So today I was at IGN and saw a bit from Comic-Con '09 where Peter Jackson was asked about the Halo film he was at one point working on and if it was still a possibility. I couldn't believe how skinny Jackson looked, as I remember him being a bit plummy, this encouraged me to check out his IMDB page. From here, I noticed a film he worked on coming out this year called District 9, looked into it more and wound up being drawn in by the title of a thread on its message board, which gave me a link to a web site of crazy white folk who hate the world and are scared to death of minorities taking over the country (I am talking Micheal Weiner level worked up).
Kind of funny how one thing leads to another on the interwebs isn't it? You start out at one place, and who knows where you'll end up. Kind of like this new topic I started...
Alright so, to the point. At this crazy cracker fest of a website they were going on about how Hollywood has a big propaganda machine going about trying to destroy the white man. They mentioned a movie I rather liked, Gran Torino, as an example of how a prominent white cultural icon has sold out and joined the propaganda machine. Made me think of my own perception of the film, and what I read into it, versus what these lovely folk read into it. Just curious where others landed on this spectrum as well. Did anyone here sense even a modicum of anti-white sentiment when they saw the film?
<<Spoilers for said film follow!>>
In Gran Torino I saw a grouchy old man who was having a hard time facing the demons of his past deeds, while watching the world and the neighborhood around him change. The world he knew was fading, his wife died, through his grandchildren he saw how disrespectful modern youth were, and through the changing demograph of his neighborhood how different his country was becoming. He got to know his neighbors and realized even though they are different, they hold many of the same values as he does, even more so than his degenerating own family line. In the climax he sacrifices his miserably cancer ridden self and the few remaining years he might have lived in order to bring a better live to these two immigrant kids he has come to love. Having been less than impressed with his spoiled grand daughter who flat out asked him if he'd leave her his car when he died right after her own grand mother's funeral, he leaves his Gran Torino to Tao, his young immigrant next door neighbor who he had been mentoring and had been his closest companion during the last weeks/months (not sure of the films timespan) before his death.
These crackers at the site I mentioned interpreted it as follows:
"Eastwood shames himself in ‘Gran Torino’. He plays a flawed man who, by the movie’s climax, redeems his sins against non-whites by a Christ-like death. In his final gesture of capitulation, he hands the ownership of America (symbolized by his beloved American-built auto) over to a younger, morally superior immigrant, who drives off to a future without whites."
-first post regarding the subject
"It’s hard to believe these white men would lend their images as American icons to such blatant propaganda.
I agree that Grand Torino was hideously anti White - one of the worst ever and yes the death image of the Clint Eastwood character being crucified at the end, giving his life to give America over to the Laotian Hmong immigrants who would somehow renew America to the golden age of the 1950s - what #*$#@(@."
-post in response to the first post
"Every time Warb sighs, an angel falls into a vat of mapel syrup." - Gaffer Tape