Netflix's The Dig is not a White Supremacy Rallying Cry

Estimated reading Time: 3 minutes 27 seconds

Netflix’s The Dig is a movie about a famous archeological discovery, not a pro-Brexit, white supremacist rallying cry

Only a woke academic could find hidden villainy in this perfectly benign and mildly pleasant British film. 

The Dig is a Netflix film starring Ralph Fiennes, Carey Mulligan and Lily James that dramatizes the 1939 excavation of an Anglo-Saxon burial site at Sutton Hoo that transformed our understanding of the history of early medieval England.

The film, directed by Simon Stone and written by Moira Buffini, has been nominated for five BAFTAs including for Outstanding British Film.

But not everyone is so enamored of the movie, as some see it as a pro-Brexit film espousing white supremacy.

Louise D’Arcens, a Professor of English at Macquarie University in Australia, recently attacked the film because it commits the cultural sin of  “nostalgically appealing” and “romanticizing” an “imagined continuity between Anglo-Saxons and modern British people that does not speak to the complexity of Britain today.” The horror!

D’Arcens complains the film “re-animates key tropes from the persistent British and American ideology of Anglo-Saxonism”, which she claims “was vital to underwriting white racial supremacy as a mandate for Britain’s imperial power and the expansionist concept of Manifest Destiny…”

When viewed through this distorted lens, The Dig transforms from a tame historical drama/love story into a nefarious Brexit propaganda film surreptitiously waving an ‘England for the English!’ banner.

I didn’t see any white supremacy or Brexit sub-text in The Dig, but rather an utterly banal, benign and innocuous movie examining the universality of life, death and the impermanence of things.

The Dig is one of those proficiently shot, well-acted British dramas with which we’ve become so accustomed. It isn’t great and it isn’t awful. It’s fine. It’s a middlebrow piece of entertainment geared toward Anglophiles who’ve already devoured Downton Abbey and are looking to satiate their taste for all things British.

Not surprisingly, there are numerous contradictions and illogical observations in D’Arcens’ misguided analysis.

For instance, a major narrative in the film is about class struggle. Protagonist Basil Brown (Ralph Fiennes) is a self-taught, working class excavator from Suffolk, who is hired by wealthy landowner Edith Pretty (Carey Mulligan). Their budding relationship must navigate the suffocating class structures of the time period.

The class narrative is also highlighted when Charles Phillips (Ken Stott), a pompous archeologist from the British Museum, invades Sutton Hoo, belittles Basil and ultimately takes credit for his tremendous discovery.

Yet D’Arcens interprets the Phillips-Basil clash as not being about class but rather “highlighting ongoing tensions between Britain’s rural counties and its metropolitan centre” with rural meaning pro-Brexit/bad and metropolitan anti-Brexit/good.

This assessment seems oddly regressive as it lionizes the elite (Phillips) and vilifies the working class (Basil).

D’Arcens also bemoans the film “drawing uncritically on a historical tropes of expansionism – despite the fact the violence of colonialism and occupation is well understood today.”

This is directly at odds with the disparaging appraisal of Basil as a bad guy avatar for Brexiteers. Basil is the victim of the colonialism of educated metropolitan Philips. Like countless British colonialist before him, Phillips comes to Basil’s “foreign” land of Suffolk, takes power, steals treasures and brings them back to London. Yet, incongruously in D’Arcens’ deconstruction Phillips is also a heroic symbol of anti-Brexit sophistication.

D’Arcens then writes,

“One of the great reckonings in the film comes when Basil’s wife, May, urges her disaffected husband to return to the dig. She tells him:

 ‘You’ve always said your work isn’t about the past or even the present. It’s for the future, so that the next generations can know where they came from. The line that joins them to their forebears.’

This appeal to the idea of genetic continuity is rousing and profound, but also exclusionary and insular. May assumes racial and cultural uniformity in Britain, and shared forebears for all.”

Good lord, this is in no way an appeal to “genetic continuity” or an assumption of “racial uniformity”.

A major storyline in the film is that WWII is about to begin and the survival of Britain is at stake. This isn’t about genetic continuity or racial uniformity because the ethnogenesis of Anglo-Saxons developed between migrant Germanic tribes that came to the island back in the 5th century and indigenous Britons, thus Germans conquering Britain is not a genetic or racial threat. Hell, the royal family has German bloodlines.

The existential crisis facing Britain in the film is not a racial or genetic one, it is a national one as it is their (multi-racial) nationality that will disappear if the Germans prevail, not their race or genetic line.

D’Arcens continues, “(May) speaks to the film’s 21st century viewers, many of whom would not see an unearthed Saxon as a forebear, and might rightly wonder what “future generations” the film has in mind for Britain.”

If multi-cultural 21st century Brits, regardless of their race or ethnicity, don’t acknowledge a centuries dead Saxon king as a forebear for their nation, that says more about their historical ignorance and ethnic arrogance than anything else.

D’Arcens closes by lamenting, “…as cinematic archeology (The Dig) looks far more to the past than to the future.”

Considering The Dig is a movie set in the past and tells the story of characters discovering an even older past, this is an incredibly inane climax to a wholly inadequate analysis.

In conclusion, The Dig is not a great movie, but it also isn’t a dangerous one. It’s a mildly pleasant film that will most definitely not turn you into a brutish Brexiteer or Anglo-Saxon supremacist…I promise.

 A version of this article was originally published at RT.

©2021

Dunkirk : Random Thoughts

****THIS ARTICLE CONTAINS SOME MINOR SPOILERS****

Estimated Reading Time : 6 minutes 39 seconds

After seeing Dunkirk I exited the theatre and sat in the lobby at an isolated table next to a big window that gave me a nice view of most of Los Angeles. I sat there and jotted down my thoughts on the film and once that was done, I kept on jotting. In a near stream of consciousness, I scribbled down everything that came flooding into my mind. These thoughts may be completely incoherent, totally random and not make a lick of sense, but if you think that means I'm not going to share them with you then you don't know me very well. So sit back, relax and enjoy unfettered access to the dark corners of my post-Dunkirk mind.

BREXIT STAGE LEFT

Director Christopher Nolan's politics are always difficult to read, but it strikes me that his newest tour-de-force, Dunkirk, is an unabashed metaphor for modern-day Britain escaping the EU before that whole enterprise goes under.

One supporting clue to that thesis is that the first civilian small boat that crosses the channel and lands on France's shore to save and extract British soldiers from Europe is named "New Britannia". Add to that the films overall underlying premise that Brits are palpably and desperately yearning for "home", and Kenneth Branagh's Henry V-esque role/performance, and it seems pretty clear.

This is obviously an interesting time for Dunkirk to be hitting the theaters. In Britain, the tumultuous uncertainty of the impending Brexit (along with the fact that Theresa May's government is teetering) hovers over the nation like a dense fog. To many this is a catastrophe on par with the British armies defeat at Dunkirk. At this darkest hour comes Dunkirk, a film, and a story, that highlights the very best of Britishness, their resilience, resourcefulness and stiff-upper lip and all that. That Britishness was on full display in 1940 at Dunkirk when the Brits had their back against the wall and all, including the war and the world, seemed lost, but they rose to the occasion back then for their finest hour. 

Love it or loathe it, the British will now have to withdraw back to the their island fortress and work together in order to survive the coming inevitable post-Brexit winter. I happen to think that Brexit will be revealed to be a prescient decision by the Brits once the financial troubles and civilizational clashes in the EU boil over and chaos ensues. The UK will then have a head start in localization and in rebuilding their nation, traditional national identity and economy well before the other EU nations are forced to do the same by economic and political forces well beyond their control or knowledge. The movie Dunkirk also gives some not so subtle signs as to what it believes will happen to the French (and the rest of Europe) in the coming years, as there is one major French character in the film and he ends up at the bottom of the channel, unable to escape the rising tide that is destined to engulf the EU.

The film Dunkirk can be a roadmap for the British to follow in their flight from Europe and return to "home". They must change course by jettisoning the historic shackles of their own imperialism and colonialism and prioritizing their own national interests and the interests of their native and traditional peoples. Many folks will get hurt, some will be left behind and some will die. But it all MUST happen if Britain, the nation and culture, is to live to see another day. Similar to how after the actual evacuation of Dunkirk the Brits, my Scottish grandmother and her children among them, had to suffer through the blitz by seeking refuge in tube stations as the German bombardment raged overhead, so it will be with post-Brexit Britain. As the world order tumbles, and the EU crumbles, Britain will have to hunker down in order to avoid and survive the external onslaught.  

THE OLD ORDER IS DEAD

The U.S. global empire is over. Neo-liberalism is dead. China and Russia are potentially ascendant because they will be able to withstand hardships and instability much better than their counter-parts in the west due to their more recent experience with calamity and their less diverse make-up. Having a more homogeneous population will make for less ethnic competition and confrontation as resources dwindle and power consolidates especially in cultures that are not born of a melting pot. Also to the Sino-Russian advantage, is that they are beginning to work much more closely together in regards to their economies, resources and militaries in order to ascend to power and eclipse the fading star that is U.S. global hegemony. 

From the rubble of neo-liberalism and the old world order, post-Brexit Britain will have a chance to rise from the ashes and will benefit from having a head start on most of the rest of the Europe. "Dunkirk" will be the first step in Britain's grand Brexit maneuver. First comes consolidation (Dunkirk), then comes resilience and localization (the Blitz), then comes intelligent re-ordering of priorities and the world order.

In world war two, Britain allied with the hated Soviets in order to defeat Nazism. And regardless of what you've been taught in school, it was the Soviets who defeated Hitler, not the British and Americans. And so it will be in post-Brexit and "Blitz" Britain, where the Brits will realize that the U.S. has become a global albatross around their necks, and that Russia and China and others are the most rational choice for allies and very limited partnerships, regardless of their obvious flaws.

THE WINTER OF OUR DISCONTENT

Look, I understand that these thoughts will be unpopular and deemed unpleasant at best. I am not endorsing this inevitable trajectory, only acknowledging it. The writing is on the wall and to ignore it would not only be the height of folly but perilous. Understanding where the collective unconscious is leading humanity is vital in order to prepare for and respond to the black swan events that sneak up on us but are all too obvious in hindsight. My Isaiah Wave Theory®© shows that film, in conjunction with other social/economic/historical/political trends, can be a very critical element in getting a glimpse into the collective unconscious to see what lies ahead for us. Just like 2016 when the story lines, color schemes and visuals of Captain America: Civil War, Batman v. Superman: Dawn of Justice, X-Men: Apocalypse, Rogue One and even La La Land  were telling us of the disastrous clash awaiting us later in the year (2015 films The Revenant, The Martian, The Hateful Eight, Avengers : Age of Ultron and Star Wars : A Force Awakens portended the same exact thing), so it is with Dunkirk, War for the Planet of the Apes, Logan and Wonder Woman this year. As the Game of Thrones has been telling us over the last few years, "Winter is Coming"…well...I have bad news for you, "Winter is Here". Or more accurately, "The Long, Cold Winter of our Discontent has just Begun".

THE CENTER CANNOT HOLD

There has been a lot of talk about how the Brexit vote and Trump's victory in America are actually outliers, and that the right-wing or the alt-right trends are receding worldwide. People often point to Geert Wilders defeat in the Netherlands and Marine Le Pen's loss to Macron in France's last election as proof of this fact. There are many things wrong about not only that interpretation of those election results but the premise of an alt-right ascendancy or decline.

Let's start with the former. What is really happening now with Trump and Brexit as examples, is not an alt-right/right wing rise, but rather the collapse of the center and the establishment. Yeats, as a million writers (myself included) remind us ad nauseum, tells us that "the center cannot hold", and that is where we are now. This is why it is so vital for the democrats to jettison the centrist, neo-liberal, "Clinton-way" and embrace a far left economic ideology. Many democrats keep telling me that to defeat Trump they must position themselves as the centrist and "rational" party. I understand the sentiment as Trump seems so outrageous that by going to the center democrats believe they will flourish. This could not be further from the truth. A leftist, not liberal, but leftist, economic agenda is the only thing that will defeat Trumpism. More of the same Wall Street corporate ass kissing will be punished by voters because the establishment, media included, is in a credibility death spiral. Trump won by out flanking democrats to their left economically, democrats simply must go further out on the flank to defeat him and the republicans next time. And it is important to note that what is vital is a leftist economic message, not a culturally liberal message. A culturally liberal agenda with its accompanying substance-free identity politics will be doomed to fail and will scuttle the entire progressive ship right along with it. 

Jeremy Corbyn's powerful rise in the last British snap election, despite constant attacks on him by the media and the Blairites in his own party, is proof of the current vitality of this old school leftist ideology. Labour's showing in that election was stunning, but not for those who can properly read the tea leaves. I saw it coming just as I saw Trump's victory coming, and could not understand how others didn't see it coming. 

There are democrats who have poo-pooed Corbyn and Labour's stunning election showing by saying, "they didn't actually win". This is myopic analysis at best. Corbyn is actually better positioned now because he didn't win and become Prime Minister. He can sit back and prepare for his ascent to 10 Downing Street while Theresa May is on the hook for all of the failures of her makeshift coalition government. Corbyn is a shadow Prime Minister, which means power with no responsibility…in other words, the catbird seat. And of those establishmentarians diminishing Corbyn's election results, imagine if the entire mainstream media and a good number of his own party hadn't attacked him relentlessly and mercilessly at every turn…he and Labour might actually have won outright.

As for the election in the Netherlands and Geet Wilders, people terribly misread that result in regard to a wider trend. Wilders is a one man gang and it was impossible for him to actually ascend to power. What he was able to do though is push the center right party out towards him at the far right, as they fully embraced his stances on immigration, for example, and won the election. This was an electoral loss for Wilders, but a resounding ideological victory. 

APRES MACRON - LE DELUGE

As for France, democrats and the establishment media in America have been touting Macron as the second coming who will save centrism and neo-liberalism from the populist hordes. Guess again. This is just another mis-reading of the trend. All of the mainstream, traditional parties in France were decimated and didn't even make it to the final round of the presidential election. Macron ran and won as an outsider (even though he is a consummate insider). His victory over Le Pen  and the more baser instincts of the populace, will only be temporary as he is not only terribly ill-equipped to deal with the existential threats to France, he is completely blind to them. He, like Trump, is wrapping the same old turd in a different type of bread, but it will still taste like a shit sandwich once everyone has to take a bite of it. 

Macron will fail in France because the ground he stands on is quicksand. There will be more terror attacks which will stoke the fires of ethnic nationalism even further. At some point, probably after a particularly nasty attack and/or an economic earthquake, people will say enough, and it won't matter what your passport says, the French will brutally evict or restrict anyone who doesn't look "traditionally French". Many think this is an impossibility and tell me so. This makes me laugh as France and a whole bunch of other European countries have, in living memory, been ruthlessly efficient in removing a population they deem troublesome. If you don't think it can happen again, you are fooling yourself.

ONCE MORE UPON THE BREACH, DEAR FRIENDS, ONCE MORE; OR CLOSE THE WALL UP WITH OUR ENGLISH DEAD!

The same will happen in Britain. Citizenship will not matter as much as tribalism once the heat of civilizational clash and economic instability rises to an unbearable level. Just this year England has suffered through multiple terror attacks that are like logs on a camels back. At some point, the camels back will shatter and the Islamists will get the blowback they want, but it won't go quite as well as they expect. In a clash of civilizations, always bet on the home team…in the middle east bet the Islamists, in Europe/UK bet the natives. Britain will probably recede back into England, with Northern Ireland, Scotland and maybe even Wales being jettisoned to independence in order for the English to survive the coming storm. 

Unlike America, all of these European countries are not built upon a culture of immigration. The English, French and German cultures (not nations) are thousands of years old. Those countries were built upon their cultures, and are now trying to transform into multi-cultural utopias that at their core they simply are not. These countries immigration issues stem from the evils of colonialism, and are in many ways are due punishment for those sins. But that doesn't mean the native culture will embrace change so easily or willingly. That is what is bubbling up from the collective unconscious in Europe and America right now, resistance to the other and a yearning for the tribally traditional and familiar.

THE #WOKE ARE #SOUNDASLEEP

The coming "winter" will bring with it a desolation that can be transformative, but only by those insightful enough to recognize it as an opportunity and not a catastrophe. This is why I find it so frustrating watching the democrats try and "resist" Trump with their nonsensical #staywoke idiocy and "A Better Deal" bullshit. The democrats I know are so desperate to hold onto the ideological corpse of neo-liberalism and American capitalism that their politics resembles little more than a stale Weekend at Bernie's sequel. These allegedly liberal democrats have fully embraced our nefarious intelligence community, neo-conservatives and their foreign policy, and unabashed corporatism while they cry racism, misogyny and xenophobia to anyone who points out their political hypocrisy and intellectual vacuity and vapidity. These dupes and dopes have absolutely no clue for what they fighting. Are they even aware that by protesting FOR Obamacare they are protesting for a right-wing, republican health care plan that is a corporate handout and are insuring that universal coverage/single-payer will never happen? And are these same fools even remotely aware that they are substantially diminishing the impact of the once devastating words racist, misogynist and xenophobe every single time they utter them. They use those words like Americans use antibiotics, as a first option, too frequently and when it is entirely unnecessary and inappropriate, and just like with antibiotics, overuse of those words greatly diminishes their potency.

You cannot "resist" Trump and Trumpism with Hillary Clinton, Nancy Pelosi and Chuck Schumer. If you do you will fail. You cannot have the neo-liberal, corporate, holy trinity of Wall Street whores, Hillary, Nancy and Chuck roll out the "Better Deal" and have anyone take them seriously. The longer they are the face of the democratic party, the deeper the hole of credibility gets…so deep it might just be a grave. But try telling that to members of the Clinton cult and watch them shriek and scream with emotionalist abandon. This sorry group of people are so ill-prepared to do battle and succeed they should have "Born to Lose" tattooed across their chests.

OUR LAST, BEST HOPE

In contrast, Sanders and Corbyn are certainly not perfect, but they are exactly the way to counter the decomposing old order, even though they themselves are as old as dirt. Just like the billionaire plutocrat Trump was able to win as a populist, so can these two old timers win as a new wave of populist. Austerity has failed, not just in America but across the globe. "American capitalism" has failed. Imperialism has failed. You cannot try and prop them back up or re-inflate the bubble just one more time. An alternative solution must be presented, and when it is, if it is genuine, people will embrace it. Sanders and Corbyn are some of the alternate solutions, and they can fill the vacuum left by the collapsing center. But know this, if leftists do not fill that leadership void created in the wake of the disintegrating center, than a far right demagogue will. Trump did it this time but he is an ineffective fool. But next time, what if we get a ruthlessly effective and disciplined right wing demagogue…which in the post-Trump era is a very distinct and frightening possibility. This is why democrats and the Clinton cult better really "get woke", forget the luxury of culturally liberal politics and get on the economically progressive agenda or they will find themselves exiled to the wilderness at best, or blindfolded  and against the wall at worst . 

The cycle of history we are on is a perilous one, and it is fraught with many many dangers. The world will look considerably different in ten years than it does now, and it won't be because of technology, but rather ideology and economic seismology. The neo-liberal ideology is proven fraudulent and the coming economic/political seismological event that buries it forever will re-shape the world in ways which we can either shape to our benefit, or to our destruction. The first step is, with clear eyes and full heart, seeing and understanding what is happening and what is coming, and then strategically and tactically preparing for it so that what comes next is much better than what is left behind.

Ladies and gentlemen…thank you for enduring my post-Dunkirk rant. Maybe I was just shell-shocked by the film or maybe I am just a full-time maniac, or maybe, just maybe, I am on to something. Who knows? If I am wrong, it sure wouldn't be the first time…and if I am right, it wouldn't be the first time either. Only time will tell...don't forget to place your bets…and please tip the doorman on your way into the bunker.

©2017

Dunkirk : A Review

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

My Rating : 4.5 out of 5 stars

My Recommendation : SEE IT. See it in the theatre and see it in 70MM if you can.

Dunkirk, written and directed by Christopher Nolan, is the story of the emergency evacuation in 1940 of British forces from the French coastline as the German war machine quickly closed in around them during the second world war. The film features an ensemble cast that includes Kenneth Branagh, Mark Rylance, Tom Hardy and Cillian Murphy. 

Dunkirk is a tense, taut, pulse-pounding and original piece of exquisite filmmaking. Christopher Nolan, who has made such notable movies as The Dark Knight Trilogy, Memento and Inception, outdoes himself with his stellar direction on Dunkirk. The film is minimalist in dialogue and character development, but maximalist in suspense, which is a remarkable achievement for a film that is re-telling such a well-known story from history. With Dunkirk, Nolan has masterfully made a classic movie with technical precision that boasts a very satisfying structural and dramatic symmetry. 

Nolan makes the interesting, and ultimately wise, choice to break the film into three separate story lines all with different perspectives of the massive British military escape from the clutches of the Germans. The three perspectives are, a regular British foot soldier in great peril and living a recurring nightmare (literally) of being stuck on the beach, an RAF pilot giving air cover, and a civilian father and son who take their small boat across the English channel to try and help rescue their countrymen. The shifting perspectives can be at times a little confusing as there are jumps in time that accompany them, but whatever narrative disruption this technique may bring it more than makes up for it with dramatic punch. 

The foot soldier's storyline is enhanced by Nolan's decision to cast three very similar looking actors to play the main characters trying to get out of Dunkirk and back to England. Fionn Whitehead, Harry Styles and Aneurin Barnard all are gaunt, dark haired privates who will try anything to get out of the hell that is Dunkirk's beach. Whitehead, Styles and Barnard do excellent work with very little dialogue. They are focused on their objective, survival, and not on verbal communication. Whitehead in particular does terrific work that is both subtle and compelling. He has an expressive, everyman's face coupled with a subdued charisma that make for a dynamic performance. Styles is a famous boy band star in his own right, but to his credit he does surprisingly solid and steady work in Dunkirk.

Tom Hardy is superb as the RAF fighter pilot dueling with the Luftwaffa over the English Channel. Hardy has an air mask on his face for the overwhelming majority of his screen time, but while his face is covered, his charisma is not. Confining a volcanic talent like Hardy into the cockpit of a Spitfire has the potential to be a disaster, but Hardy is able to focus his energy and intent into his eyes and he lights up the screen. 

The civilian boaters are Mark Rylance, Tom-Glynn Carney and Barry Keoghan. Rylance is one of the great actors working today, and his work in Dunkirk is stellar. Rylance has a soft and gentle power about him that emanates through his entire performance. There is a quiet, steady strength in Rylance's character that is meant to symbolize the British everyman who, when his nation needs him, steps up and delivers. Rylance, who won a Best Supporting Oscar for his work in Bridge of Spies two years ago, may well garner another nomination with his work in Dunkirk. 

Kenneth Branagh has a pivotal supporting role as Commander Bolton, the pier-master who overseas the evacuation. Branagh, who, not coincidentally, came to prominence as the ultimate symbol of English resilience and strength, Shakespeare's Henry V, conjures up a similar energy as Bolton. Branagh is a fine actor, and his presence in the film is a crucial lynchpin that ties all of the different narratives together. 

Dunkirk will no doubt be nominated for multiple Academy Awards in many categories, but sound mixing and sound editing are a sure thing. The sound is absolutely fantastic and is pivotal in enhancing the film's pressure packed drama. The music has the same effect, as Hans Zimmer once again produces a pulsating and chilling score that elevates the film to the sublime. 

The cinematography by Hoyte van Hoytema is transcendent as well. The film's crisp and lush visuals are absolutely beautiful to behold. Hoytema is able to imbue a distinct and effective style to the cinematography of the film without ever compromising in any of the three narratives. Hoytema's camera work in the water, on the beach and in the sky are all noteworthy for their disciplined impeccability. 

I saw Dunkirk at a high end theatre in 70MM and it was breathtaking. Sadly, even at my fancy cinema, there were issues with the projector and the film had to be stopped for a few minutes, and then when the film came back on they left the lights on in front of the screen for ten minutes, which is not exactly the optimal way to enjoy the film. But that said, the film was so good I was still able to enjoy it regardless of these distraction. If you do have the opportunity to see it in 70MM, you most definitely should. 

In Christopher Nolan's already stellar career, the stunning Dunkirk is his finest film. I highly recommend that you see Dunkirk in the theaters, and see it in 70MM if at all possible. Dunkirk is a staggering technical and cinematic achievement by Nolan and his crew and is not to be missed. It is also an inspiration for Brits and the rest of us to get through the dark age that is descending upon our world, so that we may live to see and fight another day. Go spend your hard earned money on Dunkirk, you will not be disappointed. 

©2017