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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY EIGHTEEN

Captain-America-The-Winter-Soldier

Just like the Second World War dinosaur he is, “fossil” super soldier Steve Rogers is resurrected Jurassic Park style and unleashed on the twenty-first century to once again wreak havoc for the sake of the planet’s “freedom”. Actually not nearly as bad as this writer assumed it would be – and pretty exciting, actually – Captain America: The Winter Soldier shows slightly more nuance than one tends to expect from the public’s periodic dose of warmongering World War 2 fetishism. Action sequences and special effects are top-notch, with one particular highway throwdown recalling the epic mayhem of The Matrix Reloaded, and costar Scarlett Johansson – herself a special effect of sorts for those with a taste for the tawdry – makes a peppery foil for wholesomely handsome lead Chris Evans.

4.5 out of 5 stars. Ideological Content Analysis on Captain America: The Winter Soldier indicates that it is:

7. Feminist, showcasing the talents of the obligatory “kick-ass girl” in S.H.I.E.L.D. agent Scarlett.

6. Pro-gun. Nick Fury tells an anecdote about how his grandfather carried a pistol for protection in a rough neighborhood.

5. Multiculturalist. Sassy Samuel L. Jackson diversifies the role of Nick Fury. Rewriting history by ignoring the fact that armed forces were segregated during the Second World War, a Smithsonian exhibit shows Captain America with his fellow “Howling Commandos”, among whom are a black and an Asian.

4. Pro-miscegenation. Cap exchanges spit with greasy-lipped Jewess Scarlett.

3. State-ambivalent, accepting the basic benevolence of the intelligence community, but warning against the encroachments of domestic surveillance. The script is also tolerant of illegal black ops, with Fury supposedly having “saved the lives of a dozen political officers” with an unauthorized incursion on foreign soil. The trouble is that this sort of thing has gotten out of hand and given rise to unaccountable deep state structures.

2. War-ambivalent. Cap is uncomfortable with Nick Fury’s neocon philosophy of preemptive war. “We can’t afford to wait,” says Fury, who invokes “New York” (i.e., 9/11). “We’re gonna neutralize a lot of threats before they even happen.” Cap’s sidekick Sam (Anthony Mackie), who now works as a counselor for returning servicemen, reflects on the War on Terror: “I had a really hard time findin’ a reason for bein’ over there, you know?” The movie’s ostensibly anti-war sentiments, however, are revealed to be disingenuous by its endorsement of the myth that America “saved the world” in World War 2. For the final battle, Captain America ditches his drab newfangled threads for the bright primary colors of his glory days fighting the Third Reich, the idea being that this return to the ideals of the brainwashed “Greatest Generation” is the spirit that will renew the country’s greatness.

1. Zionist. Hollywood goes full Alex Jones in Captain America: The Winter Soldier, with secret Nazi conspiracies, Orwellian control grids, and MKUltra-style mind control programs enlivening the plot, which concerns crypto-fascist S.H.I.E.L.D. faction Hydra and its attempt to implement a “New World Order” of total government mastery over the populace through a preemptive dissidence detection algorithm. S.H.I.E.L.D. is an interesting name for a globalist action force for good, considering that “Rothschild”, the name attached to the infamous Jewish banking octopus, translates from the German as “Red Shield”. In Captain America, S.H.I.E.L.D. is well-intentioned and ruined only by Hydra, the Nazi “parasite” in the intelligence community’s midst. This is clearly a boldfaced reversal of ethnic realities, and the movie even appears to allude to this Jewish ruse, with the Jewiest Jew of them all, Garry Shandling, putting in a comedic cameo as a crypto-fascist who furtively whispers “Hail Hydra” to one of his associates. All of this, of course, will fly over the heads of the vast majority of the goyim who watch it just to be thrilled by the comic book action.

Rainer Chlodwig von Kook

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Baseball’s black deity, Jackie Robinson, gets the big screen treatment again in 42; and, with the exception of some suspensefully staged ball-playing sequences, it is a thoroughly pedestrian, by-the-numbers portrait of an uninteresting but inspirational figure who is less a living, breathing human being than the inspirational embodiment of an inspirational ideal.  For the most part, this inspirational film is a repetitive series of inspirational scenes in which whites express schock, hostility, and ultimately admiration as the inspirational Robinson (Chadwick Boseman) encounters and inspirationally overcomes racist adversity; provides inspiration to fellow blacks; or inspirationally embraces his wife (Nicole Beharie) and tells her he loves her – all as the mandatory inspirational strings and brass inspirationally swell and soar at appropriately inspirational moments.

Chadwick Boseman, who resembles a young Wesley Snipes, is adequate but less than revelatory in the role of Jackie Robinson; although, to be fair, such lackluster material would probably challenge and stump any actor to make something interesting of it.  The same goes for Nicole Beharie as his wife and Andre Holland as sportswriter Wendell Smith.  Geriatric, bespectacled Harrison Ford affects (?) a raspy grumble as color-blind Branch Rickey, the lovable old voice of morality at the heart of the film, and is probably 42‘s most notable asset.

Unfortunately, writer-director Brian Helgeland has some things to learn about crafting crowd-pleasing narratives of racial emancipation in these post-Django times.  For instance, in a locker room scene, Robinson confides to fellow Dodger Ralph Branca (Hamish Linklater) that he waits and showers after his teammates rather than joining them because he wants to avoid making any of them uncomfortable.  Inexplicably and inexcusably omitted is what ought, again in this post-Django age, to be the obligatory reference to why Robinson defers in the matter of showers.  The truth, of course, as every intelligent viewer of 42 must know, is that the wise and humble Robinson fears frightening the scurrying whites by unparking his jurassic prick – and yet, when Branca eventually persuades Robinson to shower with them, nothing so much as a bug-eyed reaction shot or a double-take is inserted to indicate the inspirational monstrousness of our hero’s penis.

In simpler, happier, less degraded times, Helgeland penned one of this reviewer’s favorite horror films, 1988’s 976-Evil.  One can only assume that his fee for that script was an infinitesimal fraction of the price he commands as a screenwriter today in the Hollywood major leagues; and yet, to have fallen from those satanic teen horror heights of the 1980s to churning out boring p.c. fluff to indoctrinate the masses demands serious consideration of one implacably flame-engulfed question: is the money really worth it? – for what shall it profit a screenwriter if he gain Hollywood and lose his individuality in the process?

2.5 of 5 possible stars.  Ideological Content Analysis indicates that 42 is:

9. Anti-Catholic.  A Catholic youth group’s sanctimonious meddling loses adulterous Leo Durocher (Christopher Meloni) his job.

8. Pro-marriage/pro-family.  Them was differnt times, y’understand.

7. Anti-science.  Study of human biodiversity is made the stuff of mockery when one pressman laughs at another for suggesting that blacks’ longer heel bones give them an unfair physical advantage in baseball.

6. Capitalist – albeit probably inadvertently.  42 presents a sympathetic portrait of businessman Branch Rickey, president and general manager of the Brooklyn Dodgers.  While Rickey’s motive for integrating baseball is, as he explains, motivated by his desire to right a moral wrong, he is also taking the risk to satisfy the niche market of black baseball fans.  More importantly, 42 demonstrates the ability of the market to regulate civility and race relations without the interference of government agencies.  When Robinson’s old team the Kansas City Monarchs stops at a filling station and the attendant forbids him to use the whites-only restroom facilities, Robinson threatens on behalf of the club to take their business elsewhere – so that the attendant, fearful of losing the money these black customers represent, relents and allows Robinson to relieve himself.  Viewers are thus reminded that before affirmative action and the Civil Rights Act of 1964 there were healthy competition, choice, and consequently stronger private property rights.

5. Multiculturalist/pro-wigger.  In an inspirational turn, more and more whites respond positively to Robinson’s inspirational trailblazing.  Rickey relates to Robinson an anecdote about how he saw a young white boy at play and pretending he was Robinson – a white boy wanting to be like a black man!  How . . . inspirational.

4. Anti-South/anti-white.  Florida hicks threaten to attack a house where Robinson is staying.  Throughout 42, the southerner’s drawl might as well be the mark of the Beast, and there is actually a character listed in the credits as “Cracker”.

3. Black supremacist.  A previously skeptical racist, after seeing him play, concedes that Robinson might after all be a “superman”.  A reporter speculates that blacks will run whites right out of the game.  A little black boy (Dusan Brown) who shows up occasionally for cutesie points, always starry-eyed over Jackie Robinson, demonstrates blacks’ superior vocabulary by saying “discombobulated”.

2. Christian.  Rickey invokes the Bible more than once and compares the necessities of Robinson’s task to the prescriptions of Jesus Christ.  “Life Is a Ball Game”, the gospel song that plays as the credits roll, informs viewers that Jesus is waiting for Robinson at the home plate.

1. Anti-racist/anti-fascist/progressive (i.e., pro-yawn).  A trite narration opens the film, perpetuating the myth of the “greatest generation”, celebrating America’s “victory” over fascism in WW2, and explaining to the audience how blacks, despite being especially responsible for this “victory”, returned home only to face the atrocities of Jim Crow era segregation.  Rickey later equates the war against the Nazis with the civil rights struggle at home, the implication being that racist southerners and other internal opponents of integration are just like the Nazis – an enemy to be destroyed.  A group of racist teammates creates a petition objecting to Robinson’s presence in their game, dubbing this document the “Brooklyn Dodger Declaration of Independence” and in this way associating the country’s slave-owning founders with a heritage of racism shared by the KKK and the Nazis.  “A Jew probably wrote that,” racist Phillies manager Ben Chapman (Alan Tudyk) scoffs when confronted with an editorial scolding him for his shameful baiting of Robinson – a reminder that blacks and Jews are in it together when it comes to combating and exorcising the pale racist specter that haunts America.

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