The Zone of Interest: A Review - The Profound and the Mundane

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.5 out of 5 stars

My Recommendation: SEE IT/SKIP IT. This is a masterful arthouse film about the banality of evil that normal audiences will despise but cinephiles will adore.

The Zone of Interest, written and directed by Jonathan Glazer, is an unconventional and unorthodox film that will confound and frustrate general audiences to the point of exasperation. It is also one of the very best films of the year, and one of the most insightful Holocaust films ever made.

The film, which is adapted from the Martin Amis novel of the same name, chronicles the daily life of Nazi Commandant Rudolph Hoss and his family in their new house right next to Auschwitz concentration camp.

Hannah Arendt coined the term “The Banality of Evil” when describing the men who perpetrated the Holocaust. According the Arendt, these men, like Rudolph Hoss, where not sociopaths or Nazi fanatics, but rather bureaucrats and middle managers motivated by professional success rather than ideology.

The Zone of Interest is Arendt’s Banality of Evil brought to cinematic life. The mundanity of the Hoss family life is a damning indictment as it is surrounded by the most monstrous evil that was the Holocaust, which is only ever heard, but never, not once, seen in the film.

The Zone of Interest features no true plot. Nothing really happens in the movie. But the mundanity of it all within the historically cruel setting is what generates the film’s profundity.

Auschwitz is a company town, and Hoss is a good company man. The business of Auschwitz is killing and business is good. Hoss is successful and is very good at his job. He’s an admired and respected man among his peers and underlings.

Rudolph’s wife, Hedwig, is the queen of Auschwitz, and she is constantly at work on her beautiful home and exquisite garden, which are attached to the concentration camp’s outer wall. Beyond that wall the cries of children and screams of parents are routinely heard…so routinely that they become empty background noise.

Rudolph and Hedwig, along with their five children, are living the American dream – or more accurately the Nazi dream. They have gone East (as opposed to West in the American myth), built a beautiful home, found meaningful work they are good at, and have lots of open space and freedom of movement. Their life is idyllic…except for the sounds and smells of slaughter which occasionally break through and pierce their ignorant bliss.

That their blessed life exists because, and within, the most degenerate and dehumanizing industrial genocide imaginable, is something that they are deeply skilled at keeping at bay. The Hoss’s aren’t unaware of the atrocities that surround them, they just choose to focus on other things….just like the rest of us.

The Zone of Interest is exquisitely directed by Jonathan Glazer who never veers from his brazen artistic thesis. The film’s meticulous visual style, its deliberate pacing, it’s odd and jarring photographic and time alterations, all point to a filmmaker who knows exactly what he is doing and exactly what he wants to say and how to say it.

The film is shot by Lukasz Zal, and he and Glazer put on a masterful cinematography clinic. The camera never moves in The Zone of Interest, as every shot is perfectly still. Any movement in the frame is made by the characters or by use of edits to a different angle.

There are straight lines everywhere, spotlighting the precision of the filmmaking and the horrifying meticulousness of the Nazi machine which keeps everything in order in the Hoss’ world.

There are no close-ups of characters in the entire film, and scant few close-ups of anything else…the only one I remember is of a flower. Instead, Zal’s still camera is kept at a cold distance, in a wide frame, never moving, never judging, just observing.

There are times when the film is shot with thermal imaging, which is an alarming change from the cinematic stoicism employed for the majority. That this thermal imaging is used to spotlight the rare moments of humanity, as opposed to the still, distant camera’s capturing of normalized inhumanity, is striking and very effective.

Also very effective is the sound design and music. Mica Levi did the music and it is an industrial sounding horrorscape, that when accompanied by a black screen or a red one, makes for unnerving viewing and listening.

Sound designer Johnnie Burn’s work is astonishing as the ambient sounds of the Holocaust are expertly recorded and deployed throughout, creating an unseen but very deeply felt sense of moral malignancy and madness.

The performances in the film are so understated and naturalized as to be astonishing. Sandra Huller, who is nominated for her work in Anatomy of Fall at this year’s Academy Awards, is absolutely astonishing as Hedwig Hoss.

Huller’s Hedwig is in constant movement and always searching for something, anything to occupy her. She is a proud mother and wife and loves to show off her success to her mother. But beneath her surface there is a calculating and vicious woman who knows what and who she is and what she will do to maintain her kingdom and maintain her status.

Christian Friedel is the picture of normalcy as Rudolph Hoss. Friedel’s Hoss could be at home as a bank manager, a car manufacturer or any mid-level bureaucrat middle-manager in any company in the world. That he is skilled at managing a death factory is almost beside the point.

It is common nowadays to call one’s political opponents or enemies “Nazis”. The U.S. routinely calls whomever it has deemed it adversary on the world stage “Hitler”, and anyone who negotiates with them or fails to go to war against them, “Chamberlain” – as in Neville Chamberlain, Prime Minister of Great Britain who famously signed the Munich Agreement with Hitler which was seen as appeasing tyranny.

The thing that has always bothered me about the depictions of Nazis, whether it be in films/tv or in our culture in general, it is that they are cartoonish versions of evil. These men are shown as being blood-thirsty and often completely insane. These depictions make it much too easy for us to see Nazis solely as something that other people become, never ourselves.

The truth, of course, is much more complicated and much more unnerving. The reality is that we are all very capable of becoming Nazis…hell…we are all Hitler’s in waiting who would reflexively dehumanize our opponents and enemies, and/or ignore atrocities that become so common as to be background noise.

Back in the wake of the 2016 election and Trump’s rise to power, there was a debate in our culture about the legitimacy and efficacy of “punching Nazis”. I wrote at length about it expressing the danger of that line of thinking. The majority of liberals and leftists I knew, and many readers of this blog and my writing at RT, were fervent in their belief that punching Nazis was always, and every time, the right thing to do.

My counter-argument was, that is exactly how Nazis think…that punching/silencing/eliminating your opponent/enemy is a righteous act and that violent impulses are to be indulged in the name of that righteousness.

My friends on the left said I was a Nazi myself for not wanting to punch a Nazi, which is sort of ironic since I was much more likely to punch anyone in real life than they ever were.

The reason I bring all of this up in the context of a review about The Zone of Interest, is that the power of the film is that it lays bare in excruciating detail, how all of us, in similar circumstances, would fall into the rhythm of our time and place and would ignore the atrocity right outside our zone of interest in order to maintain our comfort and our sanity.

For example, while there are protests, most of which are performative and impotent, against Israeli apartheid and ethnic cleansing of Palestinians, the truth is no one is actually going to do anything about it and it’s not going to change because we have all been conditioned to, at a bare minimum, accept it, if not celebrate it. Thousands of children slaughtered in Gaza? Oh well… shrug emoji…did you see who Taylor swift is dating?

The same is true of the senseless and endless epidemic of murder in inner-city Black communities, and the ceaseless epidemic of suicides by the White working class, and homelessness and drug overdoses among the ever-expanding under-class.

We are overwhelmed by the scope and scale of all of these rapacious tragedies, and so we simply go along to get along and we live out lives of comfort on the mountain of misery our nation routinely produces.

We don’t think of ourselves as Nazis, despite the fact that our government is a malignant force around the globe which inflicts great harm and suffering upon millions, all on our dime and occasionally at our behest. For example, we send billions to nefarious nations like Israel and Saudi Arabia and turn a blind eye when they massacre innocents, just like we turn a blind eye when our nation directly massacres innocents, be it in Vietnam, El Salvador, Nicaragua, Iraq, Afghanistan or Yemen.

The denizens of D.C., be they venal politicians or craven lobbyists and the weapons manufacturers across our nation, don’t think of themselves as being Rudolph Hoss, but they are. Those diabolical fools are just like the mainstream media members who think of themselves as Woodward and Bernstein and not Joseph Goebbels. They are mini-Goebbels all.

The Zone of Interest is such a great film because it lays bare this fact that we are all Nazis, in action if not intent, whether we like it or not. And that is why the film is such mandatory viewing.

Unfortunately, The Zone of Interest, despite being nominated for five Academy Awards – Best Picture, Best Director, Best Adapted Screenplay, Best International Feature and Best Sound, is an arthouse movie through and through, and mainstream audiences, conditioned to expect films that are structured in certain ways and have familiar dramatic arcs, will be repelled by Glazer’s artistic choices.

In common parlance, this film will bore the shit out of normal people because nothing happens in it. But the problem is that nothing happening is the point of the movie.

In my opinion, The Zone of Interest is one of the very best, and best-made, films of the year and is a critical piece of art in our current times. It would be a fantastic companion piece to watch in an ad hoc film festival with Michael Haneke’s masterful The White Ribbon (2009) and Elem Klimov’s masterpiece Come and See (1985), the greatest war film ever made, to try and capture, and understand, the zeitgeist of pre-war and wartime Germany as it is afflicted with the cancer of Nazism.

In conclusion, The Zone of Interest is a magnificent piece of cinematic art that cinephiles will adore and normal people will despise. If you’re a normie, then skip it, but if you are a lover of cinema and all of its artistic possibilities, then The Zone of Interest is definitely a must see.

Follow me on Twitter: @MPMActingCo

©2024

The Film 'Come and See', the Russian Psyche, and the War in Ukraine

My Rating: 5 out of 5 stars

My Recommendation: SEE IT NOW. Arguably the greatest war film, and greatest anti-war film, ever made.

‘COME AND SEE’ IS VITAL TO UNDERSTANDING THE RUSSIAN PSYCHE REGARDING THE WAR IN UKRAINE

A few years ago, in order to commemorate the 75th anniversary of V.E. Day, I wrote a list of the best war films ever made that was published at RT.com, an English-language Russian news outlet. I got a lot of feedback on my list, as readers shared their favorite war films and compared them to mine. Interestingly, I was inundated with emails and comments from Russian readers who were outraged I failed to have Come and See, the 1985 Soviet war film directed by Elem Klimov, not only not on my list, but not at the top of it.

The truth was I hadn’t seen Come and See because it isn’t widely or easily available here in the U.S. The film, which for years was nearly impossible to find on any streaming service, is now available on the Criterion Channel (which is wonderful and a must have service for any cinephile). Having finally watched the movie I can now say that those Russian readers were right and I was wrong…Come and See deserves to be on the top of the list of best war films ever made. It is a terrible injustice that the film has thus far remained mostly undiscovered in the West as it is an astonishing piece of cinematic art.

I think now, as the war in Ukraine rages into its second month, it’s most imperative that Westerners watch Come and See in order to better understand historical context and how it effects the collective Russian psyche regarding perceived enemies on its western border.

The dramatically scintillating Come and See is unquestionably a cinematic masterpiece, and I don’t use that word lightly. The film chronicles the odyssey of Florian Gaishun, a young teenage boy trying to survive the Nazi occupation of the Soviet Republic of Belarus in 1943.

Florian is eager to join a rag tag group of Soviet partisans in a guerrilla war against the Nazis. But his mother, afraid to be left alone in their small village with two young twin daughters, is adamant he stays home.

But once Florian discovers a discarded but usable weapon buried in the dirt, the partisans come to his house and officially conscript him into service.

Thus begins Florian’s coming of age story, which is a trial by fire where a Focke-Wulf 189 German reconnaissance plane haunts the skies above his head like a blood-thirsty vulture and Nazi savagery dominates and decimates the fragile world around him.

Florian is thrust into most harrowing journey through the brutality of war and the darkness of the human heart, and must endure the most hellacious of circumstances and devastating of tragedies.

It’s impossible to adequately describe Florian’s gruesome crucifixion upon the cross of war, and the ungodly horrors he must suffer. The viewer must simply bear witness to them too and suffer the same visceral anguish as Florian.

The film boasts two terrific performances, one from Aleksei Kravchenko as Florian, and the other Olga Miranova as Glasha.

Kravchenko’s face over the course of the film is a roadmap of the horrors he’s experienced. His ‘thousand-yard stare’ is a monument to the soul-crushing and heartbreaking ordeal he’s undergone.

Miranova is electrifying as Glasha, a young woman Florian meets in the early days of his time with the partisan guerrillas. Miranova is like a beautiful, gaping wound walking the earth, trying to avoid catastrophe but sentenced to an endless parade of calamities.

Director Klimov pulls no punches on Come and See, as he masterfully, using a variety of clever and intriguing filmmaking techniques, such as a split diopter lens and the use of reduced sound to heighten drama, tells Florian’s tale. Klimov’s brilliant direction immerses the viewer in the hell of war, as well as expresses the collective rage against the Nazis that unleashed a wave of brutality and barbarity against the Soviets that is staggering to contemplate.

This is why it’s so imperative that Westerners watch Come and See, because it so forcefully conveys the palpable fear, anxiety and angst left on the Soviet/Russian psyche by the barbarity of the Nazi invasion forty years after it happened, as well as today.

Hitler sent his very best divisions when he invaded the Soviet Union because he understood that to win the wider war the Nazis needed to destroy the USSR and usurp its plethora of resources, most notably oil and wheat, which would then fuel and feed Hitler’s war machine.

Hitler, like Napoleon before him, found out the hard way that invading Russia is never a good idea, as the winters are brutal and the people made of extraordinarily stern and resilient stuff.

Roughly 30 million Soviets died in World War II (compared to about 418,000 Americans), but their deaths were not in vain as it was the Soviets who broke the Nazi war machine’s back and won World War II. But there isn’t a Russian family that didn’t suffer immensely during the war and for generations after, and the psychological damage from that trauma still resonates today.

In the West, when we hear talk of Russia wanting to “de-nazify” Ukraine, it sounds like a vacuous talking point. To Russians it deeply resonates though because it’s driven by a palpable existential fear – a fear perfectly captured in Come and See.

My intention here is not to try and change any minds regarding the war in Ukraine, as I’m aware enough to know that when emotions are as inflamed as they are now, and the bullshit propaganda is piling up so high you need wings to stay above it, as it is now, appealing to reason and logic is a fool’s errand.

But what I am here to do is to try and get people to watch Come and See for its cinematic mastery, and its collective cultural insights, so that they can at least understand the deeper psychological and historical context of Russia’s actions and impulses.

For instance, most people in the US don’t know this but in 2014 the US backed a coup in Ukraine that overthrew a democratically elected government. The overthrown government was more inclined to Russia’s viewpoint, and the newly-installed government was beholden to the US.

To Americans, that bit of history is largely unknown, but to Russians it’s not only well-known, but deeply troubling and anxiety-inducing.

The same is true of the fact that the newly installed Ukrainian government sat idly by as 42 pro-Russian activists were burned alive in the Trade Union House in Odessa, Ukraine post-coup in 2014, something which most Americans don’t know but that Russians know all too well (and which is remarkably reminscernt of one of the more horrifying scenes in Come and See).

Another example, which most Americans don’t know but of which Russians are keenly aware, is that this same US installed Ukrainian government then banned the Russian language and went to war with ethnic Russians in the Donbass region in Eastern Ukraine. Since that war started in 2014, nearly 14,000 people, mostly ethnic Russians, including women and children, have been killed.

Another piece of historical context largely ignored in the US is that when Russia and Ukraine signed a ceasefire/peace agreement called the Minsk Agreements (Minsk Protocol signed in 2014, and Minsk II – a ceasefire signed in 2015), it seemed peace was possible, but Ukraine and the US ignored those agreements and the slaughter of ethnic Russians continued in the Donbass.

To watch Come and See gives Americans an opportunity to see the developments in Ukraine through the eyes of Russians. To Russians, Ukraine’s Azov Battalion, which western media reported on extensively for years as a battalion of devilishly devout Nazis but which now ignores that context, is not an outlier, but the crux of the issue. As evidenced by the brutal wholesale slaughter of an entire Belorussian village in Come and See, which the film informs us was something that happened to 628 Belorussian villages at the hands of the Nazis during the war, Nazi bloodthirst isn’t a speculative talking point to Russians, it’s a historical fact and a traumatic trigger.

The way Russians see it, the US installed a Nazi friendly regime in Ukraine, and Russians remember what the Nazis did the last time they had power in the region…and it was genocidal in its scope and scale and demonic in its unabashed cruelty.

When Russians see pro-Russian activists burned alive in Odessa, and ethnic Russians massacred in the Donbass, the horrors of World War II as exquisitely captured in Come and See are conjured in all their grueling and gruesome savagery.

I understand that many Americans, fed a hearty diet of establishment media Zelensky worship as well as ludicrous propagandistic tales of the Ghost of Kiev and the Heroes of Snake Island, might watch Come and See and interpret it very differently. For instance, Americans might watch Come and See and believe Putin to be Hitler and the modern-day Russians in Ukraine the equivalent of the Nazis in Belarus in 1943.

I disagree with that assessment and find it to be historically illiterate and painfully myopic, but that said, I completely understand why, after years of relentless Russo-phobic propaganda, people would be conditioned to feel that way.

Regardless of how you interpret Come and See, I whole-heartedly encourage you to watch it. By being one of the greatest war movies of all-time, Come and See succeeds in being the greatest anti-war movie of all-time.

As for the war in Ukraine…like all wars, I hate it and vehemently oppose it. I understand why it’s happening, what triggered it, the wider forces at play in it and the stakes involved in it, but I despise war in all its brutality and callousness and inhumanity.

I know most people don’t believe in this sort of thing anymore, and frankly I don’t blame them, but I ardently and earnestly pray every day that the war in Ukraine ends and an everlasting peace is found and prospers. Ukraine is nothing but a boiling cauldron of suffering, and the last thing this world needs is more suffering, the brilliant Come and See is a testament to that fact.

©2022

Final Account: Documentary Review and Commentary

Estimated Reading Time: 3 minutes 58 seconds 

New Nazi documentary ‘Final Account’ is a powerful and prescient warning for our identity politics obsessed age

Luke Holland’s film, which chronicles the complicity of ordinary German’s in the crimes of the Third Reich, is a reminder that it’s easy to label our enemies as Nazis…but the true search for evil should begin with a look in the mirror.

The new documentary Final Account is a collection of interviews with elderly, ordinary Germans recounting their experiences of life under the collective madness of the Nazi regime and their connection to, or complicity with, the Holocaust.

The film opens with a quote from Primo Levi, “Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common men, the functionaries ready to believe and to act without asking questions.”

Director Luke Holland, whose mother lost her family in the Holocaust and who himself died of cancer in 2020 after the film’s completion but before its premiere, goes on to prove Levi’s thesis.

Holland began production in 2008 and ultimately interviewed 300 people for this fascinating project, and his bare-bones, oral history approach, works exquisitely well in revealing the banality of evil.

Holland’s subjects were indoctrinated into the Nazi system early in life. The women went through the League of German Girls, the men the Hitler Youth. The males then graduated to the Waffen SS, some becoming concentration camp guards and one becoming a member of Hitler’s elite body guards, the Leibstandarte.

Their recollections regarding the holocaust run the gamut. Some claim to have known nothing, while others say they heard whispers and gossip but were too afraid to speak up or act. Others give grudging admissions of complicity, while some admitted the egregiousness of the crime but doubt its scale. And one, a former member of the Leibstandarde, is unbowed by the weight of history.

This former bodyguard of Hitler says the Fuhrer was a great leader with a good plan, except that the Jews should’ve been deported and not exterminated. He’s so unabashedly defiant he refuses to accept the Nuremberg ruling that the Waffen SS, of which he was a member, was a criminal organization because “then I would dirty myself”. His reasoning is wrapped in patriotism as he explains that the Nuremberg court wasn’t a German court, and therefore lacks authority in his eyes.

Other stories reveal how Jew hatred and the Holocaust were normalized. Stories of children being taught anti-Semitic songs in school, reading books with derogatory Jewish depictions and being indoctrinated by teachers into Nazi ideology are common.

Tales of visiting camps in order to get a cavity filled from a dentist who was a prisoner, or of routinely seeing prisoners escorted to and from camps, some being worked or starved to death slowly before their eyes, are mundanely recounted.

None of these revelations are met with tears or even overt remorse, just a stern, steely-eyed matter of fact-ness.

The most compelling subject in the film is Hans Werk, a former member of the Waffen SS. Werk is at times elusive and at times defensive, but he evolves over a series of interviews.

The most electrifying moment in the entire film is when Werk goes to the sight of the Wannsee Conference, where Nazi leadership made official the Final Solution policy, to speak to a group of college students about his guilt.

After saying he is ashamed of what he did as a member of the SS, these students push back. At first it seems they’re resistant because they think he’s lying about his contrition, then it becomes clear they’re actually angry with him for his shame. They call him a traitor for being ashamed of being German and having fought for Germany.

This scene is electrifying because it’s the only time the veneer of control recedes and the beast comes to the surface baring its teeth. Werk is shaken by the young men confronting him, and his horror at the realization that the disease of Nazism has passed to a new generation is readily apparent on his face as he pleads with them to “don’t let yourself be blinded”.

Werk’s warning fell on deaf ears in that room, and across the globe as well. The Nazi disease, or as my Jungian therapist friend describes it – the “not-see” disease, is back in our collective psyche with a vengeance. “Not seeing” the humanity of the other has reached epidemic proportions.

The dehumanizing sentiment of Nazism is readily apparent in recent videos of Jews rampaging on the streets of Israel attacking Arabs, Palestinians roaming the streets of New York attacking Jews, blacks viciously attacking Asians and whites, militarized police brutalizing minorities and rioters wreaking racially motivated havoc, as well as in stories of Uighers being held in Chinese concentration camps.

This ugly sentiment is also found in the establishment approved Critical Race Theory, a shamelessly anti-white and anti-Asian ideology that demands people be judged by racial and ethnic categories instead of by the content of their character, which is now being used to indoctrinate students in schools and becoming the default setting in corporate American.

This industrialized effort at dehumanization is horrifyingly reminiscent of the process which created the legions of “functionaries ready to believe and to act without asking questions” which populate the Nazi nightmare of Final Account.

Final Account is not a great film, it is somewhat derivative in style as evidenced by its repeated use of a melancholy cello played over shots of hollowed out concentration camps, but it is most certainly a powerful and prescient one.

It is cold comfort that the collaborators and perpetrators of Nazi evil in Final Account will soon be dead of old age, for the spirit of Nazism is obviously alive and well in our world, living in all of our hearts, whether we have the courage to admit it or not.

 A version of this article was originally published at RT. 

©2021

Jojo Rabbit: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. This film is funny at times and definitely worth seeing, but only at matinee prices, or until you can see it for free on Netflix.

JoJo Rabbit, written and directed by Taika Waititi, is based upon the Christine Leunens novel Caging Skies and tells the story of Jojo, a ten year old Hitler youth in Nazi Germany whose imaginary friend is Adolf Hitler. The film stars Roman Griffin Davis as Jojo, with supporting turns from Taika Waititi, Scarlett Johansson, Thomasin McKenzie, Sam Rockwell and Stephen Merchant.

Jojo Rabbit is an ambitious cinematic undertaking that describes itself as an “anti-hate satire”. As someone who hates the vacuous woke rhetoric of “anti-hate” and believes that hate is not only normal but a vital part of the human condition, that tag line is a turn-off. But then I discovered that the film was a dark Nazi comedy, and since I have long whined about the fact that World War II movies, be they drama or documentary, always and every time make Hitler out to be the bad guy*, the film then became more intriguing to me. After being lured in by the prospect of Nazi-induced laughs, I pulled the trigger and went to see Jojo Rabbit. Thankfully, the film lives up to its premise and remedies the past anti-Hitler cinematic injustices and gives audiences the wacky and zany Hitler we’ve always wanted. (*This is a joke!)

In all seriousness, making a Nazi comedy, especially in these hyper-sensitive, hot-take abundant times, is an act of artistic derring-do. Jojo Rabbit for the most part succeeds in pulling off this most difficult of feats. If I am judging the movie on pass/fail, it passes. That said, it is a good film, not a great one.

The credit and the blame for the film’s better than average and less than terrific outcome, is writer/director/supporting actor Taika Waititi. The first and only other time I’ve seen a Waititi film was when I watched Thor: Ragnorak while bleary-eyed on a cross country flight. I hadn’t ventured out to the theatre to see Ragnorak out of sheer Marvel fatigue, and so, due to boredom, checked it out on my flight. To say I was blown away is an understatement. I was totally mesmerized as I watched this Marvel masterpiece that was funny, smart and insightful, play out on the tiny screen mere inches from my face on the cramped plane. Waititi brings the same level of inventiveness and ingenuity to Jojo Rabbit that animatedThor: Ragnorak.

Waititi not only wrote and directed the film but co-stars as Jojo’s imaginary friend Adolf Hitler. The film is at its best when Waititi, a charismatic performer, is on-screen. Waititi’s masterful Hitler bits crackle and had the audience at my screening, myself included, laughing out loud. The problem though is that they are too few and far between. After the first fifteen minutes or so, Waititi’s Hitler vanishes from the film for long stretches, and those stretches scuttle all of the film’s giddy and insane momentum.

In my opinion I think the film should have been more of a Harvey-esque story, with Hitler being a constant companion to Jojo rather than the star of brief interludes. I think this approach would have not only made the film more consistently funny and bizarre, but also more dramatically potent and poignant. Again, I understand that the film must’ve been limited by the source material, but source material needs to be adapted to the screen, and my suggestion should have been part of that adaptation.

As for the cast, it is as wildly uneven as the film. Roman Griffin Davis is very good as the Jojo, the committed Nazi boy with the active imagination. Davis plays everything straight and it is his commitment to truth that makes his Hitler sidekick so funny.

Sam Rockwell does his usual stellar work as Captain Klenzendorf, a down on his luck German soldier. Rockwell elevates what could have been a Sgt. Schultz level caricature into a brilliantly comedic yet painfully human portrayal. Rockwell fills each moment and movement with a dynamic intentionality that is simply brilliant.

Stephen Merchant has a small role as a member of the Gestapo and he is both funny and exceedingly unnerving. Merchant’s usual banal goofiness takes on a menacing tone as he is imbued with the dark power of Nazism.

Thomasin Mckenzie is an actress I really like, her Mickey Award®© (Breakout Performance of the Year) winning work in Leave No Trace was fantastic, but here she does the best she can with a rather pedestrian role. McKenzie’s Elsa is the dramatic counter-weight to the film’s comedy, but the character is so one-dimensional as to be cliched, and thus the film never sustains the dramatic heft it desires. The narrative shift to Elsa is ill-conceived and feels like an albotross around the film’s neck.

Scarlett Johansson does not fare so well either, as she is handed a paper thin character and does little to put any meat on the bones. Johansson’s Rosie is like a #Resistance manic pixie dream girl for the World War II set. I found her performance to be grating, aggravatingly shallow and irritatingly frivolous.

Rebel Wilson has a small role as a Nazi Fraulein that goes over like a lead(Pb) zeppelin. I have often wondered aloud “what in the world is the appeal of Rebel Wilson?” I don’t get it…I don’t get it at all..NOT…AT…ALL. Wilson is not funny…not even a little bit. Her bits in Jojo Rabbit are painfully unfunny and fall thunderously flat. Rebel Wilson is one of the great mysteries of our time and I am hoping she goes away before I have to exert any mental energy trying to figure out her appeal.

The bottom line is this regarding Jojo Rabbit…it is most definitely a flawed film, but it does pull off an amazing feat by being a crowd-pleasing Nazi comedy. Waititi’s Hitler humor and Rockwell and Merchant’s Nazi comedy are uproariously satisfying. While the film can be at times cinematically uneven and dramatically trite, at other times it is tantalizingly original and combustibly hysterical.

Jojo Rabbit is the type of film, both politically simplistic and emotionally manipulative, that may catch fire and garner Oscar buzz. I do not think it is an Oscar level film, but that doesn’t mean it isn’t an enjoyable cinematic experience. I thoroughly enjoyed Jojo Rabbit despite its faults, and I think people should see it, they just shouldn’t pay $14 to see it. My recommendation is to either pay matinee prices or wait until it hits Netflix before seeing Jojo Rabbit. It isn’t a perfect film, or even a great one, but it is an interesting one, and in these artistically cowardly times, that ain’t nothing.

©2019

Rojo: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An exquisitely well-made and deliriously insightful film that, although set in Argentina in the 1970’s, tells an uncomfortable truth about our current time.

Language: Spanish with subtitles in English

Rojo, written and directed by Benjamin Naishtat, is the story of Claudio, a small-town lawyer navigating the moral and ethical maze of 1975 Argentina. The film stars Dario Grandinetti as Claudio, with supporting turns from Andrea Frigerio, Alfredo Castro and Diego Cremonesi.

I knew absolutely nothing about Rojo when I made the trek to the local art house to see it the same week I saw Once Upon a Time…in Hollywood. After suffering through the abysmal cinema of the first half of 2019, it was an absolute joy to stumble upon this hidden foreign gem the same week Tarantino’s surefire Oscar nominee hit big screens.

Rojo is an exquisite piece of cinema and art that boasts as impressive and compelling an opening scene as any film in recent memory. The movie sinks its teeth in early, but then wraps itself around you so slowly, and seductively, you won’t notice until it is too late and you are deep in its grip. Once captive to its unflinching exploration humanity, its subtly haunting sub-text, and off-beat charm, you are gifted a brilliant mix of psuedo-Lynchian oddities, and a plethora of unnerving personal, psychological and political insights.

What makes Rojo so exquisite is that it is most definitely THE film for our time. Set in the 1970’s in Argentina, the film tells the story of how fascism thrives in the moral and ethical vacuum in our hearts and souls. Even the most minute moral or ethical corruption can give authoritarianism a foothold in our hearts, from which it, like the film itself, wraps itself around us and squeezes not only the life, but humanity, out of us all. Rojo reveals that all of us are complicit, either explicitly or implicitly, with the brutality of authoritarianism, and are so easily seduced through selfishness or laziness to aid and abet in horrors we think we are incapable of committing.

Rojo beautifully uses symbolism to tell a much deeper story, such as the castration of a bull to show how primal masculinity must be isolated and neutered in order to eliminate true threats to any fascist movement, or a recurring theme of flies to show how authoritarianism treats an incessant but weak resistance…by tiring it out so that it is too exhausted to be a threat. Under authoritarianism, exhaustion is a major issue as we the people are reduced to nothing more than flies, buzzing from one instigation to another, and ultimately are left with nothing but a carcass or a pile of shit to feed upon.

Besides being a compelling and insightful story, the film is fascinating to look at. Cinematographer Pedro Sotero shoots the film so that it looks like grainy film stock from the 1970’s, which enhances the feel of authenticity. Sotero shows himself to be a master craftsman as he uses some delicious 70’s era zooms, camera movement and optical tricks (like my old friend the split diopter!) that create both a familiarity and an overall sense of uneasiness that permeates every shot in the film. .

The cast is spectacular, with lead actor Dario Grandinetti gives a nuanced, intricate, subtle, magnetic and thoroughly captivating performance. Grandinetti’s Claudio is at once arrogant and petulant but also insecure and fragile. Grandinetti’s ability to make Cluadio so painfully ordinary, yet unaware of his ordinariness, is a testament to the complexity of the character and the enormity of the actor’s talent. Grandinetti is a special actor and he is at his very best as Claudio.

As for the rest of the cast, Andrea Frigerio does solid work as Claudio’s wife, Susana, as does Diego Cremonisi who plays a mysterious stranger. The most interesting, bizarre and entertaining character though is Detective Sinclair, played by Alfredo Castro. Sinclair is like a cop from a David Lynch movie, and his unstoppable persistence and insistence is comically unsettling, as he is a wonderful representative of the rabid relentlessness of fascism.

With Rojo, writer/director Benjamin Naishtat proves himself to be a cinematic force with which to be reckoned. One of Naishtat’s greatest skills is his ability to create such a believable sense of place (he is greatly aided by his cinematographer, and his set and costume designers) as well as his thorough understanding of human nature and psychology. Naishtat uses cinema to tell greater and important truths not just about his characters and Argentina in the 1970’s, but about us and America today, and that is a rare and precious skill.

In conclusion, I was absolutely captivated by this somewhat off-beat, but entirely insightful foreign film that, even though it is set in Argentina in the 1970’s, spoke more clearly about America and the American people than most Hollywood movies could ever imagine.

I thoroughly encourage any and all cinephiles to make the effort to go see this film if they can find it. I also encourage non-cinephiles who have a bit of an adventurous mind, to seek out and give this movie a chance either on cable, Netflix or any other streaming service where you can find it. The reason I am imploring people to give this movie a chance is not only because I want more movies like it to be made, but also because this movie is a warning to all of us that we need to be ever vigilant to the growing menace of authoritarianism and fascism…not just in the world, but in the one place where it can do the most damage…in our own hearts.

©2019

The Tragedy of Charlottesville and the Age of Identity

Estimated Reading Time : 8 minutes 13 seconds

I attempted to write about the whole Charlottesville situation last week but found I just didn't have the heart to do it. As I am sure it does for others, the entire episode depresses me no end. My depression does not come from the knowledge that there are neo-Nazi's and racists in America, I've known that for a long time. What has depressed me so much was that I was forewarning about this exact type of conflagration for some time and no one heeded my alarm and now a young woman, Heather Heyer, is dead. 

My depression has only gotten worse since the murder Saturday, August 12, because of the strategically inept, emotionally driven, intellectually vacuous and politically self-defeating response to it by those on the left and in the media. 

Even though I know it is a fruitless endeavor, I will once again throw out some thoughts I hope people will consider if they really, truly want to succeed in overcoming the darker aspects of American politics and culture. Do I expect anyone to listen to me or heed my warnings? Of course not, but goodness knows that has never stopped me before. 

PUNCHING NAZIS AND PANDORA'S BOX

Let's start at the beginning, I have written more articles than I care to remember about the subject of violent political language leading to political violence . I have written ad nauseam about how when you give yourself the right to punch Nazi's because they are terrible people, you open a Pandora's Box of violence and self-aggrandizing righteousness that can never be shut and will ultimately be used against you. 

For one example, at the end of May I wrote a piece titled, Greg Gianforte, Punching Nazi's and the Absence of Moral Authority where I lay out the case that giving yourself permission to punch bad guys only gives the bad guys permission to punch you back, or to preemptively punch you first. Punching Nazi's may feel like a fun thing to do, but the problem with punching Nazi's is that they will definitely punch back, and last Saturday they punched back with a Dodge Charger killing Heather Heyer and wounding dozens. It is easy for liberals to scream about there being "no moral equivalency" between the Nazi's and Antifa, but that doesn't mean that Antifa, liberals and the left don't bear some responsibility for the conditions which led to Ms. Heyer's death. Here are some other examples of where I made the same argument and warned against violent language leading to violence. Link, Link, Link, Link.

THERAPEUTIC VS. STRATEGIC

This past week the New York Times ran an interesting piece by Moises Velasquez-Manoff about how to counter Nazi protestors and, not the least bit surprising to me since I've been saying this all along, the best way to do so is to not confront them physically. Confrontation is oxygen to neo-Nazi's, when you attack them you are giving teeth to their tiger. This quote from the Times piece echoes what I have been saying non-stop on the subject.  

“I would want to punch a Nazi in the nose, too,” Maria Stephan, a program director at the United States Institute of Peace, told me. “But there’s a difference between a therapeutic and strategic response.” The problem, she said, is that violence is simply bad strategy."

As everyone's favorite Nazi, Hans Landa, would say…"That's a BINGO!!"

"Violence is bad strategy". I have said that over and over and over again but to no avail. And still in the wake of Charlottesville, the left is doubling down on this strategy and holding up Antifa as a noble resistance movement. It isn't, it is a collection of the self-indulgent having tantrums for personal reasons wrapped in the political.

More from the Times...

"Violence directed at white nationalists only fuels their narrative of victimhood — of a hounded, soon-to-be-minority who can’t exercise their rights to free speech without getting pummeled. It also probably helps them recruit. And more broadly, if violence against minorities is what you find repugnant in neo-Nazi rhetoric, then “you are using the very force you’re trying to overcome,” Michael Nagler, the founder of the Peace and Conflict Studies program at the University of California, Berkeley, told me."

Another BINGO!! Mr. Nagler is correct, but the majority of the left and the media are in a bizarre emotionalist hysteria at the moment where reason and self-reflection are anathema. If those resisting Trump and the neo-Nazi's truly want to succeed in their endeavor, they would step back from their emotionalism and embrace a calm, cool and calculating strategic approach to do so.

More from the Times...

"Most important perhaps, violence is just not as effective as nonviolence. In their 2011 book, “Why Civil Resistance Works,” Dr. Stephan and Erica Chenoweth examined how struggles are won. They found that in over 320 conflicts between 1900 and 2006, nonviolent resistance was more than twice as effective as violent resistance in achieving change. And nonviolent struggles were resolved much sooner than violent ones.

The main reason, Dr. Stephan explained to me, was that nonviolent struggles attracted more allies more quickly. Violent struggles, on the other hand, often repelled people and dragged on for years.

The broader issue, in her view, is this: Why do oppressive regimes and movements invest so much in fomenting violence? (Think of our president and his talent for dividing the country and generating chaos.) Because violence and discord help their cause. So why would you, she asks, “do what the oppressor wants you to do?”

A triple BINGO!! What frustrates me no end is that people on the left are so hysterical that they never answer the most important question of all…why are you acting emotionally and violently (including language) when that is exactly what your oppressor (Trump et al) wants you to do? The left may be too lost in their echo chamber to realize this, but Trump won Charlottesville and the aftermath. Polling from NPR/PBS clearly shows this. And Pelosi and the democrats overreach regarding the taking down of confederate statues is unpopular with a majority of Americans and Black Americans (44% -40% think confederate statues should remain), and will only empower Trump and weaken them further. And the greater problem of liberal overreach is that there has already been vandalism of and calls for removal of statues that aren't confederate, with examples being Joan of Arc, St. Junipero Serra and Christopher Columbus. As a friend of mine, an independent voter in a blue state, said to me the other day, "I hate to say it because he is such a disgusting person, but Trump is right about the statues." "Regular" people can be repulsed by neo-Nazi's and still not want statues to be removed, this nuance is lost on democrats and it is a trap they should avoid.

Regardless of statues, the larger problem is that we live in a culture, and the politics of both the left and right are reflective of this, that demands instant self-gratification. As the Times piece points out, and as I have been saying for ages, punching Nazi's may be therapeutically useful in the moment, but ultimately it is strategically asinine and self-defeating. Many on the left do not care about the long term political effects of this self-sabotaging strategy, only that it assuages their personal psychological discomfort in the moment. 

IS THERE ANY POINT TO PROTESTING?

The New Yorker ran a piece by Nathan Heller on August 21, 2017 titled "Is There Any Point To Protesting?"  that discussed the efficacy of protests. The piece pointed out that most protests simply don't work. For instance in the lead up to the Iraq war millions of Americans, myself included, marched and protested against the war, but the war happened anyway. The piece points out that the effective protests are the ones born of a strong leadership structure and precise strategic and tactical goals and objectives. The civil rights protests led by Martin Luther King, Jr. being the prime examples. 

Besides the strategic, tactical and moral genius of King, the civil rights movement also displayed what the Times piece, and I, advocate, non-violence. Civil rights protestors maintained their dignity and their righteousness by exposing the moral and ethical deviancy of their opponents. What shocked America, and white America in particular, into siding with the civil rights protestors was that the chaos, anger and violence were only emanating from those fighting for discrimination and segregation. The moral strength of the civil rights activists was what deeply moved white Americans, who chose King's spiritual strength against the physical strength wrapped in moral weakness of the segregationists.

TARGETING THE ACLU AND THE FIRST AMENDMENT

The current strategic idiocy of the left is not confined to just the failure to embrace non-violence. In the wake of Charlottesville, liberals have decided to attack the ACLU. The ACLU is a crucial bulwark for the left in the battle against Trump, but liberals want to hold them accountable for daring to fight for the 1st amendment right of Nazi's to rally and march. This is the most self-defeating approach imaginable for the liberals. If liberals want to succeed, they better start understanding that the constitution is the only way they will be able to defeat Trump and Trumpism. This is something I wrote about immediately after Trump's election in my strategic guide to defeating him, but I was ignored then too. I promise you that the left will come to rue the day they failed to embrace the first amendment unabashedly because their enemies will use that as a weapon against them. 

Speaking of which, I saw the founder of Black Lives Matter, Patrisse Cullors, on television last week and she was saying that "hate speech is not protected by the first amendment." You know who would really be shocked to hear that? The founding fathers who wrote the constitution. Of course hate speech is protected by the first amendment, and Ms. Cullors should be very happy about that. Yes, it allows Nazi's to march, but is also allows Black Lives Matter to march. What Ms. Cullors and many on the left fail to understand is that if you water down the 1st amendment, or any other constitutional rights, those weakened rights will be used as a weapon to destroy you. Lots of people out there think what Black Lives Matter advocates is hate speech, which means Black Lives Matter needs the first amendment and the ACLU in order to exist, they would be wise to act accordingly. I seriously doubt they will. 

HATING HATE AND THE HATERS WHO HATE

Which brings us to the word "hate". I've heard the word hate a lot these last few weeks, and I have to say that "hate" is a losing battle for liberals as well. Any protest that wants to be successful need not only be non-violent, it desperately needs to have a very clear objective. The civil rights protests of the 50's and 60's had an overarching objective of civil rights for Black Americans, and specific objectives to each locality, for instance the ending of segregation on buses in Montgomery etc.  The current protests have no clear cut objective. What they say they are against is "hate". They want to stamp out "hate", and carry signs saying "No hate!!". Well, the bad news is that hate is an entirely natural human condition. It has been around ever since we've had sentient beings on this planet, and it will be around when the last man breathes his final breath. You cannot stamp out hate anymore than you can stamp out love, and trying to do so is a fools errand of Quixotic proportions.  

Targeting hate sounds like something a 1st grader would wish for, right after Legos and action figures. Hate is a state of mind that you cannot police because people will just bury it in their psychological closet when in mixed company. In that psychological closet, hate doesn't diminish, it grows in strength and power so that when it does rear its head it will have grown into a very potent force indeed. On the other hand, if people are "allowed to hate" in thought, but not allowed to discriminate in action, then you are on the path to find that delicate balance where disparate people can live side by side without killing each other in a democracy. So being specifically against "discrimination" or "segregation" or whatever specific goal you choose, as opposed to against an amorphous "hate", is the way to go if you want to politically succeed in the long run. 

And just like fighting against the first amendment, fighting against "hate" will easily be used as a weapon against those trying to stamp it out. For instance, people on the left "hate" Nazi's, or "hate" Trump, so they themselves "hate" and feel comfortable doing so. You see, decrying hate is a loser's game because everyone hates something. Just because you think you hate the right things doesn't mean your hate is righteous, only that you're a hypocrite for pointing out other people's hate and being blind to your own.  

NOT-SEEING THE NEO-NOT-SEES

My friend, the inimitable Jungian Falconer, often talks to me about the psychology of Nazi's and the Nazi impulse within us all, but he makes the point that "Nazi" is really "Not-See", meaning the Nazi/Not-See does NOT SEE the humanity of the other. Obviously white supremacists and neo-Nazis and the like do not see the humanity of those different from them, but maybe not so obviously, those on the left are also guilty of this same bit of Not See-ism. These Not-Sees are not interested in searching for Truth, only in confirmation bias and the warm embrace of the echo chamber.  They adamantly avoid the hard work of  exploring and discovering anything new about the world or themselves, they just want to FEEL good and self-righteous right now.

Not See-ism is ascendant in the world right now. This is just a fact of where we are on the historical cycle/wave. To stop it we don't need marches or "pussy-hats" or righteous indignation, what we need is self-reflection, introspection and the hard work of making ourselves conscious of the demons that dwell and work inside of us all. 

THE RELIGION OF SELF AND THE CHURCH OF IDENTITY POLITICS

On the subject of historical waves, there is one large issue that most seem to be unaware of that plays a vital role in the current clash between Not-See Left and Neanderthal Right, that issue is religion. In the long arc of history, the religions of the world that have held cultural sway for the last two thousand years are in decline and collapse in the west. Just because religion is in decline does not mean that people no longer have a religious impulse. Studies show that humans are hard wired for religion, so what happens when the old religions die? New religions get born. The new religion of our time is The Religion of Self, and one of its most powerful denominations is the Church of Identity Politics. This new Religion of Self and its Church of Identity was born after the Century of the Self where advertising and public relations primed humans to respond to their personal unconscious wants and desires before contemplating community or anyone or anything else.

Identity Politics, of both the left and the right, is personal and psychological and fills an unconscious need for the faithful and feeds the narcissism of our time. On the left the identity politics movement fulfills people's need to feel of worth by valuing them based upon their individual identifying markers…race, sexual orientation, gender etc. On the right the same principle is in practice, with white power and white supremacy being the most malignant forms of right wing identity politics. What both the left and right versions of the Religion of Self and the Church of Identity Politics share is that they are both ruled by the quest for sanctity in the form of Victimhood. Victimhood is held up as the highest marker of value and worth and achievement.

The religious impulse of the current Identity era is similar to the religious impulse of the Christian era in that it gives its adherents a sense of purpose and meaning. In addition, its doctrine and dogma is based on faith and feelings, not logic and reason, and it is also infused with a heavy dose of intoxicating self-righteousness and the prestige of exclusivity, which gives the faithful a psychological release of powerful psychic and emotional energy through the use of scapegoating, shaming and exiling of those who do not conform to the dogma being preached. This is true of disciples of the Religion of Self and the Church of Identity Politics on both the left and the right.

On the right, the impulse is to brand heretics with everything from RINO, Republicans in Name Only, to Cuckservative, the clever and effective meme that at once eviscerates and emasculates any political opponents who don't adhere to the proper dogma. Shouting "Cuckservative" is to the right as crying "racists/misogynist" is to the left. Two sides of the same coin in the collection plate at the Church of Identity Politics. 

With the democrats, you see a similar thing when the members of the Clinton Cult attack, shame and exile non-compliant leftists by calling them racists and misogynists for daring to disagree with the Identity Dogma which demands people be judged by their race, gender, sexual orientation and position on the victimhood scale and not by the content of their character or their ability. 

Right before the horrors of Charlottesville there was a great example of this dogmatic impulse when centrist democrats wailed about racism from "Bernie Bros" who don't support California Senator Kamala Harris, a Black woman, for president in 2020. The centrist attack was transparently ridiculous, but it was undertaken with all of the fervor of the Inquisition. The blindness revealed by the Clinton Cult regarding Harris and her opponents alleged "racism" is staggering. Calling Bernie Sanders supporters and those who dare to question Kamala Harris "racists and misogynists", means that the multitude of people of color and women who support Bernie Sanders and question Harris are treated as if they are invisible by the centrist democrats, which is exactly what the Clinton Cult claim Sanders supporters do to women and minorities. Add to that the fact that some of the most effective spokespeople for the progressive ideology that fuels the leftist movement (and Bernie Sanders) today are Tulsi Gabbard and Nina Turner, two powerful women of color, and you can see how Clintonistas have earned the moniker of Hillary Hypocrites.

PRAY FOR YOUR ENEMIES

Speaking of church, the civil rights movement which was so very successful at protest, was grounded in Christianity, which gave it a built in moral authority and common ground with even its most ardent adversaries. As previously stated, the time of Christianity in the west has passed, but none of the new religions, The Religion of Self and the Church of Identity Politics most especially, have been able to fill that moral void or accentuate community through common experience.

I read an interview last week with the Eagles of Death Metal lead singer Jesse Hughes. To refresh your memory, Hughes and his bandmates survived the horrific Bataclan terrorist attack in Paris back in November of 2015 where 90 people were slaughtered in a concert hall. In the interview, Hughes spoke of how he reached out to Ariana Grande, the young signer whose concert in Manchester, England was targeted by Islamic terrorists in May of this year. Hughes recounted how he has tried to handle the psychological and emotional tumult brought on by his brush with death two years earlier. Hughes advice to Grande was "you've always got to pray for your enemies". I truly believe that and try to practice it, and that means praying not only for Heather Heyer, but for James Fields, the neo-Nazi who killed her, who is desperately in need of solace from  the torment in his lost soul regardless of the heinous atrocity he committed. But I am aware that to advocate for prayer now, in the wake of Charlottesville and in the Identity Age, I would only, at best, be laughed at and ridiculed. And I understand that is because calling for prayer in this day and age is in itself seen to be a divisive act in this time when the Religion of Self reigns supreme.

The reality is that this is the post-Christian western world we live in. The philosophical and psychological container of the old religions cannot hold the New Man, and the old religions have earned the public's disillusionment with corruption and hypocrisy on an epic scale. The collective is currently disoriented because they no longer have a foundational orientation to the old religions, and are struggling to re-orient to a new religion that can adequately contain the New Man in all of his complexity. 

What we need at this time are new versions of Martin Luther King, Thomas Merton, Dorothy Day, Thich Naht Hanh, Gandhi and Anthony DeMello, but with no viable new religion with which to re-orient ourselves, civilization is left with underserving religions, like the Religion of Self and the Church of Identity Politics and its sacred Victimhood, which are unable to contain the New Man in his entirety and therefore not fertile ground from which any new great men and women can grow and flourish. Instead, from our disorientation from the old religion and failure of the new religion, we flail about and embrace the false prophets and idols on the left like Black Lives Matter, The Clinton Cult and their emotive neo-liberal cohorts in the media, and on the right like Fox News, the Confederacy, Chris Kyle and Donald J. Trump. 

THE ROUGH BEAST IN WINTER

I wrote last June that a beast was awakened and slouching towards Bethelehem. I wrote last month that winter isn't coming, winter is here. Both of these things have been proved by the events of the last year and last month to be entirely true. There is no way to stop the historical wave we are on that is, like a tsunami, gaining strength and power every moment of the day. Delusional liberals believe removing Trump will stop it. It won't. Fighting against "hate" won't help. Protesting won't help. The dye is cast, the conclusion inevitable. Our only wise course of action now is to accept the inevitable, embrace our disorientation, and prepare for impact and the aftermath of the crash. 

This is the world we have built, these are the politics we deserve. If we cannot pray at all, never mind pray for our enemy, we are no better than our enemy, and we will be engulfed by the same flames that devour him. Our blindness is no excuse, our ignorance is no excuse, our arrogance is no excuse. We deserve Trump, for he is a mirror reflection of us and our narcissism, intellectual vacuity, self-defeating strategies and crumbling empire. The darkness is upon us, all of us, and until we realize that, we are doomed to remain without light. Know this, things are going to get much, much worse, before they get any better.

©2017

Greg Gianforte, Punching Nazis, and the Absence of Moral Authority

Estimated Reading Time : 5 minutes 14 Seconds

On Wednesday night of this past week, the night before the Montana special election for a vacant congressional seat, republican candidate Greg Gianforte body slammed and repeatedly punched Ben Jacobs, a reporter for The Guardian newspaper. The story of Gianforte's attack spread quickly and was accompanied by Jacob's audio recording and eyewitness accounts of other media members who witnessed the event.

Upon reading accounts of the incident and hearing the audiotape, my first reaction was at odds with those that were relaying the story to me on the television…I thought this would insure Gianforte's victory, not impede it. Our current political culture is so toxic and distorted that it makes Gianforte's assault into an act of decisive courage, not one of unsettling violent impetuosity.

You get the government you deserve, and the people of Montana deserve Greg Gianforte. But Montana is not alone in their preference for the unhinged bully. The biggest example of this is, of course, Donald Trump, who huffed, puffed and bullied his way into the White House.

The media quickly came to the defense of their compatriot Jacobs and rightly condemned Gianforte. Shouts of fascism and the perils of the war on the press were hot talking points surrounding the Gianforte assault. Much blame was placed at the door of republicans in general and Trump in particular. What struck me though was a complete lack of self-reflection regarding the acceptance of violent speech and outright violence on the part of liberals and the resistance movement that have heightened our already strained and sweltering political climate. 

The most famous case of violence from the left occurred on inauguration weekend when a masked man infamously sucker punched alt-right firebrand Richard Spencer as he stood on a D.C. street corner conducting an impromptu interview. Much hilarity ensued on the internet when people created gif's and memes of the video of Spencer being punched. The mainstream media did not condemn the violence, they laughed right along with liberals and other resistance fighters. The New York Times wrote a piece asking if it was ok to punch a Nazi. The answer was basically…always. 

Nazis are so evil that not only CAN you punch them, you SHOULD, or so the theory goes at the moment. Nothing is out of bounds when taking on fascists, as the antifa (anti-fascists) will tell you. And we have seen this play out across the country this past year.

There were the riots at the University of California at Berkeley when protesters tried, and succeeded, in stopping right wing glamour boy provocateur Milo Yiannoppolis from giving a speech. The same occurred at Middlebury College in Vermont when Charles Murray, of the Bell Curve fame, was invited to speak at the school. Murray and a professor were physically assaulted and driven off of campus by protestors in a violent and chaotic scene. 

The election was filled with much violence as well, from Trump supporters assaulting protestors to anti-Trump protestors assaulting Trump supporters. The clashes that erupted in Chicago at a Trump rally between pro-and anti-Trump forces, echoed of the insanity of the '68 democratic convention. 

I have written numerous articles since the election about the perils of violent speech emanating from the left. Madonna's remarks at the Women's March and Snoop Dogg's anti-Trump video were just two such instances of the left embracing the dangerous language of the aggressor. Add to that the knowing nods of approval from the mainstream media over the Richard Spencer assault and liberals are left stripped of any moral authority whatsoever in regards to this issue. Their shock and horror at Gianforte's repulsive behavior rings hollow and hypocritical. 

When liberals excuse and exalt themselves for literally "fighting" Nazis, they set themselves up for defeat. Liberals will end up losing the argument and the fight, if it ever comes to that. Liberals will be blamed by voters for any appearance of lawlessness and chaos when riots break out, but the right will not be blamed for organized counter attacks, as we witnessed in the clashes at Bekreley last month. Martin Luther King understood this strategy well, and through the use of patient non-violence he turned public opinion in his favor when images of calm, peaceful protestors being beaten by a vicious and chaotic police force revealed who the lawless really were in the civil rights struggle.

And just as a practical, strategic matter, God forbid it ever comes to this, but liberals have positioned themselves as devoutly anti-gun, and their opponents in any potential civil war battle that could be shaping up are not unarmed, in fact, they are armed to the teeth. So liberals will end up being the fools who show up to a gun fight with nothing but their fists and righteous indignation, a surefire recipe for slaughter. That won't end well for liberals in the long term, and neither will trying to match the right bully for bully and assault for assault in the short term. 

This is a time in history when "strength", or at least the appearance of strength, draws instinctual support from many voters. The right went for their own type of strongman in Trump in the last election, a way for his voters to attempt to quell their fears and anxieties.  Trump's appearance of strength is a mirage, he is a hollow, cowardly man. This is why the left must counter this type of vacuous "strength" with a genuine spiritual strength. This is not the "strength" of a man like Trump (or Duterte or Erdogan), but rather the strength of men like Martin Luther King, Gandhi, Ceasar Chavez, Thomas Merton and Thich Nhat Hanh. The moral and ethical strength of these men should be the guideposts for the resistance movement. These men did not fall for the trappings of myopia and the easy path of the punch, they played the long game, and maintained their righteousness throughout without ever letting it turn into righteous violence. 

Look, I know all too well the temptation and appeal of a little bit of the old ultra-violence. Punching people, especially those who you think deserve it, feels really, really good….in the moment. But it rarely, if ever, feels good in the long run, and it is even more rare for it to be effective.  

The problem with believing it is ok to punch Nazis, is that your opponent can and will appropriate that mindset and make it their own. And as we have seen many times, who we label a Nazi is in the eye of the beholder. Bush was Hitler, Obama was Hitler, Hillary was Hitler, Trump is Hitler. If punching Nazis is now within the norm, your enemies will simply label you a Nazi either before of after they punch you. Gianforte thought he was righteous in hitting Jacobs, the masked man who hit Richard Spencer thought he was righteous, the old coot who punched a protestor at a Trump rally thought he was righteous…we all think we are righteous and our opponent is evil, so we give ourselves permission to do all sorts of unthinkable things.

The moral of this story is that punching Nazis is fun, unless you are the Nazi. And the truth is, as our political culture spirals ever faster and further down into delusion and madness, we have all become Nazis, and I fear we have the government and politics we so richly deserve.

©2017