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September 14, 2013


And paramount also is the history of American cinema as a crypto contemplation of the psychological, Macbethian heath of devastation on which the individual, in many ways, as been left errant and incensed in his rage and latent violence as frustration with the cultural need to repress his inner vital nature-his sexuality, passion, and ultimately, care and concern for his fellowman.

Because if your own nature is frowned upon, not tolerated and subtly understood as the reason why you must live life as restraint as punishment through Jesus Christ himself, you certainly cannot tolerate, value or feel care about others; and only platonically and –above all rationally- can you open your heart to others and life itself, finally.

Any Paramount film made by Bill Wilder (along with A.I.L. Diamond) is an example of the use as structural cornerstone of the dramatic tension between the WASP (as well as those individuals-all of us-subjugated by this particular historical and cultural context) and the mensch as an opposite, vital pole that is, also, a potential state of a warmer, more caring personal and cultural patrimony to of all of us, as well;

But it is our cultural darker side of the Paramount productions of Hitchcock that contemplate a cultural psychology of the individual in his/her inability to actually accommodate, through a form of vital coercion (ultimately, through money and the needs of the body), our vital beings to the emotionally deadened shadows at the cross of our lord, Jesus at the historical heart of American social experience;

But such an accommodation is often no accommodation at all, but the inevitability through the violence of mental pathologies, social isolation and, finally, self-destruction through violence exercised over others as a form of power as release that the individual grasps onto, in the end, as a form imposition of self in a profound, pitted vital furry as opposition to a perceived foe as threat (ultimately life itself as lived by the individual through self-hatred, finally).

And so is it Paramount to understand the Cohen brothers (and to a great degree, the Spielberg himself)-and even Borat-as master’s of a showmanship of depth of meaning as aesthetic-intellectual contemplation of the seriousness, finally, of life itself-of a seriousness that, finally and regards to the American historical experience, has been removed-almost completely-from the collective social horizon before the individual, made now of just a banality of power as comfort, finally and in one or another form, for all of us.

But even this spectacle as contemplation, in the form of mass entertainment at truly the highest of levels, must be held-in its being just spectacle-in check and at bay from the real monetary interests as ideology of the real world of American power as control as governance, based as well, on a distorted psychology, originally of self-control and self-disdain.

And its own creators as artists as intellectual artisans in their care and contemplation of their fellow man, must hide, and code-encrypt-the central core of their message regarding, in this case, the model as understanding of a certain spirit of America as the Protestant chaser of the human corps that is Matty in True Grit (2011) (and don’t forget the Spielberg’s name is in the credits of this film) because she can’t stand, ultimately, her own physical being-the most brutal symbol of which is the loss of her arm of the elder Matty at the close of the film.

Highly refined-highly sophisticated-is the heart-felt contemplation at the core of this film in regards to the American historical experience and it’s deepest, perhaps, flaw of all as the bedrock as foundation of the edifice itself.

But why is this only possible to come across, in a non-academic, engaging way-a way that is potentially open and waiting for all-in just a film, as a tradition, really, of dozen’s of films of the greatest American and world esteems, but that never seems to find its way into the power system that holds tight and fortified-constantly renewing its very grip-in its control over the soul of America through money, material need and, simply and just like Matty-through the body itself;

And never can one find a true acknowledgement of those higher needs we all live in of truth as meaning-and not only for a sense of righteous justice-except in a few points like stars in the firmament of popular culture.


Before I give the answer-my answer-let me first most sincerely thank these makers of this history of the Paramount-of what in the end-in the beginning and always-has been the only food I can really tolerate-for I now understand how truly difficult it is to come through, in the end, as a voice of tolerance and care-of mercy, finally-as truth for all of us; because if you are not determined enough to actually reach the soul of man, you will desist in your craft, if you cannot learn-and accept-to compromise, ultimately, in a very serious way with regards to your artistic-intellectual drive;

And yet, you find a way not to simply sell out and turn from truth, meaning and the hunger of man, of us all.

Charlie Chaplain, Lubitsch, Charles Laughton, John Houston, Hitchcock, Kubrick, Woody Allen, John Landis, Ridely Scott, Scorsese, Jonathan Demme, Olvier Stone, Francis Ford-and Zoe-Coppola, Harold Ramis, Terry Zwigoff, et al…

And particularly Billy Wilder (A.I.L. Diamond), the Cohen Brothers and-particularly yet again-The Spielberg.

But anyway, here is the answer (habor not the least of doubts) to my question:


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