There’s no hiding that Avatar is a politically correct piece of semi-coherent agit-prop lurking behind a lot of over-praised CGI effects.  While the fanboys hype it as the next great leap forward in filmmaking, it actually takes a huge step backward by employing one of the oldest and lamest of clichés – the white guy hero representing Western civilization who comes along and saves the natives while embracing their simple yet wise ways.

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This “noble savage” archetype, embraced by the romantic primativists of the past and today by those who stopped their intellectual development as UC Berkeley sophomores, has been around for centuries.  In Avatar, James Cameron substitutes his blue-skinned Na’vi aliens for American Indians and it’s off to the races with Seen That Before taking an early lead and Gimme A Break a close second. 

Now, the purpose of this cliché is to critique Western culture by comparing the culture of the children-of-the-Earth, in-touch-with-nature, “authentic” natives with the hero’s repressed, emotionally-stunted, alienated-from-nature, technology-obsessed Western culture.  This cliché requires that the natives be portrayed as paragons of moral and physical perfection – and that those of the hero’s culture be shown as just the opposite.  (more…)

During the Cold War, a slew of movies came out that dealt with the possibility of a nuclear exchange with the Soviet Union. This is not surprising since the atom and hydrogen bombs were the most powerful weapons ever devised by man. Well, almost.

I’ll get to that somewhat nervy assertion in a bit, but first a little background.

Among the cinematic slew released during those years of cold, are two of my favorite films, Dr. Strangelove and Fail-Safe. Both dealt with strikingly similar themes, unintentional nuclear holocaust, yet in entirely different tones.  But cold war themes weren’t that varied by their very nature, since inevitably the worst case scenario was the best case plot device and nothing brings down the house like bringing down the house.

With that said, still, there’s so much similarity between the two stories that law suits were indeed filed and production schedules slowed. This worked out to Stanley Kubrick’s advantage as his Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb was released almost a year ahead of Sidney Lumet’s Fail-Safe. In my opinion Kubrick’s is a better film than Lumet’s and not due to slowed schedules, either. But both are magnificent, and because of their approaches to the topic, very different  and essential part of the genre. (more…)