Anchorman: The Legend of Ron Burgundy [2004)

The world is fucked up.

This is probably the craziest year most of us have ever lived through.

When has the world, in its entirety, faced such chaos in recent memory?

9/11 brought us terror on a horrific, spectacular* level.

Guy Debord predicted this in 1967 with his seminal book La société du spectacle.

No, he did not pull a Nostradamus (who happens to share my birthday).

He did not predict the three towers (including the 47-story WTC7) falling into their own footprints.

But he predicted something much more useful, or at least applicable, to our present times.

The “locus of illusion” that Debord talked about remains (though it be besieged on all sides) television.

For our purposes, we shall call it “video”.

Moving pictures.

Debord also predicted our current age of social-media dominance.

Though he could not name it then, he described it perfectly as, “a social relationship between people…mediated by images.”

What does the word “Facebook” evoke when you hear it?

Does it sound a bit like a dating site?

What role do memes (manipulated images) play in our social discourse?

“The spectacle”, Debord told us, “…turns reality on its head.”

How much of what you hear “on the news” (whether that be television, radio, Internet, social media) do you trust?

Because you are smart, dear reader, you consider the source.

And so do I.

Debord wanted to say something about fakes.

The epigrammatic beginning to the first chapter of The Society of the Spectacle gets right to this point.

It was the philosopher Feuerbach who said that in, “…the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to essence…illusion only is sacred, truth profane.”

Ludwig Feuerbach wrote those words in the 1800s.

But the Irish rock band U2 would come to a similar epiphany in their song “Even Better Than the Real Thing”.

Debord wanted to talk about fake-ness.

But he also wanted to qualify his description of “the spectacle”.

For Debord, “reality erupts within the spectacle, and the spectacle is real”.

To translate (from French to English to philosophy to layman’s terms), there are some aspects of our image-driven information culture that are real (though a good deal of fake news exists).  But owing to the lack of a competing narrative to the overwhelming chorus of voices in agreement (corporate news), “the spectacle” (whatever the talking heads tell you) is, de facto, real.  Never mind that it might all be rubbish.  The sheer repetition of certain truths–day after day, hour after hour (from all the many “options” [ABC, CBS, NBC, New York Times, Washington Post])–renders those “truths” the currency of “factual” discourse.  Without an independent, competing narrative from alternative news sources (which currently lack the scale and reach to pose a symmetric threat to “legacy media”), whatever the aforementioned “usual suspects” (ABCBSNBC…) tell you is TRUE becomes “truth” the moment they report it.  The national news coverage of American current events is indistinguishable whether one has ABC, CBS, or NBC dialed up on the tele.

But the times, they are a-changin’.

Donald Trump’s 3+ years in office have been “a moment of falsehood”, which is to say, truth.

As Debord wrote, “In a world that really has been turned on its head, truth is a moment of falsehood.”

Debord seemed to be describing the “legacy media” when he wrote of an entity “out of reach and beyond all dispute”.

Of particular concern in this current situation (which already existed in Debord’s day) is the role that vision plays in our mediated understanding of the world.

As Debord wrote, “…it is inevitable that it should elevate the human sense of sight to the special place once occupied by touch…”.

He goes on to describe “sight” as, “…the most abstract of the senses, and the most easily deceived…”.

Think about a painting by Monet.

Waterlilies.

What are you seeing?

You are seeing the work of someone [Monet] whose eyesight was impaired.  Literally.  But though it be impaired, he still painted wonderful, huge canvases which EVOKED the atmosphere of a pond with waterlilies.

You are seeing blurry images.

Your brain has to fill in the details.

You are not seeing a high-definition photograph.

Furthermore, you are seeing oil paints which have been applied to a cloth canvas.

You are seeing a depiction.

This takes us all the way back to Plato’s “cave”, but I digress…

What happens when the big three TV networks in the U.S. get something wrong?

What about the New York Times and Washington Post (to just name the two most widely-distributed offenders)?

Do any of these entities make a concerted, SINCERE effort arising from true integrity to correct their previous, faulty coverage on events?

Debord could answer before the question was asked…because he knew the nature of these organizations (even in his native France).

He wrote, “The spectacle is by definition immune from human activity, inaccessible to any projected review or correction.  It is the opposite of dialogue.”

Social media changed this briefly.

But now, Twitter is acting like the generalissimo of a banana republic by banning accounts which “promote” the “conspiracy theory” known as QAnon.

This is just one example–from one social media platform–where the fleeting dialogue which threatened (?) “the spectacle” has been shut down.

Google, working closely with the communist Chinese government, is all too happy to facilitate similar totalitarian censorship in China…all for a buck (or yuan).

So let’s talk about vision/sight for a moment.

Did George Floyd die under the knee of Derek Chauvin?

All of the “usual suspects” (ABCBSNBC) tell me he did.

And there’s video!

Video never lies, does it?

I mean…movies are all true, right?

Is the video that Darnella Frazier ostensibly shot on her cell phone “documentary” footage?

It may be more than one thing.

It is possible to honestly document fake-ness (without knowing you are filming a pageant).

Have you ever seen an actress cry on command?

I have.

It is quite an astounding thing.

I have a friend who is a major motion-picture actress.

She once burst out in tears…right next to me.

I started to offer my condolences.

I was generally concerned.

I almost started crying.

Then she abruptly jumped out of character with a smile…to let me know she was just pranking me.

It was VERY convincing.

She had never done that to me before.

It was novel.

I had no experience against which to measure her crying fit.

I thought of her as a friend first and as an actress second.

I forgot, temporarily, that she was unequivocally a professional faker.

But Guy Debord saw more to “the spectacle” than just a stream of fake-ness.

Debord seemed to also sense an approaching hour when human relations would become totally stifled.

To hear Debord tell it, “Separation is the alpha and omega of the spectacle.”

Both its goal and its essence.

While mass media seems to bring us together (shared touchstones, talismans…), in actuality, it separates us more from one another.

We are always obliged to mention what “the news” says about a certain topic.

It is rare (almost impossible) that two people have a conversation where they each give their opinion of a recent event and “the spectacle” (a mass, homogenized media) is not invoked (in deferential terms) at some stage as a reference point.

Debord describes the “weapons of that system” as ranging “from cars to television”:  all meant to “reinforce the isolation of ‘the lonely crowd'”.

But Guy Debord was not merely taking aim at television and mass media.  He saw further.  He seems to have, though writing in 1967, seen the inevitably of the Internet.

As he describes it, “The spectacle is a map of this new world–a map drawn to the scale of the territory itself.”

While this is indeed a reference to a story by Borges (the world=the map), Debord’s insight in applying this to mass communication and information dissemination is extraordinarily prescient.

Guy Debord, it must be said, was not without fault.

Most importantly, he was an avowed Marxist.

So his perspicacity ended where mass media stops and economics begins.

Which brings us to the film Anchorman…

Will Ferrell is awkward here.

And gloriously so!

We get gender division.

1970s.

As today we continue to get race divisions.

Who is driving this?

Cui bono?

The British were quite good at “divide and conquer”.

In the Indian subcontinent, Hindus and Muslims had lived relatively peaceably together…until the British decided to stoke this latent division for cynical ends.

“If the Hindus and Muslims are fighting each other, they can’t pose a unitary threat to us.”

That is what I can imagine British military strategists saying at the time when India was under their occupation.

And it worked.

It was brilliant.

Evil, but brilliant.

Ask yourself a question:  who benefits (cui bono) from blacks and whites and Hispanics and Asians and police and civilians in America being divided and at each other’s throats?

What series of events led to the isolation (frustration) needed to create the current powder keg that went up in smoke with the George Floyd event?

Ron Burgundy will read anything that is put in front of him on a Tele-Promp-Ter.

…as evidenced by his most unfortunate sign-off, “Go fuck yourself, San Diego!”

Which brings us to Joe Biden.

FDR managed to keep it a secret that he was stricken with polio.

He was carted around in a wheelchair during his Presidency.

He had the Resolute desk in the Oval Office modified so that a panel on the front obscured the prying eyes of news cameras.

You could not see his legs fastened to his wheelchair.

And the press obliged.

They loved FDR.

Good old liberal, Democrat FDR.

Elected to the Presidency FOUR times (an American record).

In the White House for over 12 (!) years.

Our Constitution was amended to make this impossible from there on out.

Now the limit is eight years (two terms).

All that notwithstanding, FDR never lost his mental faculties to any significant degree.

He had a physical disability which prevented him from ambulating fully.

Joe Biden can walk fairly well.

Sadly, there is no desk panel that can hide his mental deterioration.

It is there.  It will be there.  And it will get worse.

Which makes Joe Biden a FAR MORE RIDICULOUS candidate than Donald Trump.

And again, “the spectacle” is running defense for Biden.

Making excuses.

Tossing softball questions (if any at all).

The best thing that vicious, Marxist Democrats in the United States can come up with is a dud missile named Joe Biden.

He is harmless (to extend the missile metaphor), and in that he is very harmful.

He is, as regards the responsibilities of the Chief of the Executive Branch, useless.

Which gives us just one more example of how fakes are being foisted upon us.

Never has there been such a poor candidate for the American Presidency as Joe Biden.

It is becoming apparent to all that, if elected, he would not run his own government.

What a sham!

Why didn’t the Democrats have the foresight to nominate Cory Booker or Kamala Harris?

It couldn’t be because they are RACIST, could it?

Remember, Donald Trump is such a horrible misogynist.

How was it that the Democrats failed to nominate Elizabeth Warren or Amy Klobuchar?

Democrats REALLY care about Latinos in the U.S.

That’s why they failed to nominate a guy named Castro.

Democrats are so diverse!

That’s why they passed on nominating a guy named Yang.

And what did the Democrats end up with?

A halfwit, old, white man named Joe Biden.

Halfwit is really too kind a descriptor here.

The mobs wanted Ron Burgundy’s head.

Because he told them to “go fuck themselves”.

But it was a false-flag.

Did Ron Burgundy write the line, “Go fuck yourself, San Diego!” on the Tele-Promp-Ter?

No.

Veronica Corningstone did.

Did the truth about who REALLY wrote it come out?

No.

Not even from a news organization.

Burgundy was summarily fired and his life went to shit.

He ended up wandering the streets like a cross between fat Jim Morrison (Val Kilmer-influenced) and Brian Wilson.

Bathrobe and cheeseburgers.

Nilsson Schmilsson.

Drinking milk in the…hot sun!

But what goes around comes around.

Ms. Corningstone is pushed into a bear pit at the zoo.

An unenviable position, that.

And it takes a little dog to diffuse the situation.

A mob of bears.

A proud species.

Wronged by this intrusion into their hibernation.

But Baxter, the little dog, has a message.

“These are not the droids you are looking for.”

The bears consider the source.

They will not take Ron Burgundy’s word for it.

They will not take Veronica Corningstone’s word for it.

But they will listen to a fellow creature from the animal kingdom.

“I know your cousin,” Baxter says (and I paraphrase).

Baxter’s message rings true.

The bears reconsider.

They are able to retreat gracefully.

Baxter has just acted as crisis negotiator.

A feel-good movie ends with former enemies expressing respect for one another.

Respect.

Not total reconciliation.

But a cessation of the mad chaos.

Brick Tamland (played brilliantly by Steve Carell) ends up (we are told) becoming a “top political advisor” to the Bush administration.

Mass media.

The spectacle.

Hollywood could not help taking a pot shot at a Republican President (even in a light-hearted comedy [and even though the bastard Bush deserved it]).

Why?

Because Bush was a (shitty) Republican (and a war criminal).

But for the eight years of Obama’s Presidency (and the eight years of Bill Clinton’s Presidency), you never saw Hollywood comment (on film) about the merits of these two Democrats.

Why?

Because the Democrat Party is inseparable from the mass media in the United States.

So let me ask you one final question:

do you think you are getting the truth about President Trump, coronavirus, George Floyd, or anything else from this tight-knit cabal of fakers?

Stay classy!

 

-PD

Transylvania 6-5000 [1985)

5’40”

“Loretta Lynch:

–indicted

—3 counts, conspiracy to overthrow the government

–2 counts of obstruction of justice

—3 counts of lying to Congress

Sally Yates:

—3 counts, conspiracy to overthrow the government

—3 counts, obstruction of justice

John Brennan:

—3 counts, conspiracy to overthrow the government

—3 counts of lying to Congress

–2 counts of lying to investigators

-1 count of conspiracy to commit treason

—3 counts of obstruction of justice

James Clapper:

—3 counts, conspiracy to overthrow the government

–2 counts of lying to Congress

Four CIA operatives:

–indicted

–no charges listed

[…]

James Comey:

—3 counts, conspiracy to overthrow the government

——6 counts of perjury

—-4 counts of obstruction of justice

—-4 counts of falsifying government documents

Andrew McCabe:

—3 counts, conspiracy to overthrow the government

–2 counts of perjury

—3 counts of lying to Congress

-1 count of falsifying documents

Bruce Ohr:

—3 counts conspiracy […]

-1 count of falsifying documents

Baker:

–indictment

–charges unknown

Strzok:

—3 counts, conspiracy to overthrow the government

—-4 counts of perjury

—3 counts of falsifying documents

[…]

Page:

—3 counts, conspiracy to overthrow the government

—3 counts of perjury

-1 count of obstruction of justice

Rod Rosenstein:

—–5 various charges

–exact unknown at this time

Susan Rice:

–illegal use of government systems

—3 counts of perjury

-1 count of obstruction”

Let’s recap, shall we?

First, lets group those who (if the information in the link I provided above [and here ] is correct) are rumored to have been indicted for CONSPIRACY TO OVERTHROW THE GOVERNMENT of the United States of America:

–Loretta Lynch [former Attorney General of the U.S., 2015-2017]

–Sally Yates [former Deputy Attorney General of the U.S., 2015-2017]

–John Brennan [former Director of the CIA, 2013-2017]

–James Clapper [former Director of National Intelligence, 2010-2017]

–James Comey [former Director of the FBI, 2013-2017]

–Andrew McCabe [former Deputy Director of the FBI, 2016-2018]

–Peter Strzok [former Deputy Assistant Director of the FBI (Counterintelligence Division)]

–Lisa Page [former FBI attorney]

Could this list, ostensibly leaked to a radio show run by “James R” (who goes by realpersonpltcs [sic] on Twitter) by an anonymous U.S. Department of Justice source, be true?

It sounds like the stuff of tabloid journalism, doesn’t it?

Except for one thing:

it’s completely plausible.

Tabloids are curious.

And that’s where this hidden gem of a movie comes in.

Because, after all, this is a film review.

What if tabloid journalists (who usually cover sensational, “engineered” stories) ACCIDENTALLY came across the real thing?

In other words, what if they actually found a real-life Bat Boy?

It bears mentioning at this point that Avril Haines, one of the “players” in Bill Gates’ amazingly-prescient bat coronavirus simulation Event 201 which was held in NYC on 10/18/19, worked for one of the aforementioned conspirators listed above:  John Brennan.

Screen Shot 2020-04-27 at 5.59.58 AM

 

Jeffrey Jones [Ferris Bueller] plays the corrupt mayor.

Laughing with incredulity.

Michael Richards is absolutely genius here.

And the head of the local police is in on the corrupt conspiracy with the mayor.

Geena Davis looks stunning!

Joseph Bologna plays the mad scientist.

He laments that his father’s reputation was maligned for injecting viruses into animals in his lifelong quest to cure the common cold.

Human experiments.

A “monster” fleeing from a laboratory.

There is even a delineation of evil (in the sense of “demonic possession”) which mirrors the tone of David Lynch’s television masterpiece Twin Peaks.

The evil is in a place.

Enter that place and you may become possessed.

This happens to Bologna’s character in textbook “Jekyll and Hyde” fashion.

The missing child is a trope from Frankenstein.

Those who are trying to tell the truth are arrested.

Because the truth, if told, would reveal the criminality of this particular police force.

So what, I ask you, will happen when Frankenstein enters the American psyche from stage left?

What will the shock be like?

How will CNN and MSNBC (and ABC, CBS, NBC, New York Times, Washington Post…) attempt to spin it?

Jeff Goldblum is excellent here.

Ed Begley, Jr. does a great job.

Carol Kane is as hilarious and adorable as she was on Taxi.

And Rudy De Luca, against all odds, created a minor masterpiece with this film.

There are two lit lamps in the window of the Old North Church.

 

-PD

The Doors [1991)

#pizzagate

The silence is deafening.

And as John Lydon sang, “Anger is an energy.”

Just yesterday I was surprised to run across several articles on the pizzagate scandal.

They jarred me a bit.

Brought me back to that fever pitch of intensity from our election.

That intensity from which I had had to step away.

But there these articles were.

I couldn’t resist.

I read.

And they affected me.

And so I made a conscious choice to write about J. Edgar Hoover last night.

[more or less]

But today was a different kind of weirdness.

Today, absolutely no mention of pizzagate on my favorite news site.

And conversely, Google (which is censoring pizzagate research by way of its YouTube platform) is showing strictly fake news as part of its masterly algorithmic results.

If you Google “pizzagate”, you will get these fake news sources:

-The Washington Post (Jeff Bezos’ little pet paper…for when Amazon.com bores him)

The New York Times

BBC

The New Yorker

The Guardian

NPR

Newsweek

CNN

Time

NBC

CBS

plus sycophants like Snopes, The Daily Beast, Huffington Post, Slate, and too many other media losers to succinctly list.

So let me reframe:

as the alternative media went silent today on this topic, the mainstream media (which had been shirking its duty of journalism) went into hyperdrive to cover pizzagate in a very narrow, deceptive manner.

And I can’t lie:

this made me very angry.

But I would like to share a name with you.

It is the name of someone doing truly priceless research on pizzagate.

His name is David Seaman.

And YouTube is where to find him.

So why, then, The Doors?

Because “When the Music’s Over”…

Robby Krieger’s dive bomb guitar.

John Densmore gunshot snare drumming leading out of the pauses.

And Jim Morrison’s screeching howls of ecstatic catharsis on the downbeat.

This film.

Truly changed my life.

Just like my first rock concert (The Black Crowes).

It’s not a perfect film, but it teaches us some important lessons.

The right (politically) must understand art.

All of the arts.

The power of art.

And we must know poetry.

We must cogitate from a place of knowledge as we see Oliver Stone’s camera pan over Rimbaud, Artaud, and McLuhan.

And at some point we must make a faltering effort to pronounce Artaud.

We must get into the arena.

[sand]

Open our ears.

The first time we heard Godard’s name…pronounced relatively correct…out of Ray Manzarek’s mouth.

And we must revisit.

Damn!  Is that Dale Cooper?!?  And that “d” on the end is not really necessary.

Years and years…of stars and bars…and miles of aisles.

I haven’t had the energy to be angry.

Until today.

Must be getting better.

It comes and goes.

Energy.

But we must value anger.

Meat-eating humanity.

Visceral disgust with our fellow humans who would harm children.

And sober vigilance and sense of duty to see that no child’s life nor future is swept into a crack.

The current psy op in progress is one to try and wrap up (with a bow) the entire pizzagate conspiracy into one deniable package:  Comet Ping Pong.

One astute researcher has even mentioned the possibility that the central casting which provided us with the Sandy Hook hoax might have supplied the useful idiot who supposedly stormed the aforementioned establishment.

The psy op is to wrap up the package.  To denigrate “fake news”.

To cordon off the “scene” in service to damage control.

But YouTube’s actions taken against David Seaman just make us want to know the truth that much more.

And so there you have it.

Adam Schiff needs a brain transplant.

And Tucker Carlson deserves a raise.

But people like David Seaman are the real rebels here.

Like Jim Morrison, they understand their medium (McLuhan) and they channel their anger through highly-sophisticated, articulate journalism.

To paraphrase my hero Alex Jones, I don’t think the mainstream media and the Clinton camp (the Podesta brothers) really want to get into “the briar patch” of trading punches with the alternative media.

Alex Jones and Matt Drudge are about to squash any dilettantes at the major networks.

And up-and-comers like David Seaman will also be firing truth torpedoes to sink the already-listing ghost ship known as the MSM.

There be monsters…

 

-PD

 

 

Brooklyn [2015)

I do believe my tear ducts are sore on account of this film.

Some writing will be meaningful, and some meaningless (depending on the audience).

Don’t you keep anything for yourself?

Very little…

Because I believe in the beauty of people…out there…in the vast world…the goodness of people…in heart and in soul.

It’s like Titanic without the shipwreck.

((lachrymal vases))

Ireland should be very proud of Saoirse Ronan.

And so should The Bronx.

From Howth and environs to Jerzy Kosiński’s 1982 masterpiece novel Pinball.

I have written a great deal about Saoirse in the past.

She is my favorite actress working in film.

[Thora Birch needs some gigs.  Kat Dennings needs to ditch 2 Broke Girls or CBS needs to enter the Hulu joint venture.  Anamaria Marinca and Dorotheea Petre need gigs.  Myriem Roussel:  where are you?  And finally Adèle Exarchopoulos:  you are on the right track!]

But Saoirse Ronan is unique among my favorite actresses for a variety of reasons.

Brooklyn gives her a chance to employ her Irish accent–to accentuate rather than mask it.

Quite frankly, this is a brilliant film!

John Crowley did a masterful job as director.

Emory Cohen is really good herein.

Julie Walters is hilarious!

Fiona Glascott is darn-near perfect.

But this whole thing is really about Saoirse Ronan.

John Crowley surrounded her with an older style of filmmaking.

It fits the story snugly.

Saoirse shines through like no other actress.

She is a ruby with the hardness of a diamond.

Etching her name into film history at the young age of 22.

Hollywood is not dead as long as she continues to get the starring roles she deserves.

 

-PD

The Cat in the Hat [1971)

TV special…

“We interrupt your regularly-scheduled program to bring you a flight of fancy free.”

Dr. Seuss.  SS.  Theodor Seuss Geisel.

If the PhD proves too difficult–too stultifying, then just drop out.  Right?

David H. DePatie.  Friz [sic] Freleng.

Allan Sherman is great as the voice of the title character.  The eponymous feline.

But most interesting is the fish:  Karlos K. Krinklebein.

(!)

You can’t make this shit up.

Krinkelbein?

Perhaps it’s Carlos…

In any case, it’s Daws Butler voicing the goldfish.

Directed by Hawley Pratt (who graduated from the Pratt Institute in Brooklyn).

Again with the not making of the shit up.

But most important are the readymade, pre-reified Thing 1 and Thing 2.

Woe unto Thurl Ravenscroft for voicing merely one Thing (Thing 1, mind you!).

He was Tony the Tiger.

(!)

“They’re grrreat!”

The dumbest, most genius tagline ever.

Thou canst not maketh up such as this…on the 400th year of our laird.

The Grinch stole Christmas in 1966.  Right there on CBS.

Thurl crooned “You’re a Mean One, Mr. Grinch” and became doubly immortal.

Never underestimate Tony the Tiger.

Or the Tourette’s Guy.

Danny.

Anthony L. Six.

A weird last name.

Brilliant!

And Jared.

YouTube diamond.

Back to the cat…our composer Dean Elliott.

Eleven years after composing the score for Sex Kittens Go to College, he was in the animation business (more or less).

To go from Mijanou Bardot (Brigitte’s sister) to the moss-covered three-handled family credenza.

Credenza…altar for food of the elite.  Most elite.  Papal.

With faith (belief), the food taster.  Not discriminating flavor.  Checking poison.

Mamie Van Doren and Tuesday Weld.  Back to the (sex) kittens.

It’s the real deal.  Chuck Jones.  Producer.

Indeed, Siberia.

Indeed.

Sympathy.  And Yerself is Steam.

It’s mania.  It’s depression.

Are you experienced?  (¿With backmasking)

That’s the sombrero psychedelia.

chapka in a shlyapa.

Cat matryoshka.

EmrNyisIdtdGelrMeyA

 

-PD

 

A King in New York [1957)

I once went to rather extraordinary lengths to see this film.

Doing such a thing often makes one appreciate the rarity of the moment.

But now I revisit this testament for the purpose of placing the film in my own history of the cinematic medium.

As you might know, I don’t often review new films.

For what is important to me is not the hackneyed novelty of Hollywood today, but rather the breadth of motion pictures down through time as an art form.

What is attractive about the movies is that they are barely 100 years old.

It is not much of a stretch to say that the seventh art (as Ricciotto Canudo eventually called it) was short of being a mature mode of creation in 1916.

For though Charlie Chaplin was already making important contributions, his first feature as a director and actor wouldn’t come till 1921’s The Kid.

In many ways A King in New York was Chaplin’s last film.  Namely, it was the last in which he both starred and directed.  [He would direct one final effort:  1967’s A Countess from Hong Kong starring Marlon Brando and Sophia Loren.]

And so it was that with A King in New York Chaplin returned in some ways to the themes of The Kid.

Michael Chaplin (his son) is brilliant as “the kid” Rupert here in the film under consideration.

And Charles (Charlie) is equally timeless as the foil to Rupert’s Marxism.

Yes.

This was a brave film to make.

It was a humane film to make.

And it is insightful even today.

We may no longer have the communist witch hunts of the McCarthy era, but we still have the same brain-dead stupidity (as exemplified by Fox News).

It is quite easy to draw that particular parallel when viewing the newscast which comes on King Shahdov’s hotel television periodically throughout this movie.

And while the hysteria of anti-communist “vigilance” has largely faded into history, another equally virulent strain of bigoted ignorance has taken its place.

Terrorism as religion.

That phrase may sound weird, but let me explain.

When you pick up The Wall Street Journal, you are viewing a religious newspaper.

And the religion?

Terrorism.

When you watch Fox News you are entering an alternate universe in thrall to terrorism.

Terrorism is the manna from heaven for the neoconservative global elites.

They are a one-trick pony (terrorism being their only trick).

But let me illuminate my point.

NONE of the other major American news outlets (print or televised) are any better.

CNN ABC CBS NBC…all worthless.  And let’s not forget the woeful New York Times.

Which brings me to a very important point.

This past week, a PhD professor at Florida Atlantic University in the United States was dismissed from his tenured position for questioning the very suspicious “mass shooting” supposed to have occurred at Sandy Hook Elementary School in Newtown, Connecticut in 2012.

I have not read every bit of critique which Dr. James Tracy (the unfortunate professor) has written concerning this “massacre”, but what I have read harmonizes with my own take on the event (namely, that it was a staged, false-flag type psychological operation).

And so Dr. Tracy has become a parallel to all of those poor souls who had to suffer the ignominy of the House Committee on Un-American Activities in May 1960.

Why do I focus on this particular hearing?  Because it was released as an LP album in 1962 by the invaluable Folkways Records (today Smithsonian Folkways).

Find this record.

Listen particularly to Witness #5.

Spotify lists each track as being by the artist “Unspecified”.

This is the same type of recognition which would have accrued to topless mothers in the Sahara singing their babies to sleep (while the tape recorder preserved their performance for all time).

Americans had become nameless.

And so next time someone asks you about your favorite musical artists you can refer to the Folkways catalog and answer, “Well, I’m a big fan of ‘A young girl singing’, but I also like ‘A young woman’.  But then, not much beats ‘Aboriginal Songman’.  In fact, I met him once and I was quite nervous.  I said, ‘Mr. Songman.  Can I call you Aboriginal?  Al???  I would really appreciate an autograph!'”

But I digress…

Dear friends, we can rescue the names from history.  Witness #5 is actually still alive.  He is and always will be William Mandel.

Mr. Mandel took the stand and railed against the bigots in San Francisco on that Folkways LP of the “Un-American” hearings.

In the estimable Mr. Mandel we have a parallel to Mr. Macabee (Rupert’s father) from A King in New York.

The trials which inspired Chaplin were to continue (1957 film, 1960 LP).

The trials continue today.  Dr. James Tracy is now a “conspiracy theorist”.  If the New York Times says it’s so, then it must be so.

No.

Until we drop like flies, we will continue to speak out like Rupert.

We will continue to combine art and politics like Charlie Chaplin.

No profession gives one a free pass to opt out of engagement.  Disengagement is a decision.

Chaplin fought back.  The world’s greatest funnyman felt compelled to speak up.

Perhaps Rupert is really 6079 Smith W.

Perhaps Room 101 is betraying oneself.  Being eaten alive.  By cowardice.  Until death.

Occasionally pop art transcends.  Witness Radiohead’s “2 + 2 = 5” from the perfect album Hail to the Thief.  At the height of the Bush junta this British avant-pop band had the stones to dish out a God-save-the-Queen to the slimy bastards dragging the world down.

The late David Bowie made a valiant effort on his best album Diamond Dogs.

We speak, of course, about 1984 and the protagonist Winston Smith.

Orwell’s novel was a mere eight years old in 1957.

Perhaps little Rupert is an evocation of Winston Smith.  And we know that Rupert’s fortitude lived on in the aforementioned William Mandel.

But now we come to a new era.  A new era which is so old.

The lamentable treatment of Dr. James Tracy.

The enshrinement of Terrorism as the new state religion of the United States.

Even for a non-communist such as myself, it is apparent that capitalism must always expand.

When it comes to terrorism (both “foreign” and “domestic”), the Ministry of Truth has spoken.

Our only hope is the voice of opposition.  It is therefore quite apt indeed that Dr. Tracy’s excellent blog (which incidentally led to his thoughtcrime conviction by FAU) should be named Memory Hole… (http://memoryholeblog.com/).

And it is hopeful that said blog has more hits than the Wikipedia page for “Memory hole”.

 

-PD

Taxi “Blind Date” [1978)

Thanks to Hulu and CBS (and probably some overly-precious writer somewhere) I wasn’t able to see episode two of Taxi, so I had to skip to episode three.

This one really is a curveball from the pilot.  The overriding theme here is obesity.

Judd Hirsh is wonderful as always, but this episode really benefits from the acting talents of Suzanne Kent.  Kent plays the role of Alex’s (Hirsch) blind date.

Hirsch and Kent really have a magic in this episode which is touching.

On a lighter note, Andy Kaufman really starts to take off in this episode (as in blast off).

We start by hearing Andy sing a song in his mysterious Eurasian language.

Later, Latka (Kaufman) shows off some of the singularly offensive gestures of his mystery culture in an argument with Danny DeVito.

What is great about Taxi is that the scriptwriting is matched by formidable acting talents (particularly Kaufman and Hirsch).  It’s no wonder that America fell in love with this show.  This is entertainment firing on all cylinders.

 

-PD

Roma città aperta [1945)

When I was younger I could take the easy way.

But as I have grown older I have found that increasingly impossible.

In moments of weakness I think of money.  A job.  Adventure.

But none of that really matters.

What matters is our fellow human beings.

Dear friends, this film (Rome, Open City) is an extremely moving experience.

What I try to bring to you as an amateur film critic are the words of a man immersed in the film…baptized…in the experience of each film.

Most pieces of cinema are not worth this effort, but occasionally a film is worth every minute…every second…every tear shed.

Roma città aperta is a masterpiece from director Roberto Rossellini.  This is a very famous film because of the milieu in which it was made.

WWII was not even over.  You can imagine how hard it must have been to get film stock (film for the camera) while Europe was in flames and Italy was a defeated country occupied by the Allies.

But this film tells of Italy occupied by the Nazis (and, indeed, Rome was occupied by the Nazis prior to American occupation).

But all of these descriptions I’m giving you…they mean nothing.

What you must understand about this film is that it did something which no film before it had done.

This film was infused with the sorrow of the World Wars, but was presented as one would present a documentary.

Hence the name neorealism.

Anna Magnani is so beautiful, but not glamorous.  She is beautiful because she is believable.  It takes a philosophical film director to deliver such a performance.  It also takes a hell of an actress!

Roma città aperta is like an opera by Mascagni or Leoncavallo.  Verismo!

Act I ends with Magnani running after her fiancé.  The SS have literally come to take him away.  And her weaving, desperate run became an iconic film moment which wouldn’t be adequately interpolated back into the cinematic discussion till Jean-Paul Belmondo took the entire Rue Campagne-Première to die in À Bout de souffle. 

Godard was young.  À Bout de souffle was his first film.

Godard took the easy way.  Postmodernism.

A bit from here and a bit from there.  Voila!

But later Godard grew a conscience.  And his conscience helped him find himself kicked to the curb of the film industry.

In our film, Aldo Fabrizi is the voice of conscience.

He plays the priest don Pietro.

He’s not your average priest.

This is a guy who stands against the Nazis.

Don Pietro helps the resistance.

Don Pietro gives and gives and gives and asks nothing.

He is a true man of God…a true humanitarian.

He helps anyone in need…atheists, communists, it doesn’t matter.

But one thing is important.

Don Pietro has made a value judgment concerning the Nazis.

He has discerned who the enemy is.

That is a large step.

Today, we are told every day who our enemy is supposed to be.

The worst offender is Fox News, but the other networks (ABC, NBC, CBS, CNN, MSNBC) are all equally devoid of journalistic merit.

As for the print media, The New York Times, The Wall Street Journal, and The Washington Post are completely worthless.

If you lived in Nazi Germany, you would have been bombarded with propaganda about how the Jews were the enemy and how the Jews were responsible for every conceivable ill in society.

That was, of course, untrue.

In America today, we are told (particularly by the infantile Fox News) that Islam and Muslims are the enemy and that every conceivable problem in the world today relates back to this group.

This is, obviously, untrue.

The other three/five networks (ABC, NBC, CBS, CNN, MSNBC) are more eager to push gun control (something which Hitler would no doubt have applauded).

And so, I propose to you, dear readers that what we are seeing in the world today is an array of psychological operations which mirror something about which Italy knows only too well:  Operation Gladio.

But I propose to you that what we are seeing nowadays are multiple Gladios run by gently-warring factions of the New World Order.

The biggest Gladio in operation (a series of false-flag attacks accompanied by fake wars) is the one being run by the neoconservative faction of the New World Order (including several prominent Zionists who, despite holding high U.S. government offices [and Top Secret clearances], held dual citizenship during their terms of service to the U.S. with Israel and the U.S.).  This Gladio brought you the Paris attacks.  This Gladio is responsible for the War “on” Terror (including the synthetic Arab army/marketing confection known as ISIS).  And finally, this Gladio almost certainly brought you the San Bernardino shooting as well.

The main goal of the neoconservative Gladio is endless war.  It is a macro operation.  It operates on the level of geopolitics.  War profiteering, oil, drugs…  The neoconservative Gladio brought you the mother of all false-flags:  9/11.

On the other hand is the liberal Gladio.  The liberal Gladio brought you Sandy Hook (their masterpiece).  Their other suspected jobs are Aurora (the Batman shooter) and Umpqua.  It wouldn’t be a stretch to also include the OKC bombing and the Waco massacre of the Branch Davidians.  But focusing on the first three cases alone (Sandy Hook, Aurora, Umpqua), it is very clear that the liberal Gladio has as its main goal gun control.

The liberal Gladio is operating on a micro (or domestic) level.  The San Bernardino shooting was meant to make Obama look soft on crime.  The neocon gang which engineered the shooting exhibited perfect timing as Obama had recently announced an initiative to reclaim MRAPs from local law enforcement across the country (in response to police abuse of power).  The neocons took a page out of the liberal false-flags-for-gun-control playbook on this one, but the main goal was endless war.  [This, of course, didn’t prevent Obama from trying to leverage the event to prop up HIS faction’s agenda.]

The unfortunate equation is that neither side can expose the deeds of the opposing side because they are both dealing in untruths.  Obama has, up until now, squandered his opportunity to bring the neocons of the Bush administration to task for 9/11 and the fraudulent War “on” Terror.  Indeed, Obama has only proven that he himself is a fraud down to his very core.

The layers-upon-layers of lies in the United States cannot hold.  Snowden pierced the veil.  Only those with a conscience can save us now.

 

-PD