Archives for posts with tag: twenties

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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Ideological Content Analysis sorrowfully presents

60swomanfunicello

90swomanmadonna

The American Woman Through the Years

A scarifying and sobering stroll through serial sociological horrors!

(click for slideshow)

To take in Baz Luhrmann’s flamboyant adaptation of F. Scott Fitzgerald’s novel is to experience a mingled frustration, pity, awe, amusement, bewilderment, and regret.  The contents of the novel are among the ingredients of this ambitious and idiosyncratic film, which displays a high degree of fidelity with respect to the choice of imagery; but included, too, is a lot of consciously anachronistic pop music and tacky computer-generated manipulation of the visuals, so that The Great Gatsby is a film very nearly ruined in the post-production.  In particular, the floating digital monogram bookends and more than one disorienting sweep from one location into another are unkind on the viewer’s eyes.

The film is most clearly in its element when depicting the outrageous, outsized decadence and debauchery of the twenties.  The Great Gatsby‘s greatest asset, however, is definitely its cast, with nearly every actor conjuring into convincing life the characters as described in the novel.  Tobey Maguire, who even now retains his air of youthful naivete onscreen, could not be bettered as Nick Carraway; and Leonardo DiCaprio, who with his substantial and growing body of lowlife and criminal parts, brings a handsome but soiled baggage to the showcase role of Gatsby, is a genius bit of casting; while fresh-faced Carey Mulligan is absolutely Daisy Buchanan and Joel Edgerton is suitably icy as her philandering husband Tom.  Jack Clayton’s 1974 film remains a stronger and more polished effort overall, but the charms of Luhrmann’s new vision are undeniable.

3.5 out of 5 stars.  Ideological Content Analysis indicates that The Great Gatsby is:

7. Anti-Christian/anti-gun.  Loser mechanic George Wilson (Jason Clarke) is the film’s representative Christian, whose faith in God naturally inspires him to commit a murder out of a sense of divine vengeance after his wife is killed.

6. Arguably feminist.  Daisy reflects with sadness that the best thing for a girl to be is a fool, a suggestion that a woman’s position in her era and at her social level was an unenviable lot when viewed with scrutiny.  Taken at face value, however, the line could also be interpreted as piggishly anti-feminist.

5. Pro-miscegenation.  White speakeasy patrons watch black booty-shakers.  An overweight white man is glimpsed through a window with a black prostitute.

4. Anti-state.  Prohibition has backfired and made alcohol less expensive.  Police are in league with and even subservient to the gangsters whom Prohibition has made into powerful millionaires.

3. Drug-ambivalent.  Liquor flows copiously at Gatsby’s parties and Nick even pops a pill in a near-orgy scene, but immediate consequences are scarce.  The automobile fatality of the denouement is more the result of emotional stress than drinking, most probably.  Nick does end up in a sanatorium, however.

2. Anti-marriage.  Everybody cheats.

1. Class-conscious/anti-racist (i.e., pro-yawn).  Unlikable Tom is the film’s representative bigot.  He recommends that everyone should read an unsettling book on The Rise of the Colored Empires.  (The irony here, of course, is that, in forecasting demographic decline and the consequent eclipse of the West, he is correct.)  Images of black poverty, toil, and subservience are frequently juxtaposed with white privilege and irresponsibility.  However, the depiction of gangster Meyer Wolfsheim (Amitabh Bachchan), though lifted directly from Fitzgerald’s description, is likely to strike ADL types as anti-Semitic.

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