Archives for posts with tag: Soylent Green

Lock Up

One of my favorite Sylvester Stallone movies from my childhood is 1989’s Lock Up, a satisfying prison flick that stars Sly as Frank Leone, a model convict with six months to go and what appears to be a bright future ahead of him – until he is unexpectedly transferred in the middle of the night to a hellish correctional institution run by the sadistic Warden Drumgoole (Donald Sutherland), who harbors a long-festering vendetta against Leone. “This is hell, and I’m going to give you the guided tour,” he promises. Full of memorable bits like a cockroach race, a barbell assassination, and a brutal slow-motion football montage, not to mention a sentimental piano theme that I’ve never forgotten, Lock Up also delivers the adrenaline in its inevitable escape and comeuppance sequence.

following orders

Following orders.

Sutherland is perfect as the mannered antagonist, and Drumgoole is easily one of the greatest bad guy monikers ever, putting me in mind of the canistered zombie who kicks off Return of the Living Dead (1985) – and Drumgoole is a zombie of sorts, at least in a figurative sense, as he reanimates for the viewer the corpse of the evil Nazi villain stock character. Viewers only hoping for a fun Sylvester Stallone vehicle and harmless action fix instead find themselves the captive audience for a dose of Hollywood Holocaust propaganda when Drumgoole has Leone sealed into a glass chamber for delousing with Zyklon gas! Naturally, Drumgoole leaves Leone struggling to hold his breath way longer than is necessary, and Stallone’s partial Jewish family background makes the moment that much more piquant. Reinforcing the notion that there is something Nazi-like about the prison staff is Tom Sizemore’s character Dallas’s nickname for one of the guards – “Col. Klink” – a reference to the WW2 POW camp sitcom Hogan’s Heroes. Then, too, there is the racial makeup of the guards, with whites like Manly (Jordan Lund) being among the meanest and most stereotypically fascistic and blacks like Braden (William Allen Young) revealed to have compassion in their still-beating hearts. There is an undeniable thematic overlap between the prison and Shoah film and fictional genres, with prison movies as far back as Brute Force (1947) serving as social commentaries on the dangers of authoritarianism and with entries like the Holocaust (1978) miniseries, various salacious Nazisploitation movies of the seventies, and Escape from Sobibor (1987) combining elements of both genres – and Lock Up implicitly acknowledges this connection, so that it could be classified with Soylent Green (1973), for example, as a crypto-Holocaust movie.

Three writers, including Die Hard (1988) bard Jeb Stuart and some nobody named Richard Smith, are credited with Lock Up’s screenplay – but somehow I have to suspect that it is the third name, Henry Rosenbaum, that accounts for the Zyklon delousing scene. The film was directed by John Flynn, whose other credits include the obscure made-in-Israel thriller The Jerusalem File (1972), vigilante movies Rolling Thunder (1977) and Defiance (1980), and the top-notch Steven Seagal revenger Out for Justice (1991). Rocky (1976) composer Bill Conti, meanwhile, contributes the score to what adds up to an audience-pleasingly macho but sensitive send-off for the eighties, Stallone’s most successful decade – even if the gassing scene does give it just a whiff of a fishy-smelling air of high camp for those racially conscious viewers in the audience.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Ang Lee’s film of Life of Pi is a special effects spectacle and pantheistic allegory about human diversity and coexistence in a multicultural society.  When Pi Patel (Suraj Sharma) escapes from a sinking ship and finds himself alone in a boat with a zebra, an orangutan, a hyena, and a tiger named Richard Parker, he is horrified to see the animals fight and devour each other until only he and the vicious Parker are left.  He finds himself, in other words, in the unenviable situation of witnessing the symbolized civil strife and disintegration of mutually resentful and belligerent ethnic groups forced to share a cramped piece of real estate.

In George Romero’s Dawn of the Dead, a scientist suggests that the hordes of cannibalistic zombies taking over Pittsburgh might be pacified by a food program.  The film’s audience understands that the man is losing his mind, but Life of Pi takes his idea and runs with it.  Presented with the options of either trying to kill Parker, being eaten by him, or attempting to coexist peacefully on the boat, Pi opts for the latter and does his best to domesticate and placate the boat’s savage and carnivorous demographic by feeding it fish.  He has, in short, opted to implement a floating microcosm of the Great Society.

A visit to an island teeming with identical meerkats demonstrates the danger of a racially homogenous society.  Everything appears to be dandy on the utopian island until night falls, when the place itself turns carnivorous and secretes toxic chemicals, so that the whole island constitutes a gigantic Venus flytrap.  Take note, America.  If not for all of the minorities in your midst, you, too, would soon fall prey to a venomous meerkat conformity.  Note that a group of meerkats is, according to Wikipedia, termed a “clan” (i.e., Klan).  Pi indicates the role reserved for racially pure majorities in his Great Society when, on embarking from the island, he takes several meerkats along to feed Richard Parker.

3.5 of 5 possible stars.  Ideological Content Analysis indicates that Life of Pi is:

6. Green.  Pi loves animals and apologizes to a dazed fish after he beats it in the head to subdue it, imagining it to be an incarnation of God.  The sinister island of (white) anti-diversity pollutes itself with chemicals as well as intolerant delusion.

5. Anti-Christian.  Pi feeds Parker fish, indicating that Christians are expendable and fair game for processing as Soylent Green in maintaining the multiethnic peace.  They are, if not thrown to the lion, to be thrown to the tiger.

4. Pro-family.  Pi’s family is loving and he is sorry to lose them at sea.

3. Multiculturalist.  The story is framed when a directionless, unshaven white guy (Rafe Spall) comes to enlightened Indian Pi (played as an adult by Irrfan Khan) hoping to be inspired with faith.  Pi, in addition to being spiritually attuned, is a mathematical genius and polyglot.  Mexicans come to Pi’s aid when he washes up on their beach.  The desirability of racial homogeneity, the film suggests, is a poisonous illusion.  Grande Utopie Sovietique et Progressif defector Gerard Depardieu has a cameo as a grumpy and probably racist cook who, disrespectful of the exotic religious and culinary views of Pi’s vegetarian mother (Tabu),  insensitively slops murderous gravy onto her plate.  Meerkats, like fish, are expendable.

2. Egalitarian.  Feeding the tiger gives Pi’s life meaning.

1. New Age.  Pantheist Pi, who considers himself a Christian and a Muslim in addition to (and as a function of) being a Hindu, thanks Vishnu for introducing him to Jesus.  Karma is God’s way, he says.  In his present-day life as a college professor, he teaches a Kabbala class.

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