Ugly Realities vs. Ridiculous Fantasies

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An ugly reality will lose out…

Not that it matters, but 12 Years A Slave was awarded Best Movie of the Year at Sunday’s Golden Globes awards.   That’s nice if  you care about that sort of thing.   It was even nicer Armond White didn’t show up to drop any F-bombs and pull off his pee-pee and take a whiz in public.   Probably too busy licking his wounds over being expelled from the NY Film Critics Circle and that matters even less.

In the 18th century, William Wilberforce said of slavery, “You may choose to look the other way, but you can never say again that you did not know.”

In 19 words Wilberforce hits on what makes 12 Years A Slave must viewing for any conscious human being who wants a realistic, unflinchingly honest and terrifying brutal two-hour trip through the American Holocaust.    You may have to watch it peeking through the fingers of your hand in front of you face, but you can never say again that you did not know.

The story of Solomon Northrup is based on fact. Django is nothing more than an Italian spaghetti western relocated to America so Quentin Tarantino can film his fetishes and fantasies about slave-fights, Black bounty hunters roaming the South killing Whites with impunity and his desire to say “nigger” as many times as he damn well pleases.

12 Years A Slave is a movie. Django Unchained is a cartoon.

...vs fantasy.

…to a ridiculous fantasy.

12 Years A Slave was the best movie of 2013. Period. End of sentence. I do not need the official stamp of awards and I don’t need the consensus of the crowd who line up like lemmings for a Tarantino masturbatory fantasy but go mental when a Black director and a Black screenwriter tell the true story of a Black man taken and held against his will by a vicious slave owner.

If others prefer cartoons like Django Unchained, fine. I ain’t mad atcha and where you spend your movie-going money doesn’t phase me in the slightest.  It’s fine by me if anyone really believes a Black bounty-hunter could wander around the antebellum South shooting and killing as many White men he wants with impunity and without punishment.   It didn’t happen and it’s a joke, but Tarantino is quite the joker.   He made his best film with Pulp Fiction  20 years ago and has floundered since trying to follow-up with a second act he doesn’t seem to have.   Say what you will about Jackie Brown, Kill Bill 1 and 2, Inglorious Basterds, and Django Unchained (we’ll forget Death Proof because even Q.T. wants to), but you can’t say Tarantino is challenging himself as a filmmaker or the public as an audience anymore.

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Steve McQueen, Lupita Nyong’o and Chiwetel Ejiofor may have Oscar gold in their future.

But don’t get all up in my grill telling me I don’t know my history and that I’ve been brainwashed by Whites and I’m some sort of self-hating dupe because I prefer movies that challenge me and force me to think and not simply sit there like a spastic drooling in my popcorn at the stylized and vulgar bullshit of a race pimp like Tarantino. Comparing Django to 12 Years is like comparing a Bugs Bunny cartoon to The Godfather.  It’s not a serious comparison and we can’t’ have a serious conversation about it.   Seriously.

Given a choice between a harsh reality and an amusing fantasy on slavery, I’m not at all surprised most opt for the fantasy. Just a bit disgusted.  There may be an intelligent, reasonable and rational argument to be made that Django Unchained is a superior and more honest depiction of slavery than 12 Years A Slave.   I just haven’t found an intelligent, reasonable and rational person make it yet.

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Throw Off the Chains and Shake Off the Haters.

“12 Years” director Steve McQueen is congratulated by actor and activist Harry Belafonte (photo credit: Star Pix)

Personal matters have prevented me from updating the blog as frequently as I would like.  Hey, that’s the the way of the world, y’know?

In 2013 there may be better movies than 12 Years A Slave. There are certainly far more “entertaining” movies than 12 Years A Slave.

With few exceptions such as Fruitvale Station, there are no movies in 2013 that mean something more than 12 Years A Slave.

Django Unchained is entertainment. 12 Years A Slave is edutainmentHarry Belafonte noted the historical significance of the film in his address to the New York Film Critics Circle Awards honoring director Steve McQueen’s monumental cinematic accomplishment.  Unfortunately, the news that came out of the awards was the asshole actions of Armond White, the barely professional curmudgeon, contrarian, and crank who passes himself off as a film critic.   White proved his trolling tendencies by going all the way off as soon as Belafonte finished speaking as Variety reported.

Armond White, film critic

“I am not a contrarian; everyone else is a conformist.”

As soon as McQueen took the stage, White started shouting from his table at the back of the room. “You’re an embarrassing doorman and garbage man,” White boomed. “Fuck you. Kiss my ass.”

White hated 12 Years A Slave as he hates any movie widely acclaimed by other critics.   But disagreeing is never enough for White.  He also has to prove his taste is vastly superior to yours.   This sort of bad behavior is nothing new for White who goes out of his way to be a dick.  If we all acted like Armond White we should commit mass suicide for being such raging douchebags.   There’s nothing to admire about a hack and troll who screams abuse and drops F-bombs on better men than himself. I think for myself, I decide for myself and I don’t need a damn fool like White to do either for me.

White has denied he screamed the insults, but it fits his pattern of crude behavior.    If he ever directed a movie it would be called 50 Years An Asshole. 

I’m bored talking about a troll and a hack like White. Lost in his b.s. is what Harry Belafonte, someone who has done more for Black culture by accident than White has done on purpose, said about 12 Years A Slave and Steve McQueen. The squeaky wheel shouldn’t always get the grease nor snatch all the headlines.

Belafonte said in part:

A lot’s gone on with Hollywood. A lot could be said about it. But at this moment, I think what is redeeming, what is transformative, is the fact that a genius, an artist, is of African descent, although he’s not from America, he is of America, and he is of that America which is part of his own heritage; [he] made a film called 12 Years a Slave, which is stunning in the most emperial way. So it’s a stage that enters a charge made by The Birth of a Nation, that we were not a people, we were evil, rapists, abusers, absent of intelligence, absent of soul, heart, inside. In this film, 12 Years a Slave, Steve steps in and shows us, in an overt way, that the depth and power of cinema is there for now the world to see us in another way. I was five when I saw Tarzan of the Apes, and the one thing I never wanted to be, after seeing that film, was an African. I didn’t want to be associated with anybody that could have been depicted as so useless and meaningless. And yet, life in New York led me to other horizons, other experiences. And now I can say, in my 87th year of life, that I am joyed, I am overjoyed, that I should have lived long enough to see Steve McQueen step into this space and for the first time in the history of cinema, give us a work, a film, that touches the depths of who we are as a people, touches the depths of what America is as a country, and gives us a sense of understanding more deeply what our past has been, how glorious our future will be, and could be.

I think that the Circle Award made a wise decision picking you as the director of the year. I think we look forward in anticipation to what you do in the future. But even if you never do anything else, many in your tribe, many in the world, are deeply grateful of the time and genius it took to show us a way that it should be. Forever and eternally grateful to say that we are of African descent. Thank you.

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