Skip to main content

Discussing "The Social Network": film about the maker of facebook

"Immoral", Patrick? What word is left for people who steal and rape if you're gonna call a group "immoral" for disagreeing with you on film quality. Jesus. (Daniella Isaacs, response to post, Mike Ryan, “Armond White Responds to Lisa Schwarzbaum’s NYFCC Complaints by Calling Her Racist,” Movieline, 20 January 2011)


I think it's high quality, Daniella, but I do think it immoral -- meaning that I think it's a film aiming for high acclaim that couldn't really care less for those without the talent to reach a kind of co-equality with entrenched Mayflower-descendent types: the bulk of most joe and jane facebook users out there. I think it "argues" that we really ought to be keying in on these people, be fascinated by them, because, despite their debauch, they CAN work significant wonders, while the rest of you out there enjoy the genuine magic but only to come up with your own flat notes of nothing. When people are at real risk of losing under-girding for their already highly suspect and susceptible respectable social standing, I don't much like films which "argue" that if it further beyond-all-doubt looks like we've moved from something that could at least pretend to be a Jeffersonian democracy -- with each "man" the equal to any other — to simply an Asian khanate, it actually pleases, because it's more in-sync with core truth of the distribution of focused talent or descendant-born corporeality, with the proper regard owed those who either are or who actually do matter.

I know there's the moral girl, the one who couldn't do Harvard, but despite being named and brought up at beginning and end, she's still undistinguished. (Probably, she's MOSTLY a haunt, only owing to her insubstantiality.) We find that you can't properly moralize 'till you've proven you're matter. Otherwise, she's just the sharpest swish a slight, untenable cold breeze could manage: She could completely fade away, and it is only YOUR obsession, grand facebook-maker, which matters.

No?

Link: Armond White Responds to Lisa Schwarzbaum’s NYFCC Complaints by Calling Her Racist (Movieline)

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …