4 posts categorized "politics"

March 28, 2019

THE BRINK

BrinkDocumentarian Alison Klayman (“Ai Weiwei: Never Sorry”) brilliantly contextualizes Steve Bannon’s bizarre racist mission within the many coded ways the right-wing fascist ideologue expresses his murderous subtext to politicians (see Nigel Farage), billionaires (see Blackwater’s Erik Prince and Guo Media’s Miles Kwok), hack journalists, sycophantic fans, television interviewers, and during personal interactions.

It says a lot about a man by those who he admires; in Bannon’s case most such icons (seemingly) have direct links to the Nazi regime. Indeed, Bannon goes out of his way to put a fine point on his love affair with Hitler’s genocide of the Jews.  

Klayman opens the film with Bannon chugging a Red Bull while going over “spots” (shorthand for Bannon’s ongoing television media propaganda campaign) over the phone with an unnamed associate.

“You talk about culture being upriver in politics; this is the way you make a statement. I’ll see you at five o’clock and I’ll feed you dinner.”

Cut to Bannon bragging about “Torchbearer,” the 2016 “documentary” he directed. Oh yes, Steve Bannon is a director and producer. Check out his IMDB page, it will give you an idea Bannon’s obsessions. Shocker, Bannon executive produced the Sean Penn written/directed “The Indian Runner.” Still, Bannon can’t bring himself to remember his film’s proper title, “The Torchbearer,” or “Torchbearers,” or …

Bannon 2

The subject brings up filming that Bannon did in Auschwitz.

“My shit in Auschwitz rocked.”

This weird, out-of-context statement reflexively begs the question, does Bannon think Hitler also “rocked” Auschwitz? Evidently so. Bannon’s profane scatological reference is the needle that punctures the mind of the listener as Bannon normalizes his audience to his objectively racist beliefs that he carefully masks behind a sleepy-eyed gauze of overt respect and appreciation the Nazi death camps (Auschwitz-Birkenau).

Visually excited, Bannon nods his head with praise.

“We leave for Birkenau. This gets to the punchline of the story. I look around and I turn around in the chair and I go, “Man, I said, this is the most haunting place I think I’ve ever been. It’s something about this. This actually is the feeling I thought I was going to feel in Auschwitz.

And he (the guide) goes, ”Oh everybody says that.” Bannon breaks into a laugh and shakes his head like a puppy.

“And I go, What are you talking about?”

And he goes, “Oh no, no, no.” He goes, “Maybe I didn’t explain it.”

“He said, “Auschwitz was a Polish cavalry college. The Germans just requisitioned it immediately. That was like the beta site (test); this was made from scratch.”

Bannon raises his finger to make the point, “German industrial design. He says, “The whole thing’s perfect.”

“I’m walking around going oh my God. It’s precision engineering to the nth degree. By Mercedes, then Krupp, and Hugo Boss. It is a (sic) institutionalized industrial compound for mass murder.”

“Here it finally hits you that — think about it, good people back in Germany were sitting at their desks drawing, and having arguments, and meetings. This thing was so planned and so engineered — down to perfection; you could see the conference meetings. You could see all the cups of coffee, and all the meetings, and all the argument. There were actually people who sat and thought through this whole thing and totally detached themselves from, you know, the moral horror of it. That’s when you realize, oh my God, humans can actually do this. Humans that are not devils, but humans that are just humans.”

Bannon 1

Bannon’s dog whistle works on a handful of signifiers that he employs 24/7. He thinks he’s doing the "Lord’s work.” He may as well have LOVE and HATE tattooed across the knuckles of his hands. His disarming Virginia accent, folky linguistic style, compulsive physical mannerisms, unshaven ruddy face, unkempt overlong hair, outlier habit of always wearing two button-down shirts (usually under a hunting field jacket), all come into sharp focus under Alison Klayman's close eye.

Steve Bannon knowingly embodies the banality of evil. We watch Bannon weaponize words such as “Deplorables,” and “Populism and Economic Nationalism” (i.e. “military and economic patriotism which inclines us to the side of pervasive national defense.” —William Safire).

Bannon 3

To view “The Brink” is to get a peek behind office doors at private meetings of right wing radicals from far and wide intent on spreading hate, greed, and brutality through political and corporate means. In order to defeat your enemy, you must know him. Alison Klayman’s brilliant documentary gives you plenty to chew on.

Not Rated. 91 mins. Five Stars

Get cool rewards when you click on the button to pledge your support through Patreon.

Cole Smithey on Patreon

February 26, 2019

THE WORLD IS NOT ENOUGH

World_is_not_enoughPierce Brosnan (Golden Eye and Tomorrow Never Dies) can do no wrong. While leading actors like Harrison Ford and Nicholas Cage recede into mere shadows of their former selves, Pierce Brosnan gleams with all the requisite savoir-faire and charisma that the longest-running film franchise in cinema history demands. 

Brosnan's third installment as Her Majesty's top secret agent 007 lives up to the lofty expectations set down by Sean Connery's initial James Bond presence with an indispensable steely nerve and Bond's signature unquenchable libido. British director Michael Apted, best known for his fantastic 7 Up documentary film series and Coal Miner's Daughter (1980), makes a surprisingly impressive debut in the super-action genre of the Broccoli family dynasty.

By definition a James Bond film must provide various exotic locations (in this case Bilbao, Kazakhstan, Azerbaijan and Instanbul), include mind-bending chase scenes through exceptional places, utilize slick gadgetry, have seduction scenes with audaciously beautiful women, and include an explosive ending that catapults Bond and his fille du jour into sequestered romantic bliss. The cinematic experience goes beyond guilty audience pleasure, because there's something in it for everyone. The feeling is akin to visiting characters who have become old friends in situations that continually add up to a life-affirming thrill ride. There is a deeply felt satisfaction in hearing that priceless James Bond theme music and digging into the latest spectacular pre-credit action sequence.

World-Is-Not-Enough

In The World Is Not Enough, James Bond is trying to track down an international terrorist, Renard (Robert Carlyle), who threatens to kill off lovely oil heiress Elektra King (Sophie Marceau). Elektra has already suffered as a former hostage of Renard but managed to escape before his hostage demands were met. Elektra is planning to open her own oil pipeline into Turkey after the explosive assassination of her wealthy father.

It's a theme right out of today's news as President Clinton has just approved a similar pipeline to deliver oil from Azerbaijan and Georgia into Turkey without going through Russia or Iran. The screenwriters could not have landed on a more topical idea, and although content is never the crux of a James Bond movie, it is an added bonus that the countries visited in The World Is Not Enough are currently very active in the news.

Judi Dench (Shakespeare in Love) returns to nourish the series as Bond's strident boss "M," while Desmond Llewelyn returns for the 19th time as Bond's meticulous gadget guru "Q." Robert Carlyle (TrainspottingThe Full Monty) does a brilliant turn as the ruthless terrorist Renard. He's the nastiest villain to challenge Bond since Max Zorin (Christopher Walken) in A View to a Kill. Renard's character is first introduced in a meeting between Bond and M as a giant three-dimensional translucent head revealing the bullet lodged in his brain that makes it impossible for him to feel pain. It's an ingenious scene, because it makes us question whether or not this man is still alive and what kind of monster could survive such a state of being. Carlyle looks physically wrecked in his scenes while exuding an air of spontaneous combustion beneath his misshapen and sullen eyes.

Worldisnt

The World Is Not Enough keeps the stakes high for the James Bond franchise by paying closer attention to character development and interaction than recent films in the series. M proves herself to not be a perfect judge of character, and the beautiful Princess Elektra has a little "Stockholm Syndrome" stuck in the front of her mind to give the plot some artful double-crossing. Denise Richards may not be the most believable nuclear weapons expert as Dr. Christmas Jones, but she is the most comely.

Michael Apted more than hits his directorial marks, and at two hours eight minutes, The World Is Not Enough is, pound for explosion pound, a great return on your entertainment dollar.

Rated PG-13. 128 mins. (A-)Four Stars
 Get cool rewards when you click on the button to pledge your support through Patreon.

Cole Smithey on Patreon

September 04, 2017

TROPHY

Colesmithey.comRegardless of any preconceived ideas viewers will inevitably bring to this insightful look at the trophy hunting industry, you will come away from this well researched film with a more informed understanding of wild animal conservation.

The film opens with creationist hunter Philip Glass indoctrinating his young son in the act of killing deer with a high powered rifle from the safety of a stilted hunting shelter. After the deed is done, the gloating father rushes to take a photo of his son holding the horns of his prey. This necro-fetishism for posing with dead animals repeats over the course of the movie as the audience gets a glimpse into the warped minds of [ostensibly] wealthy [exclusively] white people fixated on filling their homes with taxidermy-preserved renditions of the animals they have killed with roughly the same amount of skill it takes to floss your teeth.

South African animal conservationist John Hume looms large in the film.

Trophy

With a goal of breeding 200 rhinos a year, Hume has invested $50 million of his now depleted resort fortune to create the world’s biggest rhino breeding farm, with a heard of more than 1,600 rhinos. Hume and his staff regularly remove the horns from their rhinos, a roughly 20-minute process that involves tranquilizing the animal before painlessly cutting the horn with an electric saw. The reasons for removing the horns, which grow back every two years, is twofold. Doing so, removes the threat of poachers killing the animals, and enables Hume to legally sell the highly prized horns to sustain his farm. Nonetheless, poaching of rhinos continues to occur at an alarming rate throughout South Africa where the world’s rhino population primarily exists. The threat of death from disease remains a significant issue for Hume.

Ecologist and author Craig Packer discusses the “shooters,” whose desire to kill without any reality of sport has increased the number of wild animals in Africa exponentially. The film addresses the backlash from the 2015 murder of “Cecil the Lion” by Minnesota dentist Walter palmer. The event set off a public outcry against trophy hunting-supported animal conservation that threatens to all but end the financing that makes it possible for hunting outfitters such as Christo Gomes to provide sanctuary safaris for endangered lions, tigers, giraffes, egoli gnus, and other species.   

Colesmithey.com

Naturally, mankind’s constant encroachment on wildlife regions due to human overpopulation presents an ever-increasing threat to animals of all species. What isn’t addressed in the film is why the rich faux hunters wouldn’t be willing to help finance wild animal preserves without the killing aspect of the equation. Taxidermy animals could be shipped to sponsors for their trophy rooms upon their natural death.    

Co-directed by Christina Clusiau and Shaul Schwarz, “Trophy” is an important documentary toward opening up informed discussion about saving our wild animals amid encroaching cataclysmic crises of climate change and population explosion. It’s not a comfortable film, but you will come away much better informed for having watched it.

Colesmithey.com

Not Rated. 108 mins. (A-) (Four stars — out of five / no halves)

Click Here to Pledge Your Support Through Patreon

Featured Video

SMART NEW MEDIA® Custom Videos

COLE SMITHEY’S MOVIE WEEK

COLE SMITHEY’S CLASSIC CINEMA

Throwback Thursday


Podcast Series