that The Unbroken Passion of G.I. Goy is:

4. Sodomy-ambivalent. Showing their solidarity with the globalist gay agenda, P.O.W.s put on a drag show. A pox on progressive internationalist Angelina Jolie, however, for resorting to the cookie-cutter homosexual villain type in the characterization of Commander Watanabe (Takamasa Ishihara). Shame on her and the Coen brothers for their clearly unreconstructed Hollywood hetero-fascism!

3. Pro-immigration. Zamperini serves as the poster boy immigrant son whose mother still speaks Italian. Bigoted Anglo-Saxon boys pick on him and call him a “wop”, unaware that he will go on to become a war hero and suffer his Unbroken Passion for all of their sins of WASP privilege. Even his underwhelming eighth-place finish in the 5,000 meter race at the Berlin Olympics is treated as an immaculate triumph for America, democracy, and equality, a companion feat to that of fellow diversifier Jesse Owens (Bangalie Keita), and the film actually attempts to give the impression that the crowd in Olympic Stadium is cheering for Zamperini.

2. Ostensibly Christian. Zamperini, initially an agnostic or atheist, is eventually moved by the Spirit to become the personal Jesus of his fellow P.O.W.s. In the triumphant moment of his Unbroken Passion, Zamperini is made to lift a cumbersome beam, the framing unsubtly calling to mind Christ’s bearing of the cross, after which he must stand crucifixion-like with it or be shot by the sadistic Jap-Romans.

1. Pro-war. The opening shot of The Unbroken Passion of G.I. Goy is a dreamscape of clouds accompanied by the singing of a chorus as of angels. Soon the angels materialize as American bombers doing the righteous bidding of FDR’s Yahweh-state. In The Unbroken Passion of G.I. Goy’s most laughable scene, a P.O.W. falls to his knees and weeps on hearing the news that FDR has died. Oh, no! God is dead! Yes, seventy years later, the Jew World Order is still cranking out stupid WW2 propaganda movies – in other words, hardcore porn for folks like the annoyingly coughing old Tea Party type who sat behind this reviewer and commented with a reverent and wistful air during the trailer for Selma that “if they hadn’t killed him, things’d be different today.”

Make no mistake: the tableaux of ruined Jap buildings and bodies is included not to evoke sympathy for the victims of Allied war crimes, but as a warning of what can be expected to befall any Eastern powers attempting to resist the will of ZOG. (Malaysian jet pilots, are you reading this?) The detail that the Japanese have beheaded some prisoners is no doubt intended to engender a subconscious psychological continuity between the viewer’s experience of the still highly marketable “good war” against nationalist Europe and Japan and the current money pit conflict against “ISIS” (Israeli Secret Intelligence Service?).

Rainer Chlodwig von Kook

killer joe

Whereas 2006’s Bug was an interestingly novel but frustrating film, this second collaboration between playwright/screenwriter Tracy Letts and director William Friedkin is an essentially perfect work of art and probably the greatest product of Friedkin’s career – which, in view of the fact that said career also includes The French Connection and The Exorcist, is praise of an unusually high magnitude.  An ironical study of human folly and avarice in the mode of the Coens’ Fargo, but resembling Oliver Stone’s U-Turn, Sling Blade, or No Country for Old Men more in its climate and milieu, Killer Joe is an elegantly and wickedly realized adaptation of a crime story in the pulpy and noirish tradition, and is brought to wonderful, vibrant life by the year’s finest assemblage of actors.

A stylized black comedy focusing on a Texas white trash family, Killer Joe surprises in not approaching its subjects with the expected Hollywood condescension, but in allowing even the dumbest and sleaziest characters their due degree of human dignity and consideration.  Emile Hirsch plays Chris Smith, a loser and gambler deep in debt to loan shark Digger Soames (Marc Macaulay).  His not-so-bright solution is to hire a hitman, policeman Joe Cooper (Matthew McConaughey), to kill his divorced good-for-nothing mother and collect on her life insurance policy.  Chris’s dimwitted father, Ansel (Thomas Haden Church), childish, enigmatic sister Dottie (Juno Temple), and whorish step-mother Sharla (Gina Gershon) are willing to go along with the plan; but when Chris and Ansel are unable to meet the killer’s condition of pay up front, Joe decides to take Dottie as his “retainer”.  This being a noir world, nothing goes as planned.

In The Manchurian Candidate, Raymond Shaw (Laurence Harvey) explains that, “the human race is divided into two distinct and irreconcilable groups: those that walk into rooms and automatically turn television sets on, and those that walk into rooms and automatically turn them off.”  Joe Cooper, in Shaw’s paradigm, is the serious man, the one who always walks into a room and switches off (or smashes) the television.  “I’m real,” he says to Dottie.  Joe is also an increasingly threatening and problematic figure for the Smith family, particularly after he shows himself content to keep his “retainer” indefinitely.

Killer Joe is insightfully cast.  Emile Hirsch is an obviously foredoomed man from the moment he first appears, while Matthew McConaughey displays a surprisingly icy, intimidating side.  Thomas Haden Church is both hilarious and melancholic, and quirky Juno Temple may have the prettiest, sweetest face and voice on the planet, the perfect sexual foil for scarily masculine Joe.  Gina Gershon is a national treasure and has the potential in coming years to become something approximating her generation’s Karen Black.  One of the great sexpots of the 1990s, her charisma and animal appeal remain undiminished; her age, if anything, has enhanced her capacity for juicy character parts, so that one can only look forward to the roles of her further maturity.

Gershon’s instantaneously immortal and deservedly notorious fried chicken moment is only one of many evidences of Killer Joe‘s unwillingness to pull its punches or compromise.  A violent film that in no way glorifies violence, Killer Joe‘s view of the human condition is a sophisticatedly absurdist one, with the chicken scene being the most grotesquely brilliant depiction of proxy object fellatio since Roger Watkins’s Last House on Dead End Street.   Whether the scene is gratuitously cruel and intended for mere shock value, or whether it rather has some thematic relevance and meaning is something viewers should enjoy contemplating for themselves, and will probably (or at least ought to) be a point of reference for film fans in perpetuity, much in the same way that the backwoods rape in Deliverance or the nuclear bomb ride in Dr. Strangelove have entered the cultural psyche.

One of the best films of 2012, Killer Joe receives five stars and the highest possible recommendation.  Ideological Content Analysis indicates that the film is:

5. Pro-drug.  Use and trade in illegal drugs is a reality of average Americans’ lives and as casual a recreational comfort as beer.

4. Neurosis-critical.  Obsessive health consciousness and the ubiquity of empty sexual imagery have turned America into a basket case, with fast food, consequently, becoming the new pornography.

3. Anti-Christian.  The unthinking invocations of Jesus and God; the crucifixes decorating Ansel and Sharla’s trailer; the rote and meaningless funeral ceremony for a woman whose death was welcomed by the attendees – all are representative only of the obviously ineffectual superficiality of these people’s beliefs.

2. Anti-slut.  Sharla is in for some major pain and hideous humiliation.

1. Anti-state/anti-police.  Dallas police officer Joe moonlights as a hitman and says he likes vicious loan shark Digger.  The ease with which Chris acquires a gun illegally serves as a reminder of the futility of gun control legislation.

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

A Vote Will Never Negate Nature...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!