Note: Today is a house hunting day, which means I am out at the crack of dawn to head off to the hills in search of a new lair. Instead of rushing something in the few minutes I have before leaving for the day, I am re-posting a green door item. This is a film review I recently did that feels like a nice break from the usual routine.
The concept of the antiwhite is new to most people, but it has been bubbling under the surface of American culture for a long time. In movies, it often turns up in the “moral complexity” of quintessentially American characters. The prototypical American cowboy, for example, is also a villain. Alternatively, the American dream is turned into a nightmare for the protagonist of the film.
It is not a direct racial assault on white people, like we now see on movies and television, but more of a bank shot. Some aspects of society are criticized, often by inverted reality, as in the case of Easy Rider. Normal people are turned into violent monsters, while two bums are the heroes. The Searchers introduces the concept of racism as a defining feature of American society.
By the late 1960’s, there was no need to obscure the intent. American life was portrayed as seedy and degenerate, the result of the original sin of some “ism” or maybe the falsity of the founding myth. There is the sense that the general terribleness of the period was deserved. Cities were festering sewers riddled with crime and degeneracy because that was the real America.
Probably the peak of this seedy realism was Midnight Cowboy. It is the story of a young guy from Texas named Joe Buck, played by Jon Voight. He quits his menial job and takes a bus to New York City for reasons that are never explained. He immediately decides to make a living as a male prostitute, targeting middle-aged women. His first efforts fail, but he gets the hang of it and finally gets lucky.
This totally naive guy from Texas is shrewd enough to become a hustler but not smart enough to make money at it. He also gets suckered by a crippled conman named Rico, played by Dustin Hoffman. Rico introduces Joe to a pimp, for a finder’s fee, but the pimp turns out to be a religious fanatic. Joe flees this situation and goes looking for Rico but is unable to locate him.
Joe runs out of money, so he gets tossed from his apartment and decides to let a gay guy give him oral sex in a movie theater, thinking that the gay guy is going to pay him for the privilege, but that is now how things work. Joe eventually finds Rico, who lets him stay in his condemned apartment. They become partners with Joe slowly taking care of Rico, who has some sort of respiratory disease.
Eventually the two of them decide to leave New York City for Florida, so Joe picks up a gay guy and murders him for his cash. They use the cash for a bus ticket to Florida, but Rico is now extremely sick. At some point Rico soils himself, so Joe buys them new clothes at a rest stop, but Rico has died. The close of the movie is Joe hugging his dead friend as the bus trundles along toward Florida.
The message of the film is clear. White America is a myth, just as Joe Buck’s cowboy act is a myth that he created for himself. In realty, America is a faker, a fraud, a hustler that can only be redeemed by dropping the act and turning gay. This is a movie made by and for people who hate themselves, their country and would have been better off killing themselves and their intended audience.
That is the main reason the film is on the top-100 list. Another reason is it started the process of normalizing sodomy. It is not just an antiwhite, anti-American film, but it is a homosexual film that seeks to normalize homosexuality, by making Joe Buck a victim of a system that is intolerant of homosexuals. If midcentury bourgeoise decadence could have come to life and made a film, this would be it.
It is impossible to express how much I detest this film, but it is not the worst film on the top-100 list and it probably does belong here for artistic reasons. The message is vulgar and degenerate, but the production and acting are extremely good. Despite the obvious plot holes, Jon Voight makes Joe Buck believable. Dustin Hoffman plays himself, so he is quite credible as a skeevy hustler.
Like Taxi Driver, which I also hated, Midnight Cowboy is important because of what it represents on the historical timeline. When the robot historians attempt to retrace the steps that led to the collapse of the American experiment, they will no doubt look at the popular entertainment of this period for clues. Within a single generation, America went from the pinnacle of cultural achievement to the world of Midnight Cowboy.
That said, if you can avert your gaze from the political messaging and step outside of our current political context, it is a good film. Joe Buck has a story to tell, and we get enough of it to fill in the rest. He is a tragic figure, but he is not without redeeming qualities and we get the sense that redemption is possible for him. That is a lot to do in a film and that speaks to the skill of the people behind it.
In the end, it is all about the main question. If you have not seen this film, should you take the time to watch it? Even though I hate this film, I do not regret having watched it twice now. There will be no third viewing, but if you can stomach the politics and the ugliness of it, it is worth watching for historical reasons. At the minimum, you come away with a sense of the time and place in which it was made.
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Joe being a closeted gay apparently just jumped over my head. I thought the fact he finds himself surrounded by gays who chose the same line of business was meant to convey his detachment from the realities of New York. His relationship with Rizzo was decidedly non-sexual, and quite the archetype of friendship people at their lowest tend to form. This is what “saves” him in the eyes of the audience at the end. It is quite obvious that by the final act of the film he is on his way to achieving what he came to New York for… Read more »
Easy Rider makes it blatant that drug culture was a top-down phenomenon, and Gary Webb exposed this in the 90’s. There isn’t much money in filthy movies vs wholesome movies, but there is a LOT of money in the drug business, especially for spies who need untraceable funding. Counterculture that encourages degeneracy and ultimately drugs and drug money for the CIA was never created by or enjoyed by normal people. But normal people who buy commodity products aren’t where the money is. It was only a matter of time before promoting alternative spirituality/sexuality/etc went full circle and actually put the… Read more »
Midnight Cowboy is like a beautiful tasty looking crossisant with crap in the middle. Its wonderfully acted and directed, but the story is about two loser perverts who are impossible to care about. They are incredibly stupid, making the movie a serious version of “Dumb and Dumber”. Hollywood gave this picture the AA for best picture. Its way of giving Middle America the finger. Because the USA was still a 90 percent white country in the 70s, Hollywood couldn’t make movies full of POC’s or explicitly antiwhite movies like they do today. They had to make heroes out of criminals,… Read more »
I was 18 when Midnight Cowboy came out, and I’ve never seen it, so my impulse to has obviously never amounted to much. But thanks for the appreciation of it you’ve provided, lest I ever consider watching it. What interest I have in degeneracy can easily be satisfied by true crime videos on YouTube*, so why watch a fictional treatment? * I don’t claim to be above this. I recently watched some videos on the 1995 Essex Moor/Range Rover gangland murders and found it interesting. But the point is that that that happened, and tells you something about a reality… Read more »
I’m making a separate post about the movie “Deliverance” because I think I made an important observation that I posted in a sub thread on this page. Deliverance was explicitly anti-southern and anti-rural. No question. Arguments about “Dueling Banjos” being a positive depiction of “hillbilly” culture notwithstanding. Examine the entire premise of the movie. It’s been a long time since I viewed it, but iirc a group of upper-middle class, educated city men with enough disposable income for a weekend camping/hunting/fishing trip decide to do so in rural Appalachia (Filmed in Northeast Georgia). The men aren’t all “Yankees” iirc, but… Read more »
I haven’t seen it for decades either, but if I remember right their trip is to ride a river that’s soon to be dammed, flooding the area where all the hillbillies live. So the premise contains an assurance that regardless of what happens, the future will see their land and memory justly erased. I *think* the last shot is a long overhead to show you how large the low-lying area is. The guy who plays guitar with the kid is a stock real-life character of the time, a professional-class leftist who thinks himself Of The People because he knows a… Read more »
“… but clearly the depiction of the “other” is meant to contrast against ignorant subhumans.”
Looks like something you might repost. If you do this sentence needs reworking.
?
Can’t post a single ?, so here are some more
???
I gather that in the movie the “other” IS depicted as ignorant subhumans, so how is it “meant to contrast against” itself? As far as I can tell the sentence just doesn’t parse.
Yes, the inability to post very short responses when a very short response would do the job is annoying.
Totally OT:
Robert E. Lee’s statue from Charlottesville was just melted down:
https://gab.com/WesternChauvinist1/posts/111303929570470962
I hate this timeline.
I’ve been a Subscribestar subscriber pretty much since you started it and I would definitely like to see your behind the green door posts posted here a week or so after you put them on the ‘Star/Substack
Z, I’ve never read one of your film reviews. Nor have I seen Midnight Cowboy. But I’m impressed.
My favorite all-time film is John Sayles’ “Matewan” (1987) about West Virginia coal mining in the dangerous days of union organizing.
Maybe watch and review it some time.
I think Hoffman’s character is named Rizzo, not Rico. Jon Voight’s performance is the film’s sole redeeming quality. (He was nominated for an Oscar, but lost to John Wayne.) He’s really, really good and really funny as Joe Buck. He milks the dumb hick in the big city thing for all it’s worth, but without turning it into a stupid cartoon. It’s been awhile since I watched the film, but I recall that Joe Buck specifically left Texas to go to New York in the first place because he thought it would be easy to make a living there as… Read more »
His name is Rico “Ratso” Rizzo.
Harry Nillson’s theme song for Midnight Cowboy won an Oscar I think, Skipping Over The Ocean Like A Stone. Very good tune.
Oh yeah I forgot about the song! Yeah that’s another point in the film’s favor.
“Anyway, like I said, Voight’s funny and sad performance was the main reason to watch it, if you watch it at all.” I’m more of a Rizzo guy myself.
I don’t believe I saw any comments referencing “Deliverance” – a film that also featured Mr. Voigt. Came out a few years later than MC and the white hillbillies were the devils. The first viewing of it put me down – like depressed. But then a subsequent viewing … I really did laugh a couple of times.
“What is it you require?”
“Uh, what we REE-quire is that you get your ass up in them woods.”
I agree that the hillbillies didn’t come across particularly well in Deliverance, but the deputy and the sheriff–played by James Dickey–were alright, and the folks in the bed-and-breakfast at the end of the movie were decent people. At any rate, Deliverance wasn’t anti-white propaganda. It was a story about the fact that the barbarians are always outside the gates, that you’d best be aware of that fact and prepare accordingly.
“Deliverance wasn’t anti-white propaganda. It was a story about the fact that the barbarians are always outside the gates, that you’d best be aware of that fact and prepare accordingly.”. I have to disagree with you, Ostei. It it wasn’t anti-white, it was certainly anti-RURAL white. Deliverance came on the heels of a series of wholesome rural-based sitcoms by CBS (derisively called the Country Broadcasting System for its rural -based programming) Andy Griffith Show, Beverly Hillbillies, Petticoat Jct, Green Acres all showed rural Americans in a positive light, despite their outward simplicity and naïveté. Deliverance turned that on its head… Read more »
I dare say Deliverance advanced hillbilly music a century. “Dueling Banjos” was a smash hit, and the scene in which that song is played was electrifying–even though the music was acoustic–and showed that the rural folk had tremendous musical talent. You’ll recall that city slicker guitarist Drew (Ronnie Cox) ultimately couldn’t keep up with the young country banjo prodigy.
The banjo scene was the movie equivalent of a National Geographic special (when they were redeemable instead of antiwhite) where native Africans in some jungle tribe are depicted as primitive, superstitious, maybe even cannibals, but there’s some sort of academic appreciation for their music, dance, art, and culture.
Think of the city-folk as European colonizers on safari, (literally on a hunting/fishing trip) documenting and observing a tribe of primitive Appalachian people.
https://www.youtube.com/watch?v=NFutge4xn3w
nb: Posting just the link results in “ERROR: Your comment appears to be spam.”
Sumguy, that’s right. Iirc, they wanted to canoe the river before it was dammed up and the hills flooded.
Oops sorry Hemid, didn’t see your post above
“Deliverance…showed that you city-folk better best beware when driving over that hill for a toothless, banjo-pickin’, inbred hillbilly boy could be waiting to pounce.”
Ummmm. Yes.
I have never seen midnight cowboy, however I did read the Mad magazine take on as a kid. That and now your review is enough, thank you for dealing with it. I have seen s couple other films from the Era Easy rider of course, taxi driver. The Billy jack movies etc. There is one I still enjoy every few years, Little Big Man. Dustin Hoffman plays the title character but the guy I really enjoy is Chief Dan Gerorge , he was the real deal a first nation’s chief from western Canada. ( An Indian) He was also in… Read more »
Thank you for reminding me of Voight’s role in Deliverance. I had forgotten about him, I tend to mostly remember Burt Reynolds and Ned Beatty from that movie for some reason. Ned Beatty mostly for the rape scene. Burt, I guess, because he’s Burt Reynolds, and everybody liked Burt Reynolds back then. That movie is undoubtedly one of the most anti-southern, anti-rural movies ever made. It’s only redeeming quality is the banjo scene, 100% for the music, but not for the “creepy inbred hillbilly” innuendo that it hamfists onto the screen. That movie was created for the sole purpose of… Read more »
Whether you approve the depiction of the hillbillies in remote northeastern Georgia–and I can understand it if you don’t–the notion that Deliverance is a terrible movie or that making Clouds feel superior to rural southerners was its purpose is utterly preposterous. From a techical standpoint, Deliverance is one of the greatest films ever made, from the script, to the acting, to the score, and perhaps foremost, the cinematography. The fact that it offends you changes nothing. Furthermore, screenwriter, James Dickey was a politically incorrect Johnny Reb from the outskirts of Atlanta, hardly some Judeo-Puritan, anti-southern Leftist. And there is nothing… Read more »
“the notion that Deliverance is a terrible movie or that making Clouds feel superior to rural southerners was its purpose is utterly preposterous.” Agree. Far righters can often be just as touchy about how they’re “depicted” in old movies, as Lefties are about every movie ever.
But in general, yeah, Hollywood sticks it to the white man. Obviously.
I am late to the parade here, and have only read the first few sentences of Z’s essay. What is this crap about ‘The Searchers’ introducing racism in film? Demonstrably false. Watch ‘No Way Out’ from 1950, with Richard Widmark and Sidney Poitier. Now THAT is a movie about racism. I love ‘The Searchers’, but I never caught any message from it. It is true that John Wayne played a man who detested Injuns and wanted to kill Natalie Wood’s character because she was the spawn of racial impurity. He changed his mind though. Or rather, the director John Ford… Read more »
I’ve never seen The Searchers but was nevertheless brought up short by Z’s condemnation of it. Hard for me to imagine John Wayne in anything whose overriding theme was “blame whitey.”
Not at all the theme of ‘The Searchers.’ The book is an incredible read, and the movie follows closely the incredible years-long effort of the Wayne character to find his niece. The enemy is the Comanche, which was also true for other less-warlike indian tribes of the day.
The book was very well-researched and well worth a read.
I liked Taxi Driver, but I also probably took the opposite message of what the film had intended. Travis was living in a very culturally blue city and becoming completely alienated from the feckless degenerate people living there. Think about the characters he meets: other taxi drivers who are just lumpenproles resigned to the reality of their environment, the criminal element that thrives in a left wing city, his love interest as an idealistic brainless white woman, her jew beta white knight coworker, and finally a teenaged whore. The message was probably intended to be about the “authoritarian personality” and… Read more »
“Dustin Hoffman plays himself.” That was a hoot!
There are a few actors who do that. Christopher Walken, Clint Eastwood and Sean Connery, for instance.
It’s not only some “moderns” who do that. Humphrey Bogart, for all his magnetic screen presence, had virtually no acting range. But he was terrific playing Humphrey Bogart.
John Wayne another. Same character every time.
“There are a few actors who play themselves. Christopher Walken, Clint Eastwood and Sean Connery, for instance.”
They’re essentially ‘character actors’ who created star character rolls, because they’re just that unique, naturally likable, and cool. So many old-school actors were like that. Not great actors but good enough, and just cool. Lee Marvin. George C Scott (great actor, but always SO himself), Robert Mitchum.
The 3 season ‘Medici’ series, a joint Italian-Brit effort, was marvelous in every respect but one: the (mis)casting of Dustin Hoffman as the Medici patriarch. Luckily, he is killed off in the first episode. His inability to act is brought into glaring relief by the skilled work of the rest of the cast.
If you like beautiful scenes of Tuscany, and high drama based largely on reality (the assassination attempt on Easter Sunday in the Florence Duomo, for one), give it a gander.
The degeneracy flood gates opened in the late 60’s… “Summer of Love,” drug culture became ubiquitous, wave #3 of go girl feminazism “insta sluts,”no fault divorce you get the picture, or in this case “the movies.” Some of that was great art, a lot of the music of the period was great as well, more tongue in cheek about the sex and drug references, not in your face like today.
That said, you can enjoy those movies, and music in the abstract without living a degenerate life, or being in essence… a scum bag.
Nobody else said it, so I will.
Hoffman’s character’s name wasn’t Rico. It was Ratso Rizzo.
Set in New York City, Midnight Cowboy depicts the unlikely friendship between two hustlers: naïve sex worker Joe Buck (Voight), and ailing con man Rico Rizzo (Hoffman), referred to as “Ratso”.
You really think a mother is going to name her baby Ratzo?
I saw MC a long time ago, well before the DR, properly speaking, had come into existence. And, to be fair, my political antennae were nowhere near as sensitive as they are now. That said, can we say for certain that MC was actually attempting to make a point about America? Isn’t it possible that it was simply the story of a couple of sad and shady ne’er-do-wells struggling to survive in the cesspit known as New York City? Not that I would put it past the filmmaker and screenwriter to produce a pro-heauxmeaux anti-American allegory, mark you, but I’m… Read more »
I didn’t really get a pro-homo vibe out of it. I guess you could say it served the purpose of desensitizing, whether that was intentional or not.
Hollywood’s real pro-homo campaign, in earnest, didn’t really kick off until the late 80s/early 90s
Midnight Cowboy is the most recent critically acclaimed movie I can think of that equated homosexuality with deceptiveness—with the progressive innovation that the homo deceptions in MC are unintentional/innocent. Ten years later, Cruising *incidentally* did some gay=liar and the media flipped out about it. In 1992, when the same by then archaic “trope” appeared in Basic Instinct, it caused the lesbian equivalent of street riots (a couple fat chicks in traffic). It’s rarely seen since then, very rarely in anything Western, and never in anything respectable. Possible exception: Characters in David Lynch movies are usually characters from other movies, so… Read more »
Coincident with the AIDS panic.
Well to expound in your point, it certainly wasn’t yet considered weird to be heterosexual, or “normal.” Now being those things is just shy of being a criminal offense.
Midnight Cowboy was sleazy but another from that era possibly even sleazier was Looking For Mr. Goodbar. But LFMG has a problem, actually two problems. I suspect that’s why it’s so little known today. The problem is that it portrays feminist hedonism and homosexuality in a negative light. You can find it on Youtube last I looked with Bulgarian(?) subtitles. But if you don’t want to feel contaminated, don’t watch.
ok.ru/video has pretty much any movie you ever wanted to see free and commercial free
LFMG is also available on DVD. Not too expensive. A good but certainly disturbing movie.
I’d forgotten all about LFMG. Difficult movie to watch.
I haven’t seen the film, but I am told that there is a Seinfeld scene that reenacts the ending bus scene. Imagine my surprise.
A working class cowboy from Texas being drawn to New York City and then corrupted seems like an apt metaphor for this country during my lifetime.
A cautionary rather than hortatory tale?
On a lighter note, Futurama had a nod to it in the episode “Brannigan, Begin Again”.
Like the Zman, I don’t regret watching MC. But I feel no urge to watch it twice. Perhaps, being a Gen X child of the 70s and 80s, its degeneracy didn’t seem so scandalous to me. I’ve been conditioned. Not long ago I was reading something John Wayne said about how all films should be “family friendly,” which was why he was against the MPAA rating system. Putting aside my thoughts about Wayne, of whom I was never a fan, he did have a point. But you can’t very well start down that road before you quickly arrive at Soviet… Read more »
Let’s not forget Frank Zappa being outraged in the late 80s because Al Gore’s wife wanted to put warning stickers on his albums containing ridiculous sexual degeneracy. And his side won! And they feel virtuous about it to this day.
Imagine the horror that a sticker may have prevented a mother from buying a Zappa album containing songs about homo S&M bondage for her 10 year old. Our country really dodged a bullet there…
Zappa was one hell of a paradox: An absolutely brilliant composer and guitarist, a perfectionist and disciplinarian who would not allow his bandmates to indulge in mind-altering substances, but who had just the most base, juvenile sense of humor.
The documentary about his life and career is worth seeing.
Concur. He is a composer and instrumentalist of significance, very unique, but, in my opinion, a bad human being, although quite fascinating and intelligent. I admit that I would have liked to have had long discussions with him about life and music but then I would have exiled him. Life entails tradeoffs. To anyone who is curious, here is a 3 minute sample of (instrumental) Zappa. It starts out kind harsh, but in the last minute, I think you can sense his unique vision. Try to stick with it and perceive the melodic/harmonic intelligence at work. It’s not pretty, but… Read more »
Ugly noise.
“ERROR: Your comment was too short. Please go back and try your comment again.”
Jeez.
He referred to himself as a conservative, too.
He objected to them being put on other people’s albums. Zappa owned his own record company that sold nothing but his own work—not subject to any proposed regulation—and had recently won the rights to all his own music in a lawsuit against the world’s biggest media company. (Couldn’t happen now.) It wasn’t a self-interested position. Like milquetoast mope John Denver who was equally “outraged,” Zappa was protective of young musicians.
Every late 20th century censorship campaign / media hysteria was the work of leftist feminists. Conservatives, especially conservative Christians, were their useful idiots. As always.
Nonetheless… Zappa was the shit!
Nobody will remember Zappa in a century.
Possibly. But one could say that about the vast majority of pop musicians.
When Whiteland is formed, tolerance is going to be an issue. Clearly, we cannot allow anti-white Leftists to push their filth down society’s throat as America did. In fact, Leftism in generally will have to be rigorously suppressed. However, there must be some semblance of cultural latitude or what you wind up with is an insipid and dull panorama. America’s approach to culture was fatal, but I hope we can do a bit better than Wayneism, although I do greatly admire the Duke.
Roseanne Barr, who has some sympathies with old America, said that the chosen must control Hollywood because otherwise the only content that would be produced would be fishing shows.
I’m willing to take our chances.
That comment sounds like it was chosen for Barr by one of the Chosen.
She’s Jewish, so why would she in your imagination need handlers?
This is ridiculous. We have a production code, its just the Hollwyoods production code. Do you know that in the late 30s and 40s, producers and writers were submitting their scripts and stories to Communist Party USA for vetting? Well, things aren’t much different today. Look at all the crap Mel gibson went through to get “Passion of the Christ” done. It made a Billion and should have sparked a slew of religion film copy-cats. It didn’t – because Hollywood refuses to make those kind of movies. Nobody in Hollywood can get a film done that crosses “The party line”.… Read more »
“Today is a house hunting day”
If money’s tight, see if Ramzpaul has a spare bedroom at the “Wolf’s Lair.” It would be fun to watch Ramzpaul and occasionally see Z Man stumble around in the background in his robe and morning coffee.
Today is a house hunting day
Tote at least a 75mm Z. You want to ensure when you hit that house, it doesn’t get away.
Jew projection
( and what did Voight have to do to get that role?)
It is noteworthy that in spite of his outspoken “conservatism,” Voight never truly fell out of favor in Hollywood as some others have. Perhaps temporarily, but he was always back. And recently, after public support for the Orange Man, he is still getting plenty of work. Can you name one other like that? And now today he is full throated for our greatest ally.
Voight, up until the gwb years, was a total shitlib
I would a been a wee Filthster when those kind of movies came out. At that age I was a voracious reader but still playing with GI Joe and Johnny West. I would sit down and watch these movies with my shitlib family and wonder what the hell was wrong with them and what they saw in such shows. They’d tell me to shut up and that one day I’d be grown up enough to understand. Here I am, pushing 60 hard… and I still don’t understand. Do people actually DO stuff like that? If so…why? Nowadays those people are… Read more »
If we’re talking about movies from that era – have any of you guys seen the parallax view? It’s basically one of the first schizo movies. The best scene is where he goes into a room and is shown pictures in a slideshow and the music gets gradually more hard rocking
One of my favorites. And too close to the truth (viz, targeted domestic assassinations and the subsequent political cover-ups) to be comfortable viewing.
I’ve seen it and have the dvd, it’s hard to watch now though because it hits close to home. It and Three Days of the Condor and Marathon Man could have been made today with all the government/intelligence bad behavior going on now.
Cliff Robertson’s monologue about US foreign policy and the sheeple from the end of Three Days of the Condor could have been written yesterday.
“Ask us? They’ll just want us to go and get it for them.”
However unpleasant, these movies are aesthetically and historically important, as they simultaneously reflect and promote the culture of existential nihilism that defines late empire America.
America probably should have collapsed after the 1970s. We got a 50 year reprieve, thanks to microchip induced prosperity and a wellspring of cultural virtue not yet completely exhausted by the Pill and Diversity. But the plan was in place, and Hollywood was there to show us what they intended for us.
This is an interesting thesis. If we had halted immigration, not succumbed to Die-versity, our population stabilization and still lots of wide-open space might have cured us. Germanics get neurotic when they don’t have enough lebensraum.
It’s hard to picture a 90% white nation “collapsing.” Ebbs and flows, ups and downs, but not collapse.
You didn’t live during the 1970s . . . stagflation, gas crisis (1973) and (1977), and all the cultural and racial problems of the present, though white flight was possible. Notice the word flight. NYC was far worse than even today in terms of crime and trash on the street. Those 70s movies Z refers to give a flavor for this. Reagan, for his faults, did change the mood of the country and combined with the subsequent computer revolution, pointed out above, the rot was slowed somewhat, though the offshoring of jobs had begun, with free market Republicans leading the… Read more »
correction 1979
Midnight Cowboy and Cruising are probably the two most disgusting movies I’ve ever watched. There is a nod to Midnight Cowboy in Cruising when a cop wearing only a cowboy hat smacks some detainees around. Pretty weird stuff.
I watched about ten minutes of Bad Lieutenant: Port of Call New Orleans and I was so thoroughly filled with disgust I had to turn it off, so it may be up there, too.
Saw it when first released. What I most vividly recall: ‘X’ rated movie – no one under 18 admitted – I was not yet 18 – would I be turned away – nerves ablaze. Made it in – anxious to see some…skin. By the end – kind of disappointed in lack thereof. Hoffman as Rico Ratso: “I’m walkin’ here” most memorable line. Brenda Vacarro was kind of sexy. At that time, hate whitey was not really a thing and the thought of whatever homo’s did was dis-gus-ting. This was pre-aids, gay still meant happy, and a rainbow was something pretty… Read more »
Yep. But by 1969 the pathogens were certainly in the bloodstream. It took another 50 years for the patient to die.
Zman did you hear about this movie Killers of the Flower Moon? Basically a Dicaprio and Martin Scorcese movie that deems White man stole Native American oil wealth. So White man bad in Oklahoma over 100 years ago is the 2023 focus of Hollywood. Dances with Wolves was also this way. They volley back between Black man victim to Native American Indian the victim, but White man always bad. Also they have to go back 100 years ago because they have so few stories to use in the current day.
KOTFM is there to shape the frame every time somebody wants to build a pipeline or drill an oil well on “native land.”
If “native land” is a real thing, then doesn’t that mean there is also “white land”? Somewhere? Doesn’t the existence of one automatically imply the existence of the other?
No white land because the colonist oppressors forfeited their homelands by their aggression. . .so the logic goes.
Yep, the volley from black, to indian, to illegals, to jews, to arabs, to covid, to vaccines, to ukraine, to taiwan, to trannies, to you name it. The truth about worldy power is this: divide and conquer. The rulers want the endless conflict and war. It solidifies their power and gives them cassus belli to do whatever they want. Winning or losing wars is besides the point. They care not if a nuke goes off in the US; they might prefer it. The point is money and tightening tyrannical power, and maybe killing a lot of the overpopulation while they’re… Read more »
They also continually go back in time to trot out the Emmitt Till story every few weeks in the NYT. Didn’t they also just do a movie about poor ol’ dindunuffin Emmitt Till?
Moviemakers could make it extremely easy on themselves in finding material if they focused on Whites-as-victims. The Jupiter Paulsen Story, The Ethan Liming Story, The Cannon Hinnant Story, the list is endless.
Not to mention the Knoxville Horror and the Wichita Wilding.
The Hwite Man stole oil wealth? So what. The Red Man stole the other Red Man’s buffalo wealth. Way before the Hwite Man arrived.
The Red Man was vicious, just as much as anyone else, if not moreso.
Genocide? Check. Slavery? Check. Cannibalism? Check. And torture? Man, you don’t even want to know.
Dances with wolves was absurd. The Noble Red man. Lets skip over the stealing, torturing prisoners, raping captives, treating women as slaves, and the general low-level barbarism. Look, we all want to romanticize the Native Americans. And we have been doing that for a long time (cf: last of the mohicans published in 1823). But Dances with Wolves took it to a whole new level. As for Killer moon, out of all the stories Scorcese could tell, why did he chose this one? I wont see it because the trailer looked boring and 3.5 hours is too long. But the… Read more »
Best of luck today. Moving can be a pain but I think you’ll enjoy life in the hollers where Mountaineers are always free.
May you never again need to worry about finding one of Ladonika’s fingernails in your mashed potatoes on your occasional trip to Popeyes.
…Or Shantyce in a Walgreens wearing a pink leotard while she talks with someone on speakerphone.
Good one. Isn’t it Shan’Tyce, though?
Do you remember when we didn’t think it could get any worse than Shanequa and Ray Ray?
I remember when Shaquille and Beyonce were beyond bizarre. Actually, they still are, but by today’s standards they might as well be Steve and Betty.
Hey Zman, if you’re looking for new digs might I suggest the Upper Peninsula. Sure we got endless bugs, endless winter, and we’re a couple hundred miles past the edge of the known world, but it does keep the riff-raff out. If I didn’t get my morning dose of rage from the internet (possible only due to a satellite) I’d think the world was a wonderful place, and all the people in it moved here from Mayberry. I’ve lived all over this country, and being a Yooper is the best. I was born under the bridge when my dad worked… Read more »
Herr Man, You’ve just reminded me of a drive through the UP (which ought to be a peninsula of Wisconsin) during the summer of 1988. There was a big drought all over that year, and much of the forest along US-2 burned furiously. By the time my father, brother, and I passed through, there were huge areas of charred black vertical sticks as far as the eye could see from the highway. At night the glow of fire was visible from the shore of Green Bay near Fox Park on M-35. (The park is between Escanaba and Menominee.) It’s by… Read more »
“He quits his menial job and takes a bus to New York City for reasons that are never explained.”
Maybe this explains it: “A gay man, Herlihy became a close friend of playwright Tennessee Williams, who served as his mentor.”
https://en.wikipedia.org/wiki/James_Leo_Herlihy#Biography
https://en.m.wikipedia.org/wiki/Midnight_Cowboy_(novel)
It seemed obvious to me, when I first watched MC not very long ago, that he was enthralled by MSM reports of women’s sexual liberation, none of which seemed to be happening in the west Texas town where he was washing dishes at the diner, so he headed off to NYC, where he was led to believe the women were lusty and putting out left and right.
An interesting bit of trivia about the movie (which I confess to have seen not) is that, Crazy Annie, Joe Buck’s lover in Texas, was played by Jennifer Salt. (Source: Wikipedia) She was the daughter of Waldo Salt, the screenplay writer who adapted the queer novel for…
Producer (((Jerome Hellman)))
and
Director (((John Schlesinger)))..
From now on, I will refer to that movie and its clueless star as Midnight Cowboygolem.
Midnight CowGoy?
Or just Midnight Cowgolem.
How about Midnight Goyboy?
Unless you’re just funning on the parentheses bit, to point out that any given credited producer or director is btw Jewish seems trivial. Do bears closed-caption in the woods?
His premise wasn’t wrong — i.e., that sex-starved middle-aged and moneyed women might want, er, a little young male company. But such women want it with a bit of class. They don’t just want a roll in the hay — “Wham, bam, thank you, Ma,am.” But class is the one thing he didn’t have, i.e., “cultural capital.” His entrepreneurial project was doomed to failure and in the big city he sank to his natural level — that of a lumpenprole.
Have never seen it, nor intend to, despite Z’s recommendation. But I do remember seeing the movie posters when it originally came out and reading some of the reviews, which even back were obviously veiled propaganda selling an agenda rather than a cinema critique. I lump this crap in with the blaxploitation movies of the same era. Intentionally demeaning faux storylines that leave the viewer far stupider as the reward for being suckered out of the price of admission. Movies like this are the venereal disease of our culture.
I watched 30 min of it recently as I wanted to see a film with NYC 60’s footage (that is now 60 years ago). It has some great shots of American places, but soon I realized this film was demoralization and I could not continue watching. It is not even scandalous for 2020’s, but you realize the purpose of films like these was to make me say that it is not that filthy now LOL. It is a degenerate film, but you can find uglier stuff in pronTube, LMAO we are F’ed. Zman is right that if you care about… Read more »
I am a decade earlier, so I have a foot in both camps. Something broke really badly in the 1960s when I was a boy. There was a resurgence in the 80s. Then what happened? In my family the grandparents born in the 1910s died off and that was the end of the large family gatherings. My parents and their cousins, my aunts/uncles, drifted apart. I didn’t step up because I was caught up in what I thought would be rewarding, lucrative career. So that was that. Anecdote: I remember my father telling me he could never get his grandparents,… Read more »
Best of luck in your house hunting, Zman. Hope you find the perfect spot. Movies are just longer tv shows – same shite, different medium. I’d rather watch the leaves fall.
Speaking of anti-white movies, Martin Scorsese’s latest, 3 1/2 hour! production was reviewed by Aaron Sleazy. It’s been getting critical praise. He was invited to its release in his country. He said he would have walked out after an hour but didn’t want to be rude to his hosts.
https://blog.aaronsleazy.com/index.php/2023/10/23/scorseses-killers-of-the-flower-moon-2023-is-abject-anti-white-propaganda/
Another “white savior/noble FBI” movie is Mississippi Burning. Look, I’m originally from the Magnolia state so I know firsthand all its flaws, but that movie paints it as definitely in the 3rd World category. None of its roads are paved, all of its law enforcement are kluxers, and every black is a passive victim of its reprehensibly oppressive oppression. The truth is quite different. The vast majority of its people are simple, hard-working, non-intellectual, and kind-hearted. In other words, prey for the vultures in Hollywood and the MSM. They also have understandably become somewhat paranoid about outsiders. Gene Hackman and… Read more »
The film was crud. There was a much earlier film also set in Ole Miss that you must also have seen — “In the Heat of the Night.” Most of the whites are portrayed as clueless crackers and the one out-of-town black detective single-handedly solves the murder case. These films do harm to the image of Mississippi and the white people living there.
I’ve seen it. Directed by Norman Jewison lol.
Norman Jewison? He’s that famous Thai film director, ain’t he?
Wikipedia: Canadian. “He is often mistaken for being Jewish due to his surname and direction of Fiddler on the Roof, but Jewison and his family are Protestants of English descent.[5]”
5. This Terrible Business has been Good to Me. October 27, 2004
A film from the 1950’s was a much more subtle slam on “toxic masculinity” and White American male culture:: “Tea and Sympathy” . The assault began in earnest with “Payton Place” and “The Defiant Ones.”. Then in the Sixties came one of the worst films of all time: “Guess Who’s Coming To Dinner.”
Should read ” Peyton” damn autocorrect.
Speaking of Peyton, Archie Manning named his son Peyton after Walter Peyton. The cuckery runs strong in the Manning fambly.
UT the ol’ alma mater – never heard that before – please say that ain’t so.
SISL, it is so.
Today is Hillary Clinton’s birthday, let’s all wish her–something
Z did a green door review of “Guess Who’s” and as I remarked here at the time: it’s worth the Green Door subscription just to read that review.
Watched it once, made me physically ill. Read Lolita and one of Philip Roth’s early novels; didn’t finish either. A while back, my friend’s hipster girlfriend recommended a movie called Short Bus. Made it about 15 minutes into that one.
I think art can be challenging, and even offensive, but if it leaves you feeling soul-sucked, it’s not art. Just the opposite, in fact. Easy to identify, but like covid, too many people follow the experts and their trends, even if they have a better judgement.
“I think art can be challenging, and even offensive, but if it leaves you feeling soul-sucked, it’s not art”
That describes so much art today. Whether movies, music, written word or modern art, it’s all meant to induce suicidal thoughts.
For the entirety of history humans made art to inspire civic pride, express standards of beauty, celebrate triumph, mark important events, or reflect praise back toward a deity/ies. It wasn’t until the late 19th and particularly the 20th Century that the idea of creating any emotion/response became accepted as art. It’s a cheap trick usually committed by a less than talented hack to garner fame or attention. Desecration of venerable societal totems or mores, or simply promoting a gag reflex by the use the fetid displays are its hallmark. The Charlatan will nail a bloody menstrual rag to the wall… Read more »
Very good post, but I would offer one caveat to your thesis–music. In the realm of music, particularly instrumental music, the elicitation of emotion is one of the mainmost hallmarks of true excellence. Beethoven’s Fifth has no words and therefore no rational content. But the symphony certainly does have a content, and the content is its emotional resonance.
New Rules for the New Enlightenment: In all things, the polarity shall be reversed.
For example, music and/or visual art must be ugly in order to have meaning. In film and/or literature, he villain is the hero (hence the quaint modern term “anti-hero”). This includes children’s stories, as illustrated in the play “Wicked”. Goodness is subjective and power is the only legitimate virtue. All standards and concepts once accepted as true shall be ridiculed and/or stood on their head.
There’s a term for this on the DR–Satanic inversion.
In my lifetime, the happiest time of movies was the birth of the blockbuster franchise, which of course ruined movies as an art form ultimately. 1975: JAWS: a terrifying movie, maybe the scariest ever, but a movie in the end about triumph and overcoming a horrendous threat. 1976: ROCKY: the greatest underdog story ever; pure heart and inspiration. And yes, implicitly about a working-class WHITE man (like Rambo). 1977: STAR WARS: White farmboy is the hero defeating galactic despots that (at the time) could be thought of as the USSR type deal. 1978: SUPERMAN: Christopher Reeve embodied the best of… Read more »
The original Rocky still holds up 50 years on as great filmmaking. Shame they couldn’t resist the temptation.
I actually love the sequels (including V), but they are of course not of the caliber of the original.
Did not like 2006 “Rocky Balboa.” Seemed like bad fan fiction to me. As for the Creed series. . .pass.
III and IV were fun in a campy sort of way, but the longer it went on the worse it got
The best part of the movie (first one) is the Bill Conti soundtrack. I have the vinyl album stashed someplace.
Stranger, I always say that, to this day, that’s the best workout music ever composed
Bill Conti’s theme to Rocky was one of the first 45’s my parents bought for me.
I thought the 2006 one was decent, the story was a based on a fight simulation that was done between Rocky Marciano and Muhammad Ali.
Rocky V is better than its reputation and has some really good moments with the Mickey character. It’s also a good reminder that had a legit White heavyweight champ from Oklahoma in the 90s in the form of Tommy Morrison, shame the guy couldn’t keep his head on straight.
It was Morrison’s dick, not his head, that got him in trouble and he died of AIDS. (He had a comeback of sorts after claiming the diagnosis was wrong, but it wasn’t.)
Not quite big enough to carry off his fighting style, I think.
The birth of the blockbuster is an interesting thing. Jaws usually gets credited for being the first, but The Godfather (1974) and even The Exorcist (1973) are sometimes nominated for kicking off the blockbuster phenomenon.
Correction. The Godfather was released in ’72.
Uh, George Lucas is on record that Star Wars is his Vietnam movie.
He saw the rebels as his Viet Cong.
George Lucas is well known as not understanding his own films. For all his pretendy Left winger bluster, the good guy characters are white, classically-American, archetypes complaining about leviathan government and ruthless totalitarianism. No gays. Billy Dee Williams didn’t have a chip on his shoulders. And nobody sitting around the casting department worrying about “representation”. I like watching Star Wars as a movie about white people saving the galaxy. I love watching Star Wars because I know George Lucas knows he made a movie he hates and he will go to his grave frustrated that his two biggest achievements –… Read more »
Interesting take. American Grafitti wasn’t exactly an anti-white screed either.
“He quits his menial job and takes a bus to New York City for reasons that are never explained. He immediately decides to make a living as a male prostitute, targeting middle-aged women.” The reasons seemed clear enough to me — just look at the dead-end job he was doing at that restaurant. And he decided to become, er, a male escort before he even boarded the bus — as he explains to his sceptical black co-worker at the restaurant. I liked the beginning of the film — the soundtrack and the vast expanse of the country as he takes… Read more »
There’s enough film with a similar theme that you might enjoy more — “A French Gigolo,” released in 2008 It has adequate subtitles.
Sorry, meant “another”, not “enough.”
The best part of the movie was the Harry Nilsson song “Everybody’s talkin’ at me”
and the line “I’m walkin’ here!”
Nilsson was a terrific singer/songwriter. Somewhat overlooked, too.
It’s in my top 146 all time great pop tunes
I have mixed feelings on “Taxi Driver.” It’s of course well acted, interesting premise, and iconic and all that. BUT it pulls a bait-and-switch ultimately. It takes the real and legitimate fear of urban crime, alienation, and societal degradation and delegitimizes it because the feeling of those feelings is Travis Bickle, who is nuts.
Originally, the Jodie Foster pimp played by Keitel was supposed to black, but Scorsese chickened out.
Gotta admit, though, I can’t really imagine someone else aside from Keitel on that role. No, I get what your saying though.
I can’t imagine anybody but Keitel as “the Cleaner.”
Scorsese could have got away with a black pimp at that time — I recall other “blaxploitation” films that had blacks in unsavory roles. “Dolemite” (released in 1975) being one example.
A black pimp he could get away with by himself. But not one pimping out a white girl and getting killed by a white man.
You may have a point. While we’re talking about black pimps, let’s also recall the film “Magnum Force” (with Clint Eastwood) made a few years prior. That also had a black pimp, but apparently only having black prostitutes under his wing.
Remember Sudden Impact from 1983 where Clint greases three youfs while uttering two classic lines?
I also think Taxi Driver is a missed comparison simply by placing it’s seedy nature side by side with Easy Rider. Travis does a good by blasting a pedo pimp and trying to rescue the girl, but his character is written as a nutjob not so subtly (maybe) implying that only wackos would punish that type of behavior. Also, Travis has natural urges and desires but the society that has molded him led him astray. He’s genuinely confused that the porno theater date is a flop, he’s disgusted by his job/clientele, and he gets a glimpse of what politics really… Read more »
Travis is a great character. He is a confused young man, a simple innocent who is warped and used by society and is slowly able to grasp this fact.
But like you said, it makes the idea of punishing the crime and bad behavior that of a “whack job.”
I find myself agreeing with Bickle. Gen. Ripper in Strangelove, too. Who cares if they’re crazy? Maybe they aren’t crazy. It’s the old peer pressure bit, when you get down to it.
I find myself agreeing with Bickle. Gen. Ripper in Strangelove, too.
Col. Jessup in A Few Good Men, as well.
Come to think of it I never have seen a Russian drinking water.
Bickle was nuts, but he was also an undoubted hero. I don’t think I’ve ever seen a film whose message was more mixed than Taxi Driver. At any rate, I think we’ve all felt a lot like Travis Bickle from time to time.
I suspect the intent of the movie was to show he was a ticking time bomb despite the environment, but imagine if his date with that woman went well and they married and moved to the suburbs.
Thank God for ZMan and our other outlets. Check out the utter delusional pap from VHD today. America from 1609 to 1965 was not multi-racial. My God these people are impotent. In the meantime, the same site has taken down a post by Dennis Prager. In Prager’s post he claims that it is the Jew’s God that everyone worships. It is they who created the moral standard that the entire world kneels to. Any calamity that befalls them is evil perpetrated by the dark that seeks to tear down the light of humanity. He ends by explicitly exclaiming that he… Read more »
Judeo-Christianity: do God’s Chosen have God killed? Obvious contradiction there. Just a little grappling with it required.
Replying to Painter, if you’ll allow me to speak in the Christian dialect: So some would say, ‘well then, is it or is it not God’s Word? I say it is; He gives the searcher example after example of the Deciever’s method: Take a true history, and then rewrite it, casting oneself in the role. Steal the credit and reassign the blame. Once inured to seeing between the lines, the searcher is then inured to seeing beyond today’s lies and revisions. Thus the Spirit fortifies our armor of truth, rather than casting doubt upon us. There is a force of… Read more »
p.s.- and who told you He must be some all-powerful arch magician?
Why the very ones who claimed that yet, they tricked even the All-Powerful into a deal He could not break, a stone He could not lift.
Hint: It was not the Creator with whom they made their deal.
Tricked themselves, were they, the arrogant ones?
Offered the promise of a throne?
At any rate, and at the risk of being heretical, Yahweh’s ethics and Jesus’ ethics ethics aren’t the same. One leads to desolation, the other, to the empty tomb. That much is clear. Imo it’s something people are going to have to come to terms with to get out of this shit show alive.
That’s what Marcion said. He might have a point.
Yep. It seems like you have to choose between heresy and living with the JQ.
Jesus disagreed with your assertion that their ethics are not the same. The Jews’ practiced ethics are not those that were given to them by God.
But Jesus also modified the commandments, lifted prohibitions on food, broke bread with the ‘unclean’, made the ultimate sacrifice to end sacrifice, Great Commission, etc. Lots of radical changes.
Jesus never declared a single bit of the law evil. If he fulfilled parts of the law, that’s a completely different thing. On the contrary, Jesus said: “Do not think that I have come to abolish the Law or the Prophets; I have not come to abolish them but to fulfill them. For truly I tell you, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished. Therefore anyone who sets aside one of the least of these commands and teaches others… Read more »
“Do not think that I have come to abolish the Law or the Prophets; I have not come to abolish them but to fulfill them. For truly I tell you, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished.”
Which, I think, is why Jesus said, “It is finished,” before He gave up the ghost.
John 8:37-45 I know you are Abraham’s descendants, but you are trying to kill Me because My word has no place within you. I speak of what I have seen in the presence of the Father, and you do what you have heard from your father.” “Abraham is our father,” they replied. “If you were children of Abraham,” said Jesus, “you would do the works of Abraham. But now you are trying to kill Me, a man who has told you the truth that I heard from God. Abraham never did such a thing. You are doing the works of… Read more »
Either God had changed the rules and disinherited the Jews, or Jesus was talking about a different god. I can’t see any other meaning to that passage.
“The rules” never said that God had to continue to bless the Jews even if they abandoned him. Covenants are contracts that have responsibilities on both sides. You don’t get the benefits of the contract if you don’t fulfill your responsibilities under the contract. There are plenty of OT examples where God let the Jews endure suffering for long periods because of their faithlessness. They’re absolutely free to accept Jesus and get back in God’s good graces. All the apostles were Jews who made the right choice. If the Jews he was addressing were following the Devil it’s only speaking… Read more »
If God can unilaterally change the contract— and accepting Jesus is a change— then it’s not a contract. It’s the stuff of lawsuits in the affairs of men. I’m OK with that because God should be omnipotent, and being omnipotent, he can be capricious from our perspective. That creates problems, though. I’m convinced of EMJ’s argument that the gospel of John is crucially important. Making God the Logos was the second step (following the Great Commission) in making Christianity a gentile religion. But Logos has to be universal and unchanging— that’s the basis of philosophy and science, isn’t it? Looking… Read more »
The article starts out with a lie, and proceeds to more. This moral revisionism relates to the Spanish Civil War. From my web notes: “A whole bunch of stuff just made sense right now, like all those desecration of nuns’ remains, the burning of churches, theft of Spanish wealth… This wasn’t really a civil war after all. It was just another extremely bloody jewish culture revolution.” Led by France’s Leon Blum Re the Arianite Goths: “This isn’t the first time. A major pill is collapse of the Visigothic kingdom. Funding or leading rebellions, leading slave trade, helping the Arab armies.… Read more »
“In Prager’s post he claims that it is the Jew’s God that everyone worships.”
This is why I advocate that if you want to worship God, stick a horned helm and eyepatch on him and give him a magic spear and two ravens. Then you’re free of the Jew crap.
You suggesting we worship Lothar Thorstein?
The Christian God is pretty much just an adaptation of the European chief god figure (old man with a white beard, shoots lightning bolts) applied to make the demonic blood god of Judaism function in Western culture. Same as how we have Christmas instead of some crappy Jew holiday.
The first season of “Deuce” is in a similar vein, the pimp scene in seedy disco 70s NYC. It really catches the Dinkins vibe.
As Ol’ Remus told us, great art is a snapshot, capturing a place and time (that is no more.)
70’s Dinkins vibe? He was mayor in 90-94. Lindsey, Beame, and Koch (my favorite) during 70’s. City was seedy as it came out of the hippie era and into the Civil Rights era, but it was never out of control as it was with Dinkins (and last two mayors). Indeed, the Dinkins era gave rise to two good conservative (for NYC anyway) mayors: Giuliani and Bloomberg. Of course, the last “good” mayors came about with a city still half White. That is now down to 30% or so. No hope for recovery.
He way gay, Gary Cooper?
“Columbus was so long ago he might as well have been a movie!”
This is a movie made by and for people who hate themselves
The people who made Midnight Cowboy don’t hate themselves. They hate white people.
Like Taxi Driver, which I also hated, Midnight Cowboy is important because of what it represents on the historical timeline. When the robot historians attempt to retrace the steps that led to the collapse of the American experiment, they will no doubt look at the popular entertainment of this period for clues. Within a single generation, America went from the pinnacle of cultural achievement to the world of Midnight Cowboy. Here’s a real question – and conundrum. Does degenerate entertainment like MC or TD or any number of other examples drive degeneracy? Or are they popular because the degeneracy is… Read more »
For what it’s worth, I’m kind of in the former camp. I think Hollywood degeneracy creates degeneracy in the wider population. I think the primo example of this is the non-stop profanity we’re subjected to now. I’ll never forget how much this offended my grandpa. He actually saw combat up close and personal in WW2 – something he would never talk about – so I’m sure he was well acquainted with profanity. He always hated though sitting down to watch a movie and hearing all the characters go on and on with the “‘eff this you effing mother effing eff.”… Read more »
Concur. The whole point of profanity, as I understand it, is the expression of sudden, intense feelings. The ultimate adjective, like nukes, to be used only in dire need, if at all. One hears f*ck so often now it’s a commonplace, a crutch word.
I was once walking down a street behind 2 apparently vocabulary restricted punks and every other word was effing , so I started singing “Oh, its “effing this and effing that and effing down the street, they’ve only got one adverb and its effing hard to beat” hahahaaaaa
F*ck used to be the worst word in the English language. That honor is now bestowed upon the word n*gg3r. Any white person who has ever said that word in any context deserves to have their life completely ruined. Of course, Oppressed People of Color (TM) get to say it with impunity. What could be more empowering?
RDittmar –
So sick of hearing that word I removed it from my vocabulary entirely.
Just like sex scenes in movies; it’s old now man – get over it!
Raiders of the Lost ark came out when I was 14 and I thought Karen Allen’s character was so cool that she could drink all the men under the table and at 14 that became my goal and I emulated her for too much of my life. It wasn’t the only factor obviously but it was definitely A factor. When people ask me why I don’t drink now I just say “I’ve had enough” because that is the truth.
On the contrary, you had too much. It seems obvious to me that your trajectory was fully intended by (((Lawrence Kasdan))), who is usually given credit for writing the screenplay even though the story originated with Lucas and (((Philip Kaufman))). On a related note, see the work of E. Michael Jones for details about the role of the usual suspects in the beverage alcohol business in Poland, esp. before the partitions of the late 1700’s. Jones claims that they had some sort of lock on production or distribution, in addition to the privilege of running a state within a state… Read more »
My grandfather, born in 1904, was appalled at TV commercials for feminine products. And those were the first ones, the ones with gauzy pastel shots of flowers and fields; the ones where it wasn’t quite clear what they were selling. How could he deal with today’s ads, where flabby shrews talk about rubbing deodorant on their private parts and underboobs?
And who could possibly forget Kathy Ragby?
My respect for any individual is inversely proportional to his usage of the F-word. People who can’t speak a single sentence without dropping an F-bomb are tasteless, idiotic clods. As such, they’re a sign of the dismal times.
My feeling is that its use should be governed by the same rules that we used as children. With your friends, ok. Around your parents, other adults, and strangers, nope.
And not all your friends. There are those I never use the word around and others with whom I might occasionally drop one.
I think the key is that societal rectitude is fragile, always and everywhere, and must be consistently maintained, promoted, favored, and exalted (I.e., depicted as an ideal of morality and beauty) in order thrive. Permitting even a small element of denigration or “transgression”—perhaps more accurately termed “desecration”—introduces a poison that leads to the downward, mutually reinforcing cycle of degenerate art inspiring degenerate behavior inspiring even more degenerate art… to Doomsday. The fragility is why great cultures have been homogeneous on the path to their apex, and suspicious of introducing (or even tolerating) alien cultural elements. The visible contrast between natives… Read more »
That’s the best post I’ve read on this site in quite some time, and that’s saying something.
That’s very generous, Ostei. Thanks.
Look at all the post-1960s (J-ish) movies chock-full of blasphemy: it’s clearly in there for a reason.
Think about the music industry. Does gangsta rap inspire black crime? You bet! Did The Beatles inspire kids to do drugs? You bet!
Good question, where does degeneracy come from. I think material wealth is necessary. Material wealth has the extremely unfortunate effect of sheltering people from the consequences of bad choices. And degeneracy is so dysgenic that it burns itself out in a subsistence environment. So material wealth is the necessary prerequisite. With it being present my guess is many factors including pop culture, mass media, boredom, the survival of spiteful mutants and other factors reinforce each other. Until it becomes necessary to start all over again
The prototypical Hollywood cowboy movie of the mid 20th century has more to do with Judean fantasies that it does with the actual American west. A town full of peaceful and good people is being terrorized by a small band of criminals. Until a lone hero appears from no where to save the people of the town from evil. Then, having done so vanishes back into the mists from which he came. It’s pure messiah saving the shtetl fantasy . The real American west, was settled by hard men, many with experience fighting the civil war. Comfortable with violence and… Read more »
This is a great comment, pregnant with potential for elaboration. It seems to me it describes a lot of our popular culture.
In fact, it makes me wonder whether the inability of Rightists to gain traction in the culture is (at least partly) because the basic story of the salvific individual is not really *our* story. That goes against intuition—rugged individual, Ronald Reagan, and all that—but that’s what makes it such an interesting insight.
Dino, if you’ve written more on this, or can be encouraged to, I would be interested in reading it. Thanks.
That would be a good observation. I’ve referred to it (from the book) as “waiting for Superman” any number of times. What we see in MC is the convergence of two societal occurrences/trends: The removal of the old Hayes movie code (in favor of the new rating system—a joke), and a trend toward the concept of the “anti-hero”. Heretofore, the “antihero” was used in action movies, i.e., the hero who does good really isn’t that good/virtuous at all, but wins in the end—and of course, “the end justifies the means”. In MC the hero isn’t an action figure, like a… Read more »
Same story with superheroes.
Comic book superheroes were Jevvish Esoteric Messaging; a brilliant innovation, they taught American boys to read, while shaping our moral sensibilities.
Comics were yet another one of the angles they used to undermine the transmission and preservation of traditional faith and history in America.
Just so. And not all that esoteric either: Superman is an alien of a superior species, disguised as a human and working in media – like all superheroes. The fact that he’s wearing a spandex playsuit in garish colors is purely incidental.
Yes. Perfect! The entire project from the first voyage across the Atlantic into the unknown was a civilizational effort. It was hard men, from the aristocratic elite to the last man woman and child settler, it was a great people who were determined, intelligent and hardened.
This is why when they tear down Columbus, they are tearing down the entire civilization that was required to fund, engineer, plan and undertake voyage after voyage after voyage.
Great comment!
Isn’t it interesting that now that they can afford it or have the skills, not a single descendant of former American slaves has decided to sail back to Africa? Or even visit?
Stevie Wonder wanted to move to Ghana. Probably because he couldn’t see what a shithole country it was. However, once he visited, he could smell it and decided to stay living in the racist US instead.
Stokley Carmichael moved back to Africa. Too bad the rest of them didn’t follow suit.
Original “Magnificent Seven” was believable in that it was about Mexicans terrorized by cartels (although the cartels freeing the captured gunslingers was a huge plot hole). Remake with Denzel Washington was awful: a bunch of hard-bitten, Civil War veteran miners in the mountains would’ve put up with that sh*t?
I think the ‘High Plains Drifter’ type movies were supposed to represent people being attacked during pogroms. In the real old west, everyone had a gun and the townspeople would make short work of a band of armed criminals.
Agree with you however I think a great movie in that mold was Shane. Shane is a mysterious stranger who rides in and saves the day. He is a reformed gunfighter faced with the moral dilemma that the only way finally to defeat the evil is to meet violence with violence.
Certainly, but Shane never went rogue. He was a virtuous hero defending friends/family against evil. Shane gave the bad guys a fair match/chance in a gunfight—certainly more than any of them gave the innocent farmer they killed. Interesting memory of the book. The use of a firearm is defended and was never resorted to until the ultimate provocation of murder of the innocent needed to be addressed. You know the book was *required* reading in my Humanities intro class as a Freshman. Of course, the book was very short, sort of a novella and took little more than an evening… Read more »
I’m glad you mentioned that dimension. Shane was a man of high standards who didn’t play dirty. He won fair and square. That’s one of the things I like most about it. Of course, this is a question we struggle with today. Conservatives have lost every battle of the last fifty years because they played “by the rules.”
Let’s remember that Shane was a fictional character who embodies the best of heritage American conduct but the real world is a lot messier, a lot more ambiguous in its ethical certainties..
Along those lines I remember reading an article by someone declaring that High Noon was a terrible slur on Americans because of the cowardice of the townspeople forcing the sheriff to stand alone, and I thought and still think he made a good argument.
“t’s pure messiah saving the shtetl fantasy ”
Do you have any example of a Yiddish play or novel with that plot?
Mid-century sounds like “Shane”. The director/author was German but not so far as I know Jewish. Feel free to enlighten me,
Well I’d have to watch it by myself. Wifey would have nothing to do with that. Liked D Hoffman in Marathon Man.
I’m in agreement with your wife…Not ever going to watch it, it’s disgusting…
Right, I’d find it disgusting as well. But when I saw it, I liked the movie. That folks basically sums up my life’s path to this group. Unfortunately, you do the math. It takes a long time to wake up from the myth/dream.
Whew! Talk about propaganda.
All those survivors in the diamond district, were they missing their gold teeth?
Most of the gold teeth extractions were from dead people. Easier that way.
“Marathon Man” was the ultimate Jewish nightmare put on the screen so that the rest of us could “feel their pain.” Gak!!
I especially enjoyed the old Jew road rage at the beginning of the movie. The old bastard ended up killing himself and the Nazi. He just couldn’t let it go.
It was the halcyon days of the US government aligned with (ex)nazties
You should mention that Jon Voight today is one of the most outspoken conservatives in Hollywood.
Oh, ya, he’s a white, male, cuckservatard all right. It’s a true American cowboy for all retards to admire.
“Let me read something for you,” he [Voight] said. “Israel, I love you.”
https://cmsedit.cbn.com/cbnnews/entertainment/2023/october/let-my-people-go-actor-jon-voight-turns-to-scripture-amid-hamas-holocaust
So many white Amerigolems, so little time to study them all. LOL.
https://en.wikipedia.org/wiki/Jon_Voight#Early_life_and_education
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Good luck on the domicile search.
Make sure you have at least a couple of acres so we can visit and sharpen your CCW skills on the new pistol range out back.
Cold home brews afterwards.
Then we all fade into the brush.
Semi-related: I recently watched the 1964 French movie “L’ Homme de Rio” (That Man From Rio) with Belmondo. I used to love that movie when I was a kid, but now all I could see was the propaganda. There was a scene in a Brazilian favela full of poor black people. It was portrayed as a place that was safe for a lonely young White woman, because the inhabitants were all magical happy black people listening to cheery music and dancing and giving helpful tips. The main villain was white, of course.
Check out the Brazilian movie “Cidade de Deus” which depicts the black favela unflatteringly.
https://www.youtube.com/watch?v=SCFZt926ufg
and tio get this posted: not spam not spam
I saw that when I was a kid and liked it then, it was pretty funny. Saw it again a couple years ago, it was a lot less funny then and the favela scene was pretty unrealistic with what I know now.
Midnight Cowboy seems like an awful movie. I am glad that I never watched it.
Btw, the movie was directed by John Schlesinger. I am sure he didn’t hate himself, but he definitely hated Whites.
I tried to watch midnight cowboy twice and I couldn’t get past the first 10 minutes. I guess it’s just not my kind of movie.