Archives for posts with tag: Michael Savage

DoggieB

Pat Buchanan has said, “If you want to see what the future of America is going to look like, I think you ought to look at California.”  San Francisco – or, as Michael Savage would have it, San Fransicko – is one of the most progressive cities in the Golden State; and if the cinematic acid trip Doggie B, aka Doggie Boogie: Get Your Grrr On!, serves as any kind of mental health forecast for the country as a whole, then these Disunited States are definitely nightmare-bound.

Doggie B introduces children to Peter Wolfe (Scott Cox), a gay San Francisco man who, apparently having despaired of finding love in the AIDS capital of California, has devoted his life to dancing with dogs, even going so far as to make it his life’s calling and dancing with his dog professionally in competitions with other dog dance teams.  His dream of interspecies Astaire-and-Rogers-dom is cruelly dashed to pieces when evil competitor Gertrude Spinner (Bettina Devin) causes him to have an accident with his dog, which drives Peter into a downward spiral of junk food obsession and gloom.  Fortunately for everyone (excepting the viewer, that is), his niece Cassie Barbizon (Jesse Draper) has a more optimistic outlook and hopes to pick up where her uncle left off, with puppy Pijo as her partner.  Complicating her blueprint for self-actualization is Cassie’s mother, ambulance-chasing attorney Karen Barbizon (Barbara Tintori), who expects her daughter to follow in her footsteps by studying law.

Doggie B plays a bit like a Rick Sloane film sans the nasty humor (minus the good parts, in other words), with Gertrude recalling cartoonish villainesses Queen Bee and Malathion from auteur Sloane’s Vice Academy series. That a film about dog dancing proves to be less than spectacular can hardly come as any surprise, but the autistic canines in Doggie B have little to do and evince an unusually low level of animal charisma.

Doggie B does, however, have two major strengths in its favor. The first is its amazing visual flair, with no inch of footage escaping without generous splashes of color and zaniness, whether in the art direction or the actresses’ coifs and costumes that at times make the film appear to be peopled entirely by auxiliary members of the B-52s.  The second thing this film has going for it is its cast of colorful, perky character actresses.  Men hoodwinked into renting Doggie B for their children can be consoled at least that, while they are certainly in for a long and grueling haul, there are several attractive actresses in the film, with tall, shapely Jesse Draper quite the knockout, other kooky San Francisco ditzes looking very edible, and scary Bettina Devin perhaps appealing to fetishists of the mature.

A star and a half.  Ideological Content Analysis indicates that Doggie B is:

9. Anti-Christian.  This film’s good book is the “Dog Dance Bible”.

8. Anti-drug.  Gertrude has secretly been injecting her dance partner with “doggeroids” from a glowing green Re-Animator syringe.  Though there appear to be no adverse effects for the dog, the doggeroids, it turns out, are extremely damaging to a woman’s complexion.

7. Multiculturalist/pro-immigration.  A nice Caribbean (?) doctor introduces Cassie to holistic dog therapy after an old white doctor proves ineffective at treating Pijo’s malaise.

6. Pro-gay.  Though his orientation is never made explicit, Peter’s choice of costumes (beginning with the sweater tied around his shoulders and ending with his climactic John Travolta leisure suit) and make-up for his performances leave little room for doubt.  He wipes his mouth in disgust after a cute fag hag plants a big juicy one on him.  The whole film is a fabulous high camp fever dream.

5. Racist!  Doggie B perpetuates the Magical Negro stereotype with a kinky-afroed black yogi-priestess who can communicate with dogs.  Jews are mercenary, neurotic, and cynical, with personal injury chiseler Karen getting excited at hearing about a terrible car pile-up.  Her practice’s slogan is, “Get hit, get rich quick.”

4. Pro-miscegenation, breaking down prejudiced species barriers.  Doggie B blazes trails by proving that canines are suitable dance partners for Jews.

3. Individualist.  “Mom, this is not about you,” Cassie tells her mother prefatory to her intention of going for the gold with Pijo.  “Believe it or not, I’m growing up.  I’ve changed.  I’m creating my perfect life.”

2. Pro-family.  Despite disagreements, relatives maintain ties, share affection, and help each other.  Parents concerned about adult content are, however, alerted to the off-color inclusion of a sexual slap on the butt.  Also, Cassie’s love interest Roman (Patrick Alan Davis) says to her at one point, “You look hot – I mean, it’ll stand out on the dance floor” [italics added].

1. New Age.  “This stuff really works!” Cassie exults after taking Pijo to Shangrrrla, a clinic for dogs where their spirituality finds alignment.  At Shangrrrla, too, the viewer learns that, “In rare cases, when our souls are wounded, certain quite special dogs become spiritual healers.”  Peter wears an ankh during his climactic routine, which begins with his emergence from a giant disco ball in the shape of a dog’s head, the lowering of which occasions a kind of religious experience in the crowd.  San Francisco’s hippie drum beaters also put in a cameo.

The Dark Knight Rises is flawed, but can hardly be faulted for not giving its all.  If anything, it feels like too much movie squeezed into too little time, so that nearly every scene in this long but fast-moving film feels abbreviated.  It probably would have needed to be at least twice its length to develop all of its ideas and tangents satisfactorily, and I wouldn’t have minded at all if that had been the case.  A gloomy, brooding opus with adult themes, this is by no means a superhero film for the kiddies, and it may not leave you with a smile on your face; it will, however, give you a lot to consider.  I give it 4.5 of 5 stars for its ambition, atmosphere, and awesomeness of vision.  So much power has never before been generated by the simple sight of an underdog climbing a wall in combination with rousing music.

Ideological Content Analysis indicates that The Dark Knight Rises is:

7. Mildly pro-green.  Bruce Wayne looks forward to the day when a clean energy source can be safely unveiled for public consumption.

6. Feminist.  Catwoman repeatedly allows men to underestimate her and then takes advantage of them.

5. State-skeptical.  Authorities are too often given to self-aggrandizement and poor judgments.  The sinister Dent Act, meanwhile, has ushered in draconian measures to fight crime.

4. Pro-police.  Despite the above note, police are depicted as mostly admirable and self-sacrificing heroes.  They are, however, human, and some are prone to terrible errors.

3. Pro-vigilante.  Police aren’t always enough.

2. Persistent in perpetuating the idea that angry white males pose our scariest terrorist threat – with which many, after the recent massacre, would probably concur.

1. Capitalist.  Despite Michael Savage’s ignorant assertion that responsibility for the Aurora massacre belongs to this film and to Hollywood, “the ones who gave us Obama”, The Dark Knight Rises is actually a cautionary tale about the bankruptcy of class warfare politics and where it leads a society.  Despite the initial, naive flirtation of some characters with wealth redistribution of one sort or another – burglaress Catwoman has no sympathy for the rich, and some police are even reluctant to intervene when Bane targets Gotham’s stock exchange – the romantic illusions crumble when socialism shows its true colors in practice.

Bane, an eloquent fraud who poses as a messianic revolutionary but is actually a former mercenary and nihilistic madman, promises “hope” (with a capital H, perhaps?) to the people of Gotham while leading them over the brink and into moral anarchy and authoritarian red terror with his unquestioning lynch mob of slavish occupiers (capital O, perhaps?).  The only thing missing is the guillotine, with a punitive stretch of (metaphorically?) thin ice substituting.  The Dark Knight Rises favors redistribution, but only of the strictly voluntary variety.  Bruce Wayne, the film’s representative billionaire, is not only a hero and a formidable philanthropist, but also demonstrates the fluid membership of the 1% when his fortune is dashed in one fell swoop.  There are other hues and complexities to the class question as treated in this story, but the general tendency of the film’s sympathies is clear.

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