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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FOUR

Pussy Riot

Daryl Hannah ought to be tarred and feathered for agreeing to narrate this piece of shit, positively one of the worst, most hideously ugly and unappealing documentaries of the decade. Perhaps best viewed as an inadvertent comedy, complete with Jewish handwringing about corruption and the need to uphold the Russian constitution, its robust aroma is made the more pungent by slapdash subtitles, bad acting, and tiresome samples of Pussy Riot’s monotonous, wailing “music”. During the course of this particolored cavalcade of tedium, the saints of Pussy Riot are likened to Elvis Presley, Joan Baez, John Lennon, Joan of Arc, and even Michelangelo – and without the slightest indication of irony.

The “evil man” Putin, on the other hand, is compared to Joseph Stalin, Tsar Nicholas I, and Francisco Franco, and repeatedly depicted as a “fascist”. “This is a country where people die from dissent,” charges Masha Gessen. Performance artist Oleg Kulik has the most sidesplitting lines of this circus, funnier for being delivered with the utmost earnestness: “We are in the heart of a Satan and the heart is beating. Black blood is pumping like oil. The girls have poked the devil’s eye and the devil screamed ‘I am God!’ And the girls say, ‘No, you’re not God. You’re the devil,’ so it’s an argument between them. Is he a devil, or is he a God? It is an existential argument.”

Another chuckle comes from the sight of young women in rainbow-colored terrorist ski masks accompanied by the assertion that a rising generation of young Russians has a “desire to live in a normal country.” “Thank you, Madonna! Thank you, Red Hot Chili Peppers!” the girls exclaim for the solidarity shown them by the American entertainment establishment. The group needs all the help it can get when faced with a dictator like Comrade Putin. One of the silliest statements in the film is the weepy telling of how the members of Pussy Riot “were arrested in a dark street in Moscow.” Imagine the shame of the thing! Arresting these world-famous artistes in a street that was not even properly lighted!

Pussy Riot: The Movement earns a star and a half for its unintentional humor. Ideological Content Analysis, meanwhile, indicates that this pile of Jew dookie is:

4. Pro-AIDS. Jewish faggot Masha Gessen, who has admitted that her advocacy of “gay marriage” has the purpose of destroying the institution of matrimony, is one of the wholesome voices of anti-authoritarian courage featured in the documentary. The Pussy Riot girls are also shown cavorting and howling about homosexual “rights”.

3. Anti-Christian. “Sexism, persecution, and torture” follow from church involvement in state affairs. The Russian Orthodox hierarchy is portrayed as corrupt, oppressive, and avaricious. The entire film celebrates the Pussy Riot sluts for their desecration of Christ the Savior Cathedral, which, one of the interviewees suggests, may come to be known to history as Pussy Riot Cathedral. Francis Carr Begbie of The Occidental Observer adds:

Pussy Riot is also supported — in a circuitous route — by the Soros-funded National Endowment for Democracy. Could it also be that support of groups like Pussy Riot is part of a parallel Jewish strategy of debasement and corruption of Christian morality? As Professor Nathan Abrams wrote, the very prominent Jewish involvement in porn was a result of the “atavistic hatred of Christian authority” and a desire to “weaken the dominant Christian culture.”  Is it so much of a stretch to view Jewish support of these groups as part of the same agenda?

2. Feminist/pro-slut, with Russia depicted as some sort of hell hole of sharia-style patriarchal totalitarianism where women are obligated to cover their heads in shame. “It’s an act of love among dead nature to show that there is at least something living in this country,” Kulik says of a public orgy in which one of the Pussy Rioters participated.

1. Zionist, smearing Putin and Russia in accordance with neoconservative aims. Pro-Israel Jew Senator Benjamin Cardin is spotlighted for his work in raising awareness about the gentile evil being perpetrated in Russia. The narration even tosses in a jab at Iran for alleged corruption. Interviewees, in addition to the disease-exuding Gessen, include Pussy Riot’s Jewish lawyer, Mark Feygin, and gallery owner Marat Guelman, who whimpers piteously: “Because now what we have, Stalin come back.” There is, too, an echo of “Holocaust” propaganda in Pussy Riot: The Movement’s characterization of Russian prisons as concentration camps where women are (so the story goes) fed stale bread and rotten potatoes, made to stand naked outside in the cold, and prevented from using a toilet. Jewish billionaire oligarch Mikhail Khodorkovsky is presented as a rival of Putin – perhaps the only politician who could lead Russia to freedom! – but those susceptible to such rubbish are advised to read what Ronald L. Ray of American Free Press has written about this parasite:

It is Russia’s President Vladimir Vladimirovich Putin, a former communist, who stands in the breach, while bankers and internationalists promote the likes of Mikhail Borisovich Khodorkovsky, a Russian Jewish oligarch with billions of dollars to use for the re-enslavement of the former Soviet Union. […]

Although convicted of tax evasion and moneylaundering—a conviction upheld by the European Court of Human Rights—Khodorkovsky has been portrayed by Western media and politicians as a “political prisoner” because he opposed Putin. He is the poster boy for the plutocratic fight against Russian nationalism and economic independence.

But according to a January 3 report in Germany’s National-Zeitung, even defenders of the 50-year-old multi-billionaire are forced to admit that his wealth is ill-gotten. In just 15 years, the young communist son of modest engineer parents amassed many billions of dollars under the aegis of former Russian President Boris Nikolayevich Yeltsin. He was one of a handful of Jews who were given free rein by Yeltsin to enrich themselves by gaining control of much of Russia’s wealth and politics […]

As Yeltsin’s energy minister, Khodorkovsky used his now-bankrupt privately-owned Bank Menatep, for shady real estate dealings and to purchase a controlling interest in the defunct Yukos Oil Company at a fraction of its value. The Yukos production division in Russia sold the oil at minimal profit to the distribution division, located in a foreign tax haven, which then sold the oil to American and Jewish interests at market rates. Khodorkovsky and his partners profited immensely and paid little or no taxes. When a local Russian mayor spoke out about Yukos’s refusal to pay taxes, a Khodorkovsky partner was implicated in the contract murder of the official.

Khodorkovsky was accused of stealing 200 million metric tons of oil from Russia—half the Yukos production—via his business practices. Thus, it was natural that, under Putin’s efforts to break the international bankster grip on Russia and regain control of natural resources, Khodorkovsky would be investigated for selling those resources out of the country.

Not surprisingly, Pussy Riot: The Movement executive producer Marianna Yarovskaya – clearly a principled crusader for truth – is a former employee of Zio-globalist operations Greenpeace and Voice of America. She was also the head researcher for global warming scare film An Inconvenient Truth. Unsurprisingly, too, given the group’s Jewish and globalist NGO connections, Pussy Riot has most recently thrown the weight of its tawdry celebrity wholly behind the “refugee” invasion of Europe.

Rainer Chlodwig von Kook

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Till Death Do We Scare

Till Death Do We Scare (1982) ****

Poor Irene (Olivia Cheng) – every man she marries dies as soon as they tie the knot! Fortunately (?), her three dead husbands, who loiter around the house as ghosts, want Irene to be happy, so they determine to locate another, hopefully more durable husband for her and pick incompetent radio horror show host Alan (Alan Tam). What follows is essentially a series of slapstick shenanigans as the ghosts, invisible to Irene and Alan, pull various stunts to bring the couple together. Complicating matters are the machinations of evil spirits who would prefer to see Alan dead. 

Till Death Do We Scare is typical fare for the Chinese ghost comedy genre, but with the odd, added attraction of stretchy Beetlejuice-style special effects by none other than Tom Savini. The best comic set piece in the movie is probably the haunted chair that refuses to let fat guy Eric Tsang sit in it; but other highlights include a deflatable ghost face, an animated pig’s head on buffet table, a decomposing princess with amorous intentions, and an unfortunate sucker who rolls down a hill and gets flattened by a steamroller. Till Death Do We Scare has the madcap energy viewers have come to expect of the Hong Kong film industry in the eighties, and should please devotees of the Chinese horror comedy.

4 out of 5 stars.

Breakfast

Vampire’s Breakfast (1987) ***1/2

Fat Piao (Kent Cheng) is a portly Hong Kong photojournalist investigating a series of what appear to be vampire murders, but police refuse to believe his stories, and only a sleazy thief (Keith Kwan) is willing to help him. Vampire’s Breakfast, like The Haunted Cop Shop (1987), is not a typical indigenous Chinese hopping vampire movie, but a horror hybrid featuring a rotten-looking blond Caucasian bloodsucker (Simon Willson) with the usual western susceptibilities to crucifixes and wooden stakes – or, as the subtitles would have it, a “mahogany nail”. Pretty, pouty Emily Chu, whom action enthusiasts may remember from John Woo’s classic A Better Tomorrow (1986), adds a deal of grace as Piao’s love interest, Angie, while Parkman Wong contributes irksome antagonism as skeptical Inspector Chen.

The movie drags a bit in the middle, but does feature a handful of suspenseful sequences, generally drenched in creepy blue moonlight and city shadows. A clandestine visit to a morgue makes for one of the more memorable scenes, while a spurting decapitation at the end should please gorehounds. One does wish, however, that the nastiness of one early scene in a strip club had been sustained throughout the film. Veteran viewers of Hong Kong horror will probably enjoy Vampire’s Breakfast, but prissier audiences accustomed to Criterion disc production standards are hereby warned that the subtitles on the Fortune Star DVD release are more than usually sloppy, resulting in lines of dialogue like, “Tow big eyes were ataring at me”.

3.5 out of 5 stars.

Vampire’s Breakfast trailer

Writhing Tongue

Writhing Tongue (1980) ***

Not the exercise in horror or sexual perversion that its arresting title might suggest, Writhing Tongue is actually just an offbeat medical melodrama. Masako (Mayuko Wakamori), a pretty little Japanese girl, pricks her finger while playing one day and soon develops an awkward walk and refuses to eat or open her mouth. Doctors diagnose the girl with tetanus, and her extended hospitalization places a strain on her parents’ marriage and even their sanity, their anxiety intensifying when first the father (Tsunehiko Watase) and then the mother (Yukiyo Toake) begin to suspect that they, too, might have contracted the illness.

Writhing Tongue will be a challenge to viewers accustomed to breakneck pacing, with most of the film consisting of scenes of the harried and increasingly haggard parents watching their daughter suffer in her hospital bed. Here and there an odd touch enlivens the proceedings, such as when the despairing father apostrophizes the ancient bacteria occupying his child’s body; but Writhing Tongue, for the most part, is a slow, lugubrious affair, and likely to be disturbing to any parents of small children. This critic’s chief complaint: at no point in the film is there anything even remotely resembling the “writhing tongue” promised in the title!

3 out of 5 stars.

 

Farewell to the Ark

Farewell to the Ark (1984) ****

Very loosely inspired by the magical realist vision of Gabriel Garcia Marquez’s novel One Hundred Years of Solitude, this oddball allegorical film is a difficult one to synopsize. Set in a rustic Japanese village where “time doesn’t flow”, Farewell to the Ark follows incestuous cousins Su-e (Mayumi Ogawa), condemned to an indestructible chastity belt by her father, and Sutekichi (Tsutomu Yamazaki), a 35-year-old virgin who longs desperately to penetrate her. Sutekichi’s maddening sexual frustration finally boils over when he hears himself publicly mocked by the randy Daisaki (Yoshio Harada), causing Sutekichi to murder him. After that, he and Su-e flee the village and live as husband and wife in an idyllic forest.

Separated from their community, however, Sutekichi, like some character out of a Paul Bowles story, begins to lose touch with the world around him and feels compelled to create little signs, labeling everything “shoes”, “my house” and so forth; he even hangs a sign on himself that says “Me”. A lot of other bizarre things happen in Farewell to the Ark, as well. A little boy falls into a pit, only to emerge a moment later as a fully formed adult; two youths pursue a woodland nymph whose admirers, if they see her naked, are doomed to die a horrible death; and masked dancers put on a torchlit rite that has to be seen to be believed. Seldom dull, Farewell to the Ark does, however, run somewhat overlong at 127 minutes. Still, it has much to recommend it to seekers after the strange, the obscure, and the thought-provoking.

4 out of 5 stars.

Writhing Tongue trailer

 

Gloria poster

Full disclosure. Your humble reviewer, stopping on a whim at his neighborhood Redbox machine to see what was newly available, quickly picked Gloria for no other reason than the disclaimer that it contained graphic nudity. Not realizing that this would be a serious foreign film requiring him to read subtitles, he ate his movie vegetables, as it were, by accident.

Set in Santiago, Chile, Gloria is the story of a lonely divorcee (Paulina Garcia), a professional woman and recent grandmother, who finds herself torn between dignity and sexual fulfillment. Somewhat nerdy but still shapely and graceful in her maturity, Gloria thinks she may have met the answer to her quiet yearnings in paintball park proprietor Rodolfo (Sergio Hernandez), a man who gives increasing evidence of neurosis.

Gloria very much belongs to lead Paulina Garcia, a fascinating actress whose versatile face and nuanced expressions command the viewer’s undivided attention. Even had the script by director Sebastian Lelio and Gonzalo Maza not been so finely worked and surprising, the film would be worth seeing if only for the presence of Paulina Garcia. Eccentric, disturbing, and warmly human, Gloria gets this critic’s high recommendation.

5 stars. Ideological Content Analysis indicates that Gloria is:

10. New Age. Gloria takes a yoga lesson.

9. Marginally pro-miscegenation. Gloria’s daughter Ana (Fabiola Zamora) is involved with a Swede (Eyal Meyer), which is arguably a mild instance of interracial relationship. However, Chileans, particularly those living in Santiago, are of predominantly European descent, and resemble Spaniards in their attractiveness.

8. Anti-Christian. Gloria tries to hide her condescension as her maid (Luz Jimenez) talks about the Genesis flood and tells a story about cats issuing from a lion.

7. Racist! Gloria and Rodolfo, practicing at a firing range, shoot at a target representing a “black figure”.

6. Drug-ambivalent. Marijuana plays a role in Gloria’s new assertiveness. Her tobacco habit takes on varying shades of character depending upon the emotional context – sultry and sophisticated smoking after sex, or an anxious person’s prop in her moments of doubt. One smoker is reminded not to light up in the presence of a pregnant woman. Humiliation, despair, and overindulgence in drink drive Gloria into the arms of a random slob for a degrading one-night stand.

5. Anti-marriage. The protagonist’s ex-husband (Alejandro Goic) is an undependable drunkard. Rodolfo, like Gloria, is relieved to “finally” be divorced. Ana, a happy tramp with a pierced nose, is unashamedly pregnant with her Swedish lover’s bastard.

4. Anti-family/antinatalist. “Don’t be born, man! Don’t be born!” despairs one of Gloria’s neighbors. Rodolfo’s wife and daughters are selfish, needy, ungrateful nuisances. Gloria’s family, too, is broken.

3. Misandrist. A vengeful Gloria appropriates her insensitive lover’s phallus by attacking him with one of his own paintball guns. The men in her life are all immature. “Grow a pair,” she tells Rodolfo.

2. Anti-capitalistic. Old Chilean radicals look to loud young rabble to effect progressive change. Gloria’s idea of excitement would be to skip work and travel to Cuba. The film also presents an unflattering portrait of an entrepreneur in Rodolfo. (see also no. 1).

1. Anti-Semitic! “What Chile used to be now seems like a ghost, as if that Chile were dead, and what was built afterwards is a kind of replica of something that’s being devised in some other part of the world, where the driving force is greed.” “There aren’t any leaders anymore [. . .] if it’s about politicians who are up there, and they’re the ones governing, the ones that were chosen.”

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