Japanese horror trilogy. Two of the stories were just too esoteric for me to appreciate. One on the damages of incest that was a Kabuki like drama, and the other was a killer who traps a movie director but I wasn’t sure what it was all about. But the first one, called Dumplings was the most incredible film about abortion that I have ever seen. I am reminded of A Modest Proposal, a satire by Jonathan Swift written in 1729. Here is it’s full title: “A Modest Proposal: For Preventing The Children of Poor People in Ireland From Being a burden to Their Parents or Country, and For Making Them Beneficial to The Public.” Swift was a Christian man whose satire addressed the English attitude toward the Irish with biting sarcasm. Dumplings is a Chinese “Modest Proposal.” It is the story of a woman in China who sells a special meal of dumplings to Chinese women who are seeking to revitalize their youthfulness. The dumplings are in fact made from chopped up aborted fetuses. This film portrays abortion as the cannibalization of the young, for the benefit and convenience of older women. The woman in the story is trying to win back the love of her husband who is seeking younger women for his pleasure. At first, she has a hard time eating the dumplings, swallowing them with difficulty, but after a few times, it becomes a delicacy to her. And then she wants a more potent version of the food, so she gets a late term abortion of a little boy, to which we are shown the abortion and how the young girl dies from the secret abortion she receives from the dumpling woman. But the filmmakers are not arguing to make abortion illegal because of the “back alley” consequences, but rather they are saying that the abortion industry is cannibalistic. And finally, though the woman is past childbearing age, the unholy concoction works and she conceives a child. But in the end, she is so consumed by her selfish pursuit, that she commits her own abortion and eats her own child. It is a truly gruesome in concept, but a very poignant and biblical kind of prophecy, something Jeremiah or Isaiah might proclaim to our modern culture of death.
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The Weather Man
Dramedy. Very thoughtful, at times profound, ultimately cynical worldview. Nicolas Cage is a ladder-climbing weather man on the local channel who is struggling to get his big break as a national weather man in New York. Trouble is, he is estranged from his wife and kids, and can’t seem to figure out why they always argue and fight and what he did to get to this place of misery in his life. A universal dilemma: Should he go for the big career and leave his family behind or should he stay in the small time job to reconcile and rebuild with his family. Or is this even possible? A great quandary of a story. This story is an incarnation of Ecclesiastes, but without God as the answer. It is Nietzschean existentialism in that Cage is a man who struggles with his lack of real meaning. And life in this movie is portrayed as full of pain and misery. Cage’s father (Michael Caine) is dying of inoperable lymphoma, Cage’s teen daughter is obese and entirely apathetic, as all too many teens are these days. And Cage’s son is unbeknownst to all, being hit on by a child molester who is his shrink. Caine, the father, a Pulitzer prize winner whom Cage tries desperately and unsuccessfully to win his acceptance, has come to realize that all he has accomplished in life will not help him when he is dead. He calls this a “shitty life.” The central metaphor of the film, is of course, the weather, and how unpredictable it is. The fact of the matter is, everyone wants to be able to predict it, wants to plan their lives around it, but in fact, at the end of the day, you just can’t do it. Cage gets so impatient with all the citizens who approach him on the street asking what the forecast is, and he tells them, he doesn’t know, you can’t know. And they of course get angry with him, because of their faith in his predicting ability. As one weather pro tells us, “It’s just wind. It blows all over the place. I don’t predict it.” And as Cage echos this in his realization, “things didn’t work out the way I predicted.” It’s actually quite reminiscent of Ecclesiastes, Eccl. 1:14 “I have seen all the works which have been done under the sun, and behold, all is vanity and striving after wind. Eccl. 2:17 So I hated life, for the work which had been done under the sun was grievous to me; because everything is futility and striving after wind.” And then there is the thread of how many times others throw food at him from their cars when they see him on the sidewalk. All a very bittersweet comedy that Cage does so superbly, mixing the dregs of life with it’s humorous moments. Cage’s revelation occurs when he realizes that his ontological reality is throw away cheapness without value. Or as he quips, “I’m fast food.” This is all standard existentialism and is really quite authentic and thoughtful. The problem is that it remains in death without hope or transcendence. By the end of the story, Cage notes, that “every year, the possibilities of who I could be get reduced to one, who I am.” He concludes that you must “become what you are,” as Nietzsche would put it. Rather than changing and reconciling or beginning the way toward healing, as most mainstream movies would do (indeed as Cage’s other movies often do, like Family Man), The Weather Man opts out for remaining “eternally the same,” that is, Cage accepts who he is as who he is supposed to be, or rather become, and resigns himself to his world of big city national weather, leaving his family in the dust. A rather unsatisfying decision in my mind that is trying to be “realistic,” but I consider it really just nihilistic. Ironically, his father, who is dying, retains some shred of understanding and transcendence when he mentors Cage that “nothing of value in life is gotten without sacrifice.” And in relation to whether he should take the job in NY or stay near his family, the father says, “The hardest thing to do and the right thing to do are often the same thing.” Cage doesn’t take his dad’s advice though and ends up choosing himself over his family. This was a story with great potential, indeed some actual great insights, that ultimately suffers from it’s nihilistic vision packaged in a “get real” cloak. One of the offensive elements was the cussing. The F-word was so inappropriately used in this story that one could only get the impression that this is another cynical foul-mouthed Hollywood writer’s interpretation of normal people getting real. Doesn’t work. Isn’t real. Wasn’t necessary. The storytellers would do wise to consider the words of King Solomon, Eccl. 2:24 “There is nothing better for a man than to eat and drink and tell himself that his labor is good. This also I have seen that it is from the hand of God. 25 For who can eat and who can have enjoyment without Him?”
Shopgirl
Existentialist romantic dramedy. Steve Martin has written a rather thoughtful piece here that seems deeply heartfelt and struggles with the issues of true love, transcendence and the ache of lonlieness in our existence. Claire Danes is a young woman who has to decide between an older man uninterested in comittment and intimacy, but wealthy and fun (Steve Martin), and a young poor artistic kid who grows up and seeks to give her the intimacy she longs for (Jason Schwartzman). Of course, she goes with the older man and experiences the fun, while the young man goes and finds himself and learns how to love by listening to hours of “relationship” lectures while being a roadie for a rock band. There is some rather pedantic narration in the film by Steve Martin that spells out the theme of Claire’s quest. He tells us she is seeking for some “omniscient” person to come down into her life and give her meaning and intimacy to quiet her lonlieness. She thinks the older man with his maturity can do this, but of course, he cannot connect with her as she needs. Claire ultimately realizes she can “hurt now or hurt later,” and finally chooses the young man who has by now transformed into more of a gentleman who has concern for making her happy. Knowing Steve Martin’s background in philosophy, and considering his line about the woman wanting someone “omniscient” to come down into her life (shot with a heavenly perspective, down through her sun roofed house), I can’t help but think that this is an existentialist parable about man’s quest for transcendence in deity, but his ultimate inability to find his real need for personal connection in that deity. Martin plays the mature father figure who is rich and has everything and bestows gifts as he wills upon Claire. He is benevolent, but distant, unable to truly connect on a personal heart level. The young man Claire opts for is a bit rough, earthly and human, but he can love her at her level, the human level. This is a common theme in humanist and existentialist literature. The belief that God is somehow distant and unable to fill our “human needs.” Thus only another human can meet that need, and thus, the highest love to these people is the romantic connection with a lover. This is certainly an understandable sentiment, and not altogether unforgivable, as man is indeed distant from God and cut off from the personal touch he was created to have. But this is the dilemma, the problem. It is the story of a blind man telling us there is no light or visual images, so we must accept our darkness. As heartfelt as this is, and even honest, I don’t buy it. God is personal, more personal and more intimate with us than we can even imagine. The fact that we are blind or limited in our finitude does not mean reality is subject to our ignorance. As a matter of fact, God did become the earthy, sweaty human in order to connect with us, in order to meet us on our level, in order to love us intimately and personally. He did this in his Son, Jesus Christ. John 1:14 And the Word became flesh, and dwelt among us, and we saw His glory, glory as of the only begotten from the Father, full of grace and truth. He lived, he cried, he drank, he sweat, he bled and he died, all for his people, those who would believe on his name. And his resurrection was the very thing that established him as that transcendent omniscient being who could in fact come down and rescue us and give us meaning and intimacy that we long for. The problem with the existentialist is that he acknowledges man’s need for transcendence and deity, he just assumes there is none to meet that need. This is perhaps the saddest ignorance of all. Acts 17: 23-31 Therefore what you worship in ignorance, this I proclaim to you. “The God who made the world and all things in it, since He is Lord of heaven and earth, does not dwell in temples made with hands; nor is He served by human hands, as though He needed anything, since He Himself gives to all people life and breath and all things; and He made from one man every nation of mankind to live on all the face of the earth, having determined their appointed times and the boundaries of their habitation, that they would seek God, if perhaps they might grope for Him and find Him, though He is not far from each one of us; for in Him we live and move and exist, as even some of your own poets have said, ‘For we also are His children.’ “Therefore having overlooked the times of ignorance, God is now declaring to men that all people everywhere should repent, because He has fixed a day in which He will judge the world in righteousness through a Man whom He has appointed, having furnished proof to all men by raising Him from the dead.”
Capote
Heavy psychological drama. This biopic of the infamous effeminate, lisping, out of the closet homosexual author of In Cold Blood focuses on his relationship with one of the killers of that heinous crime of the 60s. It rather insightfully captures how Capote’s simultaneous obsession and manipulative relationship with that killer created a moral crisis in his life so effective that he never wrote another novel afterwards. It is not a flattering portrait, but it is not an attack piece either. It is at once, both sensitive to the unfriendly suspicion of him by a morally upright society who nevertheless loves his writing, and unhesitatingly frank about Capote’s own aristocratic and hypocritical snobbery toward that same society. And in this movie, I found the morality of that American society refreshingly fair and without the harsh hateful judgment of it made by so many other movies. And yet, it reveals Capote’s self-delusion of being an honest man who “doesn’t lie.” He fancies himself honest and frank, but in reality, he lies from beginning to end to the killer in order to get his story. He masquerades with a pseudo-concern for the man’s rights against an unfair system of capital punishment, but between his lines we see that he is concerned about getting enough time to finish the story. And his concern for the humanity of the killer, is really a ploy to get inside the head of the killer to figure out what motives drive the evil that men do. Yet, in this course, he does connect with the humanity of the killer and finds himself in the killer. In the same way that the killer used his victims without concern for this humanity to achieve his ends, so Capote has used the killer as a thing to achieve his story without concern for his humanity. But so much of this is understated by showing Capote’s emotional reactions to specific events, like the killer’s death row last meeting, but not explaining his actual thoughts. Capote’s own ambiguities come through elsewhere when he reveals tidbits of his personal struggles. The theme of the movie is expressed when Capote says to his companion, Harper Lee, that he sees the killer and himself as being raised in the same family, but the only difference is that killer went out the back door and Capote went out the front door. Very powerful insight into the nature of crime and evil that I think is very needed in this world. It is a premise that I work from in my own writing, namely, that the interest in evil is not that it is something remote and fascinating for it’s own sake, or that it is an example of how environment or even chemicals makes “them” different from “us.” But rather that the evil that resides in such abominable beings, resides in us all. Depravity is an inheritance of the whole human race, me included. Well, I don’t want to scare anyone, but when I write evil characters, like killers, evil guards in POW camps, cowards, or whatnot, I simply look deep into myself and take what selfish or evil traits I struggle with and expand them to an extreme, as if I had fed them instead of feeding the pursuit of righteousness that I must continue to do. Capote is dialogue heavy, but I enjoyed it because Capote was a witty and Shaw-like man of words, and the movie captured that so well. Philip Seymour Hoffman embodies him so truthfully that I was captivated by listening to what he said at every moment.
In Her Shoes
Romantic melodrama. A tale about two sisters, diametrically opposite in personalities and lifestyles, who battle through life, yet find themselves as necessary to each other’s existence as yin and yang. Toni Collette plays the lead, a slightly homely, bookish lawyer at a firm in the city, who struggles to find a man of quality who will love her with integrity. Her foil, and yang sister, played by Cameron Diaz, is the blonde promiscuous modelesque bimbo, who literally cannot read well, but can catch any guy she wants, at least for one night. In a way, these are complete stereotypes, but because their story is rich with background and relational detail, it did not bother me one bit. In fact, I think this is the best kind of “universal” writing that incarnates character types but gives them complexity, thus enabling us to find ourselves in them, without reacting to caricatures. Toni finds herself in a predicament when her immature sister, Cameron, is out of a job and a place to stay. We quickly discover their antagonism as opposites and are devastated by the ultimate betrayal, when Cameron sleeps with Toni’s new hopeful boyfriend. This sets in to motion a story that is clearly a “unity of opposites” story, a yin and yang worldview that culminates in the conclusion that Toni needs her sister to compliment her existence, no matter how crazy she makes her. In this sense, the story has a definite dualistic worldview that drives it. This pagan approach however does not negate the powerful emotional truths that are throughout it. Cameron discovers a grandmother (played with pure class by Shirley MacLaine) they thought was dead and seeks her out at a “retirement community for active seniors.” What she discovers in the process is herself, and a way out of her selfishness, when she works at a local care center for the seniors and becomes a fashion shopping assistant for the elderly ladies. This is a wonderful story of redemption. Unfortunately, in order to get there, much of the movie is a fashion show of Cameron’s body in various sexy outfits, obviously an attempt to make an otherwise serious melodrama more “appealing” to mainstream audiences. I found it indicative of the mistrust of this genre by the marketers that they cut the trailers to make this look like a romantic comedy, which it wasn’t. It was more Terms of Endearment, than As Good As it Gets. Be that as it may, it was a touching and humorous experience. And there was a particularly poignant scene that only a woman could write (well, not really, but most men just don’t get it) where the two sisters talk at a diner and Toni tells Cameron that she is foolish to live as she does, giving herself to every man, because she is getting older and she will lose her looks and then where will she be. By then, all the men she allows herself to be used by will go for a prettier 20-something and cast her aside. A 50-year old tramp is not attractive, she’s pathetic. This seems to me the single most powerful sadness of the promiscuous woman. She thinks she is liberated, but she is actually more enslaved by the worst of humanity that the male species brings. Another great sequence shows how this “openness” to men’s appetites makes her a vulnerable and blind victim to predators, as she naively takes a car ride and drinks from two male strangers “helping” her find her towed car. Well, Toni finally realizes a quality man who had been around her all the time, but she missed him, because he was shy, but in the end, his character was revealed by his concern for Toni’s happiness than his own, a fine definition of love. Unfortunately, Toni has such serious emotional psychological problems with her family’s past that she cannot allow herself to be loved, which jeopardizes her engagement to said quality man. It all surrounds the fact that their mother killed herself when they were young. She had psychological problems and stopped taking psychotropics so she could be more “there” for the girls. But when her husband threatened putting her in a hospital, she killed herself. Thus giving the husband a guilty conscience in hiding his daughters from the grandma because she would blame him for the mother’s death. By the end, everyone is forced to at least begin dealing with their issues in communicating to one another their fears and issues. Very redemptive story. One element I did not like was the conclusion where Toni’s sister is reconciled to Toni and she says this poem at Toni’s wedding. Then, when Toni leaves with her new husband, there is this connection that is communicated between the sisters in voice over as well as visual that they are necessary to each other to their dying days. Well, this viewpoint is obviously written by a writer who has clearly not experienced the sacred unity of husband and wife that trumps old family connections and creates a new deeper one, a bond of spirit and flesh (Genesis 2:22-24). Spirit is thicker than blood. But that doesn’t mean blood is irrelevant, and this movie brings a welcomed, though slightly flawed, appreciation of those blood ties.
A History of Violence
Viggo Mortensen plays a diner owner, Tom Stall, in a small town whose act of heroism puts him in the news and reveals his whereabouts to the mob, who happen to know his true identity as a mob hitman on the run from Philly. The mobmen come after him and taunt his wife and kids until he fights back and returns to Philly to settle his score. This is Cronenberg, so it is graphic. It’s actually a rather redemptive tale of identity that contrarily wallows in gratuitous graphic physical pictures of violence and sexuality. I get the sense that this contrast of exploitation with strong moral underpinnings is more a reflection of Cronnenberg’s own struggle of two natures, one to the flesh and one to goodness, than it is a justifiable aesthetic of hard hitting morality. Anyway, Tom’s journey is one of rejecting his past of violence and embracing a normal life of mundane living – and enjoying it. This is the profoundly moral aspect of the tale. Unlike the sniveling regretful snitch in Goodfellas, who grudgingly lived a “normal” life under the witness protection plan, we see in Tom a hero who embraces goodness AS good, and kindness AS preferable. Quite a respectable irony in a movie like this. One is reminded of the haunted soul of William Munny in Unforgiven, who must become his old “evil” self in order to defeat evil. This is the same for Tom, who has an almost dual personality and turns it on and off, but with somewhat more control than Munny. The problem is that Tom did not CHOOSE his life of normality. He ran from the mob NOT out of a desire to change, but out of mere self-preservation because he screwed up a situation. He was hiding in normality, NOT desiring it. It wasn’t until he met his wife that he was redeemed in his character by love. So even though Tom has changed in some way, his current desire to be a different person is not equaled by a desire to right his wrongs or even pay for his sins, but rather by a desire to run from his past. (He blinded a guy with barb wire, which ruined his brother’s chances to move up as kingpin). So of course, his past comes looking for him in the form of the mob who wants payback (the blinded Ed Harris). So Tom must go back to face his mob past and ends up killing the men (in self defense) who want to kill him, thus atoning for his sins and returning to his small family life, begging his family to allow him back in. This very family that he betrayed with his secrets, but certainly without malice. Now, he proves he really does want to be a new man, because he comes back out of choice. So Tom’s redemption is in his seeking to be a new man of goodness, not evil, and he is tested by this and proves enduring in his intent. Perseverance of the Saints. But is Tom truly atoned for? What of all the men he killed in the past? Is it justice for their blood to cry out from the ground unavenged? Is this an example of grace? A man allowed to avoid payment for his sins? I think this is what unsettles me about the story. I see true grace as changing a man to accept responsibility for his past. I saw a news story about a man who was acquitted of a murder 25 years earlier, who after becoming a Christian went and confessed to the crime and did his time – 25 years later. Now, this is grace to me. This is true redemption, true change of natures. Forgiveness that makes a man courageous enough to face the legal consequences of his behavior in order to start anew, and out of love for the victim. Well, the movies don’t always work as well as real life I guess.
Flight Plan
A great basic thriller about a woman, played by Jodie Foster, who accompanies her daughter and the casket of her dead husband home from Germany on a huge airplane. Jodie falls asleep and wakes up to discover her daughter is not only nowhere to be found, but no one remembers her being there. Is this all a delusion of Jodie’s or is there a conspiracy to sabotage the plane? Well, one very annoying element was the obvious red herring that they put in the film. A group of Arabs are made to look suspicious and then are accused by a Joe Average looking American to be terrorists plotting this whole thing, because Jodie remembered seeing them in a hotel looking at her earlier. Well, the trick here is to play off our prejudices and show that our biases blind us and that the real terrorist is yet again only after money. This is a cliché Hollywood gimmick that I remember even from the days of Die Hard. Hollywooders do not believe in true believers. They still actually believe (even after 9/11) that everything, even religion and ideology, is motivated by money. Now, the real sad fact is that all Arabs are not terrorists, but most all terrorists are Arabs. So what other movie or tv show other than 24 has portrayed this reality? None. Instead they make movies and tv shows that show how bigoted people react against Arabs unfairly accusing innocent people. While this is definitely a concern, it is clearly the LEAST concern in light of the actual thousands of innocent people being killed by ARAB TERRORISTS. Why do they suppress the truth? True to form, Hollyweird is more concerned about hurting criminals’ feelings than the innocent victims they murder. I reckon the real reason why they have no problems making evil criminals out of fundamentalist Christians while totally avoiding the reality of evil criminal Islamofascists is because they know that Christians won’t put fatwas on them and blow them up. Hmmmmm.
The Hitchhiker’s Guide to the Galaxy
Boring British stuff. Although it has my favorite character name of all time, Zaphod Beeblebrox. I just love saying that name. Anyway, this story is a road trip movie without much real heart to keep interest. I fell asleep during it. Earth is destroyed to make way for an intergalactic highway, which is clever. But then the escaping hero jets around the universe with his hitchhiking friend meeting all kinds of strange aliens until he can finally get together with the girl he had a crush on. What makes this movie particularly distasteful is that it makes mockery of man’s quest to find meaning and purpose in life through transcendence and religion, in the tradition of Monty Python, and ends up concluding that it’s just in romantic love that there is any meaning. This humanistic romanticism is unsatisfying and insulting to the truth. It’s the attempt to satisfy man’s internal need for the eternal with the temporal. It doesn’t hold water and ends up unsatisfying, as are all naturalistic reductionist love stories. Woman and man cannot fill the need for the eternal God. The finite cannot meet the need of the infinite.
Just Like Heaven
The antidote to Million Dollar Baby. Mark Ruffalo plays a guy grieving over the death of his wife, who moves into a flat, only to be haunted by the spirit of the previous owner, Reese Witherspoon, who has unfinished business of her own. Great little romantic comedy. It turns out that Reese is not dead, but is in a coma, and her spirit is just able to get out and commune with the guy. Only problem, she doesn’t remember who she is and so he helps her try to find out who she is by interviewing neighbors and co-workers. Of course, she finds out she was so alienated from everyone because of her obsession with her job that she never lived life to the fullest. And then the ticking clock is that they are about the pull the plug on her because she has been in a coma for 3 months and her brain activity is supposedly declining. Can they stop them from doing it so Mark has a chance to be with her? Well, Reese, who used to be all for such euthanasia, is now against it, because she sees that she still has potential in the real world to wake up and live life as she should. Ruffalo realizes that he thought she was dead, but really HE was dead, spiritually, that is, because he gave up on life because of his grief rather than moving on and growing. Of course, this is another bit of humanistic Romanticism, as the language for heaven (Like the title) is used as a metaphor for THIS life. And the love of another person is the highest expression of meaning and existence. As the Romantics say, “To love and to be loved” by another human is the highest existence. But I like the idea of facing our need for meaning in life by facing our mortality. And the moral compass here are pretty high, as Ruffalo refuses to be tempted by the Seductress next door, which is honorable and worthy.
Lord of War
Kind of Recommended with qualifications. A black comedy polemic about arms dealers. Nick Cage is an amoral arms dealer to whoever can provide money, regardless of cause. As he pursues his “American Dream” with the help of his brother, played by Jared Leto, his brother cannot take it and eventually dies trying to do the right thing. Now, I don’t entirely agree with the moral equivalency argument or worldview of the storyteller, Andrew Niccole, but I respect his storytelling and thought he did a great job of presenting his viewpoint, and made some great points with very witty words. Though I am not sure he realizes how contradictory he may have been about some of them. And the narration made it too heavy-handed and was a bit overdone. He has a great opening that follows the manufacturing, production and distribution of a single bullet from arms manufacturer all the way to the gun in some African rebel’s hands as he shoots it into the head of an innocent young boy. VERY CLEVER and very enticing of a creative point. The whole story takes the hero as an anti-hero really, who is only interested in money and contrasts him with others like a CIA operative who only sells arms to “take sides.” This CIA agent answers the charge that he armed both Iranians and Iraqiis with, “Did you ever think I wanted both sides to lose?” Some great dark comedy lines about the immorality of the heros’ alleged ammoralism: “You’re not a true internationalist until you sell guns to those who kill your own countrymen.” “I’m an equal opportunity merchant of death.” “The real weapon of mass destruction is the AK47, not the nukes,” because nukes sit in silos, but the body count of AK47s surpasses anything in the world. “Often the worst atrocities occur when both sides call themselves freedom fighters.” (Of course, calling yourself a freedom fighter is not the same as being a freedom fighter. Some really are and some really are liars.) Cage’s entire goal is to extricate himself from the responsibility of what he is doing by rationalizations galore. And part of that is his evolutionary worldview. He says to his brother who is outraged at how men can act cruelly like a pack of dogs, “You’re really just a two-legged dog. It’s part of being human.” But at the same time, he takes a toy gun away from his son and throws it in the trash, showing he doesn’t want for his own family what he foists on others. A particularly poignant moment occurs when Cage realizes that the CIA dealer had his uncle killed and is now in the position to kill the CIA dealer. The evil Baptiste, to whom Cage is selling arm, gives him the opportunity to shoot the CIA dealer dead, but he can’t. So Baptiste says, “So you want him dead. You just don’t want to do it yourself.” The ribald hypocrisy of Cage’s character is the point of the whole film. The fact is, money as a motive is NEVER without morality. This man who claims to divest himself from those whom he arms to kill others is responsible for his part in the evil. And he knows it. The fact that Cage does not learn his lesson but continues on at the end, even after losing his entire family and life, is not cynicism, but the challenge that this continues on in our world unless we put a stop to it and take responsibility. Now, it appears to me that Niccole has a specific anti-gun agenda that goes beyond the actual proven argument of the film. I say this because of his conclusion at the end of the film that the “Biggest arms dealers in the world” are the US, Germany, Britain and a few others, and these same big five are on the security council of the United Nations. As if this is some kind of irony or indictment against the US. But he wallows in a problem here because all his film has really proven if you look closely is that we should morally choose the right people to arm in wars. Niccole suffers a logical non-sequitur: he concludes that the gun is the cause of the evil, not the evil men who do the killing. The fact is, his story proves to me that the U.S. SHOULD arm the defenders of democracy or freedom or the United States, NOT that we should get rid of guns and somehow this will stop the bloodshed. Close to a million people were machetied to death in Rwanda in the 1990s. They didn’t need the guns for their atrocity and it didn’t stop them, not having them. In the story, Cage says, that some people say that evil prevails when good men do nothing, but “what they oughta say is, “Evil prevails.”” This is a cynicism from our deluded hero, but it unwittingly makes the point that his story simply proves NOT that we should not deal in arms but that we should support and arm those who ARE on the just side of a war or situation. Since our selling of arms is morally responsible, then, like the CIA agent, let’s only arm those who are on the right side against evil in a particular conflict. Of course, the relativist makes the moral equivalence argument that tries to halt all commitment to all causes. The fact is, a country may have some evil aspects to it, but if in a particular war, it is on the side of justice, then in THAT particular war, it is on the right side and should be supported. In a way, Niccole, wittingly or unwittingly makes this argument when he shows that Baptiste is an evil man who engages in atrocities and should not be armed, or should be armed against. Arming his enemies is therefore morally right if they fight to stop such evil. And yes, as the movie makes the point very cleverly that one revolution often overthrows the tyrants only to replace them with new tyrants. But the fact that one evil sometimes replaces another evil is not an argument against stopping the first evil. The point is whether or not one evil should be fought against or not. We cannot always determine what an ally will end up doing. I would contend though, that the issue is more complex than I would like. For instance, in arming the mujahdeen in Afghanistan to fight the Russian communists in the 1970s, we were arming enemies of the U.S., that would eventually end up using those arms against us. NOW THAT is cause for qualification and concern. The same goes for allying with the Soviets in WWII who turned around and used that advantage to fight the Cold War against us. But I understand that the argument is that we ally with non-allies only against a greater threat. But I am not entirely convinced of this argument. Especially since we are now eating the fruit of having armed Bin Laden’s kind during the Afghanistan conflict, and they then used those same arms against us. So, I recognize that the issues can be complex. But certainly cannot be reduced to the naïve simplistic formula that gun themselves are the problem (As Niccole evidently does by showing the homicidal maniac, Baptiste blame the lack of discipline in youth on MTV, rather than the gun he is swinging around and using to arm the youth of his country). This kind of faulty anthropology that blames the weapon for the evil denies man’s essential evil, ultimately leads to slavery. Because man will always be evil until the end, so if we don’t take that into account in our political or sociological theory of how to fix the problem, we will only lead to the slavery of the good by the evil who WILL NOT STOP doing evil. Therefore the provision of weapons defense is necessary. We must just make sure that they get into the hands of just causes. The fact that men use knives for evil does not negate the manufacture of knives because not only are they used for good, but for good self defense against evil men. The fact that evil men use guns for evil is NOT an argument against guns, it is an argument to arm good men or good causes against evil. I suspect that based upon the context of the movie, this is not what Niccole intends. It is, however what I think he ends up proving. Niccole unveils some insightful problems and issues, such as the fact that when the US leaves a field of operations, it is often cheaper to leave the munitions when it leaves than to take them with them and dispose of them. This is a problem with the dismantling of the USSR in the 80s, which ended up having Russian arms sold by black market operatives. Yes, these show the morality of fiscal choices, but they do not prove the immorality of weapons manufacturing or supplying. Also, Niccole conveniently avoided showing that it was REAGAN who stopped the Cold War, not Gorbachev as he shows it to be. But he does have a guy shoot a picture of Reagan, showing Niccole’s hostility against this greatest hero of the 20th century. Interestingly, a scene where the Interpol agent chasing Cage tells him he will do everything he can to delay Cage, even if it is by just one day, because that one day prolongs the life of the innocent who are killed with his guns. Well, I don’t suspect that Niccole realizes that this is the exact same argument of pro-lifers who block abortion clinics. Would he support those pro-lifers as well? Seeing the effect on kids is very strong here, whether it is seeing the innocent kids killed by the wars or those who are drafted into armies before they are mature enough to be a soldier is a strong and effective argument here. NOT against the sales of guns, as I suppose Niccole intends, but rather for arming those who fight against such evils. So, while I don’t buy Niccole’s complete worldview about the nature of evil residing in the existence of weapons, I still consider some of his points to be powerful reminders of the morality of all behaviors, including Capitalist ones. But I would qualify that with the moral necessity to fight evil and violence by arming the good against the evil.