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[porkchops 4 mahound]

More proof, as if it is needed, that liberalism is a frikkin mental disease.

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[injin]

I find it amazing that so many American Jews , like Spielberg,
and many others , including many of my own friends , are such ardent Bush haters , so deeply against the War on Islamic terrorism , and so sympathetic to virtually any liberal cause or issue.
It's very bizarre to me . Don't they love Israel and wish to see it survive? If not , why not?....

[youthgonewild]

I'm watching Munich regardless of the naysayers on here. Internet critic James Berardinelli gave it 4 stars and I consider Schindler's List among the finest movies ever made.

[bmwcyle]

Stevie lives in his WA bubble hoping to save the world. Stevie forgets Satan drives the hatred.

[Ruy Dias de Bivar]

bookmark for later.

[BooksForTheRight.com]

Movie producers produce movies with an explicit agenda in mind. They do not produce movies to entertain.
The movie has a clear, definite idea that it wants to implant in the heads of the viewers whose critical reasoning facilities are softened by public school and the expectation of being entertained.
It is not the other way around: an entertaining movie has a few agenda-furthering blurbs here and there.

[Mia T]

CORRECTIONS:

1. To advance his fallacious argument, Spielberg has Golda Meir speak words she never said, never would have said and, obviously, cannot now disavow.
   
   
2. In Munich, similarly, Spielberg humanizes the terrorist, but with techniques far less subtle. (Subtlety is most often an inverse measure of either the intelligence of the audience as perceived by the director, or the intelligence of the director. Or both.)

[Mia T]

Another correction:

Hollywood is DreamWorks, fantastical and unthinking and solipsistic by definition.

[Mia T]

CORRECTED MAIN ESSAY:

AFTERWORD
MUNICH: A CLOSE ENCOUNTER OF THE WORST KIND

by Mia T, January 8, 2006

If Act I was a thinly veiled allegory about naked clintonism, then Act II is a parable about the plan for world domination by the Establishment, aged hippies in pinstripes all, with their infantile, solipsistic world view amazingly untouched by time.⁴

Alien Abductions, Flying Saucers + Other Weird Phenomena, c.1992-2000
Mia T, January 3, 2006

THE ALIENS
Mia T, June 9, 1999

 

 

orrowing a phrase, perversely, from a Spielberg flick about benign intelligence, to watch Steven Spielberg's Munich is to have a close encounter of the worst kind.

Munich, with its false premises, phony pieties and outright lies -- Spielberg fantasy wrapped in sober documentary -- is a verisimilitudinous contrivance that is pernicious, especially now, especially here, especially if we understand Spielberg's real motivation.

Truth matters not at all to Spielberg, and courage, so it seems, matters even less. To advance his fallacious argument, Spielberg has Golda Meir speak words she never said, never would have said and, obviously, cannot now disavow. Posthumous misappropriation is a preferred tactic of the abject coward.

Yesterday, Daniel Patrick Moynihan died. Today, the clintons are arrogating his soul. Hardly surprising. In 1999, the clintons were not at all shy about seizing his still-warm senate seat.

One has merely to recall the Jefferson double-helix hoax to understand that posthumous misappropriation is, for the obvious reason, the clintons' preferred method of legacy inflation….

Standard-Issue clintonism

If misappropriation of Jefferson's alleles hinged on a broken line of descent, misappropriation of Moynihan's endorsement depends on a broken line of dissent. Like Sally Hemmings' progeny, Moynihan's later acquiescence is of dubious lineage

Mia T, Moynihan Myths

 

Munich is less about Golda Meir avenging the 1972 Munich massacre than it is about George Bush waging the War on Terror. The Munich allusion is key to understanding Spielberg's motivation.⁵

The core of the Spielberg/Leftist anti-War-on-Terror argument is that by fighting back, we become our enemy. Ironically, with this movie, the same can now be said of Spielberg.

Is Steven Spielberg humanizing the terrorist really any different from Leni Riefenstahl humanizing Hitler? If anything, Spielberg is more contemptible. Whereas Leni Riefenstahl symbolizes the naïve actress and director who is induced to deal with devils, Spielberg is self-actuated and aware. He knows exactly what he is doing; and he wants to do it.

Leni Riefenstahl chronicled Hitler's 1934 Nuremberg rallies in Triumph of the Will, perhaps the most notorious documentary ever filmed. After the war, Riefenstahl excused her effort as pure documentary -- watch for Spielberg to do the same one day -- yet wholesale cut-and-splice was a standard technique: She composited Hitler's motorcade to Munich, for example, from other events and shot the closeups of Nazi leaders in a staged studio sequence.

Riefenstahl insisted that the finished quality of Triumph of the Will came "from her editing, not from any imposition of 'posed shots' or choreography on her part." With her innovative editing techniques, Riefenstahl deliberately and selectively "aestheticized Hitler and the Congress' proceedings. By editing out a shot of Hitler wiping his nose and including instead 'more interesting expressions,'" by eliminating the human, Riefenstahl eliminated the inhuman.

In Munich, similarly, Spielberg humanizes the terrorist, but with techniques far less subtle. (Subtlety is most often an inverse measure of either the intelligence of the audience as perceived by the director, or the intelligence of the director. Or both.) For sheer power, reach, and ruthlessness if not subtlety, the fascist Riefenstahl operation doesn't hold a candle to the Leftist agitprop machine today.

Hollywood is DreamWorks, fantastical and unthinking and solipsistic by definition.

In order to shut down this dangerous operation, people capable of critical thinking must take on Hollywood... and must do so in Hollywood's venues.

The printed word, sad to say, no longer carries the day.

[ALOHA RONNIE]

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SPIELBERG = Supporter of FIDEL CASTRO


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