Corporate Monopoly Themes in ROBOCOP

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An interesting analysis of the corporate themes in Paul Verhoeven’s Robocop (note: original video was removed by author but will be available on Rob Ager films & articles volume 7 at his site. This shorter version is still up at the moment):

The creator of the video, Rob Ager, has a number of equally intriguing film dissections on his YouTube channel and website for other genre classics such as 2001: A Space Odyssey, A Clockwork Orange, The Shining, The Matrix, Starship Troopers and Alien.

Bonus Clip: Ager’s first impressions of Mad Max 4: Fury Road

Rollerball Amerika 2015

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By Philip A. Farruggio

Source: World News Trust

You must see or revisit Norman Jewison’s 1975 film Rollerball, starring James Caan as superstar player Jonathan E.

In it, we see a world no longer made up of countries, but of corporations that control every bit of life for the people. There are no longer wars, just a complacent populace who “go along to get along.”

A very select few are chosen by the corporations to become executives, giving them elite status. It seems everyone loves the violent sport Rollerball, which is like our current NFL football on steroids.

Jonathan E. is their Michael Jordan or Lebron James superplayer who is revered worldwide, even by the fans of opposing teams. He has everything a man could wish to have: a fine sprawling ranch, with servants and horses, and gorgeous female companions chosen for him by the Energy corporation that rules Houston and the surrounding areas.

Yet, even someone as popular and valued as he must sacrifice, such as when the corporation took away his wife and gave her to an executive. There is a scene in the film, when the highest corporation board decides they want Jonathan E. to retire due to the fear that his popularity has become too great. A man like that becomes too influential, thus too dangerous to control.

They send his ex wife, whom he still pines for, to visit him at his ranch and get him to agree to retire without any complications. They go for a walk and he expresses reservations about doing this. He tells her of his newfound epiphany about their society.

He knows now that the corporations long ago offered them all the choice between freedom and comfort… and the masses chose the latter. Her brief answer becomes the gist of the whole film: “Comfort IS freedom.”

And that is what we have here in 21st Century Amerika for many of our fellow citizens. The “Good German” lives on.

To study Nazi Germany in the early 40s allows us to see how the German public, to a great degree, was either apathetic or voluntarily blind as to what their regime was doing. Kristallnact was not an event that went unseen or even unheard about by multitudes of German citizens.

When the Wehrmacht invaded Russia along with the SS death squads, word did leak out through many soldiers of what had transpired. Even the most heinous of all crimes committed by the Nazis, the death camps AKA Concentration Camps, was not totally kept from the populace as many revisionists have always alleged. When tons of human hair and millions of personal effects were shipped back to companies in Germany, surely word got out.

We can, and we should forgive, the many Germans who did care about the terrible wrongs of their government at that time. Why? Well, it was a police state and dissent was stomped out rather brutally. Not everyone can be as heroic as Sophie Scholl and her brother and friends, to risk being tortured and finally beheaded.

Yet, there is this terrible pain that gnaws at this writer. That being the pain of realizing how many out there just do NOT give a shit unless it is happening to one of their own!

The late and great New Orleans district attorney Jim Garrison, who Oliver Stone centered his fine film JFK on, understood so much more than many of his peers in the 1960s. Years after his defeat in the case against Clay Shaw and others for the assassination of JFK, Garrison wrote this:

What worries me deeply is that we in America are in great danger of slowly evolving into a proto-fascist state. It will be a different kind of fascist state from the one of the Germans; theirs grew out of depression and promised bread and work, while ours is based on power and on the inability to put human goals and human conscience above the dictates of the state. It’s origins can be traced to the tremendous war machine we’ve built since 1945, the ‘Military Industrial Complex’ that Eisenhower vainly warned us against, which now dominates every aspect of our lives… In a very real and terrifying sense, our government IS the CIA and the Pentagon, with Congress reduced to a ‘debating society.'”

Cassius had said it most succinctly: “The fault dear Brutus is not in our stars but in our selves.”

(Philip A. Farruggio is son and grandson of Brooklyn, NYC longshoremen. He is a freelance columnist (found on Nation of Change Blog, Truthout.org, TheSleuthJournal.com, Worldnewstrust.com, The Intrepid Report, The Peoples Voice, Information Clearing house, Dandelion Salad, Activist Post, Dissident Voice and many other sites worldwide). Philip works as an environmental products sales rep and has been an activist leader since 2000. In 2010 he became a local spokesperson for the 25% Solution Movement to Save Our Cities by cutting military spending 25%. Philip can be reached at PAF1222@bellsouth.net)

Saturday Matinee: The Brother From Another Planet

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“The Brother From Another Planet” (1984) is a thinly veiled sci-fi race allegory from writer/director/editor/actor John Sayles. Joe Morton plays “the Brother” a mute alien slave who crash lands near Harlem while trying to evade his alien oppressors. The Brother looks similar to a human black man but has three toes and telekinetic abilities. The aliens in pursuit are similar in appearance to white government agents (one of whom is played by John Sayles). Though dated and low budget, the film is recommended for its great lead performance from Joe Morton and an intelligently humorous script.

Saturday Matinee: Medianeras (aka Sidewalls)

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“Medianeras” (2011) depicts the quirky and serendipitous road to romance between Martin, an agoraphobic web designer, and Mariana, an aspiring architect who live in neighboring apartment buildings in Buenos Aires. Medianeras is the first feature film from writer/director Gustavo Taretto who creates a nice balance of quirkiness and realism in a story that has as much to say about the alienation and chaos of urban life as the humanistic potential of communications technology.

To view with English subtitles, click the “cc” button on the bottom left corner of the video window. Then click the “settings” button next to it, click “Spanish (automatic captions)”, click “translate captions”, scroll to “English” and click “ok”.

Saturday Matinee: if…

sjff_01_img0231“if…” (1968) is one of the all-time classic student rebellion films directed by notorious anarchist Lindsay Anderson. In his first screen role, Malcolm McDowell stars as the oppressed non-conformist Mick Travis who with a few cohorts, stage an armed revolution in their school. According to the film’s Wikipedia entry, shortly before Lindsay Anderson’s death in 1994 he had completed the script for a yet unmade official sequel to “if…” (not to be confused with the other films in the Mick Travis trilogy, “O Lucky Man” and Britannia Hospital”) described as follows:

The sequel takes place during a Founders’ Day Celebration where many of the characters reunite. Mick Travis is now an Oscar-nominated movie star, eschewing England for Hollywood. Wallace is a military major who has lost his arm. Johnny is a clergyman. Rowntree is the Minister of War. In the script Rowntree is kidnapped by a group of anti-war students and saved by Mick and his gang, though not before Mick crucifies Rowntree with a large nail through his palm.

Saturday Matinee: Vital

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“Vital” (2004) is a film by Shinya Tsukamoto about a med school student who loses his memory after surviving a car crash which kills his girlfriend. Shortly after resuming studies he realizes a cadaver assigned to him to dissect is the body of his girlfriend. Against the advice of everyone around him, he becomes obsessed with his work in an effort to recover his memories and former sense of self. Like other films by Shinya Tsukamoto, Vital has much psychological conflict, Cronenbergian body horror and surreal imagery, but is more subdued and life-affirming than any other feature film he’s made to date. Vital also features a masterful performance from lead actor Tadanobu Asano.

Saturday Matinee: Tokyo Fist

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“Tokyo Fist” (1995) can be seen as director Shinya Tsukamoto’s surreal precursor to “Fight Club”, but it also features an unsettling mood and body horror reminiscent of the films of David Lynch and David Cronenberg respectively. Added to the mix is Tsukamoto’s unique brand of visceral and hyper-kinetic filmmaking, making Tokyo Fist an unforgettable experience for fans of global cult cinema (though it’s not for the squeamish).

(Click the “CC” button at the bottom right corner of video window while playing to activate English subtitles.)

Saturday Matinee: Tetsuo Trilogy

tetsuo-ironWith the underground film “Tetsuo: The Iron Man” (1989), writer/director/actor Shinya Tsukamoto broke out into the global cult cinema scene. Made on a shoestring budget and drawing influences from cyberpunk sci-fi and anime such as “Akira”, Tetsuo depicts a man’s transformation into a machine as his psychological state rapidly deteriorates. Two later “sequels”, “Tetsuo II: Body Hammer” (1992) and “Tetsuo: The Bullet Man” (2009) are variations of the same plot with progressively larger budgets and artistic ambition.

Tetsuo: The Iron Man

Tetsuo II: Body Hammer

Tetsuo: The Bullet Man