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In the right wing’s attempt at creating a parallel society, they have an entire spectrum of political video streams that act as de facto news bulletins and current affairs programming. This also includes political documentaries with genre classics like Europa The Last Battle being successfully used as a normie-sphere propaganda weapon.
But in its embryonic cultural state, the right wing has not substantially contested entertainment such as sports coverage or created its own independent cinema.
We have no movies of our own and so legitimate nationalist audiences either stick to the past, selectively curating classics from previous film history (as if in the end of culture) or boycotting cinema entirely. Either way standing frozen in time as the world marches on.
All In The Family
Francis Ford Coppola has perhaps the greatest four-movie-run in film history, dominating a decade with much of the 1970s cinema mythos based on his output.
Skipping some rather interesting attempts at cinematic utopianism that you can look into yourself, this story begins with a mostly unknown Coppola hired to direct a Mafia film because he was Italian. He requested the studio cast Marlon Brando in the title role, but by this point Brando was blacklisted from Paramount for being incredibly difficult and so this idea was flatly rejected. Coppola, quite fixated on casting the movie star, was unable to conventionally negotiate around this and so spontaneously fell to the ground, having a fit in front of the studio executives, banging his fists on the carpet.
This act of performative insanity forced Paramount, perhaps out of bewilderment, to shift and allow Brando under certain strict conditions (most of which they relented on). Long story short, huge smash hit 3-hour epic with Academy Awards for best picture, actor (Brando), director (Coppola) etc.
Then he made The Conversation, one of the greatest thrillers of all time, which would then be nominated alongside his next film for the same Academy awards. That next film would be the 3.5-hour Godfather Part Two, both a sequel and prequel, often considered even better than the original, which is true, it’s more epic, sprawling, intercutting between different intergenerational family stories, and the two films would sweep the Academy awards again.
Coppola’s only competition was himself, being nominated for all the top prizes twice.
Godfather 2 would be made with more creative control and stipulation that troublesome Jewish studio executive Robert Evens be banned from the set. All the binge-watching sagas of Netflix don’t even get close to the quality of the two Godfather epics.
Having now conquered the artform, Coppola raised his ambitions so high, that despite insane success, the studios would not support his new venture. Coppola had a vision for tackling the Vietnam war, something that hadn’t really been done yet and it was based on a fascist John Milius script. So he bet his own hard-earned riches (and house) on the production that took over 3 years to complete.
The once-darling of the press when working for the studios was now mocked for going over-time and over-budget. But with the comfort of hindsight, we can now recognise Apocalypse Now as one of the greatest films ever made, a true example of filmmaking heroism that created a kind of modern creative mythos for artists who want to climb unscalable mountains.
This specific artistic journey is immortalised as shorthand for filmmaking bravery in cinephile circles. It also mirrors and possibly borrows from a lower budget example, Aguirre The Wrath Of God, by German filmmaker Werner Herzog. Another river-journey filmed in risky foreign locations but this time shot with stolen cameras from a German film school.
The self-financed Apocalypse Now by Francis Ford Coppola is often ranked as one of the greatest films of all time.
On a recent episode of WarStrike, Eric Striker took issue with legendary filmmaker Coppola, whose middle name comes from industrialist and “The International Jew” author Henry Ford, for literally betting the farm (his vineyard and winery) on an ambitious self-funded $120m epic “Megalopolis”.
Striker compared him to the “baby boomers”, spending their children’s inheritance on frivolity. He went on to call the director an “egotistical piece of shit”. But I believe Striker is showing the right wing’s limitations when discussing art, where it often ends up hitting its head on a philistine glass ceiling.
Right-wingers and nationalists are banished from artistic circles and institutions, and so it’s natural that they will be drawn to more literal politics or MMA gyms as they lay low, planning insurgencies from the wilderness. Consequently we have great intellectuals that can dissect philosophy and politics but not much of an artistic culture of our own.
Striker sees Coppola’s attempt at making an epic masterpiece during a time of otherwise civilisational decline as “selfish” and he sees Coppola self-funding his own work purely in economic terms. When in reality, Coppola had previously done this with Apocalypse Now, where he mortgaged his home, to similar negative press, but ultimately being vindicated by winning the Palm D’or and the film being an instant classic.
This isn’t just financial success, this is what we used to do, create important art that enters the zeitgeist.
Like the great industrialists, imposing their vision upon the world, the best of cinema has been heroic men bringing visions to life despite every obstacle. Buster Keaton losing money to blow-up a bridge and destroy a real-life working train that crash-dives into a river still means more than the greatest CGI of our current moment.
Some work is ahead of its time or simply made in eras of conservative distribution. Some films simply don’t work, but their ambition can be appreciated. Not every bold attempt will be a bullseye, but we need archers to continually aim for the target. Even a fallen warrior must have been a warrior first and therefore deserves respect.
The movie industry refused to fund Megalopolis and so Coppola’s job as an artist is to realise his vision through force of will regardless. Rather than shallow financial analysis, Megalopolis, regardless of its finished form or politics, should be seen as a heroic act of independent ambition that defies the Hollywood system.
Striker’s idea that the Coppola children are being “disinherited” is again shallow and easily refuted. Firstly, no money has been lost yet and even a failed cinematic run can be recouped through other means endlessly over time by whoever owns the film rights (which is likely to be his children). Apocalypse Now was widely re-released in cinemas two more times since 1979 as different cuts. A now classic “making of” documentary called Hearts Of Darkness acts as an orbiting moon, perpetuating Coppola lore, shining back onto the movie and solidifying his legend.
Similarly, Coppola has entrusted a making-of documentary about Megalopolis in the hands of innovative British filmmaker Mike Figgis. This is a great piece of insurance because whatever the oligarchical studios intend to do with Megalopolis on release, such as using their monopolies to prevent it being widely distributed or have any mainstream press, a sense of gravitas can be built over time through the documentary to win the long game.
In fact, even the Coppola flops such as One From The Heart (1981) and The Cotton Club (1984) seem to be winning a long game with new cuts, re-releases and physical media. This has brought in new money and revisionist appraisals.
Coppola points out that the most important thing he has given his children is filmmaking experience that in both cases gave them successful careers.
Roman Coppola was entrusted with practical special effects on Bram Stoker’s Dracula (1992), one of the most visually audacious horror films ever made. This was such a radical move during the rapid rise of CGI to use in-camera traditional FX and it breathed new life into cinema. Roman continues to be a successful director/producer in his own right and heads his father’s company American Zoetrope, which has produced Megalopolis.
Francis’s daughter Sofia is also a hugely successful director, one of the most acclaimed women working today, with such modern classics as The Virgin Suicides and Lost In Translation.
Francis’s children being gifted such a head start, given practical filmmaking experience from a young age that in both cases has borne fruit means that the legendary artist has already given them everything they need. He has simply been a good father.
I don’t believe for one second that the children would resent their dad attempting to make another great film outside the Hollywood system. These children are his legacy as much as his filmmaking is their filmmaking. The unbroken lineage between the father’s achievements and his children keeping the flame alive seems like a foreign concept to our modern world of broken families, teenage rebellion and individualism.
Francis could die tomorrow but significant Coppola films will continue being made for decades because of his offspring. This is the true transference of intergenerational wealth, not just the money that Striker is protesting about.
This family business is a living amorphous thing dealing with abstract culture and even if this film flops, the saga that is the Coppola family’s cinematic output is entrenched and guaranteed to unfold in the future. Literally grandfathered in, the Cannes Film Festival press conference for Megalopolis had several generations of Coppolas (including young grandchildren) taking the stage.
Sofia Coppola’s Lost In Translation. Francis Ford Coppola’s legacy, apart from his own classic films, are the successful films made by his children.
Cinema and the right
The idea that the dissident right cannot produce its own feature films and long-form entertainment is enforced by the very same arguments Striker has made in regards to Coppola.
Unlike the left, the right cannot see art and the culture war in terms of self-sacrifice or romantic battle but instead look at it with risk-aversion. They don’t see artistic creation in heroic activist terms or such bolder steps to conquer the culture would have already been made.
We are too responsible and vanilla, our most radical are simply too autistic, unsophisticated or unfeeling to tap into the emotional arts at scale.
Nationalists don’t see a filmmaking crew in militaristic terms or understand that low-budget cinema is called “guerrilla filmmaking” for a reason. They don’t mythologise Coppola using real Filipino military aircraft to shoot Apocalypse, helicopters that would have to leave mid-shoot and go fight real rebels in the mountains. Movies are often real, mirroring what they depict.
Perhaps worst of all, nationalists simply don’t see the opportunity there for the taking, that there is a huge unmet market crying out for content if only more of us showed artistic leadership. This despite the accessible technology making such moviemaking endeavours affordable and achievable.
Even native Nigerians have fashioned a micro-budget film industry of their own (known as Nollywood). That’s right, White nationalists are being cinematically outdone by sub-Saharan Africans.
When the tools are so accessible the only major cost is time and labour, so surely a passionate political movement can generate some collaborations and labours of love? For the moment, apparently not.
I’ve had several private conversations about this with significant DR creators including talented video editors to prominent movement leaders and I get the same answer – “we don’t have the required millions of dollars to do it”. Well neither do sub-Saharan Africans and yet they make 2,500 movies per year.
This obsession with money again shows the ceiling on both creative imagination and historical knowledge regarding cinema that the dissident right has imposed upon itself. If you had the same conversation with a leftist university film student or academic, they would list-off a series of significant zero to micro-budget films. Some of which will be little known or seen by the masses, but exist as avant-garde works informing elite sensibilities.
All ideas first emerge in avant-garde art and literature. And that is the context left-wing academic film culture exists in, embracing low budgets, ingenuity and all the radicalism of being in the underground, which is in turn brought to mainstream festivals to stimulate the ruling class.
It seems as supposed counter-revolutionaries, the right wing wants everything given to them on a plate by the very establishment they are opposed to, with an aesthetic palette quite childishly focused narrowly on big budget Hollywood, the very thing they should be rebelling against.
When compared to the left, this shows a stunted formation of sensibility. Progressives, who admittedly control the culture and institutions, do offer a far more sophisticated view on form, style and content when it comes to their cinematic appetites.
And when someone finally does offer something slick that’s made outside the beast system, it’s being poo-pooed by one of our most prominent thinkers for being self-funded and indulgent before even being released. How else can anything be made outside the Jewish Hollywood system without self-funding?
Some quick lessons in zero-budget filmmaking and how to turn restrictions of budget into strengths.
A.I art is gay
Recently on an episode of Mark Collett’s film club, panellist Nativist Concern suggested that A.I could be the solution for making our own movies. Fellow panelist Morgoth pushed back slightly, pointing out that we dont just need to make “Star Wars” type films that require big budgets, implying that we should be working within our means.
And I agree, in fact I wish there were more pushback on such a comment. The answer to a lack of output is to simply pick up our cameras and start shooting. To come up with efficient concepts and bring them to life.
Cinema is simply people shot on locations over and over stitched together as a narrative. So base a narrative and methodology on locations you have easy access to and cast friends in your circle.
Stop overcomplicating things and be more impulsive with the tools you have. Don’t fixate on 4K resolutions and gear-lust, creativity is far more important. A.I art is worthless and it’s treated as such by the public.
Labour and scarcity are the source of all value and when something can appear instantaneously without effort or cost, we instinctively know it’s worthless. Collett’s film program is very important in our sphere and it should be encouraging people to make their own human-made low budget films. The idea that we wait around for the beast to vomit up material from the void is ridiculous.
On WarStrike, Warren Balogh, environmentalist, artist and general purist about things, has surely against his better judgement started to play A.I performed rap songs every episode. Originally, they were sent in by a listener as humorous racially charged text lyrics to be read out by Striker and Balogh.
This conjured the best era of radio comedy as they tried to maintain composure performing these negro-styled rhymes with natsoc content. But now that it’s read-out by a computer, to sound like a normal rap tune, it’s lost the comedic magic and tends to be something worth skipping (in an otherwise excellent program). It reminds me of those teenage girls doing selfies in the mirror with “fuck capitalism” written on their iPhones.
And you can see that A.I imagery is quickly destroying memes with their weird uncanny valley effect. These dead-eyed images fail to properly capture social dynamics between people in the frame or express emotional ideas effectively because they are devoid of authentic human input. A horrendous cartoony-photoesque aesthetic grazes our eyes like sandpaper. A crude MS paint scribble from a human will always have more intention and power.
We have to be honest, the dissident right has an A.I problem with no clear philosophical position to guide us and save our creativity from atrophying. I’ll do it now, A.I is gay and should be avoided apart from being a discrete tool to fix and manipulate things as part of a larger project. Used more like a filter to fix audio. But we need actual artists to be creative and to maintain some things as sacred.
If we can’t master and effectively critique artforms, forget larping as revolutionaries of the future.
There was this German guy who was an artist that became a great leader. He had a distinctly human vision for the arts and creatively delegated many projects successfully. This included entrusting film production with a female dancer who would end up changing cinema.
This leader was grounded in the ancient and used that to inform a new avant-garde whose fruit we still enjoy and take for granted today. We talk about “the volk”, “Aryan spirit” and the “natural world” yet our embrace of A.I aesthetics wills on pod-dwelling and virtual futures.
Sometimes it feels like we are clambering for top bugman status above our enemies. It’s time to grow up or perhaps “human up” and take a strong philosophical position. We shouldn’t lay on our backs like upturned beetles, lost in relativism while helplessly waggling our tiny legs in the air.
Ryan Gosling’s Bressonian interior acting style allows meme-makers to use him as a blank canvas to project ideas onto. In this case, “He’s literally me” is longing for mythical Hyperborea and his embrace of the ape is a reference to the “return to monkey” meme, which represents humanity having hit a dead end with modernity and needing to reverse path. Such memes constitute the current experimental filmmaking avant-garde.
The right-wing New Wave
There are a few potential greenshoots in the dissident right and they should be part of the conversation. In Ireland there is dystopian speculative fiction akin to Gray State being produced by Roddy Murray Films called CAESARMEN.
In Australia there is a proposed historical revisionist drama that presents a 1990s mass-shooting in Port Arthur as a false flag used to remove citizen gun-rights called WASP. This one is being conceived by Paul Moder, an actor from the original Saw short film (that spawned the biggest horror franchise of all time). And the White Art Collective do have a feature horror film going into production called Once Upon A Time In Minnesota.
But these are all unfinished or entirely unshot films. I applaud each filmmaker’s ambition, they are essentially operating in a vacuum and as rough, imperfect or low-budget as the films may turn-out – they do constitute the right-wing avant-garde.
Left-wing academic film culture is very good at judging work on their merits and in context, they are very open to raw, amateurish and outsider art in search for something unique, special and entirely new within it. On these terms the left’s film criticism is quite advanced and adventurous. They have countless film journals, institutions and entire courses dedicated to this.
I spoke to one prominent nationalist about Jonathan Bowden’s zero-budget avant-garde work Venus FlyTrap and it was dismissed pretty quickly. Not one person from our movement has even managed to review it on IMDB. I think the left would take a bit more time discussing an experimental film by one of their philosophical heroes.
We need to make sure right-wing critics and audiences are ready for any new wave of cinema our movement produces, and have the sophistication to deal with it properly on zero budget, outsider and embryonic terms.
The handmade Murdoch Murdoch series took South Park’s original minimalist animation style and simplified it further to create one of the greatest political satires of all time. Entirely independent and uncensored, they managed to create 85 hilarious and occasionally transcendent episodes. Watch all episodes
Although the dissident right hasn’t produced much of its own feature films, they have accomplished a lot in what could be described as short experimental work with meme culture.
This shouldn’t be understated, much of it is quite extraordinary. Through meme video culture, entirely new visual languages are being written and it could be the key to our own distinct longer-form work. It follows a well-worn revolutionary pathway in using pre-existing footage and radical editing to give something an entirely new context and meaning.
This is what early Soviets did before they could acquire their own film-stock, forced to re-edit films from Germany and America. But these limitations meant they formed an advanced editing language of their own that international cinema itself would later absorb. The current crop of anonymous meme video editors are akin to the early Soviet film schools recutting foreign films for their own political purposes.
In its current state, Hollywood is truly foreign to the nationalist, but the studios offer billions of dollars of free footage that can be edited out of context to create something new. Soviet montage theory saw the cut/juxtaposition between two images as a revolutionary act that gave birth to a third entity. Hollywood probably wasn’t prepared for left-wing Jewish films like American History X being sliced up, taken out of context and stylised to champion the themes originally intended to be demonised.
Ryan Gosling’s interior acting style is being used as a blank canvas for meme makers to project whatever they want onto it. The pathos of “He’s literally me” allows nationalist video makers to emotionally connect with millions on social media.
And every historic epic is being cut into something glorifying European history, ethnicity, masculinity and with the propagandist purpose of awakening the dormant warrior class within.
This is why TikTok may be banned, because it favours the young independent creator, but they will have to shut the entire internet down to stop meme videos, and at that point we have won.
Another thing the nationalist scene has managed to do is generate many of its own film critic live streams.
So this shows culture is not entirely being ignored but dealt with critically in round-table discussion formats. It also encourages participation from the audience who give their two cents or ask questions using superchats (the lifeblood of alternative media – spend generously). This is valuable in the sense that it again follows a well-worn revolutionary pathway.
The French New Wave was born from film critics unsatisfied with what the system had produced, who then went on to create radical work of their own. The Nouvelle Vague broke rules in terms of how low their budgets went, incorporating a DIY ethos, shooting on location, radical editing (some of which was borrowed from Soviets), using technology in new ways (including hidden cameras) and with their own revolutionary politics.
This would go on to change Hollywood, cinema and society. Today’s equivalent would be shooting a movie on your phone and just getting on with it.
Our podcast streamers are halfway there, they are already using cameras to stream themselves, they just need to start filming other things. Most of them already know how to use editing software.
The dissident right must see themselves more like leftists in the 1960s than atomised individuals suffering paralysis in the 2020s. They need to drop-out, use welfare, gain favours and dedicate themselves to film projects if we are to see a cinema of our own.
This is the true Masonian radicalist position on the arts. Welfare is guerrilla warfare, Mao Tse Tung’s “take what you need, use what you can”.
University students and graduates have no problems living this way as soldier activists. The right has no choice but to use the system in the same way to create a brigade of time-rich creatives to bring ambitious visions and new cultural spheres to life.
If we weren’t so buttoned-up, well behaved and pathologically employed – we could achieve so much.
Where to next?
So you are right-wing, you like art and cinema but don’t know where to find based film criticism?
Here is a guide to some of the best content out there. If there is to be a right-wing new wave of filmmakers, many of them will be watching these streams. Like Jean-luc Godard and the French New wave, Some of them will be the streamers, guests and audience members themselves, born from our own critical culture.
I can’t name everyone and there will be people I don’t know (so do comment on social media about anyone we have missed), but here are some that everyone in our movement should be following.
Subscribe to every one of them, allow the cultural content to flow to you as it arrives and be part of the conversation. If this critical culture gets bigger and more serious, like a volcano, it will have nowhere else to go but the production of its own cinema.
A guide to dissident right-wing film criticism
Academic Agent
His streams are not normally formatted as film reviews, but he has taken on a major cinephilic project in a complete retrospective of documentarian Adam Curtis. This means all episodes of every Adam Curtis TV series made for the BBC is being streamed in full with an unobtrusive commentary at certain moments where the documentary is paused to reflect (now encompassing a panel of other informed Curtis enjoyers).
This is to both critique the montage-heavy filmmaking style of Curtis but also to ponder the political events and concepts being presented. Adam Curtis exists as a mysterious figure who has for several decades somehow been given free rein at the BBC to make radically edited high-brow political documentaries, including Century Of The Self, which helped redpill Kanye West on the JQ and in turn shift the Overton Window.
Though this series is distinct from AA’s regular content, he does infuse pop-cultural and artistic references into his normal political discussions. This retrospective could take years and I applaud the undertaking. I also have it on good authority that Adam Curtis himself tunes into some of these retrospectives.
Follow on YouTube.
Devon Stack PhD (AKA Blackpilled)
In his highly influential dissections of cinematic propaganda, Devon Stack usually focuses on what the enemy is producing and breaks it all down scene by scene to analyse how brainwashing works in real time. With a background in media and marketing, Stack holds a very unique place as a film critic.
One of his greatest works, the “Pat-Con” series, is a wild and sprawling reaction to “Indivisible: Healing Hate”, a regime-produced TV series, which gave Stack an opportunity to tell the truth about American political history, false flags, Waco, January 6 and the federal involvement in destroying patriotic movements.
Truly landmark, start with this excellent Pat-Con series, which can be found on Odysee and Bitchute.
Mark Collett
Monthly, rain hail or shine, Mark Collett, leader of Patriotic Alternative UK and a panel are delivering lively 2-hour film review streams darting back and forth between the latest releases and classic films.
Both good and bad films on offer and with an emphasis on the political and archetypal themes, this has become a tent-pole in right-wing film criticism and one of the best places to start.
It’s also a good place to ask a question as generous answers are given to superchats by Collett and the panel. Collett usually brings a solid thesis on what he thinks about a film and challenges his panel to bring the same. Occasionally it becomes a rigorous debate.
The program has guests like Morgoth, Warren Balogh from Warstrike, Devon Stack from Blackpilled, author Kevin MacDonald and Dr David Duke. Any nationalist should already be subscribed to this channel on Rumble, Odysee and Bitchute.
Decameron Film Festival (Produced by Guide To Kulchur)
Fróði Midjord conducts perhaps the most important annual cinephilic event on the calendar, which is an entire month of daily film reviews with a variety of special guests, each bringing a thesis on what they think about an important work.
Guests are essentially the who’s who of right-wing thinkers and culture critics, pretty much everyone I am listing here and more, all brought together for one event that truly stands alone.
Apart from this, Fróði has a back-log of great film review programs done with the enigmatic and raspy-voiced Ty. E, one of the most informed, provocative and engaging film critics on the planet.
Fróði, himself a supremely insightful observer, has with this event and his regular Scandza Forum become an important cultural leader. Unmissable. Found on Odysee, but there is a Bitchute too.
Morgoth’s Review
As a film critic Morgoth is essentially a walking Boy’s Own Annual and doesn’t pretend to be anything else. And so he dedicates time beyond his normal philosophical video essays to review deeply macho cinema, emphasising the chiselled work of Stallone and Schwarzenegger with an embrace of the propagandistic for all its mythical power.
The follow-up of that one-two punch is the exploration of such films’ satirical aspects. Like the biting or prophetic Demolition Man and Starship Troopers. With a strong intellectual basis, contextualising everything that’s symbolic and delivering his takes with a higgledy-piggledy northern accent, Morgoth is one of the best social commentators in the dissident right.
His barricading himself into the action section of a video store is some of the best fun to be had in film criticism. It’s a high-brow mind taking-on low-brow cinema.
Follow on YouTube.
Richard Wolstencroft (Report From Tiger Mountain)
Richard Wolstencroft isn’t just an online personality. In Australia he created a wildly reactionary film festival in a direct attack upon the government-funded art world. The Melbourne Underground Film festival is a historically important event that has premiered the early work of James Wan, Greg McLean, Scott Ryan and the Spierig brothers, who would go on to make Saw, Wolf Creek, Mr Inbetween and Predestination respectively.
MUFF held a retrospective of Brett Easton Ellis film adaptations (with Ellis in attendance) and showed a proof of concept trailer for Paul Moder’s “WASP” (the previously mentioned Port Arthur revisionist history thriller). The festival continues to be a last bastion of free speech in the most locked-down, over-governed and shitlib city in Australia.
As a filmmaker, Wolstencroft has produced one of Australia’s only overtly fascist-themed feature films with Pearls Before Swine (starring industrial music pioneer Boyd Rice). With his position as festival director he has continued to be an outspoken critic, surviving several cancellation attempts and regularly unloading his views online in his Report From Tiger Mountain program on The Unshackled, Café Lockdown Radio Show and AFL legend Sam Newman’s “You Can’t Be Serious” podcast.
Follow on YouTube.
Counter-Currents
The main high-brow cultural journal in the dissident right, with a nice slice of that pie being dedicated to arts coverage. Edited by Greg Johnson, this sophisticated publication is a bit of an anomaly in our circles in that it consistently puts out rarified cultural writing including some pithy film reviews. And it’s not purely looking at work from a narrow political angle, it’s more sophisticated than that and will delve into all facets of film and artistic work.
For instance, Mark Gullick has written an excellent piece on the filmmaker Alan Clarke’s provocative, often-suppressed films made for the BBC and their unique film forms. There is quite a bit of transatlantic dialogue – the publication was key to bringing Jonathan Bowden to an American audience. It’s an American journal, but is quite Anglophilic.
There is an associated podcast called Counter-Currents Radio where editor Greg Johnson explores politics and culture with different guests such as Jim Goad and Morgoth. Most content is free, but there is a paywall that’s well-worth subscribing to for more treasures.
Visit Counter-Currents.
Thomas 777 and Pete R. Quinones
Pete Quinones has provided the eccentric qualified lawyer and revisionist historian Thomas 777 with a platform to wax lyrical about history in various multi-part series involving WW2 and surrounding events. But behind a paywall you can get their hefty commentary on classic films while they watch and pause them. Both Pete and Thomas are former New Yorkers so they have the inside scoop on local details and every tangent is worth the time. Every minutia of this 1970s New York time capsule and Travis Bickle’s specific Vietnam Vet character making it count is pulled apart… It’s also put into the proper context of being writer Paul Schrader’s film as much as it is director Martin Scorsese’s. If you think Thomas 777 is good at discussing East Germany off the cuff, wait until you see him riffing on a classic movie like Taxi Driver. One of the movement’s great orator/ramblers truly comes alive in this format. He can’t contain his smile, something you don’t usually see when he’s discussing the Baader–Meinhof Gang. Hopefully this becomes something not behind a paywall and instead funded by superchats, But until then it’s worth a yearly subscription or one-off purchase of specific episodes.
Bazed Lit. Analyzer
Eclectic and eccentric streamer who deep-dives into the philosophy of certain films or entire ouvres of certain artists. But the difference with this guy is he’s a Hollywood insider. Some kind of rich kid who got redpilled by Jay Dyer and now spends his time reading books and researching topics for his smoky broadcasts. A kind of Hollywood Babylon-style expose.
He’s a serious cinephile who went to school and partied with various people in the Hollywood machine, so he can give us the inside view of art being produced by the beast and explore the work by iconoclasts that rebelled from within it. A very unique creator in this landscape. On YouTube.
WØLFSHIƏLD STUDIOS
Special mention to WØLFSHIƏLD STUDIOS who has started doing film reviews. This podcast is associated with a feature film in production called Once Upon A Time In Minnesota. A living example of critics becoming filmmakers as part of a “right-wing new wave”. Give them a subscription for their lively film conversations and to monitor the progress of their filmmaking endeavours. Livestreams likely to be archived on Odysee to avoid YouTube censorship.
John MacDonald is a film critic and teacher of media in New South Wales.
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Forget idiotic, loser, “right- wing nationalist” or conservative b.s. films, as well as the usual, insufferable, standard run-of-the-mill, “left wing” “woke”, Hollywood movie b.s.
Both “sides” are merely 2 sides of the exact same coin, designed to keep you all forever on the state-worshipping plantation you are practically all on, and doomed to stay on, unless…..
Instead, for a truly great, neither “right” or “left” wing, pro- freedom, innovative movie, watch Larken Rose’s “The Jones Plantation”:
https://jonesplantationfilm.com
My song: “Live Free or Die”: https://www.youtube.com/watch?v=mbhRS1lCXlo&pp=ygUbRmFrZSBleWUgZCBsaXZlIGZyZWUgb3IgZGll
Video Link
Regards, onebornfree
A.I. is GAY! The insufferably bad “narrations” and even totally fucked up animations are tiresome to say the least. If people want to call THAT the future then we’re as good as doomed. At least Coppola, as far as I know, hasn’t pulled a Lucas and redone his past movies to the point that you no longer can appreciate them as they once were. The fans have managed to rescue the past for posterity’s sake but you’d be hard pressed to find any “normies” who understand just how they’re being robbed. They simply don’t know nor do they even know enough to care.
I was just reading an article on Counter Currents about why the right shouldn’t get into cancel culture, and I think the same idea applies to film. People know when they’re being manipulated and they resent it.
Just make good films and don’t beat people over the head with ideology. Quality wins… at least for the subset of people who can still recognize quality. It’ll be a controversial enough statement just to make a film that lacks heavy-handed woke propaganda.
Godfather is way overrated, Godfather II was better but still over hyped and Godfather III was unwatchable. Apocalypse Now? Mediocre at best, Platoon is easily the better of the two and probably the best movie on Vietnam. The Deer Hunter was also better than Apocalypse Now, probably a few more as well.
It is good to see Werner Herzog mentioned, and Klaus Kinski was one of the greatest actors who ever lived.
Thank you for an excellent article.
Megalopolis could have been an astounding piece of right-wing cinema. But I hear it was just a muddled mess and settled down into familiar liberal tropes.
The original theatrical release of Apocalypse Now was the best one.
I’ve aware other people say this on the right too. “Just make something out of twigs and dust”. “You don’t need anything”.
There are some things you can do with scant locations for instance if you’re creative and know how to exploit them, but you’re going be limited visually. If the screen is the canvas, what are you going to fill it with ? Your friend’s garage ? And then idea is you make something around your friend’s garage because it’s the only location you can muster. It’s not how it usually works.
I would not advise casting friends, that’s a recipe for one big mess and a lack of seriousness.
Yes and no. Then there’s a certain amount of technical skills needed just to make something look and sound comparable to things people are already familiar with. True, you don’t need to go film school, you can teach yourself if you’re motivated, but you need some experience and feel. It’s very easy to produce something nobody will even watch or even be able to watch.
There’s a lot I could say about this topic, i don’t want to sound negative on it. Do it if you want to do it. I think the reason more of this hasn’t happened is because it’s asking people to put themselves on the line if it’s coming from somewhere explicitly right wing.
But then that begs another question. What is a right wing film today ? I can pick some examples of films that I think lean right with their message, but what are we expecting to see today on a low budget? I think we knew what we were in 2016 whatever the flaws and what we wanted. I’m not sure who we are right now or what we want at this moment, although none of that is a barrier exactly, as people can make something from where they are I guess
Apocalypse Now is too long and too boring and sucks.
Sofia Coppola movies suck.
Movies is not an art. It’s a commodity. Whaddaya mean, there are no rightwing movies. I just watched this long pro-CIA anti-Russia series that couldn’t have been more standard gungho America Uber Alles right wing crap. Hollywood is full of pro-CIA, pro-war propaganda.
Movies are propaganda. They teach people what to think. Wrongly.
True, nothing is preventing whites from making their own content, starting humble should work.
AI art is creepy trash.
Talk about being wide of the mark. Doesn’t matter if you make the greatest film on earth if no theaters will carry it and no one will distribute it -nobody will actually see it.
For example; the Chinese own a controlling interest in AMC theaters and therefore have the power to shape pro Chinese narratives; because they control the distribution.
Do you think you’re going to get anything pro-nationalist or on the right side of the spectrum on Netflix, Amazon, any streaming service or in theaters?
Speaking as an artist, you keep your head down politically or the rabid leftists who run galleries won’t touch you. You have to tolerate dealing with people who put pronouns in their emails, and say wildly ignorant things like ‘we respect indigenous peoples and the Cherokee who once owned the land where this gallery is blah, blah, blah.’ But they would rip your head off if you gave them art depicting the Cherokee beating their black slaves because that truth is contrary to their narrative.
The slush readers for every publishing company are liberal arts majors, as are the publishers (leaving aside their own cultural marxist-leanings in the first place.)
FFS, It’s not a lack of talent or ability, it’s knowledge that you’re up against a monolithic structure that won’t let you participate, so people put their energy into more realistic endeavors.
TL/DR.
Reminds me of The New Yorker back before it turned woke and hipsterish, and expected its readers to plow through stuff like a three-part article on soybeans.
Rather than explicit “right-wing” message films, we need more satire that makes its points through humor. Idiocracy wasn’t overtly political, but has become a cult classic thanks to its savage jibes at American culture delivered on a carrier wave of laughter. It probably influenced its audiences more than did any number of “serious” war-is-hell or communism-will-rot-your-teeth movies.
Angel Studios does pretty well from a Christian/LDS standpoint. I liked “Shift” more than I didn’t. “Sound of Freedom” was also good, if you count that (it was made to be distributed by Fox; after Disney took Fox, the filmmakers had to buy it back).
Sailer’s reviews were a gateway drug for me and while I enjoyed this piece, no mentioning Mike Judge is a little off. Office Space, Idiocracy, Beavis & Butthead, Silicon Valley, Extract…while not being explicitly “right wing”, Judge’s societal commentary is pretty much unsurpassed amongst his peers. As Sailer himself as often noticed, why spend money on grifting right wingers to make bad cinema when you can spend it Mike to great commentary on society that resonates so memorably with all folks (but especially the right?)
As Mr Unz has made this a featured article I’d like to add another line to a sentence,
And sheer logistical grunt. Films don’t make themselves. There’s a lot of really quite dull and repetitive effort that goes into making them as well as the fun bit.
Would be creators, especially if they lack experience, should start with shorts. Like really short shorts. Don’t jump to trying to make a feature. It’s a mistake people make and it can be an amazing disaster.
Eventually though with a bigger idea try and raise some funds through these sites like gofundme, obviously don’t talk about any of the purpose of the film if this purpose includes conveying a pro-white, race or counter-semitic message. It will get kicked off in 10 seconds. Talk about everything else. During fund raising don’t associate with the right online at all.
I’ve seen independent film makers blow 10s of thousands of dollars of other peoples money making unwatchable garbage, you wouldn’t even believe how bad it is.
You want to have clear limited defined goals. I’d be interested to help with this if I can.
And the big problem with anything explicitly right, as opposed to implicitly right, is going to be for the actors. Everyone else is behind the camera, they aren’t. Whatever they do will be forever.
Casting could be tricky. Actors are very concerned with being hirable later on, and their world is mostly dominated by liberal left leaning sensibilities.
Interesting problem to solve, you may be looking at creating something with older actors, who have less to lose.
Or you could stick to raising money just from the right I guess. But same thing applies, you don’t want to end up wasting their money.
A confusingly written article with a few interesting ideas.
I agree about “AI art”. It’s trash. Not good even for memes. It’s funny only for showing the absurdities of modern thought (i.e. Google AI creating a black George Washington).
Coppola… I don’t know. Sure, he made some masterpieces, but what about the films he made in the 1990s/2000s, after Dracula? They’re basically unwatchable. (and even Dracula was not that great, it has some interesting things but i’s not Nosferatu). It’s not because those later movies were done with lower budgets, they are just bad, he seems to have lost his touch.
So forgive me for not having very high hopes for “Megalopolis”.
It’s also interesting that the author doesn’t even mention Godfather part III, a cash grab which was one of the worst films ever made, making a mockery of the previous movies.
Sofia Coppola — can’t stand her movies as director. I’d rather she had continue being an actress, as bad as she was at that.
Finally, I don’t think that there is such thing as “right wing cinema” or “left wing cinema”. There is good cinema and bad cinema. All good art is based on truth (“beauty is truth, truth beauty”).
“Leftist” cinema will by its very nature be based on lies, so it’s usually going to suck in some way. (Older leftist filmmakers still could do interesting stuff, nowadays it’s all about putting gays and blacks in all roles and dumb stories).
While a film that promotes truth and beauty will be naturally “right wing”, not because of its political message, but because it talks about real things, not leftist utopian fantasies.
Also: all good art is religious art. (In one way or another – art is about transcendence).
That’s Roger Ebert, reviewing the American remake of a French-Belgian film. His observation still seems to be the case. And, I would also say the same about selected Korean films. (For example, “Decision to Leave” and “Past Lives” – – two superb recent films.) If this is true, I like to think there is a political-orientation element that correlates with “laughable, stupid, and crude.”
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Dunno so much about all that. But is getting increasingly harder to argue with mega media in terms of comments. Year by year it is harder to make relevant comments. They have various weetle lil programs which make it very difficult to be published.
Like the future has arrived and all of us wish it hadn’t.
I know that all of us are too stupid to think for ourselves.
But we would like to have a try for ourselves instead of being blocked out completely.
I appreciate your bluntness and brevity, which contrast agreeably with these million words of pretentious blather about “art” from someone who is plainly channeling the equally irritating and pretentious Jung-Freud.
I have seen very few Vietnam war–themed movies (not even Platoon) in the fifty-six years since I was an unwilling participant in that real-life event. The only film I ever found either entertaining or “truthful” was one I saw about ten years ago accidentally—by which I simply mean that it wasn’t my choice to watch it. It was a Herzog film called Rescue Dawn.
I don’t know whether film fans like or dislike Rescue Dawn, but the Vietnam it depicted looked uncomfortably familiar to this survivor of the real thing. Nothing else ever has.
Of all my problems lack of media or propaganda consumption is not one of them.
I don’t really think Lucas’ tinkering with a few scenes in the original Star Wars trilogy is really so terrible.
They are very minor things.
Although the viewer should be able to switch back to the original, an idea that Lucas seems to dislike.
Where he really wrecked things is in his earlier THX1138. A few important scenes are, thanks to CG meddling, completely unlike the original. Sure, the narrative is the same, but I was very disappointed that, even on the ‘special edition’ two-DVD set I bought, there is no switch to change to the original footage, which would have been easy to include.
Ridley Scott, in his many re-cuts of Bladerunner, increasingly did so to subtly change the plot (and to get rid of Harrison Ford’s noir-style narrative in the first re-cut). Except for his retarded statement on sushi, I never really minded his narrative voice. The film worked without it. Ridley Scott’s re-editing to change the plot, though, becomes irritating in the end.
As for Coppola, Apocalypse Now Redux is the best version, nothing is out of place, except perhaps the French plantation scene, which works to me as a kind of background ghost story.
The downed Bunny helicopter scene is great.
I recommend that anyone who liked the movie also see the redux version, it is looong, but just the best version.
Dalian Wanda sold its controlling interest in AMC several years ago. The main reason was said to be the product’s growing lack of profitability coupled to a dismal potential for future expansion, attributed to both the lockdowns along with the rapid growth of direct-to-the-home streaming.
The idea that China, through Dalian, has (or had) the power to shape pro-Chinese narratives in Western oriented movies is rather bizarre. Can you cite instances of this? Or even one instance in a movie, where viewers walked away thinking, “Man, I really had it wrong about China… after watching this film at my local AMC I now understand that they are the good guys!”
Of course there has been a general cultural shift in Hollywood representation of Chinese characterizations, having moved away from the ‘inscrutable’ Charlie Chan/Fu Manchu/Ming the Merciless types (all played by Westerners, BTW). But it’s still pretty rare to find recognizable Chinese actors in popular Western oriented films… apart possibly from Jackie Chan. Most dedicated movie goers probably recognize his mug.
[One important exception– the ‘It’s all so tiresome’ guy from Empire of Dust is pretty recognizable to right wing types, from the memes.]
Yet few Westerners would ever recognize a famous mainland actress, even those who’ve ‘crossed over’, for example Li Bingbing, who recently co-starred in a Western sci-fi movie about a giant prehistoric man-eating fish– a film that might have broken even at the box office, but maybe not. Was that movie pushed by AMC, and did it influence anyone in a pro-China way?
I agree with the importance of right-wing (for lack of a better term) low-budget cinema. A few years ago I saw a feature film shot entirely on a phone. The film itself was lousy but the images were crisp and clean. Thanks to the digital revolution, filmmaking has never been cheaper and more portable than it is today. In the old days the unavoidable costs of film stock and processing were major stumbling blocks for low-budget filmmakers. Not any more.
When I see a preview that indicates that the film is dependent on AI, I cross it off my list of possibilities. I think its best use is for housekeeping, i.e., a cheap way to correct lapses in continuity, obviating the inconvenience of time-consuming and expensive re-shooting.
I definitely place Coppola on my list of all-time greats. My definition of a great director is not just one with a resume of memorable films but one whose failures are more interesting than the successes of mediocre directors.
Speaking of Werner Herzog, his “Fitzcarraldo” is definitely a landmark film. Les Blank’s “Burden of Dreams,” a documentary about the endless difficulties Herzog encountered while making “Fitzcarraldo” in the jungles of South America, is often considered the best of the behind-the-scenes “making of (name of film)” genre of documentaries. Blank’s documentary has just been given a 4K restoration and is in release as I write this. The difficulties a contemporary independent filmmaker faces are nothing compared to the challenges Herzog faced in getting this film made and distributed.
I agree with you on Godfather. All of those Vietnam movies you name are weak on the point that the Vietnamese don’t exist.
They do, but only as a Predator-style invisible threat in Platoon.
In Deerhunter, a source of mental illness, and a block to a return to normal life.
Truly, my favourite scene in Apocalypse Now! is where a Viet woman places a grenade in a helicopter, which then explodes, clearly just practical effects, but I liked it.
Couldn’t get through this whole thing. I certainly agree that the right lost the culture war, by not paying any attention to it (The Failure of American Conservatism: —And the Road Not Taken by Claes G. Ryn). But, was there any mention of Mel Gibson? He spent his own money making films, has battled the Jews of Hollywood, etc.
It helps to have a big hit like The Godfather. My script is going to to go into the dustbin of history. No hits or rabbis in the industry.
But as a couple of girls once told me recently, don’t give up.
On the right side, it’s too much to ask for another Triumph of the Will. Coppola and big budgets? Imagination, creativity and motivation are the trifecta. Those are not not money dependent, primarily.
What is missing are Drive-Ins. Places where youth could go and watch for a few hours for a few dollars. Where independents weren’t shut out.
Think of flicks like Carnival of Souls, shot for next to nothing, practically ignored at the theaters, but a drive-in favorite, and now viewed as a genre ‘classic’, along the lines of other low-budget thrillers, like Romero’s Night of the the Living Dead. Or the cheaply made ‘outlaw biker films’ from the ’60s.
A movie similar to Joker could be done low-budget. Telling a story of social alienation that might possibly resonate with a disaffected right-leaning youth.
A Rebel Without a Cause could be done low-budget. No big sets or CGI. A film that, BTW, depicts women perfectly. Think of Gang Deb Judy. After gang leader meets his maker losing a challenge with Dean’s character, what does Delinquent Deb do? Immediately jumps into Jim Stark’s lap for a good time–the guy ‘responsible’ for her former lover’s death.
Anyhow, the determinate is working the logistics of distribution, after production and editing has ended. With censorship, probably have to rely on torrent file share distribution. No money in that, but money can’t be the main goal when propaganda is the message. Think Disney et al. Losing money, but happy about it because, as McLuhan noticed so many years ago, in the world of media operations ‘culture is their business’. The old, ‘How does this help us sell burgers?’ meme.
As an example of a low-budget ($50,000 IIRC), that was very successful, I would cite Primer, from almost twenty years ago.
Primer is quite confusing and interesting.
I would recommend it to those who enjoy puzzles and mundane (as in not fantasy) science-fiction themes.
The reason it won world-wide distribution was that it won acclaim at the Sundance Film Festival.
I found it great, but one can’t work out the plot in a single viewing.
It would never have received the Sundance acclaim now.
The two protagonists are white men, one of whom has a stay-at-home (as far as we see in the film) wife. They have a little start-up company, one member is dot-Indian, five in all, but the two who invent a limited form of time travel don’t share the secret with any of the others.
It is a model of a well-made very low-budget film, but I doubt that Sundance would give it the push that it had then, now. Not enough deivoisity.
My uncle volunteered for that fiasco at the age of 44. He insisted that Full Metal Jacket was the closest to reality depiction of it all. Oliver Stone couldn’t tie Kubrick’s shoes
Just watched For a few Dollars More. Klaus Kinski plays a hunchback psychopath. He’s was mesmerizing. Couldn’t take my eyes off of him in every scene he was in. I concur
If you put a Trump like figure into it and demonize him and still can’t get financing, I’ll save my time and $. Still won’t forgive him for Godfather III
Thanks, I will try to watch Rescue Dawn sometime.
The “There Will be War” book series is excellent grist for the mill. Lots of themes in there useful to convey, and stories that read as “shootable” such as “The Iron Angel” and “Bodyguard” for example.
That ongoing series about the sterile men all except for one tank-driving, musical Irishman could be done as a comedy perhaps.
Baen-compiled short story books have all kinds of good shorts. Forget the hero’s journey thing for a hot minute and consider compilations of shorter stories?
They don’t all have to be “Star Wars.”
Just looked up Megalopolis. Anything with Shia Lebouf in it is going to be a problem, not that I’ve ever seen much of his work. 😀
Jug head Driver I avoided also, but now I found out he’s a ex Marine and more importantly not Joo-ish. 😈
Shakespeare didn’t have any children that the world is aware of but even had he had them and if they had followed in his large, nay, enormous footsteps in his chosen profession, would it have meant that the old man should have stopped writing to not overshadow them had he been inspired to write another one of his masterpiece… nary a soul would suggest anything so ludicrous… Coppola is no different vis a vis films.
Speaking of Viet Nam War, I was impressed with Go Tell the Spartans 1978 – starring Burt Lancaster. Lancaster is a Hollywood legend and is great in this film. It is well worth searching out.
My favorite Herzog film is Stroszek, followed by the two he shot with Kinski in Peru. There’s an ineffable, pathetic beauty to Stroszek, and its characters and settings are unforgettable. The character of Eva – who flees brutal pimps in West Berlin only to quickly turn into a lot lizard in Wisconsin – is a perfect, unflinchingly unsentimental portrayal of the amoral nature of loose women, who seek out their own victimhood.
A superficial interpretation of Stroszek would overemphasize the dancing chicken scene at the end and judge it a Marxist commentary on capitalist exploitation and alienation, but I think it’s much deeper than that. I see it as a bleak meditation on the coldness, absurdity, and despair intrinsic to a post-Christian world.
It was a good movie, especially the boot camp scenes with Gunnery Sgt. Hartmann, but it dragged a bit afterwards. This movie was released after Platoon and IMHO didn’t measure up as a movie. I respect your uncle’s opinion, I’m just speaking on which movie was more entertaining to watch IMO.
I agree that Sailer’s reviews are very good.
Trev Lynch was the gateway drug for me. Tons of insight, from the right. So rare and interesting and sometimes funny.
Good point about casting. Here’s a traditional work-around or short cut to solve the difficulty – an attractive lady with nice titties. Works like magic.
Personally I would rank the 4 Vietnam movies mentioned in this order
1. Platoon
2. The Deer Hunter
3. Full Metal Jacket
4. Apocalypse Now
All are watchable but Platoon kept me interested for the entire movie while the other 3 dragged in parts and Apocalypse Now and Deer Hunter were a bit too long.
Please whatever you do, don’t make Right wing content. That shit is as cringe as Leftoid crap. All you gotta do is tell the truth. The truth is an unknown country for many people and will be greeted as a liberation. Also peeps need to get wise to AI film. It’s rapidly becoming indistinguishable from film made in meatspace thereby drastically reducing advantages big money has in creating culture.
The Australian movie The Odd Angry Shot wasn’t as ambitious as the previously mentioned movies, but its tale of a group of “cobbers” in the Australian SAS was very well done. The French cineaste Pierre Schoendoerffer made well-regarded movies from the French misadventure, The 317th Platoon and the epic Dien Bien Phu, where he served as a cameraman who had to destroy all his film when he was captured there. He also won an Oscar for his documentary The Anderson Platoon, about a unit commanded by a black West Point graduate, set in, I want to say, 1966.
Godfather III is so bad I wanted to find Coppola and kick him in the balls. And I could only watch it for less than 20 minutes.
Herzog also filmed a documentary featuring the real live Dieter Dengler, entitled Little Dieter Loves to Fly. It might make a good companion piece to Rescue Dawn.
⁷Culture is as culture does! And culture controls a nation’s future – http://www.crushlimbraw.com – and conservatives, along with churchians – lost it.
I think some thoughts from Vox Day would edify this conversation – Why comics matter – a very good explanation – especially if you wonder where some of the creatures you see in the grocery store came from.
https://voxday.net/2024/08/02/sex-trafficking-at-comiccon/
“I understand that a lot of my readers are far more interested in US politics, war, economics, and religion than they are in what sometimes must appear to be a tempest in a fairly small teapot. But this reluctance to pay attention to the details of the high ground in the cultural war is one reason that Clown World has successfully managed to subvert Western civilization in general and the USA in particular.
I’ve never watched a Mr. Beast video. But tens of millions of children have, and they are influenced by the hedonistic, secular, and ultimately satanic philosophy being pushed by him. I don’t own a single Neil Gaiman book, comic, or movie, and few of you probably read him either, but he’s one of the best-selling, most highly-awarded authors of the last forty years.
If you don’t fight a cultural war, you will lose it, and then you will lose your culture. That’s why these things matter, even if you don’t happen to care very much about that particular battleground. Because they certainly do; here is but one of many similar examples.”
Ideology is a straight-jacket, cult left or conservo right. Abandon the diktats of the venomous philosophy that worms its way through your brain: it impedes the traditions, memories, and viewpoint that should inform you work. Mental and creative dexterity are required if you wish to attempt anything like Coppola’s filmography.
If you like Klaus Kinski as an actor I assume that you are also a fun of the great Christoph Waltz.
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Saw Apocalypse Now in its initial theatrical run when I was fifteen. Image and sound combined to knock my socks off. I still prefer the theatrical cut to Redux, although the French plantation scene as you point out seemed like a ghost story which enhanced the spookiness that comes with the death of Kurtz.
I would agree but can the doctrinaire mind wedded to a philosophy make art, or at least something that an audience wants to see, hear, read? Judging by the once liberal culture milieu I’d say no as we witness the wreckage of the woke mind virus. Think about story and the characters that will tell your story and don’t try to drag in obvious messaging.
400 Blows.
Jim Jarmusch.
Stopped reading at the “Sophia Coppola is a great filmmaker” part. She is a mediocrity who is the beneficiary of widespread industry nepotism and isn’t even pretty enough to be featured in a back of the rack smut magazine. Her movies are garbage.
Bram Stoker’s Dracula was so bad that I’m embarrassed for this author to even have acknowledge its existence.
As great as the first two Godfather movies were, and as mixed of a bag Apocalypse Now was*, the anti-white messaging was still evident, however subtly or not, in all three.
*As iconic as the character of Lt. Colonel Killgore (the name is no accident) might be, that character has served as the blueprint for directors who desire to insert an absolutely psychopathic and blood thirsty white officer or sergeant, often gratuitously and without any relation to the overall plot, into the storyline in order to promote the negative stereotype of white soldiers. See Full Metal Jacket, The Hurt Locker, Avatar, Platoon, and even Band of Brothers just off the top of my head. This while often simultaneously sanctifying the mythological magical negro soldier. In AN’s case, we are treated to the death of Tyrone Miller while he listens to a tape recording of his very motherly black mother telling him to get home safe. Is there a clearer example of audience manipulation than that? Earlier in the movie, we are treated to a gratuitous scene were Willard runs into a bunker occupied by a magic negro named Roach, who, while his comrades all descend into hysterical disorganization brought on by fear, he calmly and blindly fires his M79 into the dark night and kills a Vietnamese soldier antagonizing the base with a direct hit. Jimi Hendrix plays in the background. What in TF did any of that have to do with the story? Nothing. Just promoting mythology.
Coppola’s greatest gift as a film maker might be the ability to create a scene like the above and manipulate an audience into accepting the validity of such an absolutely preposterous situation.
There might have been a time when “pro-CIA, anti-Russia” could have been loosely defined as “right,” but that is simply not the case today. We seem to have adopted the term “right” and then busily gone about the task of hanging attributes on it as different situations dictate, essentially force-fitting the definition.
Comments such as the one blocked above underscore the need to properly define “right.” Or, better yet, just stop using the term. The fact that (((communists/socialists))) define themselves as left need not imply that anyone who opposes their ideology should adopt the moniker of “right.” To accept (((their))) terminology is to fight on the battlefield of (((their))) choosing.
Those typically characterized as right are simply people trying to preserve/conserve (as in ‘conservative’) their culture. Leftists (i.e., liberals, progressives, etc.) are trying to change/undermine/destroy said culture with the ultimate gain of acquiring power, exacting revenge, fulfilling prophecy, etc.
A far more productive endeavor would be to gain a working understanding of one’s culture and then identify efforts to undermine it with the goal of foiling those efforts. Instead of identifying as a rightist, one might identify by a term specific to the culture being conserved. For example, a conservative in the U.S. or Europe would more accurately adopt the moniker of “Westerner.” Or, regarding a culture specific to a nationality, the moniker should identify one with the country whose traditions he’s trying to conserve (e.g., Frenchman, American, German, etc.). Adoption of the moniker is downstream of an understanding of the culture being protected or conserved.
Coincidentally, apropos the earlier reply from “36 ulster,” I saw that documentary, Little Dieter Needs to Fly, online somewhere last winter. It’s about 95 minutes long. Here’s a link I found to a YouTube showing, but you can probably find it elsewhere, too.
Yes, a good point. I came across that documentary online last winter. I liked it, too.
I just included a link to it in my reply to Trinity.
As I am not much of a movie enthusiast, I avoid arguments about other folks’ movie choices and preferences,* especially among friends and colleagues. Still, for anyone else who has what I have—a rare but uncurable disease known as Christopher Walken Derangement Syndrome—even brief exposure to The Deer Hunter can put one on life support. [wink]
________
*Unless they come from obvious Jewish hasbara pushers. Cf. “Charles Martel France,” comment 52.
The author has valid points per using emotions (and not needing huge budgets) to stir folks to action. Howsomever, he should/could have provided an example of how to rally the Right by being more concise/impactful himself. Slinging 5,800 words (!) at the issue doesn’t do it. In fact, his article is, in many ways, a perfect example of why the Right remains stuck-in-a-rut.
Two similar examples of missing the point:
“Men’s rights movement” (MRM) leaders say all is futile since “media” doesn’t care about guys’ concerns. Decades ago a female friend demolished that excuse. On her own, she gathered local pols and national media to a local church for an event covering men’s issues. She did so twice. Did the so-called “leaders” of the MRM “get” what she was showing them? No. Which is why, even today, there is no NRA-level group advocating 24-7-365 for men. Men who continue to bitch about things like divorce rulings…as if Martians descend at night to pass misandric laws!
There are none so blind.
Similarly, manosphere “leaders” seem to view men one-dimensionally as gym rats, “cheek-slayers,” and Gatsby’s. They are blind to men’s souls…and the power of the arts to move same.
F. Scott Fitzgerald is not known for his pecs, bed-notches, or Bezos-level income. He will, though, be remembered 300 years from now; Andrew/Tristan not so much.
Meanwhile, males are committing suicide at record rates. And other “men” mock young males as simps for acting “weak”…blind to the fact that the mockers themselves do/did nothing to guide, protect, and advocate for younger guys.
No one, not even men themselves, seems to care about modern males or manhood.
For Apocalypse Now! aficionados…enjoy (22 minutes and well worth your time):
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“this story begins with a mostly unknown Coppola hired to direct a Mafia film because he was Italian. ”
Totally inaccurate. By the time he started work on the Godfather in ’72, Coppola had just won the Academy Award for Best Screenplay for the film Patton (1970). That’s why he was given a major budget to film the first Godfather.
This verbal fellatio for Apocalypse Now is admittedly a bit overdone and overdone and overblown, as not everyone considered it at the time as at the level of the greatest masterpieces ever to come out of world cinema.
The greatest film ever, at that level? EVER? Come come now. Methinks that is a bit of political reading into the film (e.g. as some film critics whose political leanings at the time had a major gush fest over it, again an again and again. The horror)
And the rejoinder of course is, what’s he done since AN in 79?
Not much of anything.
War. Tarkovsky , ‘IVAN’S CHILDHOOD’. Gangster Pop . Leone’s ‘Once Upon a Time in America ‘.
Perhaps. But if he was, perhaps it was mostly due to the same mercurial and largely deranged mental delinquency which he imagined gave him the right to abuse and rape one of his daughters, Pola, over the course of many years, to the point of her own near-madness. But you’re probably typical of most “higher-minded” “film-buffs”, who would like to see a genius like Polanski hanged for a single atypical offence because he’s a Jew, but to see Kinski, a family monster and serial daddy-paedophile, made an American hero.
Nastassja Kinski is on record as saying she is very glad he is dead.
Aguirre was indeed a good movie, whatever the technical term is. Woody Allen claims he gets funding from European investors but he also makes cheap movies, mostly people talking.
This article was too long and frankly gay. Sad.
I made it about 1/3rd of the way through this article, then scrolled back to the top to see if Jung-Freud wrote it.
Motion pictures may be the ultimate propaganda tools, but unfortunately “The Right” either don’t have the time to partake in such “artistic” matters, or choose to guide their energy in other directions.
As already mentioned above, rather than catagorize a film with a “right” or “left” political slant, probably better to weed out the politically correct films…those not geared toward truth and reality. One of the best examples of this is Africa Addio.
Almost everything else out of Hollyweird from the very beginning clear back to the talkies is Jewish nonsense at best or subversion and outright lies at worst. They are the ones who basically created the industry, after all.
Top films were made with 2 iphones. Isn’t the problem distribution?
“We have no movies of our own…”
The author of this piece should contact Vox Day.
https://gizmodo.com/vox-day-anti-woke-rebel-s-run-1849682896
Yeah, you won’t get wide distribution which means you have to learn how to make high quality movies on a low budget, e.g. under 50k. With modern equipment plus AI, this is doable. Then just circulate on YouTube, Vimeo, and bank on donations.
“fascist John Milius script”
No mention that Milius is Jewish? What is Unz coming to?
I did indeed hate his Dracula. Ridiculous casting : weakling Gary oldman, bad actor Keanu reeves, wynona elephant ears Ryder ,etc… vulgarity, hysterical acting. The only interesting scene: dracula’s brides with the Slavic beauties.
I’ve never seen apocalypse now, I dare say, anticipating some left-wing crap. The Godfather, I must have seen… It seems to me that this Coppola is yet another example of an overrated filmmaker for reasons I haven’t looked into.
I thought Dracula was visually great. I thought the actresses were great, lots of it was great. Renfield was superb.
I don’t like Anthony Hopkins at all and he tends to drag things downwards, he’s a glorified character actor really, with the same character he always plays.
Keanu Happa Reeves…I don’t think the performance was as bad as people make out, but I think the weaknesses of it, where they do exist, played off extremely well against Gary Oldman’s incredible talents and intensity. So it worked quite well.
The great flaw in the film is the now liberal ending. By the time we’ve got 2 thirds of the way through, it’s clear by that point that Drac is the good guy and represents vital qualities, who should actually win and damn these fagtard blatantly anti-nazis who are chasing him.
If you take out the crass use of eating babies to depict evil, Dracula is a far better bet for Mina than the feeble liberal drone life she has with Happa Harker who has no defining qualities laid out at all.
So the film actually collapses and no longer makes sense.
Hopkins is good in The Father, not big budget, saw it at my cinema club before it closed (for real-estate speculation on the site, still unsold two years later). I didn’t like the overall message, but it does a great job on shifts of perception or viewpoint. A bit like the best of P.K. Dick novels.
Yes, he is a character actor. Isn’t that the definition of an actor? Really, I can’t stand most of the U.S. stars who don’t so much act as do ego-projection.
Err, 44-yr. olds were neither conscripted nor allowed to volunteer, if they were in the military, they would simply be ordered to go there if that was desired. You are just one of many liars who have sprung up as toadstools on this site.
Thank you for defining a “film maker.”
Coppola, Spielberg, DePalma, Scorcese, and the rest of the “film school kids” are remembered possibly not because of their films themselves, but how bad and how formulaic and how ordinary the movies right before their era were. Hollyweird had stagnated and bloated due to union influence and studio meddling. There’s a reason Lucas made his famous movies in London, Morocco, Jordan, Norway etc. – because he used that local talent, built networks up overseas, and avoided the California union stranglehold at the time (except for the California redwoods in “Return of the Jedi” of course).
Now Hollyweird is simply still at the same plateau, so we are stuck with these “icons” who simply studied their craft and applied what they learned. They also for the most part looked back to the beginning, the 1930s serials and 1940s propaganda / war footage, or back to the silly horror movies like “The Mummy” or “Wolfman” to find real implanted themes about schizophrenia, or Jungian examinations of man’s nature. Yes the original film-makers apprently used those themes, but the machinery of Hollyweird simply dropped them in the 1950s and 1960s. Check out the excellent Hollyweird examination “Hail Caesar” by perrenual outsiders the Coen brothers (yes Jews can be outsiders too).
Mentioned above by another poster was the excellent “Primer” – I love the movie but it’s confusing as hell, with just the right amount of mystery, or perhaps a touch too much. I still don’t know what happened at the party with the shotgun. But it kept me interested.
The first season of “Ozark” is filled with that kind of mystery – what did Marty Bird and his son discuss after the house intrusion? I kept waiting for the kid’s firearm to blow up in his hand after he dropped it on the ground with shit obviously going into the barrel. They really knew how to drop clues without tipping their hand.
See for example a classic we’ve all seen – “Psycho.” We are not told why the girl is stealing the money in the briefcase, or what her plans are – maybe meet her boyfriend and escape to a new life? Does that hotel get people “on the run” all the time, that is easy victims whom aren’t expected elsewhere by people who will be looking for them?
For an ultimate example of “Cultural Impact” check out the “Evil Dead” series of movies. Fantastic production value from a dirt-level budget. They used what they could at the time (C-list drive ins and independent theaters) to build a buzz so that they got better distribution deals. THe second movie took them 10 years to squeeze money out of but eventually they made $500,000 each (a $50,000 job for ten years basically). And all of that was before the internet!
There’s a movie called “Turbo Kid” that is quite watchable, made in a similar tone, and is available for download from their website for I think $5.
This can be done, IT HAS BEEN DONE. Follow the examples of what works and weave in your message lightly. Don’t hit people over the head with it. Feature a main character that uses their head and thinks independently. Throw in some satire of an overlord government.
Paul Verhoeven used satire that went right over our heads in Robocop and Total Recall (Starship Troopers was more obvious), so much so that movie fans consider these films to be action classics instead of making fun of America. Same thing happened with “Good Bad and the Ugly”, until watching the “Redlettermedia” review I hadn’t considered that Leone was using the civil war background to make a point about American violence. Now I can’t unsee that (the graveyard spinning scene and the bridge scene in particular).
Anyone ever see the somewhat rapey, somewhat satirical movie “Hardware”? Practically anyone who walked into a movie rental store from 1990-1995 has seen it due to the cover. It was made for peanuts but I’m sure it made its money back 100x for someone (likely just the distributor). It has plenty in there about terrible governments doing terrible things – like depopulation.
Your u-name is a joke, so is mine. At least we know and acknowledge it. ‘Hank Stumper’ is clearly an evil and violence-provoking pseudonym.
It would seem that the choice to not use an ‘o’ but a ‘u’ was at the last minute, ‘Hank Stomper’ would have been too obvious for its nasty implications. Clearly some kind of creep to ignore.
Very thankful for mentioning Murdoch Murdoch. These series are absolutely great.
I believe that many creative people on the right today have very sophisticated cinematic ideas and visions which are explicitly revolutionary and therefore likely to destroy their lives if they are ever produced. They also have very compelling ideas for movies that are existentially authentic while focused on non-epic subject matter. But the problem is that we are living in such a cultural and political emergency that it is hard to sustain interest in this sort of thing. The realist revolutionary epic is what is overwhelmingly relevant given the times, and so the other stories keep shrinking to insignificance.
Of course there is a fundamental difference between the left and right psyche in our time. Marxism started out as a moral fantasy and remains a fantasy. The left’s whole way of life is fantasy. These fantasies are morally and philosophically silly (e.g. “Reds”) while, perforce, requiring more and more sophisticated production value, genius acting and directing. The left, in a sense, lives in the movies while we live in the real world. The left has to make its fantasies professional, sophisticated, glamourous and powerful. It is always creating an alternatuve reality and is very good at it, at least half the time.
The lack of movie genius, and determination, on the right today is both natural and historically circumstantial. I think of John Wayne’s “Alamo” as existing within the culture of the American Revolution. American culture today no longer rests inside of that revolution. The culture of the American revolution has been ridiculed. Very few American men today think or feel like our revolutionary forefathers. Traditional American identity and culture, as masculine and very dangerous, has gone missing. The left taught us that American revolutionary culture is a silly historical fantasy, in order to replace it with its own silly historical fantasy. That vision is decadent as well. It has become the administrative state.
People on the right are concerned about reality and the damaging inadequacy of all the leftwing fantasy (including fantasy about how sex and the family work) resulting in more and more warping, and twisting of the real world. The folkish mind is doing realist phenomenology (Heiddegger, Dugin), and fomenting counter-revolution in the real world philosophically. See the burgeoning library of populist political theory on Amazon which is postmodern, a rejection of modernity in very respectable ways. (Wittgenstein, Quine, MacIntyre, Rorty, Strawson, Feyerabend, Kuhn, Dugin, Heidegger, et al are clearly postmodern thinkers and they are not wierdos.)
We imagine a studio devoted to great historical and religious stories with great writing, acting, production. But it just does not seem relevant or commercially viable until the overtly revolutionary movies, the truly dangerous movies, have been made and distributed underground.
These truly revolutionary artifacts, if realized, would be personal suicide. I would not be surprised if dozens of pretty good screenplays or treatments about The Revolution, describing the cultural, political, and military dimensions of a right-wing revolution, have been written and burned in backyard fires. The left will not allow a realist revolutionary vision to be dramatized. It has to be another leftist fantasy, or people will find themselves in jail. This time, the government is not an ocean away.
Perhaps the best we can do is make much better religious movies. The Passion of the Christ is the standard. True religion is the only revolutionary option left. We should emphasize it while we can.
As a former Marine who’s father, godfather (NPI) and several uncles served in the Marine Corps during the 1960’s, I will relate this:
Full Metal Jacket: Act 1 has a very real sense to it. R Lee Ermey made that possible. The problem is everything else. The protagonist is an atheist non conformist smart ass, and after it is all said and done, not very likable because he acts like he’s better than everyone, all the time. Hartman, Pyle, and later Animal Mother (a stupid nickname that would have never been made up by low class troops) and the helicopter door gunner, all represent the homicidal and psychotic white male troops as blueprinted by the AN Killgore character. The lecture by Hartman associating Marine marksmanship with homicidal white male murderers (LH Oswald and Charles Whitman) as a positive correlation is further reinforcing of the stereotype.
Act 2, a far as being a supposedly realistic depiction of the Vietnam War, is one of the stupidest and most insulting depictions I’ve ever seen. It begins with the Tet Offensive, which was a massive NVA failure, but even almost 20 years later Kubrick continues to promote the fallacy that it was a huge defeat for the US. After a bunch of boring scenes depicting super macho troops trying to out macho each other, the platoon is brought to heel, by what? A division? No. A regiment? No again. A Battalion? A Company? Nope. A single female sniper. Now as I was told by men who were actually there, as soon as the first troop was shot, the platoon would have called in an artillery or mortar strike on the building’s coordinates and that would have been that. Em Eye Sea, Kay E Why, no more gook to see.
Platoon, while also having a sense of the real, misses badly. The sand bag bunker back in the rear that was pretty much an open dope den? Unheard of. The magic negro theory is pushed hard in this one, with all the most moral and righteous being the negro soldiers. When they enter the village (to seek revenge for the death of a negro soldier) it’s the white soldiers who line to gang rape a girl, no blacks to be seen! Sgt. Barnes is this film’s token white male psychopath, who murders VN civilians as well as his own men who get in his way.
One movie I didn’t see you mention, which is the one I feel offers the most realistic look at the Vietnam War from an infantryman’s perspective is Hamburger Hill. It lays on the magic negro theory pretty hard in a similar way Platoon does sadly, but it is absent of any white psychopathic soldiers.
Thank you for the great list of RW film criticism at the end, all these film critics and video streamers look good and I have now subscribed to them all.
Most of the comments in this comments section here sound like boomers that don’t know the first thing about cinema. Lots of middle-class excuses by a bunch of fake-revolutionaries about how we cant possibly make out own films. And way too much midwit splitting hairs about “what is right wing?” .. Use your brain.
The article clearly lays out pathways for people to start making low budget movies .. Just don’t listen to the comments by people who cant even get out of their chairs. Hopefully some young people get their hands on this article.. I think the zoomers are the real hope and I sincerely apologize for the world we have left them. I’ve just sent this article to some young relatives who do like movies..
Someone mentioned Primer (2004), that’s a good example.. That film apparently only cost ten thousand dollars. That tiny budget was for the film stock because it was made pre-digital era.
A few people have mentioned religious cinema and I agree.. Christians do actually make movies, its just that they are not very good.. Even the Christians know that.. Budgets are fine, just not inspired movie-making.. But it wasn’t always like that, we used to make Christian films like Frank Capra did. Go read about what he said about the decline of Hollyweird .. I think the Christians making films are Zionist-evangelicals and therefor are a bit stunted.
I dont really know anything about the “memes” hes talking about but I did like the one with Ryan Gosling posted in the article.
Where pray tell is money for production, promotion and distribution supposed to come from? There are wealthy “conservatives” but they give zero support to anything the SPLC wouldn’t like. Harry’s War got nowhere despite stars in the cast — so did Gods and Generals. I haven’t seen Atlas Shrugged — was it really that bad, or just given malign neglect by the usual suspects?
A landmark documentary like America: From Freedom To Fascism gets nowhere fast as well, despite being made by entertainment swami Aaron Russo.
Bashing Eric Striker (specifically one thought by this heroic wordsmith) isn’t called for. I’m not sure what Coppola and his movies have to do with your subject. The Godfather bored me and seemed to glorify mobsters like most mafia flicks. From Wikipedia it’s obvious that Apocalypse Now is ambiguous about war, so you can have my share.
You write as if this was a normal society where film is a normal industry. It’s not — communist Jews have a stranglehold on media, government and other institutions. And it’s no longer the 1930s when Hollywood would turn out populist fare like Mr. Smith Goes To Washington — quite the opposite.
Where would the money come from? The article goes into detail that people should be making films on zero budgets.. That we have no choice and its cheaper than ever to do so.. And that apparently black Africans are able to make a thousand low-budget movies per year. So why cant we? Go on, make more excuses..
There are different online platforms that can be used for distribution like https://gumroad.com/ .. Thats what Sam Hyde uses to great success.
You are making opinions on bonafide classic films like Apocalypse Now, that you haven’t actually seen, just by reading wikipedia? What a waste of space.
The films your mention positively are just libertarian films.
My uncle was a medic in WW II. He volunteered for Nam and was accepted and was in the bombing of Pleiku. You’re an asshole and an idiot. Do some homework fool.
Thank you for your thoughtful reply. As someone who was too young to get drafted, barely and thank God, I’ve only heard things second hand. A consistent theme in all the interactions I’ve had with Vietnam vets is that it is wholly dependent on deployment location, timing and need to know. A person I trust insists on the interrogation tactic of 3 captured VC, taken for a helicopter ride and the first is asked a question, then thrown out of the helicopter. The second was much more pliable. Another vet will tell me that it is a lie and could never happen. Same with the drug trade. One will insist our troops protected poppy fields and another will insist that is not possible. The Politics of Heroin in Southeast Asia by Alfred McCoy and the Great Heroin Coup by Henrik Kruger lead me to believe the more cynical ones were closer to the truth, which after all is the first casualty. Either way I’m grateful for your safe return regardless of your opinion on any aspect of it all. Peace
Hank Stamper is the patriarch of Ken Kesey’s second book. I changed it out of respect. Literacy is not your bag, I get it.
(Mandrake88 reply to NeoconsNailed)
Didn’t you hear? Jews own EVARYTHING and they’re invincible and they control ALL internet downloads and ALL independent cinema!
I swear that most of the “hate the jew fear the jew COWER BEFORE THE JEW” posts on this news site are from Jews themselves. It’s really the same message as radical rabbis calling for war in Europe between Muslims and Christians.
No one does the math. The Muslims in Europe are the pets of the Christians (or Atheists) in Europe. They are dependent 100% on the taxes and charity and general goodwill of the people in the host societies. The idea that “it’s over” or “we can’t fight back” is 100% nonsense because there has been no organized effort to reverse these things yet. The idea that we can’t stop it is insane leftist garbage.
Same as the idea that we can’t make movies with our themes in them. Leftist trash viewpoint repeated by either bots or blackpilled former normies (same thing really).
My idea for a boardgame, Canadian Warlords, originated as scripts for a Youtube series about the merger / replacement of soldiers and working men in the near future due to giant directed-energy weapons eliminating the spectre of air forces and armies, as this technology can zap anything that pops up over the horizon. The first implementation of such technology would be power generation sites the size of a small city, basically permanent. If it’s mobile at all it would have to be disassembled and re-assembled by basically, tradespeople and drilling rig pigs.
These blue collar schlubs would rule the new financial landscape as the same tech that cleans the skies of nuclear missiles, most of the time is used to drill giant holes straight down into the earth. Every 50 feet or whatever the holes are re-inforced and feature induction-tube apparatus, to quickly extract oil, ore, or whatever from these deep holes.
Honestly, what could stop them?
I’ve got skits about giant armies of banksters, lawyers, politicians attacking with suitcases full of cash and stacks and stacks of paper agreeements. They are cut down in seconds by the giant “laser drills.” (likely won’t be “laser” exactly but some kind of scalar technology, Tesla tech etc.)
The event cards in the game feature all kinds of responses to the supposed “perils” of the future, such as a giant and expensive “AI Bot” army which won’t last five seconds against these drills / weapons, glacier resurgence, giant discoveries due to the ease of drilling (a boring hollow earth for example), giant economic swings due to other crews of warlords accessing huge caches of resources (Alaskan oil, huge golden pyramids under Antarctica, etc.).
This is all fodder for a cheap web series which loosely promotes the boardgame. The game itself is 80% done as a prototype, but at some point the fiction background could easily serve as profitable by itself, fun entertainment that points to a New West where industrial innovation and blue-collar shenanigans rule our future – instead of governments and armies, which would by the very nature of this technological development, be FOREVER neutered.
I had such high hopes for it. A book called God’s Banker was about Roberto Calvi and one of the Vatican Bank’s scandals. He was found hanging from a bridge I think in London .This should have been explored and exposed to a wider audience. Instead we got a lame love story with his atrociously inept daughter as the centerpiece. Duvall got Oscar for Tender Mercies, GFIII had George Hamilton as Tom Hagen. Two terrible casting choices. Not worthy in any way of the legacy.
As I mention above, Go Tell the Spartans is a very good VN war movie.
The story is about the early days of American advisors in VN with the south VN troops humping the guns and doing the killing. American officers repeat the phrase, “remember it is their war.”
No magic negro soldiers. In fact I don’t recall a single black mug in the film.
Plenty of VN.
I first saw it in a cinetheatre, sure, the original cut was the best possible with no intermission.
At times, as in Dogville, an intermission would have wrecked the flow, even though it is very long. In general, though, Kubrick’s intermission in 2001 is part of its perfection.
Very long films that are not great and do not have an intermission are worth walking out of.
Many other long films should have an intermission. Apocalypse Now Redux, an intermission just after the French plantation scene would be perfect.
The worst movie I can recall seeing at a cinema was Casshern, it had some very small parts that were interesting, but has my high score for debating ‘this is so boring, should I just walk out’? As a fool, I stayed to the end, thinking it may become more interesting, it just became more and more boring. Truly, should have just quietly walked out.
The Terminator movie with Christian Bale wasn’t quite on the same level of absolute boredom, but once it hit heavy levels of Holocaustianity, I had to quietly walk out, quietly asked for my money back, quietly refused, I quietly just walked home.
Really, Casshern and Terminator with Christian Bale are the two most boring and stupid movies that I’ve ever seen, I only regret sitting through the former. Three hours of rubbish with a few interludes of good visual design. As for Terminator: Batman, the Holocaustium, one of the worst movies ever, at least I walked out before it was over.
Self-ieply to add Inland Empire by my otherwise beloved David Lynch as another crap-tastic festival of boredom, really like Casshern, the viewer keeps hoping that it may become interesting, there are teasings that it may become interesting, but it never does. So, that is also among the three most boring films I’ve ever watched, and one of two that I truly should have walked out on, but didn’t.
You are correct the original being the best cut for a single-session feature show.
Redux would also work very well with an intermission within or just after the opium-intoxication part of the plantation scene. Within would require a little cinematic art, just after, would be simple.
Must watching.
CORRECTION: Francis Ford Coppola took the name FORD in honor of JOHN FORD the famous director. NOT after Henry Ford, of Motor Company.
Not true. He was named after Henry Ford because his father admired the industrialist. Francis was born in the Henry Ford Hospital Detroit.