Movies that tell or teach you something?

[Dig]

Read Sanes list in this thread

http://forum.prisonplanet.com/index.php?topic=118486.0;topicseen

Culture » May 21, 2004
Counter Cultural Programming
By Michael Atkinson


Thelma and Louise: An empathic essay about having nothing to lose.
Tags    social justice
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The November firefight approaches and here we are, awash in a media flashflood of press secretary prevarication, corporate indictment dodging and in-your-face presidential lies. Gay marriage is the year’s burning flag used to incite the ignorant, while the pundits lend credence to flat-out absurdisms just by debating them—that Antonin Scalia’s outrageous conflicts of interest may not give the “appearance” of conflicts of interest, that Halliburton may not be “profiting” from a war launched for its benefit, that The Passion of the Christ may in fact have been divinely inspired. (Certainly, the millions of tax dollars poured into “faith-based” institutions and used to buy ticket blocs can be seen as a gift from God to Mel Gibson.) And, of course, the nine-figure White House marketing launch is pure skullduggery, grinning with Christian manifest destiny and transparent jingoism.

What do we do for counter-programming? Don’t rely on present-day Hollywood, that brothel of military celebration and half-measure liberalism. Instead, rent some of these firecrackers, the best left movies ever made, and keep the flags of discontent flying.

Zero de Conduite (1933) With this early talkie, legendary filmmaker Jean Vigo’s lyrical genius reinvents schoolyard rebellion as all-purpose, anti-authoritarian anthem. Essential radical viewing in any year.

It’s a Wonderful Life (1946) OK, it’s not Christmas and this poor movie may already be bled dry for most of us, but take another look: It’s the most passionate, anti-big business, pro-Socialist Hollywood film until Reds 34 years later. If Dick Cheney overacted more, he’d be Mr. Potter.

Salt of the Earth (1954)Independently made by real union miners and McCarthy blacklistees, this gutsy little epic remains the premier American union film. It met with federal opposition at every step of its production and distribution, and Mexican star Rosaura Revueltas was imprisoned and deported as a Communist. That this landmark is all but forgotten in the mainstream and the anti-union On the Waterfront is consistently celebrated cannot be happenstance.

Invasion of the Body Snatchers (1956/1978/1993) This sci-fi nail-biter scenario—made three times in three political climates but never exhausted—stands as a trifold vision of every liberal’s nightmare: the conservative, empathy-free homogenization of society. As walking metaphors go, you can’t get more visceral.

Paths of Glory (1957) One of the very best anti-war movies—Stanley Kubrick doing WWI—and so an eloquent reminder for the home-frontier about artillery-ground soldier meat and self-interested authority.

The Manchurian Candidate (1962)The ultimate conspiracy thriller, despite the fact that its sky-high assassination plot—which chillingly forecast Dealey Plaza by just a month—is blamed on Sino-Soviet brainwashers. Here was the first movie to dare suggest that U.S. politics is a parliament of whores and criminals.

Lawrence of Arabia (1962)The official antidote for jolly-ho Brit Empire colonialism—here, the white hero is an egomaniacal, exotica-drunk fop, standing in for imperialists everywhere.

Les Carabiniers (1963) International cinema’s premier radical, Jean-Luc Godard, takes a lampooning cudgel to war and patriotism. Simple and merciless.

The Best Man (1964) Master upstart Gore Vidal wrote this election-year dogfight in 1960, but he could be writing it right now. Possibly the least naive American film ever about electoral combat.

The Battle of Algiers (1965) A classic, semi-documentarian portrait of “low-intensity,” neo-colonialist warfare from the Arab freedom fighters’ P.O.V.—still pertinent enough to warrant a Pentagon screening late last year.

A Report on the Party and its Guests (1966) A John Ashcroft party film, this Czech parable about informant culture and social oppression is creepy, inexorable and criminally underseen.

Greetings (1968) Brian De Palma’s first film and possibly the most incendiary American youth film of the ’60s. Why aren’t there new fist-shakers like this, and audiences for them, today?

Punishment Park (1971) Brit dystopian Peter Watkins prophecizes the Ashcroft effect: Vietnam-era protestors and lefties are arrested, tried tribunally and surreptitiously executed in the desert.

The Candidate (1972) Robert Redford as Howard Dean? This realistic farce plays presidential politicking as media mah-jongg, and the voters lose.

State of Siege (1972) Greek troublemaker Costa-Gavras explores the Tupermaro guerrillas in ’70s Uruguay, but the villain is a kidnapped government agent used to initiate right-wing coups.

The Parallax View (1974) A jittery Warren Beatty nightmare—the star’s first liberal statement—about JFK-like assassinations as an integral ingredient in American politics.

The Texas Chainsaw Massacre (1974/2003) Bush Country and low-rung consumerist capitalism have never been so scary; the new remake gets credit for prescience.

The Battle of Chile/The Pinochet Case (1975/2001) Possibly the most outraged political document ever made, an on-the-scene, Holy Shit record of the U.S.-supported 1973 coup and its recent denouement. A must-see.

Harlan County USA (1976)/American Dream (1990) Barbara Kopple’s documentaries track the reality of the worker majority struggling to keep their livelihoods and unions.

Network (1976) This screaming Paddy Chayefsky satire is so prophetic—reality TV, punditocracy, news-as-entertainment, etc.—it’s almost redundant. Remake, anyone?

All the President’s Men (1976) Still a sobering view, ratf**king and all, of standard White House bullshit.

Apocalypse Now Redux (1979/2001) The only, and funniest, American film about Vietnam to acknowledge the conflict’s colonial roots and reality.

Winter Kills (1979) Based on the Richard Condon novel, yet another ludicrous-yet-persuasive burlesque on modern power and the JFK flashpoint; this time, John Huston stars as a diabolical Joseph Kennedy.

Reds (1981) As heartfelt and convincing a pitch for full-on socialism as Hollywood will ever make. Warren Beatty deserved a Nobel.

The Killing Fields (1984) The secret bombings are danced around, but otherwise this portrait of the Khmer Rouge rise is a powerful and convincing view of barbaric upheaval fomented by U.S. meddling.

Salvador (1986) More U.S. meddling in the post-imperial badlands, and full of talk about Reagan-era responsibility.

Walker (1987) Director Alex Cox virtually ended his career with this Molotov-cocktail about the famous U.S. freebooter who took over Nicaragua in the 1850s on behalf of federal greed and Cornelius Vanderbilt.

Roger and Me (1989) Michael Moore’s first film. America the unemployed beautiful, outside of the millionaires’ gated communities.

The Handmaid’s Tale (1990) Margaret Atwood’s bad dream about abortion rights, in which right-wing moralism creates a dreadful future of female subjugation.

JFK (1991) Oliver Stone might not be right about everything, but he’s not crazy. Here are enough cold facts to put you off trusting politicians for a lifetime.

Thelma & Louise (1991) Perhaps it’s time to revisit this feminist self-immolation—perhaps even as an empathic essay about having nothing left to lose.

The Panama Deception (1992) Bush I gets strung out to dry in this Oscar-winner. Data and more data, about an administration virtually identical to the one we have now.

Bob Roberts (1992) In this campaign mock-doc, Tim Robbins masterfully mocks the seductive idiocy of right-wing populism.

Lessons of Darkness (1992) Werner Herzog’s lyrical survey of the burning Kuwaiti oil fields. Unforgettable.

Land and Freedom (1995) Old-school lefty Ken Loach visits the Spanish Civil War and turns out one of the most eloquent films about collective society ever made.

Wag the Dog (1997) The manufacture of consent in action. This was intended as wacky spoof, but all that seems far-fetched now is the notion that we’d bother to fake a war rather than just wage a real one.

Starship Troopers (1997) The decade’s most outrageous satire of American-pop jingoism, bar none. No wonder it was misunderstood.

Bulworth (1998) In a hip-hop context now, Warren Beatty again dares to utter the ‘S’ word and mean it.

The Thin Red Line (1998) Another “best” anti-war film, unmuddied by heroism and ruled by irrationality.

Pleasantville (1998) A cartoon metaphor in which underage sex, masturbation and literature destroys reactionary control. We can dream.

Three Kings (1999) David O. Russell’s blessedly disrespectful comedy of Gulf War greed, whose idea of a sentimental ending is the bribing of U.S. officials to let refugees live.

A Time for Drunken Horses (2000) Of the many acidic Iranian films we’ve seen, this one softens no edges about refugee life in Mesopotamia.

La Commune (Paris, 1871) (2000) Peter Watkins’ six-hour faux-news report about the nearly forgotten proto-communist uprising is virtually a living seminar in class-consciousness.

Kandahar (2001) A pre-9/11 Afghan voyage by master Iranian Mohsen Makhmalbaf and a surreal, chador-haunted critique of both Taliban conservatism and Western opportunism.

Bloody Sunday (2002) A minute-by-minute account of the famous Irish massacre. Accurately and furiously anti-British, but a gut-wrenching window on civilian casualties everywhere.

Noam Chomsky: Power and Terror in Our Times (2002) Any C-SPAN lecture would do, but this hit theaters and attacks the War on Terror’s profound illogic.

Bowling for Columbine (2002) The NRA is one of Bush II’s big contributors; this movie should run 24/7 on cable all fall.

The Trials of Henry Kissinger (2002) He’s been employed by every president since Nixon in one capacity or another, and yet he’s personally responsible for hundreds of thousands of deaths. Let’s take it to The Hague.

In This World (2003) Michael Winter-bottom’s verité day-in-the-smuggled-refugee-life puts you in 15 million people’s threadbare sandals.

The Fog of War (2003) War bureaucrat Robert McNamara double-talks and rationalizes his career on camera, and a few more million deaths are left unaccounted for. This is how government officials live with themselves.

[Berminator]

The Day After (1983)
Not seen this yet, gonna watch after show.

http://video.google.com/videoplay?docid=1892923857465314983

[Dig]

FInal Cut

The Final Cut (2004 film)
http://en.wikipedia.org/wiki/The_Final_Cut_(2004_film)


The Final Cut is a film written and directed by Omar Naim, released in 2004. The cast includes Robin Williams, James Caviezel, Mira Sorvino and Genevieve Buechner. It was produced by the Canadian production company, Lions Gate Entertainment and filmed entirely in Vancouver, B.C. and Berlin, Germany. The film featured original music by Brian Tyler. The story takes place in a near future in which people can pay to have their babies implanted with memory chips. These "Zoe Implants", developed by EYE Tech company, record every moment of their lives, so that they may be viewed by loved ones after one's death. The plot centers on Alan Hakman (Williams), a cutter, whose job it is to edit the Zoe footage into a feature-film length piece, called a "Rememory".

The Final Cut is about subjectivity, memory and history; posing the question, "If history is what is written and remembered, then what happens when memories are edited and rewritten?" The topic is similarly dealt with in the novel Nineteen Eighty-Four by George Orwell, wherein the protagonist works for the "Ministry of Truth", a bureacracy charged with re-writing history so as to reflect the current stance of Big Brother.

The film won the award for best screenplay at the Deauville Film Festival and was nominated for best film at the Catalonian International Film Festival and Berlin International Film Festival.

[adissenter2]

The Trial aka Le Procès (1962)

http://en.wikipedia.org/wiki/The_Trial_(1962_film)

[Dig]

The Trial aka Le Procès (1962)

http://en.wikipedia.org/wiki/The_Trial_(1962_film)

Nice catch!!!

[Silveryminnow]

The Day After (1983)
Not seen this yet, gonna watch after show.

http://video.google.com/videoplay?docid=1892923857465314983

Nuclear Hangover.
3 more Schindlers List, Defiance, Red Tide, and gonna watch "Trial aka Le Procès" has some of my favorite stars in it. (Anthony Perkins)

[America2]

Just curious - what does everyone here think about all these rumors over how Ann Coulter is really a MAN, but masquerading as a woman and helping to promote the neocon agendas as a "conservative"?

When I think of Coulter and these rumors, I think of those movies "The Crying Game" and "M. Butterfly"(with Jeremy Irons) - of course, these 2 movies were about men who had long-time affairs with other men masquarading as women, but did NOT know the ugly truth until a LONG time later. I wonder if both of these movies were being used for predictive programming et al for NWO agendas like this in the future...

Alot like how the scene in "Demolition Man" where the US Constitution was ammended where non-naturally born citizens could be President and VP, and Arnold become their current President...we currently have a non-naturally born US citizen in the WH now.

[nustada]

Threads

http://www.imdb.com/title/tt0090163/

Plenty of NWO programming, but a disturbing flick, if that is what you want.

[Xill]

I would recommend "Inland Empire" by David Lynch above anything else. That movie really raised the bar as for what a contemporary movie can be. The best American movie producer in my opinion, light years beyond all the Hollywood stuff (that we still enjoy sometimes anyway!). In terms of movies as a new form of art David Lynch and Stanley Kubrick really stands out in America. Of course if your looking for "entertainment" and ways to pass time then Hollywood is there just for that.

[Brocke]

I would recommend "Inland Empire" by David Lynch above anything else. That movie really raised the bar as for what a contemporary movie can be. The best American movie producer in my opinion, light years beyond all the Hollywood stuff (that we still enjoy sometimes anyway!). In terms of movies as a new form of art David Lynch and Stanley Kubrick really stands out in America. Of course if your looking for "entertainment" and ways to pass time then Hollywood is there just for that.

I have never seen Inland Empire, I'm "sourcing" it now. David Lynch is a brilliant Director, one creepy messed up son-of-a-gun, but a great Director.

[Dig]

I have never seen Inland Empire, I'm "sourcing" it now. David Lynch is a brilliant Director, one creepy messed up son-of-a-gun, but a great Director.

David Lynch has serious issues. I still think his greatest movie is Elephant Man, not necessarily anti-NWO, but just a total masterpiece of art, an engaging experience that touches the essence of human frality and the basic rights of man.

[phasma]

Elephant man makes me cry, so sad !


What about phenomenon - john travolta i think. Aquires some powers because a brain tumor activates bits of his brain that were previously never triggered, then THEY try to get him and slice and dice him !

And while we are on john travolta - face off ! loved that film . . . i want to take his face . . . . off ! LOL

[el midgetron]

yikes, the recommendations in this thread will keep me busy for some time 



Council of the Gods  (1950) - Based on testimony from the Nuremberg Trials, this East German drama explores the collusion between international corporations and Nazi scientists. Considering himself politically neutral, a chemist remains silent when his company creates the gas that kills millions of prisoners in concentration camps. This vintage film was used as propaganda for the new German Democratic Republic. Bonus materials include newsreel clips, interviews and more.

Synopsis:


When Hitler comes to power the I.G. Farben Company invests in the Nazi cause and reaps tremendous profits from Germany's military build-up. "The Council of the Gods" is a core of executives led by chairman Mauch (Paul Bildt) that ruthlessly ignores ethics for its own gain and subjects its employees to Nazi anti-union tactics. The Council is wrong in thinking that it has Hitler in its pocket, but its alliances insure its survival should the Third Reich collapse. Council member General Heinze Schirrwind (Helmuth Hinzelmann) marries Mauch's socialite daughter and liaisons with the radical Nazi party, and other executives close a hot deal with Mr. Lawson of the U.S. Standard Oil Company (Willy A. Kleinau). Standard Oil and Farben trade essential materials and patents to their mutual benefit; when war comes they maintain full cooperation with one another. Their exchanges are routed through Brazil and Switzerland. Both companies profit from the war to the tune of billions.

Meanwhile, one of Farben's top scientists Dr. Hans Scholz (Fritz Tillmann) sees his relatives arrested by SS police for union activities and suspects that the uses of his research are being kept hidden from him. When he finally discovers that I.G. Farben is making lethal gas for death chambers, it's too late to complain; Nazi operatives will surely silence him. As Germany crumbles the top executives relocate to safer areas in Bavaria, leaving Scholz behind, promoted at the last moment to a top executive position. At the Nuremburg trials, the Council Members claim ignorance of any wrongdoing and use Scholz as a scapegoat. Mr. Lawson arranges for a change of prosecutor, ensuring that the collusion between Standard Oil and I.G. Farben is kept under wraps. After brief prison terms the Council emerges as a prominent force in the capitalistic rebuilding of West Germany.

Council of the Gods certainly presents a strong argument against the globalization of corporations. Although not publicized, the history of the I.G. Farben Company and its relations with American oil and technology companies is part of the Nuremberg record. While their respective countries were at war, the company executives stayed above such petty matters as totalitarian politics and mass genocide and carefully protected the continuity of their profits. Luchino Visconti's The Damned looks at industrial Germans as political monsters and sexual perverts but this East German film seeks to inspire outrage that Germans would partner with hypocritical Western capitalists. Council of the Gods sees no difference between sharp business practices and conspiracy in war crimes.

The evidence presented is certainly worth our attention. According to the script (which claims to quote American records from the Nuremburg trials), I.G. Farben and the Standard Oil Company honored patent royalty contracts throughout the war: When RAF planes burned aviation fuel from America, the Germans made a profit. Neutral Swiss bankers insured the discreet handling of funds and exchange of materials. According to the film, the American partners saw to it that I.G. Farben's plants were never bombed. And after the war, the same monetary influence was used to protect the German industrialists from prosecution at the war trials. The German elites, after all, were on the American side when it came to opposing the Russian threat.

Council of the Gods uses these assertions (which definitely should have been more widely debated) for manipulative propaganda aimed at East German audiences. The script makes a careful delineation between the 'good' working class Germans (which include the duped scientist hero) and the nefarious Council of the Gods with its relations with Nazis, militarists, mass murderers and Americans. The honest Dr. Scholz and his humble family receive a basket of champagne as a birthday present, while Chairman Mauch and his corporate elite make their crooked deals on vacations in Italy and the Alps.

The recurring image of the I.G. Farben villains is a grand toast. The participants revel in their wicked powers and form romantic liaisons that reinforce crooked relationships. Mauch's daughter marries a high-ranking general. The American representative of Standard Oil is presented as a slimy opportunist and war profiteer, and even has a sinister moustache. Meanwhile, the ethical scientist takes a look at the loading dock behind his lab and finds canisters of Zyklon B gas crystals with printed labels that say, "Packaged for Auschwitz." It's no wonder that Council of the Gods was never cleared for exhibition anywhere in the West.

The film's pro-Communist propaganda angle is largely unsuccessful. After the political disillusion of the first part of the film we're in no mood to accept the idea that Communism is the answer to anything. To provide an upbeat ending, the citizenry of an East German city rises to protest when an explosion at a Farben plant reveals that the company is once again making deadly weapons, this time for the 'warmongering' Allies. A popular uprising condemns the I.G. Farben chairman, suggesting that the incredibly repressive East German regime is simply the result of the public will; there is no mention of the Russian occupational presence. Faced with the righteous wrath of the proletariat, the evil exploiters (with American Lawson in attendance) quiver in their shoes like vampires at daybreak. The film ends with the crazy message that American and German capitalists were the real villains of the war, and that their perfidy continues into the post-war era. Council of the Gods is right at the center of the ideological stalemate of the Cold War, with both sides claiming the cause of Freedom and Justice.

Council of the Gods is a handsome production with good acting and excellent direction by Kurt Maetzig. Clever special effects recreate the giant chemical plants of the Rhine Valley, while the art direction shows the industrialists living in ornate palaces. The 'wicked' women of the Council dress attractively whether riding in the Alps or enjoying a sexy Latin dancer in a Geneva nightclub. Excellent war montages use unfamiliar battle footage from Eastern film archives. In one impressive scene the Farben elites calmly evacuate to the hills. Troops carefully load their antique valuables onto trucks, along with priceless paintings stolen from French galleries. Ordinary German citizens have to escape on foot, clutching their babies in their arms.

[ConcordeWarrior]

Casablanca with Humphrey Bogart and Ingrid Bergman The Divine.
What a fabulous film!

I most only like these good old classics.

Faust by FW Murnau (1926) is another great classic.
I would even say it's a true masterpiece.
You can see the full version here with English subtitles.

http://video.google.com/videoplay?docid=7688523464781787807

[America2]

Well - in recent months in the light of alot of events that have come to light - we can pretty much say that alot of Hollywood's alien movies are made using NASA's Project Blue Beam technology(and NOT CGI like the MSM keeps saying over and over and over again).

Also - in "Batman Returns", there's a scene where The Penguin makes a "Stop Global Warming! Stop Global Cooling!" comment to Christopher Walken, and then Walken responded to him how Hitler started the Reichstag Fire to create a crisis. This was a 1992 movie to boot!(i.e. Global Warming wasn't even heard of then)

[Sub-X]

Pink Floyd-The Wall

[phasma]

Prefer wish you were here - but thats a good one too !

[thegarkoblog]

didnt know if you knew that you can watch They Live online in its entirety for free...
http://www.oneumbrellaforliberty.com/videos/id_28/title_They-Live-Classic-John-Carpenter-Movie/

[Sub-X]

Prefer wish you were here - but thats a good one too !

2 amazing albums indeed but this is the movie The Wall :

The movie tells the story of rock singer "Pink" who is sitting in his hotel room in Los Angeles, burnt out from the music business and only able to perform on stage with the help of drugs. Based on the 1979 double album "The Wall" by Pink Floyd, the film begins in Pink's youth where he is crushed by the love of his mother. Several years later he is punished by the teachers in school because he is starting to write poems. Slowly he begins to build a wall around himself to be protected from the world outside. The film shows all this in massive and epic pictures until the very end where he tears down the wall and breaks free. 

The life of the fictional rock star 'Pink' is the subject of the visually evocative cult film based upon the music and visions of the group Pink Floyd as portrayed in the album of the same title. Relationships, drug abuse, sex, childhood, WWII and fascism combine in a disturbing mix of episodic live action and lyrical animation drawn by British caricaturist Gerald Scarfe.

[hal 9000]

Casablanca with Humphrey Bogart and Ingrid Bergman The Divine.
What a fabulous film!

I most only like these good old classics.

I love the old films too. Many of them are all time great films.

Here's another great Bogart film from 1948 about three men who decide to mine for gold in the mountainous terrain of Mexico, and how the Bogart character (Fred C. Dobbs) goes insane with greed -

The Treasure of the Sierra Madre - http://www.youtube.com/watch?v=TQR7aBmx8js&feature=related


A few more I recommend -

Malcolm X (Truth be told, I am not usually the biggest fan of Spike Lee. He strikes me as a one of those Ford Foundation progressives who rant and rave against Republicans and the "establishment" but go silent on the really big topics like 9/11 and how we really live in a one party system. But I have to admit I think he did a great job with this movie. Most white people will dismiss it as a black racist film, but in actuality, it effectively tells the story of Malcolm X's transformation from hardcore racist to a more racially open man after his pilgrimage to Mecca - http://www.youtube.com/watch?v=TlOJADtJ7rQ


Take the Money and Run (I think this is one of the funniest movies ever made. Woody Allen's first outing as director and screenwriter, it is a psudo documentary that tells the story of fictional small time crook Virgil Starkwell. Starkwell has to be the most inept criminal in the history of crime, but you wouldn't guess it by listening to the deadly serious intonations of the film's narrator Jackson Beck - http://www.youtube.com/watch?v=s--rMWE3Y5U&feature=related


Eyes Wide Shut ( Was Stanley Kubrick tempting us to speculate on the more esoteric variety of conspiracy lore when he made this puzzling thriller about an upper middle class doctor (Tom Cruise) who stumbles into a weird Masonic/ Satanic Black Mass/sex orgy, more or less having a good laugh on our fascination with such topics? Or was he revealing a dark and hidden underside of our world? This is one of those movies that you can watch over and over again and find new meanings and unanswered questions each time. Mysterious - http://www.youtube.com/watch?v=3DExkPNbo7I

Was gonna post Pink Floyd The Wall also, but someone beat me to it. Must be psychic!

[America2]

Eyes Wide Shut ( Was Stanley Kubrick tempting us to speculate on the more esoteric variety of conspiracy lore when he made this puzzling thriller about an upper middle class doctor (Tom Cruise) who stumbles into a weird Masonic/ Satanic Black Mass/sex orgy, more or less having a good laugh on our fascination with such topics? Or was he revealing a dark and hidden underside of our world? This is one of those movies that you can watch over and over again and find new meanings and unanswered questions each time. Mysterious - http://www.youtube.com/watch?v=3DExkPNbo7I

B/w Fall 1996(when production started), 1998(when filming ended), and Summer 1999(when the film was released), the MSM was just hyping Cruise, Kidman, Kubrick, and this film just 24/7 NON-STOP to ad-nauseum. It was as if all the camera crews were flooding England(where it was filmed) like it was the OJ Simpson trial all over again. Now that we've woken up, this too is starting to make sense.

[America2]

2 amazing albums indeed but this is the movie The Wall :

The movie tells the story of rock singer "Pink" who is sitting in his hotel room in Los Angeles, burnt out from the music business and only able to perform on stage with the help of drugs. Based on the 1979 double album "The Wall" by Pink Floyd, the film begins in Pink's youth where he is crushed by the love of his mother. Several years later he is punished by the teachers in school because he is starting to write poems. Slowly he begins to build a wall around himself to be protected from the world outside. The film shows all this in massive and epic pictures until the very end where he tears down the wall and breaks free. 

The life of the fictional rock star 'Pink' is the subject of the visually evocative cult film based upon the music and visions of the group Pink Floyd as portrayed in the album of the same title. Relationships, drug abuse, sex, childhood, WWII and fascism combine in a disturbing mix of episodic live action and lyrical animation drawn by British caricaturist Gerald Scarfe.

I remember this song growing up as a teen in the 80's - "I don't need no education..." kept playing over and over and over again in my head, DESPITE not even listening to this song, PERIOD. I kept wondering why this artist wrote this song, and why it became so popular. It turned me off, but again, I couldn't get these lyrics out of my head.

Funny how 20 years later, everything all of a sudden makes so much sense...

[Sub-X]

I remember this song growing up as a teen in the 80's - "I don't need no education..." kept playing over and over and over again in my head, DESPITE not even listening to this song, PERIOD. I kept wondering why this artist wrote this song, and why it became so popular. It turned me off, but again, I couldn't get these lyrics out of my head.

Funny how 20 years later, everything all of a sudden makes so much sense...

Another Brick in the Wall Part 2 (Waters)

We don't need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

We don't need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

 

Some useless information about the song.1979 it became the UK's only rebellious Christmas number 1 ever.   

[nustada]

I remember this song growing up as a teen in the 80's - "I don't need no education..." kept playing over and over and over again in my head, DESPITE not even listening to this song, PERIOD. I kept wondering why this artist wrote this song, and why it became so popular. It turned me off, but again, I couldn't get these lyrics out of my head.

Funny how 20 years later, everything all of a sudden makes so much sense...

I watched that movie, and it brings up his feeling behind the song very clearly.

[phasma]

Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!


yeah ! dont teach them they need an orgasm a day or about prostution !
Freaks !

[nustada]

Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!


yeah ! dont teach them they need an orgasm a day or about prostution !
Freaks !

LOL. The song is really about "education" not education. Watch the movie, it makes the point well.

[phasma]

I know - i have seen it a lonnnnnng time ago. Just making a point !

[America2]

LOL. The song is really about "education" not education. Watch the movie, it makes the point well.

Come to think of it, my peers who were fans of this song were actually advocates of *free thinking*. When I told them how much this song turned me off, their response was just that...it's NOT about "rebelling" AGAINST education, but EXPOSING education for what it was.

Darn! Wish I had listened to them!

[TheCaliKid]

Mr. Smith Goes to Washington (1939)

[Dig]

The 1970s Conspiracy / Espionage / Paranoia Movie Poll
http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=40&threadid=58775

Renegade KGB/CIA + underground Nazis + terrorists + Cold War + Watergate + post-60s disillusionment + 1970s political malaise = some of my favorite movies ever.

The most difficult part of compiling the choices for this was deciding what to leave out. There's an entire subset of post-Exorcist evil bible and paranormal movies that technically could be included, but I'll save that for another poll. The one paranormal exception I'll make is for The Fury which is basically a straight-up political thriller. I'm also leaving out period movies like Brass Target and The Hindenburg and some of the overt SF ones (Invasion Of The Body Snatchers, Westworld, and The Stepford Wives), even though I did leave in Moonraker and the Bond movies. Wasn't sure on including straight-up action thrillers like Juggernaut, but had to draw the line somewhere otherwise I'd be including Serpico, The French Connection, etc.

And yes, Alternative 3 was a TV show and not a movie, but it definitely earns a spot on this list.

Also, this is one of the few polls where I've seen everything on the list.

Poll ResultsOption   Votes
The Conversation    10
The Parallax View    5
Network    3
All The President's Men    2
Three Days Of The Condor    2
Live And Let Die    1
Marathon Man    1
Day Of The Jackal    1
The China Syndrome    1
The Boys From Brazil    1
Capricorn One    1
Who?    0
Westworld    0
Moonraker    0
Telefon    0
The Odessa File    0
The Spy Who Loved Me    0
Puppet On A Chain    0
Le Serpent    0
The Spook Who Sat By The Door    0
S*P*Y*S    0
The Swiss Conspiracy    0
The Man With The Golden Gun    0
The Mackintosh Man    0
Alternative 3    0
Americathon    0
Bear Island    0
Black Sunday    0
Brotherhood Of The Bell    0
Coma    0
The Delta Factor    0
Diamonds Are Forever    0
The Domino Principle    0
The Executioner    0
Executive Action    0
The Fury    0
The Groundstar Conspiracy    0
Juggernaut    0
The Kremlin Letter    0
Winter Kills   0

[ConcordeWarrior]

Is "The Magus"
to be found anywhere on line in full version? 

[phasma]

We ought to start a random book recommendations thread !

[Dig]

We ought to start a random book recommendations thread !

books?

we don't read!!!!!!!!!!

except subtitles

[Scootle]

Recommended books...

Prison Planet Forum: The Book!

[Dig]

Recommended books...

Prison Planet Forum: The Book!

we should all share in the royalties...

evenly distributed...

based on number of posts

[hey, i gotta pay for the beer when HR1207 gets 300 co-sponsors!]

[America2]

Am watching the "NCIS" episode titled "Sandblast" on tv right now - in their plotline, they talk about these "terrorists" being "home grown" - after Mark Harmon mentions this, Lauren Holly replies something like how they were the hijackers on 9/11.(I didn't hear the latter part correctly, but the context of her comment sounded like this)

It was a 2006 episode, BTW.

Oh - this very same episode played LAST week too.(about an Iraq soldier going back to Iraq getting killed in a bomb on a golf course by a terrorist)

Edit: Another eyepopping comment came out of this show - "If they(terrorists) want to cover their tracks, then why do they want to making everything known to everyone?" - isn't this pretty much what the NWO does in terms of warning subliminally about their future calamities and predictive programming?

[howard]

Equilibrium. great movie pretty much like a futuristic 1984. dont wont to give to much away but theyre making supersoldiers to take out the resistance, and everyones given their daily shot to stay in a thoughtless state of mind, to preserve world peace

[phosphene]

Salò
http://www.imdb.com/title/tt0073650/

Salò o le 120 giornate di Sodoma (Salò or the 120 Days of Sodom), commonly referred to as Salò, is a controversial 1975 Italian film written and directed by Italian director Pier Paolo Pasolini with uncredited writing contributions by Pupi Avati.[1][2] It is based on the book The 120 Days of Sodom by the Marquis de Sade. Because of its scenes depicting intensely graphic violence, sadism, and sexuality, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini's last film; he was murdered shortly before Salò was released.

The film focuses on four wealthy, corrupted fascist libertines in 1944 Nazi-controlled Italy who kidnap a total of eighteen teenage boys and girls and subject them to four months of extreme violence, sadism, sexual and mental torture before finally executing them one by one. The film is noted for exploring the themes of political corruption, abuse of power, sadism, perversion, sexuality, and fascism.

Although it remains a controversial film to this day, it has been praised by various film historians and critics, and while not typically considered a horror film, Salò was named the 65th scariest film ever made by the Chicago Film Critics Association in 2006. [3]


user Comments
One of the most gruelling films ever made, 17 January 2005
Author: world_of_weird from England

Pier Paolo Pasolini, as is well known, was murdered not long after he finished work on this, his most audacious and confrontational film, yet even the most casual viewing of SALO begs the question - had he not been murdered, would he have taken his own life anyway? Every sequence, every shot and practically every moment of this film is so burdened with despair, barely concealed rage and a towering disgust with the human race, one gets the impression that Pasolini was barely hanging onto life - and any attendant shreds of hope - by his fingernails. Although ostensibly an adaptation of one of DeSade's most depraved works channeled through the horrifying excesses of the Second World War with the Fascist ruling classes as its (authentically vile) villains, SALO also contains a lot of contemporary criticism - Pasolini hated the modern world, and explained the stomach-churning 'banquet of s**t' as a none-too-subtle attack on the encroaching global domination of the fast food chains. (The scenes of sexual excess can similarly be read as a despairing attack on the permissive society - those who come to SALO expecting titillation or B-movie sleaze will be sorely disappointed.) Beyond the nihilistic content, which has been well documented elsewhere, the film has an overall mood that seems to have been engineered to make the viewer thoroughly depressed. Shot on washed-out, faded film stock using primarily static cameras, long shots, choppy editing and very few cutaways, SALO has a visual style reminiscent of cinema-verite documentary. Add to this the unnerving use of big band music, piano dirges and the (intentionally?) scrappy post-dubbed dialogue, and the distancing effect on the viewer is complete. SALO comes across as one long primal scream of rage, designed to shake the viewer out of his complacency, and in this respect, the film succeeds unequivocally. Whether or not you would care to watch this more than once, or indeed for 'entertainment', is another matter, but SALO is an important film that demands a careful viewing ONLY by those prepared for it.

[Dig]

Salò
http://www.imdb.com/title/tt0073650/

Salò o le 120 giornate di Sodoma (Salò or the 120 Days of Sodom), commonly referred to as Salò, is a controversial 1975 Italian film written and directed by Italian director Pier Paolo Pasolini with uncredited writing contributions by Pupi Avati.[1][2] It is based on the book The 120 Days of Sodom by the Marquis de Sade. Because of its scenes depicting intensely graphic violence, sadism, and sexuality, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini's last film; he was murdered shortly before Salò was released.

The film focuses on four wealthy, corrupted fascist libertines in 1944 Nazi-controlled Italy who kidnap a total of eighteen teenage boys and girls and subject them to four months of extreme violence, sadism, sexual and mental torture before finally executing them one by one. The film is noted for exploring the themes of political corruption, abuse of power, sadism, perversion, sexuality, and fascism.

Although it remains a controversial film to this day, it has been praised by various film historians and critics, and while not typically considered a horror film, Salò was named the 65th scariest film ever made by the Chicago Film Critics Association in 2006. [3]


user Comments
One of the most gruelling films ever made, 17 January 2005
Author: world_of_weird from England

Pier Paolo Pasolini, as is well known, was murdered not long after he finished work on this, his most audacious and confrontational film, yet even the most casual viewing of SALO begs the question - had he not been murdered, would he have taken his own life anyway? Every sequence, every shot and practically every moment of this film is so burdened with despair, barely concealed rage and a towering disgust with the human race, one gets the impression that Pasolini was barely hanging onto life - and any attendant shreds of hope - by his fingernails. Although ostensibly an adaptation of one of DeSade's most depraved works channeled through the horrifying excesses of the Second World War with the Fascist ruling classes as its (authentically vile) villains, SALO also contains a lot of contemporary criticism - Pasolini hated the modern world, and explained the stomach-churning 'banquet of s**t' as a none-too-subtle attack on the encroaching global domination of the fast food chains. (The scenes of sexual excess can similarly be read as a despairing attack on the permissive society - those who come to SALO expecting titillation or B-movie sleaze will be sorely disappointed.) Beyond the nihilistic content, which has been well documented elsewhere, the film has an overall mood that seems to have been engineered to make the viewer thoroughly depressed. Shot on washed-out, faded film stock using primarily static cameras, long shots, choppy editing and very few cutaways, SALO has a visual style reminiscent of cinema-verite documentary. Add to this the unnerving use of big band music, piano dirges and the (intentionally?) scrappy post-dubbed dialogue, and the distancing effect on the viewer is complete. SALO comes across as one long primal scream of rage, designed to shake the viewer out of his complacency, and in this respect, the film succeeds unequivocally. Whether or not you would care to watch this more than once, or indeed for 'entertainment', is another matter, but SALO is an important film that demands a careful viewing ONLY by those prepared for it.

dude..

I mean really, WTF?

this sounds like some fricking snuff porn.  speaking of which, if you want a fictional movie based on manson/tate...Snuff is for you.

but really, WTF?

[phosphene]

but really, WTF?

heh. "...designed to shake the viewer out of his complacency, and in this respect, the film succeeds unequivocally" Indeed, It's a shocker. But, Salo is full of anti-NWO, anti-globalization, anti-fascism, government corruption, themes. Seems right in-line with the forum discussions to me.