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I have just finished reading, Hitler: Ian Kershaw’s brilliant, two-volume biography on Adolf Hitler. Over the course of 1432 pages, Kershaw uncovers why Hitler, a man not all too dissimilar from other tyrants in history, has become synonymous with evil.
Kershaw also reveals the gap between Hitler’s public image and private personality. He reveals the difference between the rabble rouser capable of captivating the masses by exploiting their fears, prejudices, and desires, and the lacklustre reality. Kershaw shows how Hitler transformed Nazism into a national religion – complete with its own songs, fables, and rituals – and how he transformed himself into its demagogue.
Hitler projected a persona that embodied all the ideals of German nationalism. He presented himself as the archetype of German pride, efficiency, and self-discipline. In Hitler, the German people found the living embodiment of their fears and aspirations.
Furthermore, Hitler presented himself as the saviour of a nation on the brink of ruin. This was not entirely his doing, by the early-thirties things had grown so dire in Germany that people were willing to throw their lot in with anyone promising to restore law, order, and honour. Hitler promised all that and more. Utilising what we today would recognise as identity politics, Hitler promised to restore national pride and wreak vengeance on Germany’s enemies. He divided the world into victims (the German people), perpetrators (international Jewry and Marxists), and saviours (the Nazis).
It would be far too simplistic, however, to conclude that Hitler brainwashed the German people. Rather, Hitler and the German people became intertwined in the same unconscious conspiracy. Hitler may have been the one to espouse the kind of murderous ideas that led to Auschwitz and Stalingrad, but it was the German people who gave those ideas their full, unconscious support. As time marched on, Hitler’s sycophancy was taken as political genius.
By telling the German people what they wanted to hear, Hitler was able to present himself as a national saviour. The reality was far different. He was a man with virtually no personality. He had no connection whatsoever with ordinary people. He never held an ordinary job, never had children, and only married his mistress, Eva Braun, the day before his suicide. Albert Speer, the Nazi architect and one of the few men Hitler counted as a friend, described him as a duplicitous, insecure individual who surrounded himself with shallow and incompetent people, laughed at the misfortunes of others, and retreated into “fantastic mis-readings” or reality.
Furthermore, whilst Hitler presented himself as the hardworking political demagogue of unmatched genius, he was, in reality, a lazy, egotistical man whose rise to power rested on the cynical manipulation of national institutions. Far from being the tireless worker he presented himself to be, Hitler actually proved unable to deal with numerous major crises during the War because he was still asleep. He saw his role as being the creator of Nazi ideology. The actual running of Germany he left to his functionaries.
When Hitler toured Paris following the fall of France in 1940, he made a special visit to the tomb of Napoleon Bonaparte. Saluting the Emperor’s marble tomb, Hitler commented, in typical egotistical style that like Napoleon his tomb would only bear the name “Adolf” because “the German people would know who it was.”
He was not entirely wrong. The name Adolf Hitler is remembered today. However, far from being remembered as the founder of a thousand-year Reich, he is remembered as a genocidal fruitcake whose legacy is as inglorious as his life. Hitler and Napoleon may have been similar in many ways (both were foreigners to the countries they would end up ruling, both reigned for a short period of time, and both significantly altered the course of history), but where Napoleon left a legacy that is still very much with today, Hitler failed to leave anything of lasting significance
But perhaps that is precisely what Hitler wanted. Carl Jung has a dictum: if you want to understand someone’s motivations for doing something, look at the outcome and infer the motivation. In his brief twelve-years in power, Hitler led the German people into a war that cost fifty-million lives, presided over a Holocaust that murdered eleven million people, and oversaw the destruction of the old Europe. If Adolf Hitler could be summarised in a single quote, the line from the ancient Hindu text, Bhagavad Gita would prove sufficient: “Now I am become death, the destroyer of worlds.”
Hollywood has been remaking movies since the beginning. And with a few notable exceptions, most of these films have failed to capture the magic of the original. Even today directors seem convinced that they can produce Hollywood magic by creating an endless array of sequels, remakes, and reboots. Nevertheless, there still exists that rare category of film screaming to be remade.
One such movie is The Thomas Crown Affair. Neither the 1968 original nor the 1999 remake manages to surpass the other. Whilst the original excels at style and sexual tension, it is overshadowed by the remake’s plot and music score. Both films are essentially “style” movies. They rely heavily upon atmosphere to draw in an audience. The cool jazz of the 1999 remake is a massive improvement over the original. There can be no denying that Nina Simone’s “Sinnerman” is better suited to the film than the original’s “Windmills of Your Mind.”
But what the remake wins in music, it loses in style and sex appeal. From Faye Dunaway’s wardrobe to Steve McQueen’s three-piece suits, the style of The Thomas Crown Affair (1968) has become an iconic part of 20th century style. The tailored suits and designer skirts lend themselves to the film’s upmarket atmosphere and help enhance the sexual tension, which is far more palpable here despite the remake’s decision to show more explicit sex.
The 1999 film makes enormous improvements on the original’s plot. In the original film, the audience is never granted a satisfactory explanation as to why a wealthy, sophisticated gentleman would waste his time organising a bank robbery (the explanation that he does it for kicks barely passes muster). In the remake, the director, John McTiernan and the screenwriters, Leslie Dixon and Kurt Wimmer, decide to make Crown an art thief. It is a crime that makes Crown seem intelligent, cultured, and sympathetic.
At the centre of both versions of The Thomas Crown Affair is the relationship between Thomas Crown and Vicki Anderson (Faye Dunaway)/ Catherine Banning (Rene Russo). In the original film, Crown and Vicki compete as equals causing a sexual tension to pulsate through the entire film. Similarly, in the remake Crown and Banning act as mirror images of one another. Unlike the original, however, the sexual tension quickly fizzles out when the pair form a romantic attachment to one another. At this moment, the erotically-charged battle of wits is replaced with a soap opera-style romance that is, frankly, embarrassing to watch.
In both versions of the film, Thomas Crown is presented as an elegant, sophisticated alpha-male who amassed his wealth thanks to a shrewd business mind and a willingness to take extreme risks. When Crown isn’t making multi-million-dollar deals at the corporate board table, he’s pursing hobbies like polo, gliding, yachting, and golf.
Both Steve McQueen and Pierce Brosnan portray Thomas Crown as a bored millionaire playboy: the type of man with an almost insatiable need for adrenaline. There are, however, marked differences in the way each actor portrays the character. Steve McQueen plays Crown with the kind of roguish charm that made him the “King of Cool” in the sixties and seventies. By contrast, Pierce Brosnan plays Crown as a charmer, the kind of man who feels comfortable in country clubs and golf courses because he’s lived around them his entire life.
As mentioned before, competing against Thomas Crown are the insurance investigators Vicki Anderson and Catherine Banning. Both are largely similar characters. Both have resided in Europe, both are sophisticates, and both come to suspect Thomas Crown merely because they find him attractive. In terms of characterisation, Catherine Banning is certainly the more nuanced of the two.
There is one area, however, where Vicki Anderson excels over Catherine Banning. Sex appeal. At the age of forty-five, Rene Russo (who, it must be said, is a perfectly fine actress) looks too old to be playing the part of a sultry sex kitten who is supposed to be the source of all men’s fantasies. (Faye Dunaway, by contrast, was only twenty-seven and looks every part the sex kitten). Better choices would have been Sharon Stone, Catherine Zeta-Jones, Kim Basinger, Kate Winslet, Emanuelle Béart, and Monica Bellucci.
In 2016, Variety reported that Michael B. Jordan was set to star in a second remake of The Thomas Crown Affair. Those wishing to remake the film should heed the following advice. They should combine McQueen and Brosnan’s portrayals of Crown to create a character a witty, urbane, charming, and roguish anti-hero. They should retain the style and sex appeal of the original film, but follow the remake’s lead when it comes to music and plot. And, finally, they should make absolutely certain that they cast the right actress as the female lead. Only then will we get the film we truly deserve.
Fans of the James Bond film series remember 1983 as the year that brought two James Bond movies to the silver screen. The so-called “Battle of the Bonds” pitched the official EON Produced Octopussy against the unofficial Thunderball remake, Never Say Never Again. But aside from the obvious contest between Sean Connery and Roger Moore, how should Never Say Never Again be regarded?
Fundamentally, Never Say Never Again ought to be compared to its contemporaries. By the late-seventies, early-eighties, the quality of the Bond films had become inconsistent. EON seemed incapable of deciding whether they wanted to produce thrillers or action comedies. Thus, for every The Spy Who Loved Me, there was a Moonraker.
None of this is to say that Never Say Never Again is a good movie. Ultimately, it is an average movie – and a bad James Bond movie. Part of the problem is that the film cannot decide whether it wants to be a “Bond” movie or not. There are clear attempts to emulate the official Bond series. Bond asks for a “vodka martini, shaken not stirred”, Lani Hall’s song “Never Say Never Again” replaces the traditional title song, and it is hard not to see the superimposed “007” logo at the start of the movie as anything less than a substitute for a gun-barrel.
The film’s plot is average, at best. Never Say Never Again’s plot mirrors that of Thunderball. Bond is sent to track down the whereabouts two nuclear bombs stolen by SPECTRE. Along the way he encounters the beautiful Domino, a femme fatale in the form of Fatima Blush, and the psychotic Maximilian Largo. There is plenty of sex and violence, and the film ends with Bond recovering the bombs and saving the day.
Despite making some minor improvements, Never Say Never Again fails to live up to its source material – both literary and cinematic. The film is filled with the kind of ridiculous shenanigans that could make Moore’s adventures so unbearable for fans of the Connery era. It is not possible to alter your eye to match someone else’s. Not now, and certainly not in 1983. The sequence with the remote-control sharks pushes the suspension of disbelief beyond breaking point. And Bond’s presence in the Bahamas serves absolutely no purpose.
Most of the film’s characters are boring and one-dimensional. James Bond (Sean Connery) is presented as a veteran character ravished by time (and an extremely poor lifestyle). But even this isn’t wholly original. Both For Your Eyes Only and Octopussy had leant into Roger Moore’s advancing years. The difference was that Moore’s Bond was presented as an elder stateman: a wiser, more dignified man who mostly pursues relationships with age-appropriate women. Connery’s elder Bond is merely an older version of Connery’s younger Bond, just with greyer hair.
The film’s most interesting character is its villain, Maximillian Largo (Klaus Maria Brandauer). Largo is a man who appears personable, even charming, on the surface. This affable facade, however, hides the psychotic individual lurking just beneath the surface. The film critic, Roger Ebert praised Brandauer’s decision not to turn Largo into a cliché. It is a compliment I largely agree with. Brandauer’s sense of subtle evil is far more menacing that Adolfo Celli’s Emilio Largo in Thunderball.
After Largo, the film’s most interesting character is Fatima Blush (Barbara Carrera). She is a manic psychopath – a Class A lunatic who dances in joy after she’s killed people, keeps snakes as pets, and pursues Largo as a romantic interest. Even then, Fatima Blush does not possess the same level of nuanced malevolence that Thunderball’s Fiona Volpe possessed. Blush may not be Lady Macbeth, but she’s certainly fun to watch.
By contrast, the most boring character in the movie is Domino Petachi (Kim Basinger). The only thing that defines her as a human being is her troubled relationship with Largo (which is handled better here than in Thunderball). Their relationship is defined by Largo’s possessiveness and punctuated by his pathological bouts of paranoid jealousy. He refers to her as his possession and even tells her that he will kill her if she tries to leave him.
The biggest downfall of the film, however, is that it represents a missed opportunity. Those who watch the film know they are not getting a regular James Bond movie. The film’s director, Kevin McClory could have used this as justification to do something original with James Bond. He could have revived the danger, conviction, and sex appeal of the original films by making Never Say Never Again more ruthlessly violent and sexually explicit. McClory could have chosen to produce a film along the lines of From Russia with Love or The Day of the Jackal. Instead he chose to produce a bland James Bond movie.
One of the great joys of my life is watching speeches and interviews given by great intellectuals. It was in pursuing this pleasure that I happened upon an episode of the ABC’s panel discussion show, Question and Answers. Coming out of the Festival of Dangerous Ideas, the four people on the panel – the traditional conservative, Peter Hitchens; the feminist writer, Germaine Greer; the American writer, Hanna Rosin; and the gay rights activist, Dan Savage – spent an hour discussing tops ranging from western civilisation to modern hook-up culture.
It became quickly apparent that the intellectual stature of the four panellists was not evenly matched. Hanna Rosin and Dan Savage were less rational, less mature, and more ignorant than Peter Hitchens and Germaine Greer. By comparison, Hitchens and Greer gave carefully considered answers to most of the questions asked. Hitchens, in particular, gave responses based on careful consideration, rational thought, fact, and wisdom. (This is not to say one is required to agree with him)
It was the behaviour of the audience that proved the most alarming, however. Like most Questions and Answers audiences, it was comprised mostly of idealistically left-wing youth. Their primary purpose for being there was to have their ideological presuppositions reinforced. With no apparent motivation to listen to the answers to their questions, these youngsters would clap and cheer like trained seals whenever someone makes an ideologically-correct statement.
How has our society become so stupid? Why do we no longer see being wise and knowledgeable as virtues in and of themselves? Part of the answer comes from a culture of self-hate and contempt promulgated by left-wing intellectuals. Accordingly, Christianity is regarded as archaic (unless, of course, it promotes left-wing beliefs), inequality is caused by capitalism, and the problems of women come as the result of the “patriarchy.” Even the Killing Fields of the Khmer Rouge are rather conveniently blamed on “trauma” emanating from the Vietnam War (rather than the actions of Pol Pot and his band of murderous, communist brutes).
This continuous, unrelenting assault on Western civilisation has led to a general estrangement from Western culture. The common people have been robbed of their inheritance because scholars and intellectuals have reduced their culture into a caricature to be dismantled at will. As a result, they are no longer exposed to the great works of art, architecture, literature, music, philosophy, poetry, sculpture, theology, and theatre that the Western world has produced.
The modern proclivity for ignorance and stupidity comes out of a very special kind of arrogance. It is the kind of arrogance that makes people believe that all those who came before them must be dumber than they are. It does not acknowledge that our modern “enlightenment” is built on the works of those who came before us. Our forebears would be dumbfounded to find a world where, despite having greater access to information than anyone else in history, people have closed their minds to learning.
What all this boils down to is a rejection of wisdom. If you believe that all those who came before you are dumber than yourself you are unlikely to believe they have anything worthwhile to contribute. As such, you are unlikely to believe in wisdom as a universal good. As Neel Burton over at Psychology Today pointed out: “in an age dominated by science and technology, by specialisation and compartmentalisation, it [wisdom] is too loose, too grand, and too mysterious a concept.”
We have made phenomenal advancements in all areas of human knowledge. Sadly, our successes have also made us arrogant and self-righteous. If we are to take full advantage of our potential, we need to reignite our cultural past and find the humility to learn from those who went before us.
The biggest health crisis facing the modern world is obesity. According to the World Health Organisation, obesity rates have tripled since 1975. As of 2016, 650 million adults, 340 million children aged between five and nineteen, and 41 million children under five were obese.
And it’s affecting Australia, too. Between 1995 and 2014/15, the number of obese Australians rose from 18.7% to 27.9%. The Sydney Morning Herald even reported that nearly a third of all adult Australians can now be considered obese. According to the Heart Foundation, approximately 42.7% of adult men and 28.8% of adult women are overweight. More alarmingly, 28.4% of men and 27.4% of women are considered obese.
We are poisoning ourselves and we don’t even know it. Among the health problems caused by obesity are diabetes, heart disease, stroke, high blood pressure, high cholesterol, gall bladder disease, a multitude of cancers, fatty liver, and arthritis.
We are poisoning ourselves in two distinct ways. Firstly, we are eating far too many carbohydrates. Carbohydrate-rich foods like bread and pasta cause blood sugar levels to rise. This creates an excess of sugar that causes the body to crave more carbohydrates. The result is that the body stores fat.
Whether or not bread is good or bad for us is up for debate. Lynid Polivnick, the so-called “nude nutritionist”, has defended bread stating that “it’s much healthier than people make it out to be. It’s often demonised as being a cause of weight gain but in truth, bread does not actually make us gain weight.” And she’s probably right. There is nothing wrong with bread provided that it is eaten in moderation. The problem is that many of us don’t eat bread in moderation.
Many health experts do not share Lynid Polivnick’s view. The website Healthy Simple Life claims that bread is mostly devoid of any real nutrients. Bread tends to be ‘fortified’ with vitamins and minerals because its original nutrients have been stripped from it and added back later. These nutritional elements are unlikely to be absorbed by our bodies.
Secondly, we are consuming far too much sugar. This is a relatively new problem. Our ancestors had little access to refined sugars. If they were lucky, they were able to enjoy a tiny amount of fruit during vanishingly small periods of the year. Otherwise, they were relegated to a diet rich in vegetables with a small smattering of meat.
By contrast, people in modern, wealthy society have access to seemingly endless amounts of sugar. Added sugar accounts for seventeen-percent of the average American adult’s diet. Sugar is now present in everything from cereal to chocolate bars.
Over-consumption of sugar is a leading cause of obesity and its related illnesses. It has been found to increase the risk of certain types of cancer – namely, oesophageal, pleural, small intestine, and endometrial. And it has been linked to the doubled prevalence of diabetes over the past three decades.
Over-consumption of sugar has also been found to correlate positively with an increased risk of heart disease. A study involving thirty thousand people found that those whose diets were comprised of seventeen to twenty-one percent added sugar had a thirty-eight percent greater risk of dying from heart disease than those whose diets were comprised of only eight percent sugar.
The modern western man is living in the most prosperous times in history. There is less abject poverty and less starvation today than at any other period in history. The downside of this has been an increased proclivity for greed, sloth, and, as a consequence, ever-expanding waistbands. The answer to the obesity crisis is to improve our lifestyles.
For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.
It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.
This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.
Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.
Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.
Modern Movies Lack Originality
The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.
The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.
A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.
Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.
Modern Movies Lack Artistic Merit
The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.
With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.
Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.
Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.
The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.
Modern Movies are Left-Wing Propaganda
The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.
The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.
Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.
The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.