Category Archives: Film

Hollywood and it’s Useful Idiots: Propaganda for the War in Ukraine, Big Pharma, and Every Other Globalist Agenda

Posted on by
5

By Timothy Alexander Guzman

Source: Silent Crow News

Alistair Cooke, a British-born writer who became a BBC film critic early in his career who worked mainly in the United States as a journalist, television personality, radio broadcaster had expressed his honest point of view on Hollywood’s film industry when he said that “I believe that Hollywood is the most effective and disastrous propaganda factory there has ever been in the history of human beings.” Since World War II, Hollywood has been one of the main instruments of propaganda for globalist agendas. It began with US President, Franklin D. Roosevelt who established the US Office of War Information (OWI) from June 1942 until September 1945 whose job was to regulate newspapers, radio broadcasts, Hollywood films and all other forms of media in order to propagandize the public in an effort to gain support for America’s involvement in the war. The OWI launched a global propaganda campaign that oversaw revisions in collaboration with Hollywood producers, and at times, even rejected film scripts that portrayed the US as a negative force on the world stage.  The OWI’s main job was to reject any film that had anti-war material.  There was also the Bureau of Motion Pictures (BMP) which was a division under the OWI that worked with Hollywood executives to decide which movies could benefit the war effort, for example, it authorized several films that had anti-Japanese propaganda, sort of like todays anti-Russia propaganda you find in many Hollywood films. However, over the last 20 years or so, Hollywood propaganda has even become even worse with the help of its Hollywood celebrities who have become mouthpieces for globalist agendas, so let’s call them for what they really are, ‘Useful Idiots.’

It’s amazing that for the last couple of decades many Hollywood celebrities have become self-described experts and spokespeople for US wars, Big Pharma, climate change and other globalist agendas.  Hollywood celebrities act and sing for a living, wear expensive name-brand clothing, and in some cases exploit their children to be part of the new woke culture. The so-called “Hollywood activists” such as George Clooney, U2 lead singer Bono, and the rest of them are phony as they can be. However, in all fairness, there are a handful of celebrities who do not, in any way fall into that category including Mel Gibson who is outspoken critic on Jewish power in Hollywood, comedian and actor George Carlin (R.I.P.), Marlon Brando, John Lennon (R.I.P.) and a handful of others.  When it comes to Israeli occupation and genocide against the Palestinians, Javier Bardem, Penelope Cruz, singer-songwriter and composer Roger Waters, Natalie Portman, and actress Vanessa Redgrave come to mind. In 1978, Vanessa Redgrave won an Oscar for best supporting actress in the film ‘Julia’ gave an acceptance speech at the 50th Academy Awards which she denounced Israel’s war against the Palestinians.  Redgrave said that “a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world.”  The British actress had claimed in the past that far-right Jewish Defense League targeted her for producing the 1977 documentary ‘The Palestinian’. 

Most Hollywood celebrities who toe the line will do and say anything to remain relevant in the film and television industries, so they also follow the mainstream media narratives or listen to their Hollywood bosses, or maybe they are just dumbed-down individuals, just ask outspoken actor and comedian Ricky Gervais who had an iconic opening monologue in the Golden Globe awards ceremony in 2020 that will be remembered for the ages:

So, if you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world. Most of you spent less time in school than Greta Thunberg.

So if you win, come up, accept your little award, thank your agent, and your God and fuck off, OK? It’s already three hours long. Right, let’s do the first award

Sean Penn and Ben Stiller: War against Russia

Although talented, two of the most idiotic actors in Hollywood when it comes to the war in Ukraine is Sean Penn and Ben Stiller.  Last month, Sean Penn recently visited and lent Ukrainian President Volodymyr Zelensky his Oscar while Zelensky awarded Penn the Order of Merit honor because he is “doing everything to help us gather international support” according to Reuters.  The article ‘Sean Penn visits Ukraine’s Zelensky, loans him an Oscar’ stated that “Hollywood actor and director Sean Penn, sanctioned by Russia for criticizing its war in Ukraine, loaned his Oscar statuette to Ukrainian President Volodymyr Zelenskiy during a visit to Kyiv on Tuesday.” 

The other actor is Ben Stiller who played an idiotic model in Zoolander and many other films called Zelensky his hero.  According to NBC News ‘Ben Stiller meets with Zelenskyy in Kyiv, tells Ukrainian leader ‘You’re my hero’ said that “The comedy star praised the Ukrainian president — himself a former comedian and actor — as a hero during the meeting, telling him: “You’re amazing” and that “It’s a great honor for me,” Stiller, who was appointed a UNHCR goodwill ambassador in July 2018, said in video capturing the meeting. “It’s really wonderful, you’re my hero. You’re amazing.”  So Stiller jumps on the Zelensky bandwagon just like most of his Hollywood friends to help the Western narrative that the war in Ukraine is about “freedom and democracy.”

But I want to go back to Sean Penn and his incredible hypocrisy when it comes to US wars and regime change.  In 2011, US President Barack Obama and Hillary Clinton gave US forces and NATO the greenlight to remove Libyan President, Muammar Gaddafi from power which destroyed Libya in the process.  Here is the interview with Sean Penn on CNN on his claim that it was all Gaddafi’s fault:

Obviously, the war on Libya was run by the Democratic Party so for Penn it was justified.  Now here is Sean Penn questioning the Bush Administration on WMDs in Iraq on December 15th, 2002.  The war on Iraq was basically a Republican Party affair under the Bush neocons:

Sean Penn’s hypocrisy is clearly staggering. He is a total propagandist for the US war machine.  Although Sean Penn has supported Venezuela’s revolution and other causes such as the Haiti’s earthquake in 2010 where he founded the J/P Haitian Relief Organization which operated a 55,000 person tent camp for victims of the earthquake, he is still a mouthpiece for the Democratic party and any regime change operation they deem necessary, so it is fair to say that both, Sean Penn and Ben Stiller are useful idiots.

Celebrities who Proudly Received their Covid-19 Vaccines

I am not going to get into the global lockdown and the dangers of the Covid-19 vaccine and the ridiculous enforcement of wearing facemasks or social distancing rules, so here are what several celebrities have posted on Instagram and twitter after they received their shots :

Lady Gaga:

“Double vaxed + boosted…don’t 4get to still wear a mask this sh*ts contagious ,

America Ferrara:

“Boosted for the holidays!  Thankful for the miracle of science and medicine allowing me to be with my loved ones safely this year 

Amber Heard:

 “Did someone say ‘vaccine queen’?! ” 

Sean Penn (No Surprise here!):

“I’m a lucky man. Lucky to work alongside the ⁦@LAFD & our great frontline @CoreResponse staff, our partners at Carbon Health, USC, & Curative Lab,” he tweeted. “We test & vaccinate thousands per day. We need your support to get more people lucky. Text CORE to 707070 to donate.”

*Note: Sean Penn was interviewed by Yahoo Entertainment and said that “My deep belief personally, is that these [vaccines are] no different than having everybody being able to drive 100 miles an hour in a car” he continued “This is one of those things that should be mandatory. That we all get with the exception — the very few exceptions — for those people who, for whatever medical condition, might offset it, but I do think that vaccines need to be mandatory, and I do think that business — all businesses, the movie business, all businesses — need to take the lead and to be not so timid in dealing with their collective bargaining agreement partners.”

Arnold Schwarzenegger:

 “All right, I just got my vaccine, and I would recommend it to anyone and everyone, come with me if you want to live.”

Despite all the evidence that the Covid-19 vaccines are dangerous and that wearing a facemask or social distancing does not work which brings me to the conclusion that these Hollywood celebrities are either brainwashed by the mainstream media, or they are just following the lies of Anthony Fauci who was elevated to celebrity status during the Covid-19 “pandemic”.  These people are not role models, they are just following what the medical establishment has prescribed to the public.  They are propagandizing the public to take Covid-19 killer shots which demonstrates that no one should listen to these people. Once you inject the MRNA technology into your body, its forever, its permanent and you cannot detox to get rid of it.  So in other words, don’t listen to these fools.

The Truth about Hollywood

There is no doubt that Hollywood has produced good films in the past but the Hollywood of today should focus on producing better movies and TV shows because most of their films are made only for propaganda purposes. In fact, many films today have no originality, better yet, there should be an alternative Hollywood that produces films without any form of propaganda that are worth watching. They can produce films that tells us real stories from around the world, like stories that come out of the Palestinian struggle or what is happening in certain parts of Africa as in the Hollywood movie ‘Blood Diamond’ with Leonardo DiCaprio and Djimon Hounsou that tells the story about the Diamond industry and its effects on the African people. Instead they produce propaganda films based on the US Military fighting for democracy or numerous films based on the Jewish Holocaust. When was the last time you saw a film based on the genocide of a Native American tribe on the North American continent?

However, Hollywood is pretty good at producing movies that offend different nationalities and cultures.  As we all know who really runs Hollywood, one documentary that shows some of the most offensive films based on the Muslim world is called ‘Reel Bad Arabs: How Hollywood Vilifies a People’ by Dr. Jack Shaheen. 

Hollywood and their useful idiot celebrities are propagandists who support the war in Ukraine, the Covid-19 vaccines and other globalist agendas including the concept of eating bugs as recommended by the World Economic Forum.  The bottom line is that Hollywood and their useful idiot celebrities are a bunch of clowns that should not be taken seriously, so why do people around the world idolize these people in the first place is beyond me.

Saturday Matinee: Midnight Cowboy

Posted on by
Reply

Midnight Cowboy

Whatever you hear about Midnight Cowboy is true.

By Scott Nash

Source: Three Movie Buffs

Midnight Cowboy is one of those movies that is so famous that even though this was the first time I’d ever actually watched it, I already felt familiar with it. I mean everybody knows the line, “I’m walking here!” by Dustin Hoffman. The AFI named that line the 27th greatest movie quote of all time (The movie itself is also on the AFI’s 100 greatest movies list). Most film fans also know that it is the only X-Rated film to ever win the Best Picture Oscar. Ratso Rizzo and Joe Buck are iconic cinematic characters. And yet, despite all that I’d never actually watched it until now.

Although Hoffman is top billed, Jon Voight stars as Joe Buck; a young, not very bright Texan who decides to head to New York where he thinks he’ll be able earn money as a male escort to rich New York women. Buck has a troubled past that is revealed through stream-of-consciousness flashbacks. Voight is good as the naive cowboy and his performance not only brought him to stardom, but also earned him an Oscar nomination.

As good as Voight is though, Hoffman steals the film as Enrico “Ratso” Rizzo; the streetwise, hustling New Yorker. His accent, his limp and his mannerisms form a character for the ages. His nickname is an apt one because he is very rat like as he crawls the streets of the city. Like Voight, Hoffman was also nominated for an Oscar for his role.

Together Buck and Rizzo form an unlikely friendship after a rough start when Rizzo cons Buck. As a pair they prove that the protagonists of a film don’t have to be likable for a movie to be good. You wouldn’t want to hang out with either of these two guys but at the same time you want to see what happens to them. Despite being fairly unlikable, you can empathize with their feelings of isolation, loneliness and the need to cling to another person for companionship no matter how unlikely the pairing.

The third main character in the story is New York City, but not the Disneyfied New York of today. This was a time when Times Square wasn’t a place you took the family to see. It was filled with adult theaters and male and female prostitutes on the prowl. Abandoned buildings had yet to be torn down and replaced by Condos, McDonalds and Baby Gaps. Director Schlesinger does a great job of capturing the gritty essence of that bygone city.

While the central characters are interesting and the acting is superb, the plot isn’t a cohesive whole. A series of events happen that aren’t always connected rather than a true story being told. The real story of the movie is the friendship between Joe and Ratso, but too often that is obscured by different episodes. It’s a platonic love story between two men essentially.

The fact that this movie was rated X at one time now seems quite quaint. The nudity is incredibly brief and the language is mild. Sex is talked about a great deal but only shown in a way that you could now practically get away with showing on network television. I imagine the biggest reason for the X might have been the scene when Joe gets a blow job from a strange man in a Times Square theater, although nothing is really shown of it. It has since been re-rated and now stands at the more sensible R rating.

Not every classic film lives up to its fame and I’m not sure as a whole if I’d say Midnight Cowboy does. Pieces of it though are brilliant, especially the performances of its two leads. They are the real reason this movie is remembered so well and they are the reason to watch it again or for the first time.

____________________

Watch Midnight Cowboy on Hoopla here: https://www.hoopladigital.com/title/11080259

Saturday Matinee: Riders of Justice

Posted on by
Reply

By Matt Zoller Seitz

Source: RogerEbert.com

Brutal, sad, funny, and disarmingly sweet-natured, “Riders of Justice” is not so much a revenge movie as a movie about revenge. That might seem like a distinction without a difference until you get to the end of this surprising feature from writer/director Anders Thomas Jensen (“After the Wedding,” “Red Road,” “The Salvation“) and look back on every place that it has taken you. 

The story starts a few days before Christmas in Estonia. A girl walking along a holiday-decorated street with her grandfather spots a red bicycle offered for sale by a street vendor but asks for a blue one instead. The vendor is part of a crime ring and calls an associate, who steals a blue bike belonging to Mathilde (Andrea Heick Gadeberg), which causes Mathilde’s mother Emma (Anne Birgitte Lind) to have to pick her up at the train station, only to have their car fail to start, which causes them to take a commuter train home. A statistics and probability expert named Otto (Nikolaj Lie Kaas) gives the girl’s mother his seat, and shortly after that, a freight train smashes into the commuter train and several passengers are killed, including Mathilde’s mother and a tattooed, bald, scowling fellow who was supposed to testify against a fearsome gang, Riders of Justice. Otto saw another man get off the train before the crash, oddly dropping a full beverage and a nearly uneaten sandwich in the trash on his way out, and becomes convinced that the crash was an assassination and the other victims were collateral damage. As it happens, Mathilde’s father is a stony-faced soldier named Markus (Mads Mikkelsen, a frequent leading man for the writer/director). 

If this were almost any other movie, you’d be able to write the rest of this review yourself. But you soon  figure out that this is not the sort of film that sets up the standard elements and switches to autopilot. For one thing, Jensen makes Otto not merely the messenger who sets the tale in motion and then disappears, but a crucial second lead, and part of a trio filled out by a fellow probability expert named Lennart (Lars Brygmann), whose secret manias and aversions are a constant source of plot complications; and a tightly wound, emotional computer hacker named Emmenthaler (Nicolas Bro). All three characters are written and performed with such skill that they form a comedy trio: a motor-mouthed intellectual answer to the Three Stooges. Like Mathilde, Markus, and everyone else who passes in front of Jensen’s viewfinder, Otto, Lennart and Emmenthaler are given endearing backstories that feed into the script’s fascination with fate, chance, justice, karma, and other subjects rarely discussed in films where the hero is a scary bald dude who can snap a man’s neck like a shingle.

“All events are products of a series of preceding events,” Otto tells an assembled panel of corporate clients who reject an algorithm he and Lennart are trying to sell them. “Because we often have insufficient data, we categorize events as coincidences.” His statement echoes through later scenes, including the church service where Mathilde’s mother and Markus’s wife is laid to rest. “When miracles happen,” the priest says, “we often attribute a divine character to them. However, when lightning strikes, when tragedy becomes reality, we have a hard time assigning a return address, and thus we refer to it as coincidence.” Once the stooges enter Markus’ life, bloodshed follows, but not in a lockstep, predictable way, thanks to the pinball-machine collisions of all the strong personalities involved (particularly Markus’s; he’s both hot-tempered and lethal, not an ideal combination).

The big question here is whether the train crash was a premeditated crime or the culmination of a series of things that quite simply happened. A large part of the charm of “Riders of Justice” (what an ironic title, in retrospect!) comes from the way that it keeps us guessing as to what side of the equation, so to speak, it’ll come down on, or whether it’ll take a position at all. What are we to make, for instance, of a seemingly precise calculation by Otto that the odds of that crash with that outcome were 234,287,121 to one? Or, for that matter, the movie’s wry awareness that no matter how bad things get, they could always be worse? “Only thing is, after all this crap, it’s unlikely more is going to happen,” Mathilde tells Otto. “That’s not how things work,” Otto replies. “A lot of awful things can happen in your life.” 

Plots like the one that drive “Riders of Justice” tend to appear in crash-and-burn action thrillers wherein a curtain-raising death or atrocity is there to give the hero (or heroes) a pretext to embark on a spectacular and largely guilt-free rampage, stacking up bodies like firewood. Jensen and his cast and crew go in a different direction, creating a cast of main characters (and several colorful minor characters) with complex, contradictory psychologies that are unveiled a layer at a time, each revelation informing our understanding of what they did in a prior scene, or what they may be capable of later on. It’s hard to imagine the improvisatory, digressive, character-focused filmmaker Mike Leigh (“Secrets and Lies“) making a revenge thriller, but if he did, it might look like this. Sometimes the tangents are so out-of-nowhere, and are developed in such detail, that you and the characters sorta forget about the vengeance thing, which is the entire point.

This is a film that teaches you how to watch it. Once you’ve gotten acclimated, you understand that when a major character makes a decision that seems massively stupid—or simply counter to their self-interest—it’s always rooted in a traumatic past incident or secret, and they had no conscious control over it: it was something that had to happen, thanks to how they’re wired. Mikkelsen, the most still and reactive performer, seems a granite-faced question mark until you spend a bit of time with his character and understand the origins of his stoicism as well as his eruptions of fury. Unexpected connection points are made between him and the stooges and, more pointedly, between Mathilde and Emmenthaler, who are both sensitive about their weight; and Mathilde, Otto and Markus, who have a specific type of loss in common, and fill voids in each other’s lives. 

Any of these characters could’ve been the main character in his or her own project, so attentive is the screenplay to the nuances of personality. Emmenthaler, especially, is one of the great secondary characters in action thrillers, up there with Al Powell from the original “Die Hard“—a sensitive man who sheds an angry tear when a friend makes fun of his weight, and has clearly been carrying around an unexploded bomb of suppressed rage throughout his life. He’s the first of the stooges to ask for weapons training.  

But even that thread doesn’t go the way you anticipate, because this is a genre picture in which story is driven by characterization rather than the other way around. Not only are there no easy answers, the film goes out of its way to make you think it’s going to tie something off neatly, only to confound you by asking, “What would happen if these characters actually existed?” and doing that instead. 

“Did a therapist write this?” is not a sentence once expects to see in one’s notes on a movie where Mads Mikkelsen guns men down with an assault rifle. But it’s consistent with the apparent mission statement of this odd, beguiling film, which is filled with philosophical, theological, moral, and ethical notions (and takes care to distinguish between them) and that weaves images of churches and snippets of religious chorales throughout its running time, as if to remind us of the Christian ideals of grace, healing, and redemption that, for many characters, remain just out of reach. The movie’s contextual scaffolding is constructed with such care that when a character insists that chess is the only game ever invented where luck isn’t a factor, your instinct is to think, “Is that true?” It is, and it isn’t. The closest Jensen gets to summing everything up is Mathilde’s statement that life “is just easier when there’s someone you can get mad at.” 

What are we left with? In the best of all possible worlds, a line from Otto, offered when the gang is en route to a bloody showdown: “Let’s get this over with as a team so we can go home and eat banana cake.”

Watch Riders of Justice on Hoopla here: https://www.hoopladigital.com/title/15350298

Saturday Matinee: The Sisters Brothers

Posted on by
Reply

By Tomris Laffly

Source: RogerEbert.com

Who would have thought that Jacques Audiard, the French director of slow-burn, humanistic character studies would one day take on one of the most characteristically American of genres, the Western, with his English-language debut? While worlds apart from his socially realist “Dheepan” and “Rust and Bone,” Audiard’s “The Sisters Brothers” sports a similarly closely watched, leaned in sensitivity with its brotherly story. Adapted from Patrick deWitt’s 2011 novel (by Audiard and Thomas Bidegain) and infused with sweetness, graphic body horror (that, at times, spins a childlike icky humor) and a high body count, this alcohol-soaked Frontier road trip constantly reinvents itself at every turn in fun, witty and ultimately touching ways. Call it a revisionist or an absurdist Western if you will, but Audiard’s film feels both refreshingly new (without ever going to the extreme lengths the Zellner Brothers did with “Damsel”) and nostalgically familiar.

The backdrop is the Gold Rush, which is said to have made a Sherriff’s job much easier: if there’s trouble, you follow the gold to get to the source of the unrest. But when we meet the central brothers Eli (John C. Reilly, goofy, soulful and great at physical comedy as ever) and Charlie (Joaquin Phoenix, quietly enigmatic) one random dark night at the start of the film, there doesn’t seem to be any wealth to be pursued. With the playful last name “Sisters,” the pair of cold-blooded hit-men, without much thought about the consequences of their actions, murder a household of people in a tightly orchestrated set piece of nocturnal shootouts. The reason remains unknown—with this job and everything else, the ruthless duo answers to a much feared, mostly unseen mysterious crime boss called ‘The Commodore’ and habitually assassinates their way through the 1850s Oregon. Along the way, they bond and trivially bicker about life as casually as they kill.

But just when the soft-edged Eli starts contemplating his future and ongoing profession despite the unaffected heavy drinker Charlie’s shrugs, The Commodore sets them up for a new task. They will tail and kill a criminal called Hermann Kemit Warm (Riz Ahmed, cheekily mysterious) for reasons we would slowly piece together later—for now, he is just a thieving enemy who once betrayed their boss. Enter Morris (Jake Gyllenhaal, reuniting with Ahmed after “Nightcrawler”), a British-accented bounty hunter for hire, tasked with delivering Warm to the brothers. But then the prospect of immediate wealth turns tables for everyone involved—the brainy chemist Warm’s creamy invention that makes gold glaringly appear in water, redefines priorities at once. The two pairs, traced on parallel storylines for a while (that admittedly slows down the film’s previously absorbing rhythm), find themselves entangled in a ploy against each other. Along the way, local madams, kindly prostitutes, further the accidentally amusing events and some dead horses unfortunately enter the story, sharpening the film’s tone as an original yet studied homage to its genre.

A delightful tale of familial ties balanced well with a slick cat-and-mouse yarn, “The Sisters Brothers” owes much of its breezy charm to John C. Reilly, whose comic timing does wonders for the meatiest and most multifaceted character of the ensemble. Phoenix feels right at home in Charlie’s quieter shoes, while Gyllenhaal’s familiarly on-edge persona and a mischievous turn from Ahmed impress. Reilly and Phoenix demonstrate tremendous chemistry throughout—we buy both their longtime amity and occasional callousness, especially when the script drip-feeds the brothers’ back-story into the narrative. In this bittersweet tale with a sentimental heart, and among a dangerous milieu of blood, greed and spiders (one in particular that causes the film’s biggest gross-out moment), Audiard’s characteristically sensitive touch gradually lifts familial emotions, letting them linger in the air long after the credits roll. 

Saturday Matinee: Identikit (aka The Driver’s Seat)

Posted on by
Reply

ELIZABETH TAYLOR’S CRAZIEST ROLE: ‘THE DRIVER’S SEAT’ AKA ‘IDENTIKIT’

By Richard Metzger

Source: Dangerous Minds

The Driver’s Seat AKA Identikit stars Elizabeth Taylor in one of her single most berserk performances and since no one can bring the crazy like La Liz, that is really saying something. This 1974 Italian film is based on a novella by Muriel Spark about a disturbed woman in a foreign country who seeks a man who will tie her up and stab her to death. There is ridiculous (mostly shouted, even screamed) dialogue like: “I sense a lack of absence” and “I feel homesick for my own loneliness.” How about “You look like Red Riding Hood’s grandmother. Do you want to eat me?” She holds up her purse in an airport security check and exclaims “This may look like a purse but it is actually a bomb!?” The best line is this, however: “When I diet, I diet and when I orgasm, I orgasm! I don’t believe in mixing the two cultures!”

The director, Giuseppe Patroni Griffi, seems to have had no control over Taylor whatsoever and it appearss like she is making up her own Dada dialogue on the spot much of the time. Andy Warhol has a cameo in the film playing a British “your Lordship” who has a cryptic encounter with Liz in an airport and they meet again later in the film. His voice is overdubbed with an English voice, which is disconcerting but kind of interesting, too. Why isn’t this cuckoo-pops crazy film better known?

Here is what the AllMovie Guide has to say about The Driver’s Seat:

A beautiful but mysterious woman goes on a journey that has dangerous consequences for her and those around her in this offbeat, arty drama from Italian filmmaker Giuseppe Patroni Griffi. Lise (Elizabeth Taylor) is a woman edging into middle age who is nearing the end of her emotional rope. Needing some time away from her job and responsibilities, Lise flies to Rome, and on the flight she meets Bill (Ian Bannen), an eccentric health food enthusiast who makes it clear he wishes to seduce her, and Pierre (Maxence Mailfort), a curious man who is wary of Lise and goes out of his way to avoid her. Lise informs anyone she speaks with that she’s come to Rome to meet her boyfriend, but it soon becomes clear she has no specific plans nor anyone to see. Lise whiles away the afternoon shopping with Mrs. Fiedke (Mona Washbourne), a chatty older woman from Nova Scotia, and in time crosses paths with Bill again, but it’s not until she meets up with Pierre that her real reason for coming to Italy, as well as the depth of her madness, becomes clear. As Lise wanders through Rome, a team of police detectives is seen investigating a crime that seems to involve her. Also released as Identikit and Psychotic, The Driver’s Seat features a brief appearance from Andy Warhol as a British nobleman.

The film premiered at the Cannes Film Festival to stunned silence and it has been suggested that Liz at one point tried to buy up the rights and all prints of the movie. The filming began one day after she filed for divorce from Richard Burton and she reportedly said to director, Griffi, “It takes one day to die, another to be reborn.”
 
The Driver’s Seat is not out on a proper DVD release, but you can often find bootlegs at a “99 Cents Only” store.

Watch Identikit (aka The Driver’s Seat) on Hoopla here: https://www.hoopladigital.com/title/15460706

Saturday Matinee: The Wobblies

Posted on by
Reply

Classic Film Review: One of the Great Labor Documentaries is restored — “The Wobblies (1979)

By Roger Moore

Source: Movie Nation

“The One Big Union,” they called it, an organization that would represent every worker laboring for “The Man.” Unlike the “skilled labor” guilds of the earlier American Federation of Labor, it would take in everyone, including the the extreme exertion “unskilled” jobs — farm labor, lumberjacks, longshoremen and miners. It would be a union whose work actions and strikes were meant to not just exercise some control over their work days, their wages and their safety It would struggle to gain outright ownership of the industries where the workers toiled.

The One Big Union would rattle “ownership” in America’s rapacious “gilded age” and threaten capitalism itself if it succeeded.

“The Wobblies” is a classic labor documentary from 1979, a film that gets back to the core meaning of the film genre — “to document,” to have history recounted by those who actually lived it. Filmmakers Deborah Shaffer and Stewart Bird interviewed the dying out members and eyewitnesses to the actions and struggles of the Industrial Workers of the World, “The Wobblies,” and let these old men and women speak of the idealism, desperation and determination that drove America’s most radical labor movement, which came to life in 1905 and then disappeared, after 20 years of strife, scapegoating and bloody attacks from America’s defenders of the status quo.

The newly-restored film is a reminder of the varied styles and formats of documentaries before PBS an Ken Burns codified and formalized these films into academics and “experts” and actors reading letters or performing speeches of the figures represented.

What that looks and sounds like is a tapestry of testimonials, on and off camera, recreating an era of child labor and the murderously callous reign of America’s first oligarchs — Rockefeller and Ford, Carnegie and J.P. Morgan.

“I can hire one half of the working class to kill the other half,” financier Jay Gould sneered.

And so he could. In an era where workplace safety was deemed an unnecessary bother, when giant lumber companies could strip America’s forests with a remote workforce they could underfeed and house under deplorable conditions, when mining disasters were a simple “cost of doing business” worth no one’s attention, when hired cops and militia could be relied on to mow down longshoremen striking for an eight hour day, capitalists and capitalism were literally killing much of America, and getting anybody to care was a near impossible struggle.

“The Wobblies” uses archival silent films, still photographs, posters and performed recitations to recreate the labor ferment that boiled over from the late 1800s into the early 20th century. Interviews then hammer home what the Wobblies — their nickname may have come from Asian workers’ inability to say “I.W.W.” — represented, an impatience with the pace of reform and change.

“Work, good wages and respect” was their credo, witnesses recount.

“Free speech” battles erupted as the right to organize and protest was assaulted from Minot, North Dakota and Butte, Montana to Everett, Washington and Lawrence, Massachusetts, site of an early Wobbly unionizing success.

A hostile press and a political system bent towards the whims of the celebrated robber barons, who would quickly call for and receive lethal assistance in attacking and imprisoning labor organizers and shooting strikers was what the Wobblies were up against.

“Shakedowns” from railroaders hired to transport farm workers and lumbermen from site to work site via boxcar were common, abuse on the job and across industries was common. The Wobblies vowed that they wouldn’t just take a punch waiting for a passive public and blind-eyed government to act. They’d punch back.

The lack of experts interviewed here leaves the film with an implicit, sympathetic bias, but also deprives it of academically underscored proof of the context all this struggle took place in. World War I and the first “Red Scare,” the birth of the Soviet Union,” took place just as as the Wobblies were on the rise. A refusal to condemn or support the war, or to call off strikes during the conflict, added to heated pushback, attacks and image tarring by the press and government.

The “bomb throwers” label slapped on every labor movement since the Haymarket Square Riot was unjustly attached to the Wobblies from their birth and on into the age of animated film.

Clips from Ford-sponsored silent cinema cartoons depicting IWW organizers as rats and even an early Walt Disney (he hated unions) effort, “Alice’s Egg Plant” remind us how quick conservatives were to tie labor to the brand new boogeyman — communism — and smear workers’ rights organizations with that.

“The Wobblies” is a bracing, enthusiastic film, with many an old Wobbly recalling mottos, chants and even songs.

One remembrance ends with words he recalled his sympathetic father passing on to him. A worthy cause with worthy goals, the old Wobbly remembers his old man saying. “But it’s just a dream. It’ll never happen.”

Watch The Wobblies on Kanopy here: https://www.kanopy.com/en/product/12764581

Saturday Matinee: Hero – The Extraordinary Life of Mr. Ulric Cross

Posted on by
Reply

Hero – the extraordinary life and times of Ulric Cross

By Stephen Spark

Source: Soca News

Hero has landed. Frances-Anne Solomon’s film about the life of Ulric Cross – eight years in the making ‑ has finally reached London, though only for a few screenings. If the audience reaction at the premiere at Brixton’s Ritzy cinema was anything to go by, this film, like its subject, is destined for great things.

In conventional terms, Cross was indeed a hero. He was born in Belmont, Trinidad, and after school and some inconsequential jobs, he joined the Royal Air Force when war broke out. He became a navigator for an RAF pathfinder squadron, flying low-level missions over enemy territory to mark targets for the bombers to hit. This was not a job guaranteed to increase your life expectancy, and his near-suicidal decision to fly 80 missions without a break as Cross did was something that even he couldn’t really explain. He was, famously, the most-decorated Caribbean serviceman, gaining both a DFC and DSO for his cool-headed courage.

Like many West Indian servicemen and women, he learnt that an exemplary war record counted for little when it came to finding a peacetime job in ‘civvy street’. Despite training as a lawyer, he ended up at the BBC, but the plug was pulled on him when his interviews were deemed “too political”. And at this point the story really begins.

The title ‘hero’ is a little misleading, for his war service was only one aspect of his life and, according to Solomon, among family and friends “no one saw him as a hero”. Instead, what we have is a film about a heroic life. Cross played an important part in the African independence and pan-Africanist movements in Ghana, Cameroon and Tanzania, along with fellow Trinidadians George Padmore and C L R James. The film highlights how exciting, uncertain, energising and downright dangerous it was to be an intelligent, idealistic champion of Black empowerment and unity in Africa.

It would be impossible in anything less than a full-length dissertation to do justice to all the intersecting themes Hero contains. After the screening, almost everyone this reviewer spoke to said they needed to see it multiple times.

Hero is intellectually and emotionally absorbing, and visually exciting. Solomon has made extensive use of archive footage and melded it seamlessly with newly shot elements. At the post-film Q&A session, Solomon said that she used and adapted archive footage because the budget was too tight to allow the big set-piece scenes to be shot. It’s a restriction she turned to great advantage, as it’s resulted in a film that looks distinctive and stylish, combining newsreel immediacy with feature film gloss.

Nickolai Salcedo is mesmerising and entirely believable as Ulric Cross, and there’s a fine chemistry with Pippa Nixon as his wife, Ann – clearly a strong character in her own right. Peter Williams deserves a mention for his portrayal of the plausible, but deceptive, ‘Pony’ Macfarlane, while Fraser James brings a restless energy to the fascinating and enigmatic George Padmore.

In short: thoroughly recommended – go and see it as soon as you can.

Watch Hero on Hoopla here: https://www.hoopladigital.com/title/15317967

Saturday Matinee: The Tenant

Posted on by
Reply

By Bence Janek

Source: Kafkadesk

The Tenant by Roman Polanski, considered the last chapter of the Polish-French director’s notorious “apartment trilogy” (after Repulsion and Rosemary’s Baby), sketches a masterful adaptation of Roland Topor’s psychological horror novel on the screen and leads the unsuspicious viewer into the darkest corners of a paranoid person’s mind struggling with a myriad of social and community stereotypes in 1970’s Paris.

There’s no place like home

Polanski not only directed The Tenant but took on the main character’s costume to play the anxious character of Trelkovsky, a middle-aged Polish-born French-naturalized bureaucrat, who is planning to rent a tiny condo in a far from ordinary apartment house in Paris.

The former tenant committed suicide, the landlord is a grumpy old man, and the residential community is full of xenophobic prejudices. All the conditions are set for a surrealistic and dramatic experience.

Whether it is owned or rented, a house is arguably the most private place in anyone’s life, a space where individuals are entitled to live their undisturbed, non-public existence as they see fit.

In Trelkovsky’s case, there is no place for such privacy: instead, he becomes a constant victim of contemptuous comments from his neighbors targeting his Polish origins, his lifestyle and at some point is even asked to sign a petition to kick out other tenants from the apartment house.

In this sense, the residential community portrayed in The Tenant is a clear representation of a resentful and hypocritical society full of stigma and prejudices, where the individual is cornered with no place to thrive.

Polanski and the anti-hero

Trelkovsky can hardly cope with such a harsh environment and becomes convinced that his neighbors want to drive him to suicide, just as they allegedly did with the previous tenant.

Given the protagonist’s evident paranoid behavior and the tyrannical policy of the residential community, this duality and continuous tension bring out the hidden bisexuality, trans-sexuality, and paranoid fear that pave the way for the complete mental and sexual transformation of Trelkovsky.

What makes this film absolutely unique is the portrayal of an utterly vulnerable character with no courage to stand up against any type of abnormality in his life, even forced to lie in the most trivial cases. Trelkovsky’s character is founded on the lack of the most basic norms of personality, an anti-hero whose identity can easily be shaped and transformed by his environment and surroundings.

The majestic peak of Polanski’s horror psychological drama is how it brings up the ruthless question of whether it is possible for an already paranoid and disturbed person to merge into a community, and what happens if he or she can’t.

And most importantly, how a group of bullies can light up latent psychological problems in an individual’s mind and bring these mental and social challenges to the surface in an irredeemable way.