Saturday Matinee: The Package

By Paul Willistein

Source: The Morning Call

“The Package” is not a neat little present, but rather one wrapped in a plain brown wrapper – and ticking.

What’s explosive about this thriller set in the glasnost era are the performances of Gene Hackman and Tommy Lee Jones. As the movie races to its conclusion, it discards plot like bumpers and fenders flying from a car in a chase scene. Preventing the movie from coming to a crashing halt are Hackman’s and Jones’ performances.

Inside “The Package,” you’ll find Hackman quietly strong and Jones edgy. There’s a surprise: a steadfast Joanna Cassidy.

“The Package” begins in East Berlin where a disarmament conference between the Soviet Union and the United States is shattered by a terrorist attack which occurs on Sgt. Johnny Gallagher’s (Hackman) watch. Reprimanded, he’s given a more menial assignment, delivering a “package” (military parlance for a court-martialed serviceman) back to the United States to serve time.

Hackman and the serviceman (Jones) arrive while the president of the United States and the secretary general of the Soviet Union are meeting just before Christmas in Chicago (where Enrico Fermi’s experiments in the late 1930s led to the nuclear age) to celebrate the Cold War’s end. But Gallagher is brutally beaten in an airport men’s room. His “package” is gone. Checking service records through his ex-wife (Cassidy), Gallagher finds that he delivered the wrong man. Who, then, was the soldier he brought back to the States?

That’s when the twisted web of this political thriller unravels, with an ending worthy of “No Way Out,” another Orion Pictures release in which Hackman starred. “The Package” keeps you guessing, not unlike the Michael Caine starrer, “The Fourth Protocol” (also an Orion release; this studio is almost single-handedly preserving the political thriller genre). Not since “The Manchurian Candidate” has a movie provided so many chilling moments.

“The Package” does get bogged down by plot. A political thriller is nothing if not a well-oiled machine when it comes to plot – the more complex the better. But the plot must be internalized in the psyches of its main characters. Director Andrew Davis (“Above the Law,” “Code of Silence”) doesn’t show us enough of the interior life of Hackman and Cassidy, nor of Jones, for that matter.

Hackman, who’s played Lex Luthor, Superman’s nutty arch fiend, has Superman strength and determination in his heroic efforts in the movie’s latter third. It’s a credit to Hackman’s abilities that he makes it believable. Jones (“Coal Miner’s Daughter,” “Stormy Monday,” TV’s “Lonesome Dove”) again plays a hateful character who you’ll find oddly appealing. Cassidy (“Who Framed Roger Rabbit,” “Blade Runner,” “Under Fire”) has a smallish role but elevates it handsomely (and she looks great in a uniform). There’s also John Heard (“Betrayed”) as the tight-lipped colonel, and Dennis Franz (Lt. Buntz of TV’s “Hill Street Blues”) as a likeable Chicago policeman.

“The Package” is slick and shiny. It will appeal to fans of Hackman, Jones and Cassidy, as well as those who enjoy political thrillers.

The Future Is Here: Dystopian Movies Fit for a Dystopian World

By John W. Whitehead

Source: The Rutherford Institute

“The Internet is watching us now. If they want to. They can see what sites you visit. In the future, television will be watching us, and customizing itself to what it knows about us. The thrilling thing is, that will make us feel we’re part of the medium. The scary thing is, we’ll lose our right to privacy. An ad will appear in the air around us, talking directly to us.”—Director Steven Spielberg, Minority Report

We have arrived, way ahead of schedule, into the dystopian future dreamed up by such science fiction writers as George Orwell, Aldous Huxley, Margaret Atwood and Philip K. Dick.

Much like Orwell’s Big Brother in 1984, the government and its corporate spies now watch our every move.

Much like Huxley’s A Brave New World, we are churning out a society of watchers who “have their liberties taken away from them, but … rather enjoy it, because they [are] distracted from any desire to rebel by propaganda or brainwashing.”

Much like Atwood’s The Handmaid’s Tale, the populace is now taught to “know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.”

And in keeping with Philip K. Dick’s darkly prophetic vision of a dystopian police state—which became the basis for Steven Spielberg’s futuristic thriller Minority Report which was released 20 years ago—we are now trapped into a world in which the government is all-seeing, all-knowing and all-powerful, and if you dare to step out of line, dark-clad police SWAT teams and pre-crime units will crack a few skulls to bring the populace under control.

Minority Report is set in the year 2054, but it could just as well have taken place in 2022.

Seemingly taking its cue from science fiction, technology has moved so fast in the short time since Minority Report premiered in 2002 that what once seemed futuristic no longer occupies the realm of science fiction.

Incredibly, as the various nascent technologies employed and shared by the government and corporations alike—facial recognition, iris scanners, massive databases, behavior prediction software, and so on—are incorporated into a complex, interwoven cyber network aimed at tracking our movements, predicting our thoughts and controlling our behavior, Spielberg’s unnerving vision of the future is fast becoming our reality.

Both worlds—our present-day reality and Spielberg’s celluloid vision of the future—are characterized by widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars, voice-controlled homes, facial recognition systems, cybugs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails. Political correctness—a philosophy that discourages diversity—has become a guiding principle of modern society.

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America.

We are increasingly ruled by multi-corporations wedded to the police state. Much of the population is either hooked on illegal drugs or ones prescribed by doctors. And bodily privacy and integrity has been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

All of this has come about with little more than a whimper from an oblivious American populace largely comprised of nonreaders and television and internet zombies, but we have been warned about such an ominous future in novels and movies for years.

The following 15 films may be the best representation of what we now face as a society.

Fahrenheit 451 (1966). Adapted from Ray Bradbury’s novel and directed by Francois Truffaut, this film depicts a futuristic society in which books are banned, and firemen ironically are called on to burn contraband books—451 Fahrenheit being the temperature at which books burn. Montag is a fireman who develops a conscience and begins to question his book burning. This film is an adept metaphor for our obsessively politically correct society where virtually everyone now pre-censors speech. Here, a brainwashed people addicted to television and drugs do little to resist governmental oppressors.

2001: A Space Odyssey (1968). The plot of Stanley Kubrick’s masterpiece, as based on an Arthur C. Clarke short story, revolves around a space voyage to Jupiter. The astronauts soon learn, however, that the fully automated ship is orchestrated by a computer system—known as HAL 9000—which has become an autonomous thinking being that will even murder to retain control. The idea is that at some point in human evolution, technology in the form of artificial intelligence will become autonomous and human beings will become mere appendages of technology. In fact, at present, we are seeing this development with massive databases generated and controlled by the government that are administered by such secretive agencies as the National Security Agency and sweep all websites and other information devices collecting information on average citizens. We are being watched from cradle to grave.

Planet of the Apes (1968). Based on Pierre Boulle’s novel, astronauts crash on a planet where apes are the masters and humans are treated as brutes and slaves. While fleeing from gorillas on horseback, astronaut Taylor is shot in the throat, captured and housed in a cage. From there, Taylor begins a journey wherein the truth revealed is that the planet was once controlled by technologically advanced humans who destroyed civilization. Taylor’s trek to the ominous Forbidden Zone reveals the startling fact that he was on planet earth all along. Descending into a fit of rage at what he sees in the final scene, Taylor screams: “We finally really did it. You maniacs! You blew it up! Damn you.” The lesson is obvious, but will we listen? The script, although rewritten, was initially drafted by Rod Serling and retains Serling’s Twilight Zone-ish ending.

THX 1138 (1970). George Lucas’ directorial debut, this is a somber view of a dehumanized society totally controlled by a police state. The people are force-fed drugs to keep them passive, and they no longer have names but only letter/number combinations such as THX 1138. Any citizen who steps out of line is quickly brought into compliance by robotic police equipped with “pain prods”—electro-shock batons. Sound like tasers?

A Clockwork Orange (1971). Director Stanley Kubrick presents a future ruled by sadistic punk gangs and a chaotic government that cracks down on its citizens sporadically. Alex is a violent punk who finds himself in the grinding, crushing wheels of injustice. This film may accurately portray the future of western society that grinds to a halt as oil supplies diminish, environmental crises increase, chaos rules, and the only thing left is brute force.

Soylent Green (1973). Set in a futuristic overpopulated New York City, the people depend on synthetic foods manufactured by the Soylent Corporation. A policeman investigating a murder discovers the grisly truth about what soylent green is really made of. The theme is chaos where the world is ruled by ruthless corporations whose only goal is greed and profit. Sound familiar?

Blade Runner (1982). In a 21st century Los Angeles, a world-weary cop tracks down a handful of renegade “replicants” (synthetically produced human slaves). Life is now dominated by mega-corporations, and people sleepwalk along rain-drenched streets. This is a world where human life is cheap, and where anyone can be exterminated at will by the police (or blade runners). Based upon a Philip K. Dick novel, this exquisite Ridley Scott film questions what it means to be human in an inhuman world.

Nineteen Eighty-Four (1984). The best adaptation of Orwell’s dark tale, this film visualizes the total loss of freedom in a world dominated by technology and its misuse, and the crushing inhumanity of an omniscient state. The government controls the masses by controlling their thoughts, altering history and changing the meaning of words. Winston Smith is a doubter who turns to self-expression through his diary and then begins questioning the ways and methods of Big Brother before being re-educated in a most brutal fashion.

Brazil (1985). Sharing a similar vision of the near future as 1984 and Franz Kafka’s novel The Trial, this is arguably director Terry Gilliam’s best work, one replete with a merging of the fantastic and stark reality. Here, a mother-dominated, hapless clerk takes refuge in flights of fantasy to escape the ordinary drabness of life. Caught within the chaotic tentacles of a police state, the longing for more innocent, free times lies behind the vicious surface of this film.

They Live (1988). John Carpenter’s bizarre sci-fi social satire action film assumes the future has already arrived. John Nada is a homeless person who stumbles across a resistance movement and finds a pair of sunglasses that enables him to see the real world around him. What he discovers is a world controlled by ominous beings who bombard the citizens with subliminal messages such as “obey” and “conform.” Carpenter manages to make an effective political point about the underclass—that is, everyone except those in power. The point: we, the prisoners of our devices, are too busy sucking up the entertainment trivia beamed into our brains and attacking each other up to start an effective resistance movement.

The Matrix (1999). The story centers on a computer programmer Thomas A. Anderson, secretly a hacker known by the alias “Neo,” who begins a relentless quest to learn the meaning of “The Matrix”—cryptic references that appear on his computer. Neo’s search leads him to Morpheus who reveals the truth that the present reality is not what it seems and that Anderson is actually living in the future—2199. Humanity is at war against technology which has taken the form of intelligent beings, and Neo is actually living in The Matrix, an illusionary world that appears to be set in the present in order to keep the humans docile and under control. Neo soon joins Morpheus and his cohorts in a rebellion against the machines that use SWAT team tactics to keep things under control.

Minority Report (2002). Based on a short story by Philip K. Dick and directed by Steven Spielberg, the film offers a special effect-laden, techno-vision of a futuristic world in which the government is all-seeing, all-knowing and all-powerful. And if you dare to step out of line, dark-clad police SWAT teams will bring you under control. The setting is 2054 where PreCrime, a specialized police unit, apprehends criminals before they can commit the crime. Captain Anderton is the chief of the Washington, DC, PreCrime force which uses future visions generated by “pre-cogs” (mutated humans with precognitive abilities) to stop murders. Soon Anderton becomes the focus of an investigation when the precogs predict he will commit a murder. But the system can be manipulated. This film raises the issue of the danger of technology operating autonomously—which will happen eventually if it has not already occurred. To a hammer, all the world looks like a nail. In the same way, to a police state computer, we all look like suspects. In fact, before long, we all may be mere extensions or appendages of the police state—all suspects in a world commandeered by machines.

V for Vendetta (2006). This film depicts a society ruled by a corrupt and totalitarian government where everything is run by an abusive secret police. A vigilante named V dons a mask and leads a rebellion against the state. The subtext here is that authoritarian regimes through repression create their own enemies—that is, terrorists—forcing government agents and terrorists into a recurring cycle of violence. And who is caught in the middle? The citizens, of course. This film has a cult following among various underground political groups such as Anonymous, whose members wear the same Guy Fawkes mask as that worn by V.

Children of Men (2006). This film portrays a futuristic world without hope since humankind has lost its ability to procreate. Civilization has descended into chaos and is held together by a military state and a government that attempts to keep its totalitarian stronghold on the population. Most governments have collapsed, leaving Great Britain as one of the few remaining intact societies. As a result, millions of refugees seek asylum only to be rounded up and detained by the police. Suicide is a viable option as a suicide kit called Quietus is promoted on billboards and on television and newspapers. But hope for a new day comes when a woman becomes inexplicably pregnant.

Land of the Blind (2006). In this dark political satire, tyrannical rulers are overthrown by new leaders who prove to be just as evil as their predecessors. Maximilian II is a demented fascist ruler of a troubled land named Everycountry who has two main interests: tormenting his underlings and running his country’s movie industry. Citizens who are perceived as questioning the state are sent to “re-education camps” where the state’s concept of reality is drummed into their heads. Joe, a prison guard, is emotionally moved by the prisoner and renowned author Thorne and eventually joins a coup to remove the sadistic Maximilian, replacing him with Thorne. But soon Joe finds himself the target of the new government.

All of these films—and the writers who inspired them—understood what many Americans, caught up in their partisan, flag-waving, zombified states, are still struggling to come to terms with: that there is no such thing as a government organized for the good of the people. Even the best intentions among those in government inevitably give way to the desire to maintain power and control at all costs.

Eventually, as I make clear in my book Battlefield America: The War on the American People and in its fictional counterpart The Erik Blair Diaries, even the sleepwalking masses (who remain convinced that all of the bad things happening in the police state—the police shootings, the police beatings, the raids, the roadside strip searches—are happening to other people) will have to wake up.

Sooner or later, the things happening to other people will start happening to us.

When that painful reality sinks in, it will hit with the force of a SWAT team crashing through your door, a taser being aimed at your stomach, and a gun pointed at your head. And there will be no channel to change, no reality to alter, and no manufactured farce to hide behind.

As George Orwell warned, “If you want a picture of the future, imagine a boot stamping on a human face forever.”

Saturday Matinee: The Thousand Faces Of Dunjia

“The Thousand Faces of Dunjia” (2017) is a Chinese fantasy film directed by Yuen Woo-ping; scripted and produced by Tsui Hark, and starring Chengpeng Dong, Aarif Lee, Ni Ni, and Zhou Dongyu as the central core of a ragtag group whose mission is to defend humankind from ancient aliens. It’s a remake of Yuen’s 1982 film The Miracle Fighters.

Watch The Thousand Faces Of Dunjia on Hoopla here: https://www.hoopladigital.com/title/12064080

Saturday Matinee: Land of the Blind

By Ms Mary Lou

Source: The News Blender

“A stale piece of bread is better than nothing.”

LAND OF THE BLIND is a 2006 film directed by Robert Edwards, and written by Edwards five years before. Its message about political corruption and complacency is so resonant that, even though it takes cues from historical figures throughout the centuries, we can still see our current climate reflected in it .

The film starts “Five Years Before” during the reign of President-For-Life Maximilian II (Tom Hollander). Having inherited the position from his father, Maximilian is equal parts politically clueless and personally gluttonous. He doesn’t understand why his constituents aren’t grateful when he commutes those sentenced to the gallows…by sending them to firing squads instead. Unable to stand any critique of himself, he murders his opponents when he can get away with it and sends them to the not-so-secret prisons when he can’t.

One of these prisoners is the de facto leader of the resistance, playwright turned political prisoner Thorne (Donald Sutherland). He’s been imprisoned for years for the crime of being critical of Maximilian. Despite having nearly all communication with the outside world cut off, his followers “The Citizens for Justice and Democracy” continue the movement he inspired. While they wage wars against the administration outside, Thorne is left to write his manifesto on the walls of his cell using any means available.

One of the guards assigned to him, Joe (Ralph Fiennes), serves as our everyman narrator. In the beginning he doesn’t consider himself political, just a man doing his job. The more he has conversations with Thorne, however, the more he sees the corruption in Maximiliam’s regime and becomes determined to help achieve change. From his cell Thorne runs for–and is elected to–parliament and is thus released to serve his term. Now that their leader is accessible the Citizens for Justice and Democracy spring into action.

Quickly Joe helps Thorne and his followers get into Maximilian’s castle. Within minutes Thorne puts Maximilian and his wife through a two minute trial in their bedroom, convicts, and executes them. The Maximilian II regime is over.

“Nothing is better than a big, juicy steak.”

With Thorne in the position of President-For-Life, change definitely happens. Maximilian’s indulgences are replaced with a strict moral code. All females are now forced to wear hijabs when outside the house. Re-education camps are opened to make sure everyone is in line with the nation’s moral code. This includes teachers, doctors, people who insist on wearing glasses, and anyone else not in line with the new morality. Children are separated from their parents in order to “fight the narcissism of family.” The revolution has occurred. Long live the revolution.

Joe is retired from the military and held up as a hero for his part in the revolution. He isn’t as thrilled with Thorne’s changes. When pressured to sign a loyalty oath, Joe refuses out of principle. He points out to Thorne that “before the revolution man exploited man. Since the revolution it’s the other way around.” That is enough to get Joe sent to the re-education camps.

What happens in the camps would be unfathomable if I didn’t know how much of this movie was based on historical events. There is physical torture, psychological torture, relentless pressure to accept anything and everything he’s told to believe. Can Joe survive with himself intact and is it worth it if he does?

“Therefore, a stale piece of bread is better than a big, juicy steak.”

LAND OF THE BLIND is not a movie for everyone. There are a lot of questions left unanswered. We don’t learn the characters’ histories. In the end there is no comfortable resolution. The movie will be fascinating for those who know history; they’ll be able to recognize the patterns that have happened and even recognize some that are still going on. Even those who can’t see when Idi Amin or the Khmer Rouge are referenced can still appreciate the movie on its own. The actors are all well cast in their roles and their journeys are completely believable. The music, composed by Guy Farley, is appropriately unsettling and comes in at just the right moments to keep the viewer on edge. Robert Edwards is a master at balancing actual history with a compelling story. I like to watch this movie whenever I find myself getting politically complacent. It’s a reminder that it’s not enough to stand against something; you have to also know what you’re standing for.

Watch Land of the Blind on Hoopla here: https://www.hoopladigital.com/title/14779187

Saturday Matinee: Dragons Forever

By Chrichton

Source: Chrichton’s World

If the majority of the Peking Opera School brothers are involved then you just know it is going to be good. Next to usual suspects Jackie Chan, Sammo Hung and Yuen Biao Yuen Wah (on screen) and Corey Yuen (off screen) are brought into the mix to deliver this martial arts gem. The combination of action and comedy is nothing new to these guys. But romance? That one surprised me because that is not something they do often. And even when it borders to the more sentimental and cheesy kind I could appreciate it since most of it seemed sincere and convincing.

But there are other little surprises that makes Dragons Forever a lot of fun. The first one that sticks out is Yuen Biao’s character Timothy Tung. Timothy is not quite right in the head. No real explanation is given other than that even friend Jackie Lung is surprised by his insanity.  When Jackie visits his friend he is met with a lot of hostility. At first he thinks it’s because he doesn’t recognize him. But even when saying who he is and showing his face up close Timothy still has trouble recognizing him. It’s so weirdly disturbing that it becomes hilarious. Especially since throughout the film he seems to be living in his own little world and his friend Jackie just leaves him be. Dismissing his behaviour as quirky and lovable. For example his Goldfish don’t live in aquariums but in tubes placed all over in his home. Actually it looked really cool. It did look like the fish were enjoying themselves. The other surprise is Jackie as a ladies man. I remember him playing a character like this in City Hunter but prior to this I had never actually seen him coming on to women in this fashion. Because usually he plays the straight and righteous guy who rarely crosses the line and in this film he has no trouble being unethical or hiring his friends to do some spying on the plaintiff. Even going so far in allowing friend Luke Wong (Sammo Hung) to seduce the plaintiff and he himself to become more than amicable with the plaintiff’s niece who also is a witness in the court case. This is where the romantic elements come in. Surprisingly these elements gave this film an edge. That and the tone change in the third act. Up until that time Dragons Forever is pretty light and comedic. But then things become real serious and super dark. In most films tone changes like this don’t work. But here they do since in the first two acts you have gotten to know the main characters and that despite their silly antics they do have their hearts in the right place. 

On top of that the action is top notch. Mostly combat based and the kind I really like and enjoy. It’s beautifully choreographed and exciting. The fights between the three dragons also are delightful since they seemed to be having a lot of fun beating each other up. What I really liked was how this action was blended with the comedy and romantic elements. The film flowed incredibly well and not once did I think that any of the elements fell out of place. Even when it became super dark at the end. But I think we got Sammo Hung and Corey Yuen to thank for that since they both directed this film. 

I don’t think I am the type who uses this term very quickly but when I do you can be sure that I mean it wholeheartedly. Dragons Forever is a masterpiece. If you never have seen this film you owe it to yourself to do so. It is easily one of the best films in the genre. 

Saturday Matinee: Natural Born Killers

By Richard Propes

Source: The Independent Critic

Is “Natural Born Killers” an indictment of our current society that is so completely fascinated with crime, criminals and everything that waxes dramatic? Or, is it simply a glossy, stylized romp through random acts of violence?

Oliver Stone’s “Natural Born Killers” takes the life of two of society’s rejects, Mickey and Mallory, and allows them to fall in love and embark on a nationwide killing spree that becomes fodder for the press, an obsession for law enforcement and, ultimately, they become folk heroes to the common man across America.

The film, which on the surface appears to be incredibly and over-the-top violent, is actually far less violent than many films with a lesser rating. While we see shootings and killings, the vision is seldom graphic in nature. These events are much more about attitude and atmosphere than they are the violence itself.

The word “intoxication” is the word I think of most when I think of the film “Natural Born Killers.” Mickey (Woody Harrelson) and Mallory (Juliette Lewis) become intoxicated by killing and the fame it brings…Reporter Wayne Gale (Robert Downey, Jr.) becomes intoxicated by the story, the ratings, the spotlight…Warden McClusky (Tommy Lee Jones) is intoxicated by his power and justice.

The script, by Stone and Quentin Tarantino, vividly brings to life this intoxication in scenes that often resemble television shows and other times take on such a psychedelic feeling that it almost feels like we’re in the middle of one of those lava lamps where you look through the hole and you see different visions every time you look in it.

“Natural Born Killers”, for me, is a visionary film because it sees the truth of our society and where we are headed. We are living in a world where celebrity allows you to get away with most anything, such as in the O.J. Simpson trial, and where even the most heinous criminal becomes an overnight celebrity. In “Natural Born Killers,” Stone and Tarantino are, to me, clearly saying that we can’t just blame the criminals for the deterioration of our society…it’s all of us who buy into the drama, the glamour and the excitement that allows the cycle to perpetuate.

Stellar performances, a powerful, insightful script, groundbreaking camerawork and the unique vision of Oliver Stone combine to make “Natural Born Killers” a bold, visionary film that may shock, may offend, may alienate…but, in the end, it is a film you will remember.

Watch Natural Born Killers on Hoopla here: https://www.hoopladigital.com/title/14507250

Saturday Matinee: Ukraine on Fire – The Real Story

[Originally posted on 2/24/18]

https://vimeo.com/332524840

A Documentary You’ll Likely Never See

By James DiEugenio

Source: Consortium News

It is not very often that a documentary film can set a new paradigm about a recent event, let alone, one that is still in progress. But the new film Ukraine on Fire has the potential to do so – assuming that many people get to see it.

Usually, documentaries — even good ones — repackage familiar information in a different aesthetic form. If that form is skillfully done, then the information can move us in a different way than just reading about it.

A good example of this would be Peter Davis’s powerful documentary about U.S. involvement in Vietnam, Hearts and Minds. By 1974, most Americans understood just how bad the Vietnam War was, but through the combination of sounds and images, which could only have been done through film, that documentary created a sensation, which removed the last obstacles to America leaving Indochina.

Ukraine on Fire has the same potential and could make a contribution that even goes beyond what the Davis film did because there was very little new information in Hearts and Minds. Especially for American and Western European audiences, Ukraine on Fire could be revelatory in that it offers a historical explanation for the deep divisions within Ukraine and presents information about the current crisis that challenges the mainstream media’s paradigm, which blames the conflict almost exclusively on Russia.

Key people in the film’s production are director Igor Lopatonok, editor Alex Chavez, and writer Vanessa Dean, whose screenplay contains a large amount of historical as well as current material exploring how Ukraine became such a cauldron of violence and hate. Oliver Stone served as executive producer and conducted some high-profile interviews with Russian President Vladimir Putin and ousted Ukrainian President Viktor Yanukovych.

The film begins with gripping images of the violence that ripped through the capital city of Kiev during both the 2004 Orange Revolution and the 2014 removal of Yanukovich. It then travels back in time to provide a perspective that has been missing from mainstream versions of these events and even in many alternative media renditions.

A Longtime Pawn

Historically, Ukraine has been treated as a pawn since the late Seventeenth Century. In 1918, Ukraine was made a German protectorate by the Treaty of Brest Litovsk. Ukraine was also a part of the Molotov-Ribbentrop Pact of 1939 signed between Germany and Russia, but violated by Adolf Hitler when the Nazis invaded the Soviet Union in the summer of 1941.

The reaction of many in Ukraine to Hitler’s aggression was not the same as it was in the rest of the Soviet Union. Some Ukrainians welcomed the Nazis. The most significant Ukrainian nationalist group, Organization of Ukrainian Nationalists (OUN), had been established in 1929. Many of its members cooperated with the Nazis, some even enlisted in the Waffen SS and Ukrainian nationalists participated in the massacre of more than 33,000 Jews at Babi Yar ravine in Kiev in September 1941. According to scholar Pers Anders Rudling, the number of Ukrainian nationalists involved in the slaughter outnumbered the Germans by a factor of 4 to 1.

But it wasn’t just the Jews that the Ukrainian nationalists slaughtered. They also participated in massacres of Poles in the western Ukrainian region of Galicia from March 1943 until the end of 1944. Again, the main perpetrators were not Germans, but Ukrainians.

According to author Ryazard Szawlowksi, the Ukrainian nationalists first lulled the Poles into thinking they were their friends, then turned on them with a barbarity and ferocity that not even the Nazis could match, torturing their victims with saws and axes. The documentary places the number of dead at 36,750, but Szawlowski estimates it may be two or three times higher.

OUN members participated in these slaughters for the purpose of ethnic cleansing, wanting Ukraine to be preserved for what OUN regarded as native Ukrainians. They also expected Ukraine to be independent by the end of the war, free from both German and Russian domination. The two main leaders in OUN who participated in the Nazi collaboration were Stepan Bandera and Mykola Lebed. Bandera was a virulent anti-Semite, and Lebed was rabidly against the Poles, participating in their slaughter.

After the war, both Bandera and Lebed were protected by American intelligence, which spared them from the Nuremburg tribunals. The immediate antecedent of the CIA, Central Intelligence Group, wanted to use both men for information gathering and operations against the Soviet Union. England’s MI6 used Bandera even more than the CIA did, but the KGB eventually hunted down Bandera and assassinated him in Munich in 1959. Lebed was brought to America and addressed anti-communist Ukrainian organizations in the U.S. and Canada. The CIA protected him from immigration authorities who might otherwise have deported him as a war criminal.

The history of the Cold War was never too far in the background of Ukrainian politics, including within the diaspora that fled to the West after the Red Army defeated the Nazis and many of their Ukrainian collaborators emigrated to the United States and Canada. In the West, they formed a fierce anti-communist lobby that gained greater influence after Ronald Reagan was elected in 1980.

Important History

This history is an important part of Dean’s prologue to the main body of Ukraine on Fire and is essential for anyone trying to understand what has happened there since the collapse of the Soviet Union in 1991. For instance, the U.S.-backed candidate for president of Ukraine in 2004 — Viktor Yushchenko — decreed both Bandera and his military assistant Roman Shukhevych, who was also involved in atrocitites, were both named national heroes by Yushchenko.

Bandera, in particular, has become an icon for post-World War II Ukrainian nationalists. One of his followers was Dmytro Dontsov, who called for the birth of a “new man” who would mercilessly destroy Ukraine’s ethnic enemies.

Bandera’s movement was also kept alive by Yaroslav Stetsko, Bandera’s premier in exile. Stetsko fully endorsed Bandera’s anti-Semitism and also the Nazi attempt to exterminate the Jews of Europe. Stetsko, too, was used by the CIA during the Cold War and was honored by Yushchenko, who placed a plaque in his honor at the home where he died in Munich in 1986. Stetsko’s wife, Slava, returned to Ukraine in 1991 and ran for parliament in 2002 on the slate of Yushchenko’s Our Ukraine party.

Stetsko’s book, entitled Two Revolutions, has become the ideological cornerstone for the modern Ukrainian political party Svoboda, founded by Oleh Tyahnybok, who is pictured in the film calling Jews “kikes” in public, which is one reason the Simon Wiesenthal Center has ranked him as one of the most dangerous anti-Semites in the world.

Another follower of Bandera is Dymytro Yarosh, who reputedly leads the paramilitary arm of an even more powerful political organization in Ukraine called Right Sektor. Yarosh once said he controls a paramilitary force of about 7,000 men who were reportedly used in both the overthrow of Yanukovych in Kiev in February 2014 and the suppression of the rebellion in Odessa a few months later, which are both fully depicted in the film.

This historical prelude and its merging with the current civil war is eye-opening background that has been largely hidden by the mainstream Western media, which has downplayed or ignored the troubling links between these racist Ukrainian nationalists and the U.S.-backed political forces that vied for power after Ukraine became independent in 1991.

The Rise of a Violent Right

That same year, Tyahnybok formed Svoboda. Three years later, Yarosh founded Trident, an offshoot of Svoboda that eventually evolved into Right Sektor. In other words, the followers of Bandera and Lebed began organizing themselves immediately after the Soviet collapse.

In this time period, Ukraine had two Russian-oriented leaders who were elected in 1991 and 1994, Leonid Kravchuk, and Leonid Kuchma. But the hasty transition to a “free-market” economy didn’t go well for most Ukrainians or Russians as well-connected oligarchs seized much of the wealth and came to dominate the political process through massive corruption and purchase of news media outlets. However, for average citizens, living standards went down drastically, opening the door for the far-right parties and for foreign meddling.

In 2004, Viktor Yanukovych, whose political base was strongest among ethnic Russians in the east and south, won the presidential election by three percentage points over the U.S.-favored Viktor Yushchenko, whose base was asmostly in the country’s west where the Ukrainian nationalists are strongest.

Immediately, Yushchenko’s backers claimed fraud citing exit polls that had been organized by a group of eight Western nations and four non-governmental organizations or NGOs, including the Renaissance Foundation founded by billionaire financial speculator George Soros. Dick Morris, former President Bill Clinton’s political adviser, clandestinely met with Yushchenko’s team and advised them that the exit polls would not just help in accusations of fraud, but would bring protesters out into the streets. (Cambridge Review of International Affairs, Vol. 19, Number 1, p. 26)

Freedom House, another prominent NGO that receives substantial financing from the U.S.-government-funded National Endowment for Democracy (NED), provided training to young activists who then rallied protesters in what became known as the Orange Revolution, one of the so-called “color revolutions” that the West’s mainstream media fell in love with. It forced an election rerun that Yushchenko won.

But Yushchenko’s presidency failed to do much to improve the lot of the Ukrainian people and he grew increasingly unpopular. In 2010, Yushchenko failed to make it out of the first round of balloting and his rival Yanukovych was elected president in balloting that outside observers judged free and fair.

Big-Power Games

If this all had occurred due to indigenous factors within Ukraine, it could have been glossed over as a young nation going through some painful growing pains. But as the film points out, this was not the case. Ukraine continued to be a pawn in big-power games with many Western officials hoping to draw the country away from Russian influence and into the orbit of NATO and the European Union.

In one of the interviews in Ukraine on Fire, journalist and author Robert Parry explains how the National Endowment for Democracy and many subsidized political NGOs emerged in the 1980s to replace or supplement what the CIA had traditionally done in terms of influencing the direction of targeted countries.

During the investigations of the Church Committee in the 1970s, the CIA’s “political action” apparatus for removing foreign leaders was exposed. So, to disguise these efforts, CIA Director William Casey, Reagan’s White House and allies in Congress created the NED to finance an array of political and media NGOs.

As Parry noted in the documentary, many traditional NGOs do valuable work in helping impoverished and developing countries, but this activist/propaganda breed of NGOs promoted U.S. geopolitical objectives abroad – and NED funded scores of such projects inside Ukraine in the run-up to the 2014 crisis.

Ukraine on Fire goes into high gear when it chronicles the events that occurred in 2014, resulting in the violent overthrow of President Yanukovych and sparking the civil war that still rages. In the 2010 election, when Yushchenko couldn’t even tally in the double-digits, Yanukovych faced off against and defeated Yulia Tymoshenko, a wealthy oligarch who had served as Yushchenko’s prime minister.

After his election, Yanukovych repealed Bandera’s title as a national hero. However, because of festering economic problems, the new president began to search for an economic partner who could provide a large loan. He first negotiated with the European Union, but these negotiations bogged down due to the usual draconian demands made by the International Monetary Fund.

So, in November 2013, Yanukovych began to negotiate with Russian President Putin who offered more generous terms. But Yanukovych’s decision to delay the association agreement with the E.U. provoked street protests in Kiev especially from the people of western Ukraine.

As Ukraine on Fire points out, other unusual occurrences also occurred, including the emergence of three new TV channels – Spilno TV, Espreso TV, and Hromadske TV – going on the air between Nov. 21 and 24, with partial funding from the U.S. Embassy and George Soros.

Pro-E.U. protests in the Maidan square in central Kiev also grew more violent as ultra-nationalist street fighters from Lviv and other western areas began to pour in and engage in provocations, many of which were sponsored by Yarosh’s Right Sektor. The attacks escalated from torch marches similar to Nazi days to hurling Molotov cocktails at police to driving large tractors into police lines – all visually depicted in the film. As Yanukovich tells Stone, when this escalation happened, it made it impossible for him to negotiate with the Maidan crowd.

One of the film’s most interesting interviews is with Vitaliy Zakharchenko, who was Minister of the Interior at the time responsible for law enforcement and the conduct of the police. He traces the escalation of the attacks from Nov. 24 to 30, culminating with a clash between police and protesters over the transport of a giant Christmas tree into the Maidan. Zakharchenko said he now believes this confrontation was secretly approved by Serhiy Lyovochkin, a close friend of U.S. Ambassador Geoffrey Pyatt, as a pretext to escalate the violence.

At this point, the film addresses the direct involvement of U.S. politicians and diplomats. Throughout the crisis, American politicians visited Maidan, as both Republicans and Democrats, such as Senators John McCain, R-Arizona, and Chris Murphy, D-Connecticut. stirred up the crowds. Yanukovych also said he was in phone contact with Vice President Joe Biden, who he claims was misleading him about how to handle the crisis.

The film points out that the real center of American influence in the Kiev demonstrations was with Ambassador Pyatt and Assistant Secretary of State for European Affairs Victoria Nuland. As Parry points out, although Nuland was serving under President Obama, her allegiances were really with the neoconservative movement, most associated with the Republican Party.

Her husband is Robert Kagan, who worked as a State Department propagandist on the Central American wars in the 1980s and was the co-founder of the Project for the New American Century in the 1990s, the group that organized political and media pressure for the U.S. invasion of Iraq in 2003. Kagan also was McCain’s foreign policy adviser in the 2008 presidential election (although he threw his support behind Hillary Clinton in the 2016 race).

Adept Manipulators

As Parry explained, the neoconservatives have become quite adept at disguising their true aims and have powerful allies in the mainstream press. This combination has allowed them to push the foreign policy debate to such extremes that, when anyone objects, they can be branded a Putin or Yanukovych “apologist.”

Thus, Pyatt’s frequent meetings with the demonstrators in the embassy and Nuland’s handing out cookies to protesters in the Maidan were not criticized as American interference in a sovereign state, but were praised as “promoting democracy” abroad. However, as the Maidan crisis escalated, Ukrainian ultra-nationalists moved to the front, intensifying their attacks on police. Many of these extremists were disciples of Bandera and Lebed. By February 2014, they were armed with shotguns and rapid-fire handguns.

On Feb. 20, 2014, a mysterious sniper, apparently firing from a building controlled by the Right Sektor, shot both police and protesters, touching off a day of violence that left about 14 police and some 70 protesters dead.

With Kiev slipping out of control, Yanukovich was forced to negotiate with representatives from France, Poland and Germany. On Feb. 21, he agreed to schedule early elections and to accept reduced powers. At the urging of Vice President Biden, Yanukovych also pulled back the police.

But the agreement – though guaranteed by the European nations – was quickly negated by renewed attacks from the Right Sektor and its street fighters who seized government buildings. Russian intelligence services got word that an assassination plot was in the works against Yanukovych, who fled for his life.

On Feb. 24, Yanukovych asked permission to enter Russia for his safety and the Ukrainian parliament (or Rada), effectively under the control of the armed extremists, voted to remove Yanukovych from office in an unconstitutional manner because the courts were not involved and the vote to impeach him did not reach the mandatory threshold. Despite these irregularities, the U.S. and its European allies quickly recognized the new government as “legitimate.”

Calling a Coup a Coup

But the ouster of Yanukovych had all the earmarks of a coup. An intercepted phone call, apparently in early February, between Nuland and Pyatt revealed that they were directly involved in displacing Yanukovych and choosing his successor. The pair reviewed the field of candidates with Nuland favoring Arseniy Yatsenyuk, declaring “Yats is the guy” and discussing with Pyatt how to “glue this thing.” Pyatt wondered about how to “midwife this thing.” They sounded like Gilded Age millionaires in New York deciding who should become the next U.S. president. On Feb. 27, Yatsenyuk became Prime Minister of Ukraine.

Not everyone in Ukraine agreed with the new regime, however. Crimea, which had voted heavily for Yanukovych, decided to hold a referendum on whether to split from Ukraine and become a part of Russia. The results of the referendum were overwhelming. Some 96 percent of Crimeans voted to unite with Russia. Russian troops – previously stationed in Crimea under the Sevastopol naval base agreement – provided security against Right Sektor and other Ukrainian forces moving against the Crimean secession, but there was no evidence of Russian troops intimidating voters or controlling the elections. The Russian government then accepted the reunification with Crimea, which had historically been part of Russia dating back hundreds of years.

Two eastern provinces, Donetsk and Lugansk, also wanted to split off from Ukraine and also conducted a referendum in support of that move. But Putin would not agree to the request from the two provinces, which instead declared their own independence, a move that the new government in Kiev denounced as illegal. The Kiev regime also deemed the insurgents “terrorists” and launched an “anti-terrorism operation” to crush the resistance. Ultra-nationalist and even neo-Nazi militias, such as the Azov Battalion, took the lead in the bloody fighting.

Anti-coup demonstrations also broke out in the city of Odessa to the south. Ukrainian nationalist leader Andrei Parubiy went to Odessa, and two days later, on May 2, 2014, his street fighters attacked the demonstrators, driving them into the Trade Union building, which was then set on fire. Forty-two people were killed, some of whom jumped to their deaths.

‘Other Side of the Story’

If the film just got across this “other side of the story,” it would provide a valuable contribution since most of this information has been ignored or distorted by the West’s mainstream media, which simply blames the Ukraine crisis on Vladimir Putin. But in addition to the fine work by scenarist Vanessa Dean, the direction by Igor Lopatonok and the editing by Alexis Chavez are extraordinarily skillful and supple.

The 15-minute prologue, where the information about the Nazi collaboration by Bandera and Lebed is introduced, is an exceptional piece of filmmaking. It moves at a quick pace, utilizing rapid cutting and also split screens to depict photographs and statistics simultaneously. Lopatonok also uses interactive graphics throughout to transmit information in a visual and demonstrative manner.

Stone’s interviews with Putin and Yanukovych are also quite newsworthy, presenting a side of these demonized foreign leaders that has been absent in the propagandistic Western media.

Though about two hours long, the picture has a headlong tempo to it. If anything, it needed to slow down at points since such a large amount of information is being communicated. On the other hand, it’s a pleasure to watch a documentary that is so intelligently written, and yet so remarkably well made.

When the film ends, the enduring message is similar to those posed by the American interventions in Vietnam and Iraq. How could the State Department know so little about what it was about to unleash, given Ukraine’s deep historical divisions and the risk of an escalating conflict with nuclear-armed Russia?

In Vietnam, Americans knew little about the country’s decades-long struggle of the peasantry to be free from French and Japanese colonialism. Somehow, America was going to win their hearts and minds and create a Western-style “democracy” when many Vietnamese simply saw the extension of foreign imperialism.

In Iraq, President George W. Bush and his coterie of neocons was going to oust Saddam Hussein and create a Western-style democracy in the Middle East, except that Bush didn’t know the difference between Sunni and Shiite Moslems and how Iraq was likely to split over sectarian rivalries and screw up his expectations.

Similarly, the message of Ukraine on Fire is that short-sighted, ambitious and ideological officials – unchecked by their superiors – created something even worse than what existed. While high-level corruption persists today in Ukraine and may be even worse than before, the conditions of average Ukrainians have deteriorated.

And, the Ukraine conflict has reignited the Cold War by moving Western geopolitical forces onto Russia’s most sensitive frontier, which, as scholar Joshua Shifrinson has noted, violates a pledge made by Secretary of State James Baker in February 1990 as the Soviet Union peacefully accepted the collapse of its military influence in East Germany and eastern Europe. (Los Angeles Times, 5/30/ 2016)

This film also reminds us that what happened in Ukraine was a bipartisan effort. It was begun under George W. Bush and completed under Barack Obama. As Oliver Stone noted in the discussion that followed the film’s premiere in Los Angeles, the U.S. painfully needs some new leadership reminiscent of Franklin Roosevelt and John Kennedy, people who understand how America’s geopolitical ambitions must be tempered by on-the-ground realities and the broader needs of humanity to be freed from the dangers of all-out war.

James DiEugenio is a researcher and writer on the assassination of President John F. Kennedy and other mysteries of that era. His most recent book is Reclaiming Parkland.