Mao, more than ever
My friend Adam alerted me to this awesome film criticism site for people with a really ironic and ghoulish sense of humor. So naturally, I can’t take my eyes off the Maoist International Movement film site, and I have had hours of time-wasting fun.
I actually think we should keep a few Commies around, and put them in a theme park for display. This Maoist site, at which the critics are identified at most by code names, like MC-17 and PG-13, is a good step in that direction. It makes David Walsh of the World Socialist Web Site look sane. These Maoists are definitely worth a bookmark if you want the Chairman’s Revolutionary Nonrevisionist perspective on:
PATCH ADAMS: the plot points “agree [some] with the proletarian perspective of medicine. The bourgeoisie puts great emphasis on technical training and puts this above common sense and contact with the masses.”
HARRY POTTER AND THE CHAMBER OF SECRETS: I think they liked this one, because they acknowledge that it “deserves not to be banned under the dictatorship of the proletariat.” (I repeat: I AM NOT MAKING THIS UP.) Apparently, it shows the wizard school in a “crisis” situation where learning has to take place outside the context of the status quo system. Which Mao saw. And saw that it was Good.
TANK GIRL: On the down side, she “smokes, which is not MIM’s idea of good in a role model. Tank Girl does not have the advantage of Marxist science.” And “as an individualist Tank Girl’s class awareness appears limited and reactive.” But it gets better and is “overall objectively progressive. It is progressive because it is the story of wimmin and brown skinned persyns (“kangaroos”) fighting against monopoly capitalists.” It is all in all, “about the best culture were going to see under imperialism.” Maybe that means would prevent it from being banned under a dictatorship of the proletariat.
CHARLIE’S ANGELS 2 and LARA CROFT, TOMB RAIDER 2: They “perpetuate gender oppression and inequality” by “pornographic portrayals of wimmin.” But not, not NOT from “some Christian purism or moral code.” No, no, no. But CHARLIE’S ANGELS 2 does have one redeeming facet. “In the end the evil Angel wasn’t put in therapy: they killed her, so at least Charlie’s Angels got that right.” Some Christian purism might be a good idea.
CROUCHING TIGER, HIDDEN DRAGON: Close, but no cigar … um … uh … close but no communal proletarian rice bowl. It has empowered wimmin, but “aesthetics cannot be separated from political content.” Durn it. And since, the film “fails to deliver any good reason for the wimmin — or the men — to use their [athletic] skill,” I guess it’s onto the Little Red Bonfire.
Some of the reviews were almost coy, though. I was actually surprised it took the Undercover Revolutionary Reviewer as long as it did, the second-last sentence of a 1,000-word review, to get to the (obvious) point that BLACK HAWK DOWN‘s “perspective is reactionary.”
My favorite quote is probably this one, about THE FARM. “Angola was transformed from an old-style slave plantation into a modern day slave plantation (prison) after the Civil War.” I’d never before realized that “police are key weapons in Amerika’s imperialist war against its internal Black, Latino and Indigenous colonies” in the “Amerikkkan Lockdown.” At the end of the same review, it laments the number of people who came to a screening but didn’t sign up to overthrow the state, because they were too racist to associate with the African Diaspora figures being oppressed in Amerikkka.
You can’t make this stuff up. You wouldn’t think it would be possible to attack Noam Chomsky from the left, but these people manage. Did you know that in POWER AND TERROR: NOAM CHOMSKY IN OUR TIMES, Chomsky is a “cop out” on capitalism and “misleads his audience about the reality of historical activism” because he doesn’t tell people to fight for communism — “an alternative … that has been tested historically and proven superior to capitalism”? I did not know that. Or that even Jean-Luc Godard committed historical errors. His TOUT VA BIEN (starring Hanoi Jane Fonda) “was too much in the direction of economic demands by imperialist country workers — this despite the fact that Godard separated from social-democracy and revisionism while showing how the imperialists exploit the Third World for the benefit of themselves and their lackeys.”
I’m too unsurprised to really be disgusted by the fact that Maoists would not care for such revisionist running-dog films from “Capitalist China” as Zhang Yimou’s TO LIVE, Chen Kaige’s FAREWELL, MY CONCUBINE, and Tian Zhuangzhuang’s THE BLUE KITE. The Zhang “downplays the tremendous gains the Chinese people made under Maoist leadership.” The Chen film “Includes typical revisionist history depicting the Cultural Revolution as anarchic and destructive.” And the Tian doesn’t do enough to emphasize “the important advances made in the Cultural Revolution.” But it does show unintentionally how good the Cultural Revolution was in fighting bourgeois reactionary liberal ideas — yes, you read that right.
Stop laughing, people. This site is real. I think. Oh … and did you know that MY BIG FAT GREEK WEDDING “may have had some progressive value in feudal times… [but] it’s hard to see this film continuing to have value today.” Or that SCHINDLER’S LIST is a “fitting Amerikan eulogy to one benevolent capitalist who saved people by putting them to work in his factory.” I gotta stop right now. I could be writing in this mode forever.
Just a word to my 5.5 readers (half of David Morrison’s) … if I *ever* start sounding like a right-wing version of that site, just go ahead and shoot me. And cite this post in defense; I’m sure you’ll get off.
No comments yet.