“John Brennan on Thursday recalled being asked a standard question for a top security clearance at his early CIA lie detector test: Have you ever worked with or for a group that was dedicated to overthrowing the US?”
And with those who collaborate with China to suppress freedom.
Some of those communist agents have risen to the highest levels of U.S. government.
It is not a stretch to say that America is now run by communist China.
Which means people like myself–people who like to have their votes actually count–are placed in a very delicate situation.
I am no longer under any illusion that my vote counts.
My vote was stolen by Eric Coomer.
My vote was stolen by Ruby Freeman.
My vote was stolen by Fulton County and Wayne County.
My vote was stolen by Philadelphia, Detroit, and Milwaukee.
My vote was stolen by Maricopa County.
My vote was stolen by Phoenix.
My vote was stolen by Las Vegas.
My vote was stolen by Arizona and Nevada.
My vote was stolen by Chinese hackers.
My vote was stolen by the CIA.
My vote was stolen by the Deep State.
I could go on and on.
My vote was stolen by Mark Zuckerberg and his pathetic wife Priscilla Chan.
My vote was stolen by Mitch McConnell and his pathetic wife Elaine Chao.
And her pathetic sister Angela Chao.
And the Bank of China.
My vote was stolen by China.
China who gave the world COVID.
America is in a war.
It is undeclared publicly.
I’m not sure our military is even smart enough to realize we are under attack.
Because many of our top brass appear to be corrupt.
My vote was stolen by Michael Hayden and John Brennan.
My vote was stolen by Gina Haspel and Avril Haines.
My vote was stolen by Bill Gates.
My vote was stolen by James Mattis and John Kelly.
My vote was stolen by Colin Powell and James Comey.
My vote was stolen by Andrew McCabe and Peter Strzok.
My vote was stolen and given to Joe Biden.
My vote appears to have been stolen by Mark Milley.
My vote appears to have been stolen by Chris Miller and Ezra Cohen-Watnick.
My vote was stolen by Mike Pence.
My vote was stolen by Brett Kavanaugh.
My vote was stolen by Amy Coney Barrett.
My vote was stolen by John Roberts.
My vote was stolen by Chris Krebs.
My vote was stolen by Christopher Wray.
South Carolina is where cars crash into trees.
Where drunks wreck their hoopties.
Fucked up on malt liquor.
You’re almost in Georgia by that point.
But you gotta go inland to find the Georgia Guidestones.
So transparently talking about global depopulation.
But still on the South Carolina border.
Heading towards Alabama hit Atlanta.
Was it Ted Turner built the Guidestones or some other worthless fuck?
Some worthless piece of shit like Bill Gates.
Parris Island will get you to Jekyll Island.
Where those filthy bankers plotted the Federal Reserve System in secret in 1910.
111 years ago.
Two world wars.
A Cold War.
Afghanistan for us and the Soviets.
And now we can never get out of debt.
All goes back to 9/11.
I liked R. Lee Ermey.
Some might say.
Like liking Darth Vader.
But I don’t think so.
Because Stanley Kubrick is a (very talented) propagandist.
True, war is disgusting.
True, Vietnam was depressing.
But now you see what we were fighting against.
Was it misguided?
But now Chinese communism has conquered our nation (with the installment of Joe Biden).
And so now the heroes of Vietnam–our American Vietnam vets–are truly heroes after all.
To stem the tide.
To buy us time.
And our politicians (and military brass) have pissed it away.
But mainly our politicians.
And our filthy intelligence (CIA) community.
America is not shit.
At its heart.
But Stanley Kubrick and all his commie fag friends want you to believe it’s so.
But we will not tolerate that.
We respect Kubrick’s talent.
But politely disagree with his artistic premise…that America is shit.
D’Onofrio breaks your heart.
And it is more schoolmaster bullying than anything.
But it’s all plausible.
Yet Kubrick has to shoot it like The Shining.
Yeah, war will drive you crazy.
And real training should be the same intensity as the war you’re going to.
Otherwise, it’s worthless.
America is at war.
China doesn’t declare war anymore.
They just sneak around and poison you.
And fuck with your weather.
And buy off your politicians.
I love jelly donuts.
We’re not all cut out for the military.
But when the enemy invades the homeland (as China has done to us), all bets are off.
I am a digital soldier.
Born To Kill.
Matthew Modine good here too.
In the eyes.
Kubrick was a genius.
An evil genius.
Yes, war is bad.
But Kubrick was a communist.
So, for him, a communist world was better than a war.
For me, a war is better than a communist world.
Because at least we got the chance of coming out the other side with some freedoms.
That thing I am using right now to write this blog.
That thing that guarantees I can insult the government.
I can make my views known.
I cannot be violent, but I can unleash a shitstorm of invective.
And my government is supposed to not be able to stop me.
Because they are constrained by our Constitution.
Is protected speech.
I wish no harm to anyone listed above.
Even if they have literally taken communist Chinese money (like Joe Biden).
I don’t wish them harm.
But I can’t vote them out.
Which puts me in a very delicate situation.
Which necessitates that I study war.
To fight China myself.
Because my government has become (in many ways) one with China.
My loyalty is to the USA.
My loyalty is to my country.
Joe Biden’s loyalty is to money.
And those who give him money.
He and his family have profited handsomely off of Chinese dealings.
And Ukrainian dealings.
China has released a plague upon us.
This is not the time to make friends with China.
But Joe Biden doesn’t understand that.
He just understands corruption.
He just wants his pockets lined.
And Joe Biden’s handlers don’t care about the plague.
For them, it’s just another opportunity to make money (off of vaccines).
And really, they worship the plague…because the plague let them dethrone Trump.
It was the only way.
To get the mail-in ballots.
But some, like Bill Gates (and Avril Haines), are quite obviously more privy to a deeper plan.
A plan to cull the herd.
Unfortunately for them, the rapper Pitbull is onto their Event 201 bullshit.
So it is not looking good for Gates and Haines re: stealthiness.
Do you remember Charles Whitman?
Lee Harvey Oswald?
Gunnery Sergeant Hartman does.
Them’s the facts of life.
The Virgin Mary.
Mary Jane Rottencrotch.
A man can only be pushed so far.
How many people voted for Trump?
What do the rotten bastards say?
That’s no small potatoes.
Based on post-election polling, I’m guessing the current number of Trump voters who believe the election was stolen sits at about 46 million people or more. Maybe closer to 50 million. And this is assuming the 69 million total is correct (which it cannot, in reality, be).
But I am not here to lay out the evidence.
I have done it before.
I am sick of doing it.
Research it yourself.
Nothing could possibly happen on Tet.
Never has before.
There couldn’t possibly be a military coup.
Never has been before.
Except in just about every country on Earth (America not withstanding).
But what we have had are:
–a Revolutionary War (which birthed the country)
–a Civil War (which tore the country in two).
It was a rebirth.
China (and Russia) would like nothing more than to see us go through a civil war.
China because they want to beat us.
Russia because they still hate us.
But Russia respects us.
Not our leaders, of course.
Those of us fighting against the New World Order.
China owns the New World Order.
Or vice versa.
It is symbiotic.
Russia is on the sidelines.
More or less self-sufficient.
But a little nervous.
About their neighbor China.
And about the disintegration of the U.S.
Of course Russia wants the E.U. to collapse.
But the E.U. deserves to collapse.
Because it is Chinese communism in disguise.
It is the pet project of the globalists (the Bilderberg set).
Adam Baldwin is also the most real thing here.
But D’Onofrio breaks your heart.
And mine too.
We fucked up.
But we all get the punishment.
Gotta accept Jesus.
It’s not communism.
Order out of chaos (some say).
But not cynical.
You gotta offer a choice.
God is the ultimate capitalist.
A free market of souls.
Take your pick.
Choose the Devil.
Or choose God.
And feel good.
Make your bed.
Kubrick always goes a bit squiffy just when he could nail it.
Same in The Shining.
That stupid maze scene at the end.
More funny than scary.
Ruins a masterpiece.
Blood in slow-motion.
Kubrick doesn’t know…why…he’s doing what he’s doing.
Which is why this film is NOT as good (nor as important) as Apocalypse Now.
Biden is a one-trick pony in a party of well-meaning morons.
No President has ever been hated so much…
…by the establishment.
It took one of their own to bring them to their knees.
And now the establishment has come up with an exceptionally-pathetic excuse for a candidate:
Republicans tried to elect a showroom dummy once (recently).
Had the looks.
What could go wrong?
He came off as cold.
And so all the genius, conniving minds of the Democrat Party have gotten behind the person they think can Trojan their specious ideas into the realm of policy.
It is quite obvious.
Joe Biden didn’t get a big enough shot in the ass of ginkgo biloba to really stay in the ring 12 rounds with Trump.
Joe needs to be mainlining that shit by now.
If Joe Biden ate nothing but onions and drank nothing but tea, his brain would still be like a hunk of Swiss cheese.
Trump, fresh off recovering from the plague of the century (once-in-a-100-years) was cogent and articulate.
If every media outlet, every source of information, every sports star, every celebrity is against Trump, what does that make Trump?
So, go ahead.
Vote for Joe.
Joe couldn’t last five minutes playing Tropico (much less five minutes actually running the USA).
And he will not be running the USA (if elected).
Swiss-cheese-brain Biden has actually bought and believed the syrupy propaganda of his own party.
Which makes sense.
Because his brain has become (and will rapidly accelerate towards being) childlike.
Which doesn’t excuse Biden of being a nakedly-corrupt politician par excellence.
Joe would bring the old gang back together.
Hillary would have a chance to get her pay-to-play Clinton Foundation back up and running.
Hell, why not make her Secretary of State again?
She will be emboldened to shred every law because, even though she got caught, she paid no price (except for the nosedive in Clinton Foundation contributions).
You would have “bonesmen” like Austan Goolsbee.
[a pale imitation of an actually-competent individual (Mnuchin)]
Hell, bring ’em all back.
Comey at FBI.
Brennan at CIA.
Lynch on the Supreme Court.
Bring back Eric “Fast and Furious” Holder.
Put Bernie’s great economic theories to work at the Department of Labor.
[another guy who would crap out at Tropico within minutes]
Because it’s all one big gang.
It’s all one big, compromised gang.
And it’s all about making money OFF the people (rather than making money FOR the people).
Joe Biden, Nancy Pelosi, Dianne Feinstein, Maxine Waters…
Limousine liberals (as they say).
Their respective personal worth always MAGICALLY balloons in their years of “service” to the USA.
It doesn’t take a genius to make money that way.
It takes a scumbag.
Trump didn’t need the money.
Hell, he gives away his Presidential salary checks.
But there is something.
He is GOOD AT MAKING MONEY.
He didn’t fight in Vietnam.
[it’s also quite likely he never disparaged the military]
Joe Biden disparaged the military ON TAPE, but never a hardball question about that:
[6’10” —> “clap for that, you stupid bastards”]
Joe Biden has a problem with being caught on tape.
Here bragging about getting a Ukrainian prosecutor fired (while using American taxpayer dollars as leverage). Hmmm, why would he want a UKRAINIAN prosecutor (?!?) fired? Why would he brag about it? What was this prosecutor investigating? Why would we interfere in the judicial system of the Ukraine (by way of Joe Biden)? Seems like his son Hunter had some dealings in Ukraine. Hmmm… Could it be, that this prosecutor was investigating his son Hunter???
But Joe Biden also has, how can I put this tactfully, other “problems” on tape. It’s not just the hair of women he is sniffing:
Wouldn’t be so bad (?) if it was an isolated incident. Maybe it was taken out of context?
You don’t need to watch all 17 minutes of the above clip to get the gist. Joe Biden takes liberties with children…knowingly…on C-SPAN, etc. What does he do behind closed doors? The footage we’ve seen is shocking enough.
Joe Biden makes women and children (particularly Chris Coons’ daughter) feel uncomfortable. You can see it in the body language. Biden whispers in their ears. And the young Coons daughter pulls away from the kiss. Cre-epy!
But in this debate (the final of the 2020 season), Donald Trump made Joe Biden feel uncomfortable…especially when Trump brought up the “laptop from hell”. You could see it in Joe’s body language.
“It’s all lies,” said Joe repeatedly throughout the two debates.
Pull his string: “It’s all lies.”
“Come on, man!”
Sometimes it’s funny.
Like the moronic George W. Bush who was part and parcel of the cabal that brought down the Twin Towers.
Bush was funny.
Because he was so dumb.
But Joe Biden is not so completely ravaged by senile dementia not to feel the fear at even the mention of “the laptop from hell”.
But let’s hit some key points.
Joe Biden cannot consistently get his train of thought from point A to point B. Witness this gem:
“And I don’t look at this in terms of the way he does, blue states and red states. They’re all the United States. And look at the states that are having such a spike in the coronavirus. They’re the red states, they’re the states in the Midwest, they’re the states in the upper Midwest. “
Trump knows his opponent is mentally-compromised.
But Trump also knows that his opponent is a textbook corrupt politician:
“Joe, you have raised a lot of money, tremendous amounts of money. And every time you raise money deals are made, Joe. I could raise so much more money. As President, and as somebody that knows most of those people, I could call the heads of Wall Street, the heads of every company in America. I would blow away every record. But I don’t want to do that because it puts me in a bad position.“
Like with the kids, Joe just couldn’t help himself (even against the obvious preparation where his advisors explicitly told him to, under no circumstances, broach this topic) #LaptopFromHell:
“His own National Security Advisor told him that what is happening with his buddy… Well, I shouldn’t… Well, I will. His buddy Rudy Giuliani. He’s being used as a Russian pawn.”
Joe fucked up. As Trump explains:
“Well, let me respond to the first part, as Joe answered. Joe got $3.5 million from Russia and it came through Putin, because he was very friendly with the former mayor of Moscow and it was the mayor of Moscow’s wife. And you got $3.5 million. Your family got $3.5 million. And someday you’re going to have to explain, why did you get three and a half? I never got any money from Russia. I don’t get money from Russia.”
“But now, with what came out today, it’s even worse. All of the emails, the emails, the horrible emails of the kind of money that you were raking in, you and your family. And Joe, you were vice-president when some of this was happening, and it should have never happened. And I think you owe an explanation to the American people. Why is it, somebody just had a news conference a little while ago who was essentially supposed to work with you and your family, but what he said was damning. And regardless of me, I think you have to clean it up and talk to the American people. Maybe you can do it right now.”
“…I don’t make money from China. You do. I don’t make money from Ukraine. You do. I don’t make money from Russia. You made $3.5 million, Joe, and your son gave you, they even have a statement that we have to give 10% to the big man. You’re the big man, I think. I don’t know, maybe you’re not, but you’re the big man, I think.”
“I was put through a phony witch hunt for three years. It started before I even got elected. They spied of my campaign. No president should ever have to go through what I went through. Let me just say this, Mueller and 18 angry Democrats and FBI agents all over the place spent $48 million. They went through everything I had, including my tax returns, and they found absolutely no collusion and nothing wrong. $48 million. I guarantee you, if I spent $1 million on you, Joe, I could find plenty wrong because the kind of things that you’ve done and the kind of monies that your family has taken, I mean, your brother made money in Iraq…millions of dollars. Your other brother made a fortune, and it’s all through you, Joe. And they say you get some of it. And you do live very well, you have houses all over the place. You live very well.”
Fire when ready:
“His son didn’t have a job for a long time, was, sadly, no longer in the military service, I won’t get into that, and he didn’t have a job. As soon as he became vice-president, Burisma, not the best reputation in the world, I hear they paid him $183,000 a month, listen to this, $183,000, and they gave him a $3 million upfront payment, and he had no energy experience. That’s 100% dishonest.”
Trump did this same thing to Hillary.
Blew holes in her metaphorical hull.
“He is the vice-president of the United States and his son, his brother, and his other brother are getting rich. They’re like a vacuum cleaner. They’re sucking up money…”
“His son walked out with a billion and a half dollars from China to…after spending 10 minutes in office and being in Air Force Two. Number one. Number two, there’s a very strong email talking about your family wanting to make $10 million a year for introductions.”
Joe Biden does not understand international finance.
He does not understand the implications of Chinese currency devaluations.
He doesn’t even understand the mechanism.
Joe Biden is a (renovated) showroom dummy:
“My response is, look, there’s a reason why he’s bringing up all this malarkey. There’s a reason for it. He doesn’t want to talk about the substantive issues. It’s not about his family and my family. It’s about your family, and your family’s hurting badly. If you’re a middle-class family, you’re getting hurt badly right now. You’re sitting at the kitchen table this morning deciding, ‘Well, we can’t get new tires. They’re bald, because we have to wait another month or so.’ Or, ‘Are we going to be able to pay the mortgage?’ Or, ‘Who’s going to tell her she can’t go back to community college?’ They’re the decisions you’re making, and the middle-class families like I grew up in Scranton and Claymont, they’re in trouble. We should be talking about your families, but that’s the last thing he wants to talk about.”
Bill Clinton was persuasive when he was peddling this same shit.
Joe Biden isn’t.
And Trump calls it out:
“That is a typical statement.
That’s a typical political statement. Let’s get off this China thing, and then he looks, ‘The family around the table, everything.’ Just a typical politician when I see that. I’m not a typical politician.
That’s why I got elected. Let’s get off the subject of China. Let’s talk about sitting around the table. Come on, Joe. You could do better.”
Joe Biden only has one “dollar word” left in his intellectual quiver:
“The public option is an option that says that if you in fact do not have the wherewithal, if you qualify for Medicaid and you do not have the wherewithal in your state to get Medicaid, you automatically are enrolled, providing competition for insurance companies.”
Twice in the same sentence?!?
Come on, man!!
Joe’s (and the Democrats’) answer for everything is “bailout”…as Trump begins to delineate:
“The bill that was passed in the House was a bailout of badly run, high crime, Democrat, all run by Democrat cities and states. It was a way of getting a lot of money, billions and billions of dollars, to these guys. It was also a way of getting a lot of money from our people’s pockets to people that come into our country illegally. We were going to take care of everything for them. And I’d love to do that. I’d love to help them. But what that does, everybody all over the world will start pouring into our country. We can’t do it. This was a way of taking care of them. This was a way of spending on things that had nothing to do with COVID, as per your question. But it was really a big bailout for badly run Democrat cities and states.”
Joe wants a planned economy (like Uncle Joe Stalin had). Price ceilings. Price floors. Arbitrary values for labor (a major factor in production). It doesn’t work.
Trump defeats this backwards economic chestnut in one sentence:
“How are you helping your small businesses when you’re forcing wages?”
Watch the price of eggs.
That’s how you will see the free market (as opposed to a planned economy) assert itself.
Supply and demand.
As simple as that.
Don’t toy with it.
Don’t stifle it.
Let it create value.
It may be trite, but “a rising tide lifts all ships” (as it is said).
The stock market is equivalent to the vital signs of a medical patient.
Joe may or may not understand that.
Again, he seems to have bought the “black propaganda” (total disinformation) of his own party.
What little brain Joe has left has been thoroughly washed of all real-world, economic logic.
As good as Kristen Welker was (and she was quite good [compared to the atrociously-partisan Chris Wallace]), she is still part of a profession that, when it comes to Democrat interviewees, almost always shirks its duty:
“Who built the cages? I’d love you to ask him that. Who built the cages, Joe?”
The U.S. immigration system is broken (on purpose). And Joe should know that. But he still blithely opines otherwise. Trump truth:
“And then you say they come back. Less than 1% of the people come back. We have to send ICE out and Border Patrol out to find them. We would say, ‘Come back in two years, three years. We’re going to give you a court case. You did Perry Mason. We’re going to give you a court case.’ When you say they come back, they don’t come back, Joe. They never come back. Only the really… I hate to say this, but those with the lowest IQ, they might come back, but there are very, very few.”
Trump is rough around the edges.
But he is no bullshit.
And there are a few opinion leaders (Johnny Rotten) who understand and appreciate this.
Joe steps in it again:
“My daughter is a social worker and she’s written a lot about this. She has her graduate degree from the University of Pennsylvania in social work.”
Doesn’t take a fucking genius to see that Sleepy Joe is actually Creepy Joe.
“You know Joe, I ran because of you. I ran because of Barack Obama, because you did a poor job. If I thought you did a good job, I would’ve never run. I would’ve never run. I ran because of you. I’m looking at you now, you’re a politician, I ran because of you.”
And again (for good measure):
“If this stuff is true about Russia, Ukraine, China, other countries, Iraq. If this is true, then he’s a corrupt politician. So don’t give me the stuff about how you’re this innocent baby. Joe, they’re calling you a corrupt politician…They’re calling it the laptop from hell.”
“But, why didn’t he get it done? See, it’s all talk, no action with these politicians, why didn’t he get it? ‘That’s what I’m going to do when I become president.’ You were vice president along with Obama as your president, your leader, for eight years, why didn’t you get it done? You had eight years to get it done, now you’re saying you’re going to get it done because you’re all talking and no action, Joe.”
Biden: “I don’t know where he comes from. I don’t know where he comes up with these numbers.”
They told Beethoven it was a horrible way to begin his 5th Symphony.
With a rest.
Only the players see it.
Only the conductor pays it much mind.
So the first “note” (beat) is silent.
The conductor must give it.
But there are at least two schools of thought on how this is to be done.
First, a conductor might do as they always do and swiftly move their baton downwards to indicate visually that the first (silent) beat is occurring.
The only problem with this is that the symphony players must then abruptly jump onto the very next beat (which is an “upbeat”).
They happen in very quick succession.
The whole orchestra.
And they get one shot.
To come in together.
Like an attack.
[rest] da da da daaaaaaaaaa
[rest] da da da daaaaaaaaaa
The second school of thought is more practical.
It advises that, in this particular situation, a conductor giving a downbeat is not particularly helpful to the orchestra (because no sounds occur on that downbeat).
Therefore, the conductor motions the orchestra that the UPBEAT is happening.
When the baton (or hand(s)) come down, that is the precise time to make noise.
It is not hard to see why this might lead to a more successful outcome.
For the goal is to have the orchestra stick together.
An orchestra of individuals who are a mere microsecond off from one another creates a sound which is generally not highly-valued in Western music (at least not in the performance of Beethoven).
But this STILL leaves a problem.
The conductor of this second school, whose job it is to try and lead his orchestra to a faithful rendition of this masterwork, is thereby IGNORING what Beethoven wrote (or, more precisely, HOW Beethoven wrote it).
Godard comes back more fit and trim in this episode of his greatest work.
1a is probably the nuke.
1b is a psychological warfare manual (perhaps)
2a returns us to kinetic warfare.
More or less.
With some lulls.
But there is genuine artistry within these 26 minutes.
Like a symphony by Beethoven or Bruckner.
The beginning is weighted heavily.
1a = 51 mins. (the longest of all eight parts)
1b = 42 mins. (the second longest “movement” of the bunch)
The entire first section is, therefore (carry the zero), 1 hour and 33 minutes.
That’s the first quarter of this “ring cycle”.
And it is truly operatic.
So now we are into a bit of a scherzo.
Now you can see the influence of television.
The “producers” of this film.
Canal+ (French TV channel)
CNC (part of the French Ministry of Culture [and Godard is Swiss!])
France 3 (a French TV channel)
Gaumont (a French film studio)
La Sept (a defunct French TV channel)
Télévision Suisse Romande (a defunct, French-language Swiss TV network)
Vega Films (Godard’s production company at the time)
Enough time for eight 30-second commercials.
Arriving precisely at a sum total of 30 minutes’ programming.
It’s generous (no doubt owing to the fact that this was educational programming).
If you look at the true running time of an American half-hour sitcom these days, it is roughly 21 minutes of what you want to see.
The other 9 minutes are reserved for at least 18 30-second commercials.
In the tradition of James Joyce.
Which Hitchcock so admired.
…and the Oscar goes to.
Irishmen in France.
The recurring scene from Salò…
Literary history vs. cinematic history.
Godard has a curious frame which reads, “Your breasts are the only shells I love.”
It is a line from the poet Apollinaire.
[tes seins sont les seuls obus que j’aime]
But I must say, the exciting parts here are the “booms”!
The fighter jet exploding in midair.
Bernard Herrmann’s music from Psycho juxtaposed with scenes from Disney’s Snow White…(1937).
The agitation of Stravinsky.
Cluster chords on the piano.
Godard’s voice fed through an Echoplex.
And, just as in 1a, world-class editing!
Let me be clear.
EDITING is what makes Histoire(s) du cinéma the greatest film ever made.
It’s what makes F for Fake the second-greatest film ever made.
And what makes Dog Star Man the third-greatest film ever made.
It is more pronounced in Histoire(s) and Dog Star Man.
Orson Welles’ “editing” (montage) in F for Fake is done more at the story level.
It is a juxtaposition of content.
The Kuleshov effect with ideas rather than images.
[more or less]
Godard’s camera-pen makes some of its boldest strokes in this episode.
It rivals the 1a excerpt involving Irving Thalberg.
Which brings us to a very important point.
Godard CHOSE to use the concept of “double exposure” (two images–one on top of the other–but both seen to a greater or lesser extent) to ILLUSTRATE the subject and title of his greatest film.
Though it runs 266 minutes, that amount of time STILL wasn’t enough in which to lay out the history of cinema.
So images needed to be doubled up.
Simultaneous to that, words needed to be spoken.
And furthermore, DIFFERENT words than those being spoken NEEDED TO BE WRITTEN ON THE SCREEN.
If you are not a native French speaker, you will probably need to have the subtitles on when viewing this film.
Which gives you A-N-O-T-H-E-R visual stimulus which must be taken into account.
This film should be mandatory viewing for fighter pilots.
Practice your OODA loop here.
If you want to survive in this jungle of meaning.
Night of the hunter…
It’s all true.
That weary look.
It’s all true.
Which brings us to value (that thing which capitalism so gloriously creates…far more efficiently and in much greater abundance than with any other economic system).
“What is the value of knowing how to read this film,” you ask?
It allows you to know how to read the complexity of the world.
It is a brain teaser.
With an infinite layering of meaning.
Like Finnegans Wake.
Joyce’s masterpiece should be the only required reading for a codebreaker.
Or a codemaker.
Take heed, National Security Agency.
Your curriculum needs adjusting.
Assign only Finnegan.
And reap your gains.
And what of Histoire(s)?
Its most direct application would be for analysts.
Whether they be Federal Bureau of Investigation, Central Intelligence Agency, or INSCOM.
Know how to read the image.
Know how to analyze the video.
You must think outside the box.
Sudoku the fuck out of your employees.
And thereby fight crime and keep hostile actors in check.
Which is where we musicians come in.
To analyze the phone call.
To make sense of the audio…from the video.
It cannot be taught in a bootcamp.
It has to be loved.
If you had one analyst like Godard, you would have a super-soldier equal to an entire special forces unit.
The trial of Joan of Arc.
Not to be confused with her passion.
Laurel and Hardy.
The Philadelphia Museum of Art.
Which brings us to a very delicate situation.
What is the President planning this weekend?
And with whom is he planning it?
If Ronald Reagan was an actor (and he was), then how much more talented is Donald Trump in getting a reaction with his lines…and his gestures?
A President who has been attacked from ALL sides UNRELENTINGLY for nearly four years.
And now finds himself in the midst of the hottest biological/psychological/economic war in recorded history.
Where complexity reigns.
As globalization magnifies each twitch of activity.
And this same President STILL finds himself under attack from the same “bad actors” who have unremittingly assailed him.
This much-féted masterwork was not only released on television (which is to say, it was not a “theatrical” film per se), but it was accompanied by a soundtrack on the very erudite German record label ECM and further augmented by a book (text and screenshots) published by the most famous French publishing house Gallimard.
The soundtrack is very difficult to find on CD, but it is becoming less-difficult to find in the digital realm (unlike the film itself).
You can at least “listen to the movie” on Spotify.
And so for this film review, we will only be considering (to start with) the first section (which runs 51 minutes).
It is the section with which I am most familiar.
It is my personal favorite.
But it is important to note that the entire 266 minute film is essential to the “weight” of this creation (even if this first part is the most finely-crafted).
But we will reconsider as we go along.
The first section of the film (that which is under consideration) dates from 1988.
The book was not released till 1998 (when the film was completed).
So we have a sort of serial composition here (in the sense of Finnegans Wake).
It came out in parts.
It dribbled out.
And its influence spread.
We remember William S. Burroughs and his concept of the “word virus”.
That is certainly germane here.
But I return, again, to Finnegans Wake.
No film creation in the history of cinema is more like James Joyce’s aforementioned masterpiece than Histoire(s) du cinéma.
Indeed, the only other creation I know of which enters into this same sui generis realm is Walter Benjamin’s Passagenwerk (translated in English as Arcades Project).
These are DENSE works…these three masterpieces.
One (Joyce) a “novel”.
One (Godard) a “movie”.
And one (Benjamin) a philosophical book.
Two books and a movie.
And the movie eventually became a book (Godard’s Gallimard creation).
The reverse of the usual.
Here, book doesn’t become film.
And there is not “more” in the book than there is in the film in Godard’s case.
If anything, there is certainly less.
Which doesn’t make it any less poignant.
So, what Godard has created for us with the book is a perfect guide to REMEMBERING WHAT WE SAW.
Which is a big theme of Histoire(s) du cinéma.
Film preserves the holiness of real life (to paraphrase).
Film (and video…of which this movie makes extensive use) preserves a moment.
Film can be (and is, always) a document.
Godard outlines a very French dichotomy here.
Film can be either predominantly of the Lumière brothers’ tradition (what we might call “documentary”).
Or of the Méliès tradition (a doctored reality…a “staged” document…what we might call “drama” [and its various subgenres such as “comedy”]).
But this dichotomy is not strictly “mutually exclusive”.
And here Godard brings us the example of Robert Flaherty.
Known as a director of documentaries, Godard points out that Flaherty “staged” his documentaries (which blurs the lines between the Lumière/Méliès dichotomy).
And what of Histoire(s) du cinéma?
Is it a documentary?
In many ways, yes.
It is a history of film.
But it is also a history of the filmmaker who is MAKING that very same history of film (namely, Godard himself).
To add further layers of surreality, Godard must address his own contribution to the history of cinema (which is considerable by even the most unbiased estimation).
Which is to say…
Godard is important to the history of film.
Whether you like him and his films or not, he cannot be ignored.
And so we have here a very curious and “loaded” document indeed.
It is a matter of historiography.
Godard cannot (and indeed, does not even try) to remove his own opinion from this exercise of surveying the history of cinema.
That may be, ultimately, because Jean-Luc Godard never stopped being a film critic.
It was as a lowly film critic that he started…and it is as a film critic with his caméra-stylo (“camera pen”) that he continues to create today.
All of his films are, in and of themselves, film criticism.
From Breathless to The Image Book, he is always making a statement.
Pointing out how vapid Hollywood can be.
Pointing out what doesn’t exist in the marketplace.
Perhaps he is creating that which he would most like to watch…as a film lover.
His favorite film didn’t exist (except in his head–except as a vague concept).
No one had made it.
So, in order to watch it, he had to create it himself.
Then he could (theoretically) “enjoy” it.
I imagine he does this with each new film he makes.
It is always an attempt (“essay”…from French etymology…”to try”) to materialize what he would like to watch.
No director has his cutting wit.
No director’s mind pivots so nimbly.
So he must become his own favorite director…over and over and over and over again.
But this film is indeed a special case.
Ten years of creation.
Joyce spent 17 years on Finnegans Wake.
Benjamin spent 13 years on his Arcades Project.
And all of this which I have written is merely a preface.
That is how IMMENSE and pithy(!) Histoire(s) du cinéma truly is.
To be a creator is tiresome.
It makes one weary.
To always dream.
And to sweat in pursuance of crystalizing ones inspiration.
Jean-Luc Godard has always been a bitter sort of chap.
Bitter about Hollywood.
A love/hate relationship (LOVE/HATE…Robert Mitchum…knuckle tats).
And it is true.
Godard delves very early on into the parallel birth and adolescence of cinema and the Holocaust.
Cinema and the Holocaust.
Cinema was still young.
Cinema had a responsibility to document.
The Germans were very technologically advanced (particularly in sound and video recording).
They kept records of everything.
Even when they went astray during the Third Reich.
Germany had already produced great directors by the time of the Holocaust.
At the top of the list would be F.W. Murnau and Fritz Lang.
But they were not alone.
There were others.
UFA (which still exists till this day) was a giant.
So where is the documentation of the Holocaust?
[you can see what a “dangerous” question Godard is asking]
Is he “denying” the Holocaust happened?
I don’t think so.
But he’s asking a relatively simple and (I think) sincere question.
Where is the video record?
All that has been passed down to us of the concentration camps (and “death” camps) is the record made by American directors like George Stevens AFTER the camps had been liberated.
So what really went on there?
Are we to really believe the Germans shot no footage whatsoever in these camps?
And if so, why can’t we see it?
Wouldn’t it truly help us to “never forget” and “never again” and stuff etc. etc.???
It is a very inconvenient fact that, as far as the general public has been made aware, there are NO (and I repeat NO) films (NO FOOTAGE) shot by the Nazis in the concentration camps during WWII.
Surely it exists, right?
But where is it?
Who has it?
What does it show?
Godard is the ultimate enfant terrible here (and elsewhere).
He wants to know.
Because he’s a film lover.
And he ultimately blames Hollywood (which had, by WWII, become the global center of the film industry) for not truly DOCUMENTING what happened in the concentration camps (neither while the camps were active nor anytime afterwards).
But here Godard branches off into an aesthetic direction.
Godard flatly rejects the talentless Spielberg evocation of Schindler’s List.
For Godard, a directer as mediocre as Steven Spielberg has no business trying to tackle humanity’s darkest hour.
This is the conundrum at the heart of Histoire(s) du cinéma.
What Godard (I think) is saying is this: there is no way to “write” a history of cinema…because a large portion of contemporaneous history (1939-1945) was not addressed in any true way by the BUSINESS (ironically represented heavily by Jews) of Hollywood.
Godard seems to be saying that Hollywood’s Jews (which is to say, Hollywood) let down world jewry during the years 1939-1945…all for a buck (as it were).
It is a persuasive argument in many ways.
But let’s back up a step.
To reiterate, a history of cinema cannot be told…because there is a portion of that history which is MISSING.
This is a very important word here (and a very important term).
There are films which SHOULD HAVE BEEN MADE, but weren’t (by Hollywood).
And there are films which may have be made (by the Nazis), but as far as we know (factually) were not made. They do not exist (officially).
Two kinds of films missing.
Hollywood was responsible for the Méliès portion.
Hollywood should have used its immense power (and magic) to save the Jews of Europe.
EVERY FUCKING FILM should have been about the plight of the Jews in Europe who had been rounded up.
But we know very well that that’s not what Hollywood did.
The Nazis were responsible for the Lumière portion.
As twisted as the Nazis were, there is no way in hell those sick fucks did not film (with their Agfa technology, etc.) what was going on in the camps.
No fucking way.
Of course they filmed.
Like a goddamned serial killer.
And it was of pristine quality.
So where the fuck are those films?
But, sadly, Godard is called an “anti-Semite” for asking about these films.
He is coming from a “pure film” stance.
He wants to see the films.
He wants the world to see them.
And so the history of cinema is incomplete.
There is a gap.
Irving Thalberg. Howard Hughes. CIA. RKO. Starlets.
Film directors have been projecting their fantasies onto the screen since the beginning.
Their perfect women.
Their dream lovers.
But you can’t approach film history without approaching Hitler.
Film was at such an important point in its development.
And along came Adolph.
Chaplin and Hitler overlap.
They have the same mustache.
The Great Dictator was a comedy…more or less.
But it was also an attempt (“essay”) to address Hitler’s presence on the world stage.
An attempt to repudiate Hitler.
And yet, Chaplin could not quite hit the right tones.
It is maudlin.
As a comedy, The Great Dictator is pretty superb.
But it hasn’t aged that well as a piece of poetic philosophy.
In that moment, the great Chaplin was powerless.
But at least he tried.
But something was missing.
Direct reference to the camps.
Addressing the problem with no beating around the bush.
We need to see the bodies rotting.
We have seen that.
But we need to see the gas chambers.
We need to see the German efficiency and precision.
We need to see their documents.
Their film documents.
No Hollywood recreation can convey what those mythical reels contain.
No backlot will suffice.
We have the propaganda films.
I think what Godard is saying is this…
Hollywood has, since WWII, had to live with the guilt of NOT DOING ENOUGH during the Holocaust.
At the time (while it was happening), it was not kosher (no pun intended) to address the camps.
The public needed uplifting fare.
And Hollywood provided.
Hollywood provided a service.
But Hollywood (as an entity) was permanently cheapened by not addressing the deep philosophical issue of mass death…mass murder.
Hollywood could have yelled, “Fire!” in a crowded theater.
And, indeed, the theater WAS on fire.
But Hollywood said nothing.
Hollywood told jokes.
No medium is perfect.
Hollywood is people.
But as an institution, Hollywood was exposed as being essentially artless and vacuous.
There were exceptions.
Hitchcock (British…but part of Hollywood). Chaplin (British…but part of Hollywood).
Nicholas Ray. Erich von Stroheim (Germanic…but part of Hollywood). D.W. Griffith. Howard Hawks. Orson Welles.
But WWII was also the death of European cinema.
This is a very important concept that Godard conveys.
Not only were European Jews liquidated by the Nazis, but European cinema was effectively liquidated by Hollywood.
Europe would never be the same.
Fritz Lang. Jean Renoir. Abel Gance. Jean Vigo. Jean Cocteau. Roberto Rossellini. Max Ophüls.
America won the war.
The Soviet Union also won the war.
France was “liberated”.
And as Europe was subsequently split in half (the capitalist West and the communist East), the hegemony of American film [Hollywood] spread.
At the end of the Cold War, that hegemony became complete.
And so Godard is lamenting the death of his national film industry.
Godard is Swiss.
But he is, in many ways, also French.
He is a French speaker.
His years of highest-visibility were spent in Paris.
And there is not really a Swiss film industry of which to speak.
French film died (“liberated”/occupied).
Italian film died (lost war…occupied).
German film died (lost war…occupied).
Scandinavian film died.
Everything was pushed out by Hollywood.
Europe was relegated to the the realm of “art film”.
European cinema was put in a corner.
The wrecked economies of Europe could not compete with the war-machine-rich studios of America.
America had the magic–the fantasy–the special effects–the Technicolor.
Weary Europeans wanted happiness.
And they bought into the American idea of happiness.
To the detriment of their own unique cultures and philosophies.
Europe became Americanized (at least in the realm of the cinema).
Isild Le Besco has the Kim Novak creepiness from Vertigo.
And this is a similar kind of “love” story.
Similar to Alicia Vikander in Pure.
Kind of like Blue is the Warmest Color meets Fatal Attraction.
There are some compelling moments.
Judith Davis is a convincing piano student.
She plays the role exceedingly-well.
Which is the main reason this film is even watchable.
Even the music hints at Vertigo here and there.
But mostly it is a smattering of classics.
This film should be easier to figure out, but for some reason it isn’t.
Which is why I kept watching it.
Kind of like the coronavirus.
I would normally have a theory of highest likelihood by this point, but I’m not sure I do.
Did the New World Order release the coronavirus as a smokescreen for imminent Deep State arrests in the U.S.?
Certainly a possibility.
Who can ride this thing out?
Those of his ilk?
Why has Seattle been hit hardest of all places in the U.S.?
And why in God’s name have the seemingly irrelevant locales of Iran (and especially) Italy been dragged into this to such magnitude?
Is this current coronavirus a naturally-occurring catastrophe or a bioweapon release?
Or is it somewhere in between on that continuum?
China would stand to gain from the surveillance crackdown after all of the previous year’s trouble with the peons in Hong Kong.
No mass gatherings allowed for health reasons, no protests.
But I think it must be more than that.
Some have theorized that the U.S. released the virus in Wuhan during the recent World Military Games which was held in that city.
But to what end?
At the present time, this plague appears to be crippling all countries about equally (in terms of fear, especially).
China’s economic base is surely being affected negatively.
And that is, in the short term, very bad for most of the world (including the U.S.).
In the long term, however, that might be a very good thing for the U.S.
Is this the impetus needed to actually “move” factories “back” from China to the U.S.?
Are we dealing with war here?
Is it China vs. the U.S.?
Russia has had very few cases (suspiciously).
But as false flags go (Pentagon), we know that these kind of stratagems necessitate casualties on the side of the terror’s author.
Wuhan has a very high-level virus research laboratory.
This has been pointed out to give credence to a U.S.-authored attack.
But I come back to Derrida.
What doesn’t fit?
Where does the text fall apart?
Upon which part of this grand story does the meaning hinge?
For me, that hinge is Italy.
Which might bring us to state terror in another age.
Let us ask this question:
does the American (globalist) Deep State still have enough supporters (particularly within the CIA) to facilitate an attack which usurps all news coverage for years to come?
I would guess that the answer is yes.
So are we looking at another 9/11 here?
Is this, once again, rogue elements within the CIA which have unleashed geopolitical chaos?
Certainly a strong possibility.
And there is another level.
We are seeing it in Italy as we are seeing it in China.
Forty percent of the Italian economy is dependent upon the production of Lombardy (Milan) and Venice (including the other regions in that area of Northern Italy now under a “lockdown” quarantine). Those cities and towns and their 16 million inhabitants (a quarter of the Italian population) will be hard-pressed to produce such value as they normally do because of this present hardship.
Italy has (ironically) also been the one area of Europe which has been up for grabs between the capitalist West and the communist East.
That was what Operation Gladio was all about.
Carry out terror and blame the communists.
Get scared voters to elect capitalists.
That is the simplified version.
In the past it was by way of bombings and kidnappings and assassinations.
Is Italy still that important of a piece on the grand chessboard?
I would think not, but I could be wrong.
Which brings us to a religious component.
Italy is The Vatican.
Though they are separate countries, they are inextricably intertwined.
And we have seen the trouble the Vatican has had with Cardinal Pell and other sex-abusing priests.
It has risen to a fever pitch in recent years.
Which gives rise to wholly different theory.
That the current outbreak is indeed authored by the U.S., but not by the Deep State.
Is the coronavirus bioweapon release truly a power move to “drain the swamp” globally?
It may very well be.
Which brings us back to Iran.
Hit China (who bears every indication of being an enemy of the U.S.). Hit Iran (which is quite vocally a self-avowed enemy of the U.S.). Hit The Vatican (which may be part and parcel of a larger, global child-abusing regime).
In the end, you will have to find the information for yourself.
Pieczenik is strangely silent.
And I will offer just this.
You Will Be Mine is not a great movie.
But it is not a horrible movie.
It is possibly worth watching.
It is also, possibly, worth not watching.
In the end, the crazy collapse.
And we are left with a smile.
Did she love her and just remember a happy memory (getting drunk on vodka at the kitchen table)?