Oh boy, is there any chance that you understand that BIRTH's racism is not a subjective affair? To reduce every argument about film to a merely subjective comment is nonsense especially if the propagandistic aspect is so obvious it can't be missed.Film is lies, standpoint, manipulation, subjectivity [...] If you can only handle material that Reinforces Your Own Subjectivity
The fabulous films happen to advertise a more and more taotalitarian rule and in the case of EARTH or THE GENERAL LINE a collectivization which was deadly for millions. It's remaerkably dumb to overlook this while you're watching the film.I can dig Pudovkin, you know why? Because He was a fabulous artist and made fabulous films about stuff I neither believe or even confront in my own time. Dovzhenko? Same thing.
Well I'm not alone about this. It's the same game, stylistic excercises without much meaning. To quote Wyler, most of it belongs on the floor of the cutting room.You could have saved lots of time with lubitsch by reading his views on Godard in his THIRD post on the forum,
A really good movie doesn't need any excuses and there are films from the silent time which avoid this misogynistic nonsense.Another aspect of this - regards the "sentimentality" of the Maria figure and those aspects of Meropolis that Lube doesn't like - the same elements occur not only in Sunrise (perhaps their last gasp) but certainly in Murnau's Faust and Dreyer's Michael. The point is they were part of a Weimar period taste for heightened emotionalism which can and did give rise to quite kitsch depictions in the movies. [...] but the movies and their period require a modern viewer to view them contextually,
You might have occasionally heard that human rights are universal. If a film opposes this notion being racist, fascist or misogynic, it's not a matter of personal taste to attack it.Art is too personal. This is why as experience develops, the appreciator of mutual humanity tends to refuse to debate "taste", "good", bad" "intellectual". Lube is looking for, it seems, a universal disqualification process based on his own individual experience-- and this is the problem.
Which is exactly the problem. Instead of analyzing what it's all about, you reduce films to your limited point of view.I can't help but care deeply for The Village Lad, because despite the political context/goal for the film (promote the spread of/sympathy for communism), the human story is rendered in a way where the tale of human struggle, strife and survival are presented in a universal way where I relate.
And what exactly has this to do with the point that I still dislike dubious Third Reich films. After all you do the analysis first and then lash out on the film.I also see the road of enemy/rejection-hatred, rife in Lube's posts, to be a source of nothing but further misery-- blindness & more disagreement. It creates nothing but additional hatred and atrophies the mind of the hater. If we're discussing Hitler & Nazi Germany, for example, I think it imperative, if one wants to insure That Sort of Thing Never Happens Again, to take a significant chunk of one's mind and try get inside the mind of Hitler, and the average German of the time.
Why am I not the least surprised that you missed the point of PANDORA's BOX completely? SUNRISE and METROPOLIS promote a reactionary stereotyping of sexually active predatory beast and passive housewife/mother. PANDORAS BOX of Pabst who was a much more intelligent filmmaker and not only caring about pictorial aspects is about a catalysator figure who is essentially a innocent child and provoking men's passions by her pure existence. And by these passions she is driven to destructions. The ideological idea is the exact opposite.folks of Lube's kind tend to get into trouble for contradiction. First he attacks one of the finest films ever made (SUNRISE) because of the presence of a sexually agressive woman portrayed as a dangerous vamp... then promotes PANDORAS BOX... which portrays what is what out doubt, literally the deadliest sexually agressive vamp of the era... whose sexuality literally destroys men AND helpless well-meaning lesbians alike.
Yes it is certain and acknowledged by every serious writer about this film. Alberich is small, hairy, cunning, greedy, treacherous and has a Jewish nose. It's bloody obvious if you know at least a bit about the stereotypization of Jews.Btw it is far from certain that in NIBEL scholarship Alberich is universally seen as rendered by Lang to be beheld by spectators as a Jew.)
I think all these comments in one post reflect your intellectual level quite well and need no further comment.If it is possible to walk into a store and purchase video of attractive runaways & single mothers in desperate need of cash screaming while getting fucked in the ass then drinking from a beaker then swallowing the cum of 6 dudes in sum,[...] Some guy might see a beautiful woman, ascertain that he can nail her, then take her home and fuck her forthwith and pronto. [...] If I was full enough of jizz I might doink an absolutely mind-bendingly beautiful woman