Archives for posts with tag: Gravier Productions

Magic in the Moonlight

With Magic in the Moonlight, degenerate Jewry’s auteur laureate Allan Konigsberg (alias Woody Allen) returns to his beloved Jazz Age and to the theme of the enchantment in life and love that began to preoccupy him sometime around A Midsummer Night’s Sex Comedy (1982) – as well as to the contested existence of God, a subject that has obsessed him throughout his career. Colin Firth plays a celebrity illusionist invited to debunk spiritualist Emma Stone. The results, pleasantly enough, are quintessential Woody – witty, romantic, and generally wonderful. Blu-ray was invented to showcase Emma Stone’s immaculate, strange, and exquisite face. Highly recommended.

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that Magic in the Moonlight is:

6. Anti-family. Stone’s father abandoned her.

5. Class-conscious. “Unlike you, we’re members of the working class.” Emma Stone’s character comes from a much humbler background than those who patronize her services as a spiritualist.

4. Racist! Firth refers to Stone’s “confused black little criminal’s heart”. Konigsberg is hereby sentenced to make amends by appearing in Tyler Perry’s next Madea vehicle.

3. Anti-Semitic! “Hoodwinking is what we do,” confesses the hero’s trusted Jewish magician colleague Burkan (Simon McBurney), who presents himself as an exposer of hoaxes but turns out to have been a conman himself and a traitor to his friend. He is motivated, he concedes, by “envy and resentment”.

2. Redpilled. Stone rejects fawning, ukulele-strumming beta male suitor Hamish Linklater in favor of masculine, dignified Colin Firth.

1. Agnostic. “I think Mr. Nietzsche has disposed of the God matter rather convincingly.” Or has he? Maintained throughout is a tension between protagonist Firth’s rational understanding that spirituality is a fraud “from the séance table to the Vatican and beyond” and his simultaneous longing for some transcendence. Is it true that “happiness is not the natural human condition”? Is willful ignorance really bliss? “You were much happier when you let some lies into your life, Stanley,” Konigsberg seems to want to suggest with Magic in the Moonlight.

Rainer Chlodwig von Kook

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Blue Jasmine

Embarrassing for a white nationalist to admit, Jewish pervert Allan Konigsberg (alias Woody Allen) remains one of this writer’s favorite directors despite the auteur’s corrosive persona and poisonous cultural influence. Now, with Blue Jasmine, the seriocomic pedo-provocateur furnishes Cate Blanchett with her best and strongest role to date as the fallen Park Avenue socialite spouse of sleazebag Wall Street operator Alec Baldwin, who, after being caught “up to his ass in phony real estate and bank fraud” and committing suicide in prison, has left her penniless, alone, and psychologically brittle. Moving in with her blue collar adopted sister Ginger (Sally Hawkins) in San Francisco, Jasmine struggles to adjust to her lowered station in life – a situation Konigsberg expertly fondles, balancing audience schadenfreude with surprising sympathy. The cast is perfect, the jazz is hot, and Woody is in top form. Fans will enjoy.

5 stars. Ideological Content Analysis indicates that Blue Jasmine is:

7. Drug-ambivalent. “You drink, you become a jerk.” Characters imbibe throughout, sometimes to the impediment of their judgment. Overcoming addiction is presented as an accomplishment, but Blue Jasmine constantly runs the risk of promoting a kind of nervous breakdown chic given how good Blanchett looks in the film – at least until the concluding scenes, when her traumas and bad habits show on her face. “Have you ever gotten high on nitrous oxide?” asks randy dentist Dr. Flicker (Michael Stuhlbarg).

6. Liberal. “The government took everything,” moans hypocrite Jasmine. “The first thing you gotta know,” her husband earlier warns, “is how to not give half your money to the government.” Resistance to taxation and redistribution of wealth is thereby framed as the scheming of a white financial criminal to avoid paying his fair share of the common burden. Working for the State Department, meanwhile, is “glamorous”.

5. Multiculturalist. New York and San Francisco appear as peaceful and orderly multi-ethnic metropolises. A note of discord is struck when Jasmine, working as a dentist’s receptionist, snaps, “Can you just put someone on [the phone] who speaks better English?” Presumably, though, this is only supposed to mark the character as a bit of a bigot instead of a person with a valid dislike of America’s multicultural experiment.

4. Pro-miscegenation. The film includes multiple white/Asian pairings. In one scene, a white man and Asian woman gawk in bemusement as Jasmine hallucinates and talks to herself. The mixed couple is thus the face of normalcy, the fair Nordic that of pathology.

3. Pro-slut. “It’s not like we’re engaged, so, you know, I’m free.” Ginger, quickly seduced by a man she meets at a party, shamelessly discusses her sex life within earshot of her children.

2. Anti-marriage. Baldwin plays a serial philanderer. Jasmine says her sister’s husband “used to hit her.” Louis Szekely (alias Louis C.K.) plays another cheater.

1. Crypto-Zio-capitalist. As with Arbitrage (2012), The Wolf of Wall Street (2013), and Assault on Wall Street (2013), it is the hated European gentile male and not the Jew who serves as the representative figure in financial shenanigans. “Jesus Christ almighty,” Konigsberg’s script has “philistine businessman” Baldwin gripe when arrested. Jews instead come across as the victims, with Baldwin bilking brother-in-law Andrew Clay Silverstein (alias Andrew “Dice” Clay) and his ostensibly Catholic but Jewish-looking and therefore subtextually Semitic wife out of all of their lottery winnings and savings. Audience sympathy is generally with the down-to-earth crypsis-Jews rather than with the snooty elitist blonde. Hilariously, Baldwin’s innocently idealistic Ivy League son and heir Danny, who rejects him after learning of his fraudulent dealings, is played by a Jew, Alden Ehrenreich. All of this, of course, only serves to obscure the reality of Zio-financial hegemony and Jewish supremacism.

Rainer Chlodwig von Kook

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