Friday, September 23, 2016

Utterly Pro-Socialist, The Magnificent Seven

Well, Ethan Hawke was telling the truth: The Magnificent Seven is about a group of poor people, hiring criminals, banding together to defeat an evil capitalist and industrialist who is likely meant to be Donald Trump. I'm really disappointed in Denzel Washington for having made this film. Chris Pratt, not so much, because he's still got a "young career" and I understand taking parts that are offered, but Washington can pick and choose and this was a terrible decision on his behalf. If you were set on going to the movies this weekend, don't bother to see this one: apart from the racism against white people, you can't even understand (at least) half of the film's dialogue. I am working on the post now; have a better weekend than what mine has started off being,...
Eat Your Art Out,
The Fine Art Diner

Thursday, September 22, 2016

John Wick 2 Bulletproof & Opening This Weekend

John Wick is back.
The first poster for John Wick 2 has been released; subtitled, Bulletproof, the film wants to make obvious reference to The Kingsman Secret Service film which highlighted the relationship between being a gentleman and the (bespoke) suit he wore; Wick's is obviously bulletproof and makes him look like an undertaker,... quite fitting.
Pun intended.
So, having read the synopsis, the film is obviously anti-business, and makes everyone who works at a business look bad and even heartless. The baby you see was made by a machine, which, obviously, is unnatural, like the people "growing" in pods in the Tom Cruise film Oblivion or Man Of Steel on Krypton. While the boy in the film asks for a brother, he gets a baby sister instead; why? Because men are bad and little boys grow up to be white male oppressors. The reason it's important to understand what the film is about is 1). it's animated, and people typically assume that if it's animated it's safe for the kids to watch and that is certainly not the case at all. 2). The tag line, "Find Your Flock" is an obvious animal reference and we know that there has been a massive battle being waged regarding whether we are humans or animals, and Storks wants us all to obviously be animals. 
Opening this weekend is both Magnificent Seven and Storks. Both films are anti-capitalist (Magnificent Seven filmed last summer when Trump made the announcement he was running for president, so it's likely the crew intentionally made the film about him, adapting elements of the script to reflect how they see him) so it doesn't really matter which of them I go and see, I will be miserable at either,... do you feel sorry for me? I am trying to post again, slowly but surely, and will try ever so hard to get the post up on The Magnificent Seven by Saturday afternoon. Again, Google is disabling the Slideshow app which appears in the upper-right-hand corner of this blog,...which I have had since I first started it, so it will no longer be there in a few days,... last but not least, let's take a quick look at two new trailers. First, Passengers:
There are numerous elements we could pick up on in this trailer, but for the moment, let's focus on them "waking up." Recall that tediously long and detailed post I wrote (while heavily medicated) on the symbols in King Arthur: Legend Of the Sword? One of the first things we hear Arthur say is, "I woke up," and when asked, "From where?" Arthur replies, "From a nightmare." In the post, we discussed the political significance of "waking up," and we see the two "passengers" "waking up" while on the "ship of state" (the spacecraft) supposedly heading towards a blissful new world (socialist utopia) but actually it's doomed. Isn't it nice to have me back? Our second trailer features Mr. Ice Cube:
Mr. Cube is actually a Trump supporter (quite brave of him I think) so a film like this is going to highlight the civil war that has been raging for several years now between whites and blacks as well as the obvious disadvantage whites are at in this fight: "Teachers don't fight," Mr. Campbell says, because, neither should adults who have jobs and responsibilities in their communities and to others; but that is certainly what we have seen in the last several years, so while this is obviously a comedy, because it's taking place in a school, we can decode it to understand that we the audience are being "schooled" in the lessons of racial relationships that have developed and the best ways to deal with them, and maybe some ways to avoid. Lastly, but not in the least little way the least, here is what looks to be an amazing film, Alone In Berlin:
This will be released October 13, so please be looking for it. Remember the "Public Service Announcement" aka "Propaganda" that Joss Whedon released? Here is the first parody that has been made in honor of those telling us what to do:
Remember, it's important to vote, so you can vote if you liked this video at this link; did you vote for the original video? You can vote for or against the original propaganda piece at this link if you didn't do so yet. Again, thanks to all of you who have been so loyal in checking back and seeing if anything has been posted; I am trying, and recovering, so things should get back to normal. Lots of love and gratitude to each and everyone of you!
Eat Your Art Out,
The Fine Art Diner

Wednesday, September 21, 2016

The End Of Marvel Studios: Avengers Embracing Socialism

What makes these actors think that making a Public Service Announcement and telling people who to vote for will have an effect on the election? Again, they believe we have no free choice. They are all famous (how many times do they tell us how famous they all are? and that makes them more important than you are in their estimation) and even people who aren't so famous, still are more famous than you are, and so, therefore, by Joss Whedon's account, they know more than you do and you should do exactly what they tell you to do, even though you have no idea who they are or what they do. So, the fact that you have no free will, means you are going to do what these "famous people" tell you to do. Other than being famous, these people have no qualifications to guide others in voting; just as Hillary Clinton has no qualifications to become president. Secondly, putting the nukes in the hands of someone whose signature line is "You're fired!" is a bad idea because,... because,...? But Obama putting nukes in the hands of Iran and ISIS is a great idea because they are killing Christians and all the famous people in this video hate Christians. I am so furious. And it's going to get even worse. More video "PSAs" are coming. There are nearly as many "Un-Likes" as "Likes" of the video, and the creators of the channel are being accused of erasing comments they don't like, so it's possible that the backlash will keep Whedon and company from posting anymore of the anti-Trump/pro-Hillary videos, but I doubt it.
This is a terrible day.
Abraham Lincoln said that the United States would never be destroyed by outside enemies, but from within; sadly, it appears that Hollywood giant Marvel Studios is being torn apart from within as well. This political ad against Donald Trump--regardless of what you think of Trump or whether or not you personally support him--will have massive financial repercussions for the studio:
To begin with, on Monday, September 19, we discussed Ethan Hawke telling reporters that his newest film, The Magnificent Seven, is about people banding together to ban Trump, advertising to conservatives that this film is going against everything they believe and the film instead is supporting a candidate (Hillary Clinton) who has labeled the movie-going population of conservatives as being "deplorables." In this post about Hawke, I foretold that more actors would begin turning on the studios because the studios make films that support traditional American values which conservatives still cherish. Get rid of the studio and you get ride of what is one of the last vestiges of American cultural identity (we have seen it happening in Marvel Comic Books: the black female Iron Man replacement, the female Thor, the gay characters being introduced, etc.). The actors aren't hurt by this campaigning because they all ready have their fortunes, so we, the middle and lower-classes, are the ones who are hurt by it. Now, just a few days later, director of The Avengers Joss Whedon has gathered members of The Avengers (and other famous people who are obviously happy to tell you they are famous while you and I are not famous, which qualifies them to tell us who to vote for, in their manner of thinking) to tell us how horrible Donald Trump is and to beg us to vote for she who has killed dozens of innocent people for the sake of her career and money, and sold this country out to the highest bidder.
Okay, why is this happening?
For at least two reasons.
If you are thinking, "Well, at least Chris Evans, Chris Hemsworth and Jeremy Renner weren't in the video," you might be wrong: Whedon has made five such "PSAs" that will be released between now and election week, so he's probably gathered every famous person he knows to speak out against Trump, and it's just a matter of where your favorite actor is on the schedule before their role comes out. Marvel Studios obviously hasn't had anything to do with these PSAs, except having made this actors extremely successful and famous; unless Benedict Cumberbatch, Tilda Swinton or Rachel McAdams appears in one of these PSAs, a film like Doctor Strange may still be relatively successful; Spider Man: Homecoming, however, in which Robert Downey Jr has a starring role, will probably perform at a record-breaking low for the studio because film-goers will boycott because of RDJ making this video; the upside is, The Fantastic Four will not be the lowest box-office draw Marvel film in history. Films like The Infinity Wars will definitely suffer, massively, because all of these actors portray the characters in that film. Marvel is screwed. In the days leading up to the election, Marvel has two choices: sue the actors/Joss Whedon for negatively impacting the image of Marvel Studios with their personal lives (kind of like what Warner Brothers did with Charlie Sheen) or hope that, when their next films have come out, it will have blown over and people will have forgotten. People aren't going to forget, not when they have been personally insulted by people they have supported and who brought to life characters audiences admired and bonded with. Nothing could have destroyed Marvel Studios except the actors, and that's exactly what they have done. A problem Marvel has is that of the Actors Union: they can't fire the actors from their contracts because the union will step in and sue the studio on the actors' behalf, so the studios are going to be really tied here. It's not just Marvel that's going to suffer, however; Cobie Smulders, who portrays Agent Maria Hill in the Marvel Universe, is also co-starring with Tom Cruise in the upcoming release of Jack Reacher 2; how many will boycott the Tom Cruise film because of seeing Smoulders in this ad? How many people were looking forward to Sherlock Holmes 3, which was scheduled to begin production this fall, and will now boycott because of RDJ making this video? What it took Robert Downey Jr years to achieve has now been erased in three minutes. 
First of all, a lack of gratitude. It's hard to see someone like Robert Downey Jr, who was utterly broke before Iron Man made him one of the highest paid actors in history, come out to make a video which is going to make conservatives boycott Marvel Studios' films and cost the studio dearly. But hey, he has his millions and millions, so what does he care? What does any of them care? They don't because they all have contracts, which leads to our second point of why they would come out and make a video like this: arrogance. They all think they are irreplaceable. "You're vote matters," they tell us, and at the box office and TV, they are going to see how powerful our vote is. If you would like to vote right now, and show them what you think, click on the Save The Day link at the top of the video, or you can click this link here directly, and go to the YouTube channel posting the PSAs, and vote by liking or not linking the video that way.
Eat Your Art Out,
The Fine Art Diner: P.S.--again, Google has decided that, at the end of this month, they are disabling the slideshow app, which appears in the upper-right-hand corner of this blog, so that will no longer be a part of The Fine Art Diner, sadly. 

TRAILER: Morgan Spurlock's Horror-Documentary "Rats" & Modern Politics

Even though the film is a "horror-documentary" supposedly designed to make us hate and despise rats, a rat's life is ultimately what the Left has in store for everyone. Think about what was done to the Jews and prisoners in concentration camps throughout Europe during World War II: they were treated like rats, they were exterminated, just like the lead interviewer of the film was an exterminator for forty years; anyone standing in the way of what they want, will be exterminated. 
The worst horror films are always the ones that you believe could actually happen. Prolific director Morgan Spurlock has made a documentary about, what may be, mankind's greatest enemy: the rat. Did you know, a rat can leap up to four feet? It can tread water for three days and survive a five-story fall,.... so, how do we kill them? This documentary looks at rat infestation throughout the major cities of the world:
Those terrier dog packs you see hunting the rats? Those dog packs will hunt and kill a hundred rats a day,... Why do we have a documentary that looks more like a horror film, or, should we say, why do we have a horror film pretending to be a documentary? Spurlock has stated that a documentary that was like a horror film was his intent, but there is a not-so-hidden agenda with the director/human experiment of Supersize Me and that is going to be one of a liberal agenda: rats have been with us for millennia: ever hear of the bubonic plague?  They have always been around, in fields, cities, villages, etc., and they will continue to be so; Spurlock probably wants to make the case that, if we didn't have such big cities, if we didn't have so much waste, we wouldn't have such a rat problem,... would we?
While Ed Sheehan, who we see in the trailer, actually has been an exterminator in Brooklyn for forty years, he has an important fact wrong: there are not more rats living in NYC than people. While it has been a popular urban legend that there is a rat for every person in the Big Apple, scientists have pinpointed the rat population to be 25% that of the human population; so? Through the promulgation of the legend rather than fact, we find an element of the horror genre: out of control. The rats can't possibly be defeated, they reproduce too quickly, they carry disease, they evolve so quickly, and we mediocre humans that we are, we are losers and we should just surrender to them because that is what Obama would do, after his last round on the golf course at Martha's Vineyard. We will launch a hashtag campaign, and signal every human to surrender to the greater force of the rats, just as we are surrendering to ISIS and their superiority. This film, is propaganda, it's mind-control and it will be filled with mind-tricks and liberal positions, like there is no free will and humans are nature's greatest enemies.
Of course we would.
Didn't you see the terrier packs digging the rat up out of the ground? But that isn't the point Spurlock wants to make. As a capitalist, I view the situation as we elect public officials to handle issues like rat control, just as we see in the video; if the officials haven't done that job for which they have been elected, we need to purge them out of office and elect or hire someone who can and will. That's not the "horror" aspect of the documentary Spurlock wants us to face, either: with horror, there has to be a sense that it's spiraling out of control, and that we are helpless to do anything about it,... like we are helpless to stop eating McDonalds' and getting fat,... we are helpless. We have no free will. Any consequences in life that we face, like a rat population, is a sign that someone, somewhere, needs to be sued,... because someone other than ourselves is responsible and we are going to make them pay. As my film professor always said, there is always a reason a film is made now: it could not have been made five years earlier, and it would not do to release it five years later. The political environment of the last eight years has made a film like this possible, and a director like Spurlock successful.
Eat Your Art Out,
The Fine Art Diner
P.S.: I just found out Google is disabling the slideshow gadget feature I have had on this blog since I started it; no more artwork; so sorry, that's how they are :(
There is no technology or waste anywhere in this area, but because the film will have hammered into our minds (by this point in the narrative) that rats are everywhere and we can't escape them, even this remote area will not appear to be safe, even though rats are a part of nature and serve a part in nature as do all animals, just like Winston Smith in 1984, we will be begging someone to free us from the rats and, Spurlock hopes, we will be willing to trade our freedoms and modern ways of life to be "rat-free." BUT, we are the ones who will become rats under liberal policies; in the film, we go to the capitol of the communist country Vietnam, and watch people catch rats then sell them for food. You are what you eat,...

Monday, September 19, 2016

The Magnificent Seven (Remake) & Donald Trump

Please don't forget that the original remake of The Magnificent Seven with Yul Brynner and Steve McQueen had a Mexican as the villain; changing the villain to an American land-owner and industrialist is one more sad example of the Left trying to re-write American history and re-shape the country to hold up their propaganda. It's possible, though not probable, that Ethan Hawke is throwing us a foul ball just to put us off of a truly pro-capitalist Magnificent Seven, just as we have seen Jennifer Lawrence, Emily Blunt, Matt Damon, Liam Neeson, Daniel Craig and others do over the last year or so; why? IF The Magnificent Seven is pro-capitalist, and doesn't go against Trump the way Hawke claims it does, then the studio will suffer for conservatives boycotting the film after hearing Hawke's anti-Trump statement; if the film is truly anti-Trump, then the studio's reward comes in making the claim and giving conservatives the finger. It's still possible that the film isn't pro-socialist: I would have bet money that Zootopia and the remake of Ghostbusters were both pro-socialist, but I was very wrong; Hawke isn't particularly bright, and it's possible he's providing us with his wishful reading of the film's events, not the actual narrative, in which case, it would benefit him to tell people not to go see it because the Left does not want conservatives having their positions validated. I'm guessing it probably is against Trump, but I have been wrong in the recent past.  
Opening this weekend is The Magnificent Seven remake. I have been wavering on whether or not it would be pro-socialist or pro-capitalist, but it appears Ethan Hawke has answered the question for us: in this article, Hawke reveals that the film is about people banning together to fight Donald Trump. Regardless of whether or not you support Trump is actually irrelevant: the re-writing of the film to have outlaws and criminals defend people from a candidate (Trump) wanting to restore law and order to the country after eight years of lawlessness is a clear sign that we are in socialist territory: not only is the Democratic candidate a criminal, but Obama has released more criminals, and more violent criminals, directly into society than any other president. We've seen this in the case of pro-capitalist films predicting this move: from Christopher Nolan's The Dark Knight Rises, to the bunny Snowball in The Secret Life Of Pets, the socialists view the criminals as being the good-guys and the decent, hard-working Americans as criminals who should all die, and the sooner the better. In the case of The Magnificent Seven, it's the outlaws who are going to save the socialists from a society wanting law and order which Trump is promising to bring back.
Eat Your Art Out,
The Fine Art Diner

Tuesday, September 6, 2016


I've been sick. I thought I was getting better and then I had a set-back. I am truly sorry. Thank you for visiting the blog and being so faithful! I hope to be back in two days! 

Friday, August 26, 2016

Don't Breathe: Symbols & Analysis

Writer-director Fede Alvarez, who also did the awesome Evil Dead, said Don't Breathe was a response to critics' attacks on Evil Dead: too many easy scares, blood and gore; so, with Don't Breathe, there is no blood, no special effects and no supernatural elements. Right now, before opening weekend, it's rocking Rotten Tomatoes with a fresh score of 87%, which is quite impressive for a $10 million  horror film.
Right now, this is the best image of the house that I can find, so we will start here. First, traditionally, houses symbolize the soul, because a home houses the body the way the body houses the soul, which is why the windows of a house are likened to the "eyes" of a person and the eyes or a person are like the "windows" of the soul. What the three young people find in the house is going to be a reflection of what they find within themselves: that which is ready to kill them, i.e., they are embarking on a path in life that is going to get them killed. Horror films could be sub-titled: Judgement Day, because each character in a horror film really isn't a hero; we identify with them, because they have done something we have done ourselves--like wish we had some of Bill Gates' money to pay off our bills, for example--but the character allows us to see, quite graphically, how sin effects our lives, our souls and those around us. In a way, horror films are the notations to the Gospels.
Now, why is the film set in Detroit? The Detroit Free Press review thinks it's overkill and just because of the poverty and rust in the town. I couldn't disagree more. Detroit is the largest city to file for bankruptcy in US history (filed Chapter 9 in 2013); why did Detroit file for bankruptcy? In spite of Detroit being Motor City, it's been run by Democrats for 50 years and it accumulated a debt of  $18-20 BILLION DOLLARS; it has only 700,000 people (down from 1.5 million in the 1950s) and is home to liberals such as Michael Moore. When political conservatives see that a film is being filmed in Detroit--like Batman vs Superman: Dawn Of Justice--we know it's a political commentary on the socialism that has strangled the city for decades now; it's my understanding there are plenty of shots of the abandoned city and unlit streets to remind us of what Detroit should be, but isn't, at least, not anymore. The theme of "wealth re-distribution" that is the heart of the film (the old man has all that money sitting in a safe, but I need that money to get away and make a life for myself, so I'm going to take what he obviously has too much of) is the foundation of socialist politics Detroit itself has been running on for decades (unions and Democrats borrowing more money than the city could possibly make and pay back), so keep this in mind as we watch the characters' situations unfold and the path they take to remedy that situation. 
Opening this weekend is Don't Breathe, the trailer of which I gave as homework a few weeks ago; how have you done? I haven't seen the film yet, however, Evil Dead was so well written and conceived that I am confident Don't Breathe will be full of symbols and layered meanings, so here is a trailer to jog your memory (again, I haven't seen the film so there are no spoilers in this post, just ideas to help us better watch the film):
Why are horror films so popular?
They have huge fan followings, and yet, their fans are the very ones so quick to criticize every single detail of the horror film they waited for so long to see; so, what gives? The film makers (and this applies to basically any artist in any medium) depend upon an unspoken arrangement with the audience, their willing suspension of disbelief, in exchange for the enjoyment of the story and experience the artist(s) is about to provide. In other words, so that I can get to enjoy The Hobbit, I am going to agree with JRR Tolkien and Peter Jackson that I won't criticize the impossibility of Hobbits existing; I won't question wizards and their powers, or Orcs riding on the backs of wolves, I will, however, quiet my mind and enjoy the story they want to tell me; I get the experience of The Hobbit, while the artists get the joy of crafting the tale for my enjoyment.
That's an exchange.
Horror fans don't buy into it.
Why not?
Most of what we have seen so far in the trailers and clips reflect a muted color scheme, like the image above, and the reason film makers will incorporate muted schemes is for two reasons: first, it highlights moral ambiguity, that is, the issues aren't going to necessarily be "black and white," rather, there will be gray areas. Secondly, since a muted palette is not realistic (that is, it doesn't reflect nature realistically which has lots of colors and saturation) it means we are supposed to understand the images in abstract terms, not literally, but figuratively, and we are supposed to think upon them. The image above has a green or blue filter over the lens as the scene is shot, and that "filter" means we, too, are supposed to filter what we are seeing and what we are not seeing, but should be thinking about regardless.
Money, who stands in the doorway--and doorways will be important symbols in the film-- probably is the least complex of the characters, however, thinking that about him might be a trap; why? Look at his clothes: he's wearing four layers, this easily suggests that there are more "layers" to Money's character and we are easily "blinded" by what we want to see and don't want to see, as well as by what Money's character is willing to let us see. For his character, watch to see if he hides something, like if you get the feeling he really loves Rocky, and hides his true feelings for her, or if he doesn't love her, but is maybe afraid of being alone.
A normal, average critic would look at this scene and say, see how unrealistic this film is? First, we have this blind guy asleep while the kids break in, but later, he has this amazing hearing, so how can he not hear when they break in? The answer is because, at this point, the kids could still turn around, repent of what they have done, and leave. When they try to open the door, they commit themselves to stealing the money they believe is in the house. Being asleep usually indicates death, at least in some area of a character's life, or it foreshadows the character's own death. We are "dead in sin" and that is usually interpreted as being asleep, as The Blind Man is above. Money sees The Blind Man, not as a man, but as "Money," that is, Money (the character) doesn't see a man, he sees the $300k he wants to get for himself, therefore, Money is killed by money.
The basic vehicle of a horror film is morality. Strict morality. Absolute morality.  The very people who need the moral teachings of horror films the most are the ones who tend to laugh off those teachings (which implies that their own lives are a type of horror film since they refuse to fall into line with the moral teachings of society). These would be critics who only exist to condemn everything they see because it makes them feel superior. Seriously, they do a great disservice to themselves and a treasonous disservice to humanity. Because fairy tales--Snow White, Sleeping Beauty, Hansel and Gretel--became stale to audiences: the lessons of social teaching were valid, but audiences chose to ignore them, to the increasing degradation of the foundations of society, so the lessons had to be given more intensity, more severity, hence, the horror genre of film (if you don't believe me, you have obviously never seen the film Scream; please see Decoding the Decoding: Scream). By mocking every horror film produced, critics and fans mock the lessons they inherently contain and, thereby, the very purpose of horror films.
For example,...
The second Money opens the door to the basement (I'm not sure that it leads to the basement, but bear with me) that is the same second The Blind Man appears in the other doorway; meaning? That opening the door unleashes the monster.  Note the dollar sign tattoo on Money's neck: he is led in life by money. Why does The Blind Man have such big arms? This is an artistic device, and in this case, it means that The Blind Man (when he's a victim and even later when he's villain) is stronger than the kids are morally speaking. 
In Alvarez's last film, Evil Dead, Mia (also played by Jane Levy who portrays Rocky in Don't Breathe), is raped by a tree,.... seriously. Most critics shrugged it off because Evil Dead was a remake and the tree-raping-a-girl-scene was done in the first film; did they shrug it off because it was done in the first, or did they shrug it off because they hoped no one would notice the statement Alvarez was making, namely, that the "environment" (the tree) is raping Millennials (Mia) and forcing Millennials to commit themselves to environmental issues even though the evidence for liberal claims about the environment are sketchy at best. SO, in discussing the moral codes and lessons of horror films, and how horror films have replaced fairy tales, horror films use scenes like the tree-raping to make a point, and then it just gets intentionally over-looked, mocked or counts against the film makers because they wanted to make the point; so why does that happen?
These are two fabulous shots because we see Alex being "blind." In the top image, we see only one eye, suggesting that Alex is only seeing half of what the situation is. In the bottom image, he has been beaten up so bad, his eye is swollen so he can't see out of it again. In this bottom image, he's calling his dad (I don't know if the call goes through or not) but his father works in the security business; what does this mean? Fathers symbolize the "Founding Fathers," and that this father works in the security business, we can say he probably specifically symbolizes the framers of the Constitution, which has been America's security for centuries now. The kids were more concerned with their rights to live their dreams, and ran rough-shod over The Blind Man's rights, now, he is running over their very right to life, and Alex has finally realized the costly lesson of taking responsibility for his actions and  why "wealth re-distribution" doesn't work. 
Do you remember the story of the adulteress woman brought to Jesus by the scribes and Pharisees in John 8: 6-7? Jesus said to them, "Let he who is without sin cast the first stone," and in humility, realizing they had all sinned against God, they dropped their stones and left her. Film critics and horror fans, on the other hand, when brought face-to-face with the sins played out by characters in horror films which critics and fans are actually committing in real life, instead of being grateful for having someone point out their sins to them, pick up stones and throw them at the director and other film makers because the conscience of critics and fans speaks to them; they know they are the ones who are the subject of the film, but woe to the person who points it out to them.  SO, if fans and critics are just going to stone the film makers of horror films and mock them, why are horror films still made?
Glass and mirrors symbolize reflection, as in, "interior reflection," and our ability to see what we are doing and think about it in moral and social terms. For example, Rocky is the one who breaks the glass so they can enter the house, which means, she has willingly destroyed the moment of reflection she should have had about what she was doing, so she now must face the consequences of her actions because she refused to contemplate on how her actions would turn HER into a monster. In the image above, we get a good idea of Rocky's strange clothes, especially her pants. She wears black tights under short-shorts; legs symbolize our standing in society, so her tights reveal that she wishes her legs were completely covered, but the shorts reveal that she can't stretch her resources that far, in other words, Rocky's actual standing in society (the jean shorts) doesn't "measure up" to what she wishes her standing in society was (the black tights that completely cover her legs, but aren't pants so that she could just wear the tights, she has to have something else covering her). 
Humans have a compulsion to know.
It's not the compulsion to look at the car accident on the road as we drive by, as some have suggested: we aren't obsessed with the gross and cruel, rather, because horror films make our own deepest, most private and intimate self the subject of their narratives, we have to watch them because we have to learn about ourselves, we have to figure out who we are, and what the consequences are of being who we are. In other words, the very fact that we are human draws us to horror films because "being human" is the subject of every horror film; sure, humans populate other genres, like comedy and drama, and we do learn about the "human condition" in other genres, however, the situation--the conflict determining other genres--are central to those stories, whereas being a human being is central to a horror film. For example,....
The shadow in the image is going to be important, pay attention to that part of the scene. The dog (which belongs to The Blind Man) is actually going to be a metaphor for Rocky herself because Money calls Rocky "my bitch," which is a female dog, so the dog--which is a watch dog meant to protect people--is going to try and warn Rocky that there is danger and she shouldn't try to do what she is planning on doing (like when they watch The Blind Man and the dog jumps up; the window of the car (the window being glass and symbolizing "reflection") is meant to convey to the audience that Rocky's conscience should tell her that she shouldn't try and do this, but she does it anyway. 
When the three kids are inside the house and they use the gun to open up the door, and The Blind Man appears, why doesn't Money shoot him? Even if Money just injured him, instead of killing him, wouldn't that, realistically, have been better than letting the guy--who they know was in special forces in the army--get his gun? What has just happened is the type of  "analysis" a typical fan or critic uses to understand the film: "Why didn't Money just shoot him?"
Because Money can't.
In the top image is Rocky's mom, who feels she is "entitled" to what she wants, even if she doesn't have the money to pay for it, so Rocky should (rather how the whole city of Detroit has operated to rack up such a massive debt); while Rocky can see that her mom is bad for acting that way, Rocky turns around and does the exact same thing: she doesn't have the money to get to California, but someone should have to pay for it. The little sister, in the second image from the top, is probably a symbol or commentary on how Rocky should be, but isn't, that is, not everything can be blamed on Rocky's mom, Rocky has free will and has to own up to her actions, but doesn't, and this leads us to how Rocky is blind (the third image) when the lights go out in the basement, this is a graphic interpretation of how Rocky is living her whole life: walking in the darkness of willful ignorance (she doesn't want to heed the warning of the dog barking at her) and she's trapped, not because of her finances, but because Rocky doesn't have any idea where she is going in life, and no, taking yourself to another state is "going somewhere" in life: either you are going to hell, or you are going to heaven, and Rocky is going to hell because she walks only in darkness.
 The bottom image is brilliant because the light shining across the face of The Blind Man suggests that he's "enlightened" or "illuminated" with understanding, so this will be an important moment in this scene.
It's not that The Blind Man is blind, it's that all of the characters--and us in the audience--are blind. Whatever the villain in a horror film, that's really what all the main characters have become, that's what they are battling interiorly, and the film makers want to teach us, the audience, how to battle the same villain/monster. Money, then, is blind to how he really is, i.e., when Money sees The Blind Man standing in front of him, and Money draws his gun on him, Money really draws the gun on himself, because Money IS The Blind Man, just as is Rocky and Alex AND us in the audience. This is how horror films fulfill the fairy tale function of society: they show us the evils that lurk ahead of us in life, and either we prepare ourselves for meeting those inevitable evils by making good, wholesome, virtuous decisions in life, or we slowly turn into that evil ourselves so that, when we meet that evil, we don't  have a chance to win against it because we have been letting it win every day of our lives.
This top shot is one of many amazing shots in the film; why? Well, for one, the green light shining on the man's face. We know that green either means hope, life and rebirth, or it means that something has died and is rotten. The white film over the man's eyes is like the white shirt he wears: white either means a person is alive and pure of heart with faith, hope and charity or that a person is dead because faith, hope and charity are dead within them; this seems to be the case with The Blind Man; it might not be that way at the start of the film, but as the film progresses, it will become that way; the point is to determine at what point it happens and then why. In spite of his blindness, we can tell he has blue eyes; why is that important? Blue is the color of both sadness and wisdom: wisdom is the greatest treasure a person can obtain because the price to obtain it is our sadness in life. At the start of the film, he will probably seem pretty wise in his ability to be resourceful and protect himself from Rocky and Alex who have invaded his personal property; by the end of the film, however, we will most likely see how he has allowed his sadness to "color" everything in his life, so that sadness and suffering is all he "sees" in everything (again, Rocky, Alex , Money and we, the viewers, are really The Blind Man, so we need to understand how the characters have let depression color their outlook on life and how that subsequent sadness has led them to becoming "blind" about how they really are and who they are becoming because of their decisions). Please note his left eyebrow (it's cut off a bit in the photo) you can tell something is wrong with it; why? The eyebrows are a part of the eye, so when something is wrong with a person's eyebrow, it means they have a hard time seeing something. What, being "blind" isn't enough? No, this is actually different. "Seeing" is our ability to understand, so, for example (and, again, I haven't seen the film yet, this is just an example) we know Money, Alex and Rocky are in the house to get the money; The Blind Man may think they are there to kill him; the kids don't want to kill him, but that might be what he's thinking because his life has been so hard, that's how he "sees" the situation (the damaged eyebrow). What about the wound (scar or recent wound?) across his nose? The nose is the most prominent feature of our face, hence, because the face is the most prominent feature of our identity, the nose symbolizes our character (consider how Romans always gave a distinguished large nose to Roman who were held in high regard, regardless of what their real nose looked like, because a larger nose signified a strong character). When there is a scar, or the nose is deformed in some way, it's a reflection of the character of that person. Not knowing anymore about The Blind Man than we do at this point, we can't go into deeper analysis yet, but please keep this in mind as you watch the film, especially if there is a scene where the camera is close up to The Blind Man's face and the nose scar is especially highlighted.
What about the bottom image?
When a character goes up stairs, it means they are ascending to a higher level of consciousness, so they are going to be thinking in more abstract terms, rather than concrete terms (which is more of what happens on the main level of a house). When characters descend into a basement or a cellar, it's because they are going "beneath the surface" of who they themselves are, exploring the things they have "kept hidden" from the rest of the world on the main level of the house. So, this shot we see, is an interesting one, because The Blind Man is at the top, he's on a more abstract level; is that because he is thinking on a more abstract level, or because we the audience are supposed to think of him on a more abstract level? Again, we see him standing in a doorway, and sure, since most of the film is going to take place in one house, there is going to be lots of doorway shots; however, The Blind Man seems to linger in the vicinity of the doorway, and that's a part of his character building we need to heed.
When we see Money telling The Blind Man it's just him in the house and there isn't anyone else, it's like Independence Day: Resurgence's Jake Morrison (Liam Hemsworth) taking the blame for what others have done: Jake taking the blame denies the free will of the characters who messed up; Money, by lying to The Blind Man, isn't giving Rocky and Alex a chance to get out, rather, Money recognizes that Rocky and Alex aren't real people, they are zombies, like the people they will find in the basement of the house. If you see critics bashing the film, remember, they are "blind" scribes and Pharisees throwing stones.
Eat Your Art Out,
The Fine Art Diner

Monday, August 22, 2016

Trailer: Hidden Figures

There have been a few crises this week, I am so sorry for not getting anything up. I am still intent on getting up Anthropoid and I saw Dinesh D'Souza's Hillary's America which was awesome; he used some interesting narrative techniques that are worth our attention. Don't Breathe opens this weekend, and I will be getting up a symbol post before the film opens because that will help us all be a little more alert to what is going on. In the meantime, here is a trailer for the upcoming Hidden Figures film, and this looks great:
This might seem like a minority driven, pro-feminist film,... and it may be (the man putting the wastebasket on the woman's pile of books and telling her it didn't get taken out the night before, and her responding, "I'm not the,..." the what? The Help? Is meant to remind us of the film The Help as a reminder of what some black women were going through during this time, while other black women were engineers at NASA even though they still faced challenges, but we as a nation were facing challenges; the story of America is ALSO the story of blacks and women, not just white men). But look at the context of this story: NASA. How many women support space exploration? How many minorities support space exploration? And yet, Hidden Figures wants to reminds us that the story of NASA and putting a man on the moon, is also the story of black women and men because they contributed to the victory and so it's their victory too. When someone wants to do away with space exploration, they want to do away with the victory and story of blacks and women, too, just like someone wanting to get rid of baseball is also wanting to get rid of the story of Jackie Robinson.
Eat Your Art Out,
The Fine Art Diner