Sunday, May 28, 2017

 

What are the causes of proliferation and terrorism, please?


COUNTDOWN TO ZERO – 2010

This documentary is based and constructed around one quote by John Fitzgerald Kennedy in his address before the General Assembly of the United Nations on September 25, 1961:

“Today, every inhabitant of this planet must contemplate the day when this planet may no longer be habitable. Every man, woman and child lives under a nuclear sword of Damocles, hanging by the slenderest of threads, capable of being cut at any moment by accident, or miscalculation, or by madness. The weapons of war must be abolished before they abolish us.”

The logic of the film is simple. We have’ more than twenty thousand nuclear devices in the world in the hands of a very small number of countries and thus in the hands of machines that control them, military personnel that manages the machine and political personnel that controls the military personnel that controls the machines that control the nuclear devices. All along that command line individuals can make the wrong evaluation of a situation, take the wrong decision on the basis of that wrong evaluation and within 20 to 30 minutes it will have happened: one city or more will have been destroyed, and within a few more minutes, retaliation will come. And once it is started it cannot be stopped. There is no comeback, no turn-back, nor step-back.


In that command line we just need an accident caused by some mechanical failure, or some miscalculation brought up by the misinterpretation of some data provided by the machines, or some madness, or let’s say some mental derangement of one actor in that chain of command. The film provides several instances of close to the brink situations that occurred over the years. Evaluation of the damage in the case of one nuclear weapon on one big city in the world is just over-dramatic and seems to only play on fear in the audience. If the public is only motivated by fear, then there is no hope.


Hope can only come if the public, the vast wide general public is convinced we have to get rid of nuclear weapons not because they are afraid but because of positive reasons like the fact humanity means life, means creative development, means continued progress, and nuclear weapons, both possession and use, are none of these, not life, not creative development, not continued progress. We could also develop some positive ethical arguments going the same way, provided we clearly see the difference between nuclear energy and nuclear weapons. Just like nuclear power can be used in nuclear submarines or in nuclear ships it may have one day to be used in space travel, and not fission but fusion. Not using nuclear energy for weapons is definitely nothing but an ethical decision and the mark of ethical human control of humanity. It is not because the internal combustion engine was used in tanks that we are supposed to ban the internal combustion engine, all cars and many other applications. It is not because some planes are military bombers that we are supposed to ban air travel.


That’s the first shortcoming of this film: nuclear energy is not clearly differentiated from nuclear weapons and yet only the French images project the confusion by stating “NON AU NUCLÉAIRE” [No Nuclear] meaning the rejection of both nuclear energy and weapons, though in fact in the mind of the French people who put forward this motto (the Greens), it is nuclear energy they have in mind. The images from all other countries and the interviews always target nuclear weapons. But it would be clear to say that nuclear energy is another can of worms and these worms might be earth worms, very useful worms for agriculture, gardening and hence surviving hunger.


The second shortcoming is the very ambiguous message about terrorism and about proliferation. The film insists with images and long sequences on the Islamic danger of Pakistan who has nuclear weapons – supposedly thanks to the Chinese, though we do not know where the Chinese got the technology, from the Soviets maybe? – and who sells the blue print as much as the technology to anyone who wants to pay. The Pakistani bomb is called the Islamic Nuclear Bomb and it is at once connected to Al Qaeda and Iran, and allusions to more Muslim countries in the Middle East or the Arab world are added. Nothing is said about the proliferation of nuclear weapons to India, the Hindu Bomb, etc., and where it could have come from – the Soviets I guess? And still along that line there are a few elements about North Korea, still under the rule of Kim the Second, not yet Kim the Third. This presentation is absolutely biased and debatable. And what about France, Great Britain and Israel?


Terrorism is a problem but we have other forms of terrorism than Islamic terrorism, even today. Terrorism has causes and to only speak of containing and controlling it is a waste of time since it will bring no solution to the real causes. And by the way how did the apartheid South Africa manage to get nuclear fuel to be able to build nuclear weapons at a time when a total embargo was imposed onto this country for anything military? And the film is a little bit short on the fact that there are an unevaluated and definitely uncontrolled amount of Highly Enriched Uranium and Plutonium running loose on the planet’s black market, enough to produce thousands of nuclear weapons of various categories from a dirty bomb to a real nuclear weapon. And this black market can only exist because of the diamond and other gems black market, because of the uncontrolled speculative financial market and the vast international financial laundering machine through and via the various fiscal paradises and tax havens.


Altogether this film is essential because of the data it contains but it is not enough because of what I have just said and the main shortcoming is that it does not at all tackle the causes of such paranoid attitudes at the level of the various states that control nuclear weapons, or want to, and of the development of terrorism in this world of ours. As long as we will not be able to integrate in the global community the Muslim world, which is not the Arab world, which is a lot more than just the Arab world and even the Middle East which is mainly not Arab, or even Semitic, but Turkic or Indo European or Indo-Aryan. We are today manipulated by life, by social media and by various political social climbers who want to make us be afraid of something, anything in order to feed their commerce, be it economic, political or social, with paranoia and to lead us to some adventurous violent attitude against some presumed dangers who are in many ways considered as having no causes, as coming out of nothing, as being the pure creation of some religious vision of a god from the past. That’s so limited, I mean mentally limited.

To be seen, widened and discussed as much as possible.

Dr. Jacques COULARDEAU





Saturday, May 27, 2017

 

Don't get trumped by it: this film is full of hope against bullies


GEORGE ROMERO – STEPHEN KING – CREEPSHOW – 1982

The film hasn’t changed one iota since 1982 and what’s more it does not seem to have aged too much. Special effects maybe, but that’s about all. The stories are absolutely funny more than frightening. They might have been gross and frightening in 1982 but today we are used to that kind of make-believe cinema.


Every single story or moment is pleasure and nothing but pleasure.

The Prologue and epilogue are so nice about the abusive father and the voodoo son, Stephen King’s own son by the way. Let’s think his father wasn’t that kind of a father. But you may be surprised if you really analyzed the “rapport” between a father and a son. Abusiveness is at times in excess gentleness.


"Father's Day” is the hilarious vengeance of an old and decrepit father killed by his own daughter: the vengeance comes from the grave, from beyond the grave. Never ever neglect celebrating father’s day even for a father who does not deserve it.

"The Lonesome Death of Jordy Verrill" with Stephen King in the main and only human role is even more than funny with his meteor that brings some kind of invasive green algae, fungus or whatever from outer space. Nothing to do with Superman, nor Aliens actually. The only solution is to evade the invasion by committing suicide I guess, slightly like a terrorist blows himself up in order to kill as many miscreants as possible to clean up the world of its perversion. The world is clean for the terrorist for sure after his own sacrifice.


"Something to Tide You Over" is even more than hilarious because of another case of vengeance from beyond the grave and in this case the grave is the sea itself. I am not sure Stephen King intended this story to be hilarious but it is true that since Michael Jackson living dead creeping out of their graves and chasing you have become very entertaining.

"The Crate" is nothing but justice or some just vengeance or some just balancing of grievances in a married couple. Don’t let children watch that one: they could get some good idea of how to take care of an invasive mother who does not know what a bathroom or toilet door is when her son is using these facilities, or who does not know why she is not supposed to look under her son’s bed. That’s when the monster in the closet is really useful, and should be cultivated, for such sons: let it come out and take care of the mother. It is all the same when the son has become a husband and the mother has become a wife since all husbands choose their wives to correspond to what their mothers were. How can you be so pessimistic? But that is no pessimism: it is pure truth and reality.


"They're Creeping Up on You" is the final touch about some rich man who is obnoxious with everyone and at the same time is obsessed with cleanliness and his germless and bugless environment. That is a killing obsession and the bugs will always have the last word and bring justice to the poor. You can imagine what I may dream about the fate of Trump who should be trumped by bugs and mulched by germs.

And the epilogue gives us hope: all nasty people will sooner or later be trumped and mulched into oblivion and inexistence
1-    beyond making friends with nasty Sunni dictators or autocrats;
2-    beyond making fun of the Pope by being a grinning giant puppet next to the serious look of this grave charismatic religious leader;
3-    beyond pushing some Prime Minister out of his right way to be in the front of the family picture;
4-    beyond chastising 23 out of 28 of his allies and trying to bully them into paying for his own bills to make America great again;
5-    beyond his gripping handshake that a French President turned into a gripping-back handshake that he could not escape anymore;
6-    beyond his leaking confidential details of a criminal investigation in a terrorist attack in Manchester;
7-    beyond his attempt to sink any climate agreement, including the one in Paris, for his egotistic promises to completely failed professions overdue in their coming to their own end;
8-    beyond his sending 23 million people out of insurance coverage;
9-    beyond his cutting federal funds for Medicaid by 50% and food stamps by 25% just to be able to cut the taxes of the wealthiest in proportion.


And NINE is of course the apocalypse, the dragon, the beast and we are all the pregnant woman escaping this Babylon RED(RUM) Witch Doctor (https://www.youtube.com/watch?v=TYgOlqinH7A or https://www.youtube.com/watch?v=0ttGgIQpAUc) of a President.

Yes There is hope beyond the worst possible horror story in real life and that’s what makes Romero’s film and Stephen King’s stories so beautifully good, funny and true to life down to our deepest guts.


When These masters of literature and the cinema die we will have to reinvent them under a new skin. It is true Stephen King leaves two sons beyond himself, though they do not have the same level of creativity as the father. But Romero is more complicated as for descent.


Dr. Jacques COULARDEAU



Friday, May 26, 2017

 

Puerto Rican in New York, Uprooted and rebellious


HURRAY FOR THE RIFF RAFF – THE AVIGATOR – 2017

Porto Rican and yet New Yorker. She lives in the City and no other city than the City. And that urban music, those urban lyrics have the power of suffering, death at every corner, surviving as a daily activity, solitude as both a life style and a curse that leads to a death pyre but is yet the fuel of survival. Add to this the feeling that a colonized person from a colonized people uprooted out of everything to survive in a foreign environment that is no choice but a real curse then the experiential existence you may have is going to be more situational than enthusing. But you have to be ready for the world except if you prefer dying.

And in that uprooted life there are few things and people that can keep you alive. The bottle of course and you are always at the bottom of it, and a sugar daddy that can provide with some solace but even these daddies are not eternal and then from the bottom to the well there is a well tramped path that can only not be trodden if somewhere you believe you may have a life to save. Your life? Indeed, and yet that’s nothing but salvaging. The world is a salvage yard for old models of human beings discarded like old rags.



And that rag is the rag of a rag doll, of a rag girl that has gone and yet comes back, unchanged and nevertheless totally locked up in that nothing that’s gonna change that girl, and yet that simple rag accepts to be picked by some man and she accepts to be the love object, the love rag of that man who has no other identity than “you” but who is that “you”?

And to think of tomorrow and what will or may happen is like living in a dream, like locking oneself in a dream while real life is nothing but perdition, abandonment and suffering. But why do people need some solace from a dream of tomorrow, always tomorrow? Because life is always a trip along some road and you have to follow that road the navigator points out to you. What a shame we cannot go wherever we want, but just where the navigator tells you to go.


And if you get out of the hands of that navigator you can walk in the street and everyone around you will be the navigators of your life and they will of course tell lies because navigators are liars, people are liars, and you can only let yourself be taken over up and down and through by fake prayers on your knees as if the world would change because you pray for it to.

And she can only live the haunting curse of being a woman in a world she pretends was made by men, which is at least unfair and vastly untrue. Railroads, records, phonograph needles, and what else, who cares, never mind. And even those who do nothing and produce nothing, politicians and cops, are the real masters of this world and they all are men by definition, I guess especially when they are women. There is nothing more manly than a woman who wants to be a man. And she has only fighting as the end of this beginning that will lead to more ends and more ends, till the end of that end.


In the old neighborhoods of New York City fourteen floors are many though little to do with skyscrapers. And yet she sees these fourteen floors as if they were the fourteen steps to heaven in the sky. And strangely enough these fourteen floors are some kind of bridge to her father, but a father that is nothing but a ghost in the background. Sky, lie and cry all rhyme nicely. You can be up in the sky lying on some cloud and yet all that is nothing but lying and crying. True life is in the distance speaking Spanish and playing rhythmic percussions.

And imagine her at night in this room on the fourteenth floor listening to the street. She is like in a bubble up in the air with some kind of noise from the bottom. And she has finally decided to settle in that bubble. And bubble it is in the sky and then settling is fine but it is evanescent, it cannot last, she wonders how long she will settle. In America, this country of settlers, you cannot stay more than a short time in every settled place because you are a settler that has to go on and settle somewhere else any time settling is getting slightly too long.


To want, to wish, to desire to be something, anything, provided it is something, is just nothing at all and leads nowhere because you have lost your humanity in that constant searching and looking for something. And she is there waiting for that door to open, that road to lead somewhere, her feet to take her along to something she could come to. To what some preaching from Puerto Rico. And there is nothing left but some howling in the desert of this aimless world, Pa’lante Please, Pa’lante again and again. But what is it? In Latin American and especially Puerto Rican slang, it's a contraction of "para adelante" or "forward."

But what is that call to move forward, forward to what? But she is preaching to all those who hide, prideless in their survival to stand up and move forward, but forward to where, to what, since she does not know where to go.


And that’s the end of this improbable journey to an improbable goal with an improbable navigator that does not even know where the road leads. There is in that music some kind of sad aimlessness. And that’s its charm because today to feel emotion and empathy you have to be lost, uprooted, out of sorts. And off we go with the navigator in some Spanish and yet so repetitive between the navigator and “oh, my girl!” and nothing but the final voodoo rhythmic trance percussions that can maybe take us to the sky on the seventh heaven of totally inward vision and contemplation.


Dr. Jacques COULARDEAU



 

Laissez-vous mener par les cordes sensibles


ORCHESTRE A CORDES DE LEMPDES – PATRICK BRUN – IMPROMPTU – 2011

La région Auvergne a une histoire d’amour pour les orchestres de cordes. Cela ne peut être qu’un héritage de la vielle à roue si ancienne dans nos montagnes. Et pourtant nous avons aussi les vents avec la cabrette et l’accordéon de Giscard. Mais rien n’y fait, restons dans les cordes.

Les cordes quand elle se liguent en brigades ou en légions ont une variété suffisante pour créer un véritable univers parfois cosmique, parfois virulent, parfois sentimental ou romantique dont on aime les sanglots longs le soir à la brune dans les bois, et dieu sait si nous en avons des bois dans cette région. Les cordes sont un ensemble si flexible, malléable et dynamique qu’il peut être un tout en soi, même quand elles se mettent en formation réduite. On remarquera cependant que la formation ici contient quelques invités ce qui ajoute un hautbois, un clavecin, une harpe, vibraphones et timbales, quand nécessaire.


Ce disque a un autre avantage que les cordes rendent fascinant, c’est de pouvoir jouer toutes les périodes, tous les styles, y compris la musique moderne qui a intégré la polyrythmie africaine grâce aux esclaves du trafic transatlantique qui n’était pas un commerce mais une contrebande illicite et vicieuse même si officielle et si elle a fait la richesse de Bordeaux, Nantes, Rouen et quelques autres villes portuaires. Du moins c’est un potentiel rarement utilisé car les orchestres de cordes ne sont pas la norme dans la musique nord-américaine et dans la musique dite pop, rock, gospel, jazz, soul ou R&B, hip hop et rap. De cordes ils ne connaissent souvent que la guitare et encore électrifiée.

Et c’est un peu ce que je regrette ici car le CD ne donne pas beaucoup de cette musique du 20ème siècle pop ou non, alors que je les ai entendus en concert à Olmet récemment et là ils ont osé donner des pièces de compositeurs argentins et américains qui ont cette richesse de polyrythmie si typique de notre monde musical actuel.

Il faudrait maintenant parler de la musique, n’est-il point ?


La direction est ample et majestueuse mais peut-être un peu trop bien ordonnée et tempérée. Il y a dans le film the « The Peacemaker » avec Clooney and Kidman, une brève leçon de piano quelque part en Bosnie et le professeur de piano montre à son élève comment on peut varier l’émotion exprimée en simplement jouant sur le rythme, la force ou la douceur des notes, donc le toucher et même l’accompagnement de la main gauche ou des arpèges de la main droite qui peuvent ralentir, accélérer ou simplement amplifier le rythme. Peut-être que les pièces choisies ne s’y prêtent pas assez. Pourtant dieu sait si la « Danse de l’Ours » de Claude-Henry Joubert s’y prêterait car l’ours n’est pas un automate mais un animal très sensible et variable, parfois imprévisible. Il y a dans l’ours aussi une dimension si romantique, sentimentale, fascinante. Vous êtes-vous donc jamais trouvé nez à nez avec un de ces petits ours noirs dans une réserve californienne où vous auriez campé pour la nuit ? Le petit- ours brun vous regardera et nonchalamment se retournera et partira dans le sous-bois nonchalamment sur ses deux pieds, j’entends debout sur ses pattes arrières. Surtout ne lui donnez rien à manger : il est sauvage et n’est donc pas dépendant de la nourriture humaine.

Les autres scènes roumaines s’y prêtent aussi bien et il y a une tentative mais les lancinantes notes isolées de « Dans l’Église de Braila » me semblent trop homogènes et donnent une vision plutôt froide et menaçante de ce qui pourrait être inquiétant et fascinant.

Le travail musical des musiciens est précis, juste, bien lu et bien sûr conforme à la partition, peut-être un peu trop. Laissez donc la « Fête à Bucarest » s’envoler dans la joie et la poussière du soleil.


On aimerait peut-être que cette formation stabilise sa composition – difficile quand on a les élèves d’une école de musique – et se lance dans une œuvre plus ample qui pourrait enrichir la palette de l’émotion, de l’empathie des violons et autres cordes qui peuvent scander la pire terreur autant que la plus triste et même sardonique histoire d’amour loupée, perdue, enfuie, comme la « Méditation de Thaïs » de Massenet. On aimerait en entendre plus de cette musique, mais ne suis-je pas illusionné par la participation de Hiroe Namba comme soliste de cette pièce, la violoniste invitée. La musique semble même se perdre totalement dans les limbes de je ne sais quelle inconscience avant de retomber sur terre dans la plus pure contemplation intérieure quasiment ombilicale.

Les deux mouvements du concerto de Telemann tiennent leur charme et leur puissance au fait que les solistes sont un alto et un violoncelle. L’alto est un instrument souvent négligé dans la gamme des cordes alors qu’il a la virilité puissante de son ton un peu sombre comme l’adolescent qu’est le violon quand il passe la dernière mue de l’âge adulte vers vingt ans, celle de la perte de sa virginité d’argent et je dois dire que François Schmitt en fait un vrai prodige de cet alto soutenu en arrière par les violons plus réguliers. Le violoncelle lui est un instrument si féminin qu’il en est érotiquement chantant, disons même probablement sexuellement attirant pour beaucoup et Bénédicte Piat en fait un vrai plaisir diabolique comme dans les Sorcières d’Eastwick. Il ne manque vraiment que la grande basse de Jack Nicholson pour que le Sabbat commence.

Je suis moins convaincu par le « Chant des Oiseaux » de Pablo Casals. Pièce de circonstance plus que d’émotion. Pièce pratiquement de conservatoire, peut-être naturel et plein d’oiseaux.


L’ « Impromptu » de Jean Sibelius est enfin capable de sous-tendre une rythmique superficielle par une rythmique profonde même si elles sont presque concomitantes, la souterraine peut-être à peine syncopée mais puissante et inquiétante ; Ne croyez pas ce que vos yeux vous disent. La réalité est souvent bien autre. Et on peut alors se lancer dans une musique de surface plus dynamique qui efface l’inquiétant de la profondeur. Qu’il est doux d’en rester à la surface des choses ! Au moins on ne peut pas se noyer dans une onde trop profonde. Ophélie est sauvée. Et Hamlet est allé mourir seul plus loin dans la profondeur d’une tombe, ce qui alanguit la fin du morceau qui retrouve un peu de l’abattement du début mais sans la rythmique profonde et sombre de la mort qui nous tient et tire par les pieds comme on se permet parfois de tirer le diable par la queue ou par les cornes.

Dr. Jacques COULARDEAU






Wednesday, May 24, 2017

 

#ResistTrump? Pfft. Tulsi Gabbard Exposes Democrats' Hypocrisy—Bigly!





Food for human thought and fodder for ruminating individuals

Friday, May 19, 2017

 

Bill Clinton's dream of the USA the only and first superpower


GEORGE CLOONEY – NICOLE KIDMAN – THE PEACEMAKER – 1997

That is a typical film of 1997, the last couple of years of Yeltsin in Post-Soviet Russia. The war is raging in ex-Yugoslavia with two dimensions: the religious fight of the Muslims not to be eliminated physically and politically on one hand, and on the other the desire of each little section of this unified federation to become independent and to join the European Union as fast as possible. The only objective of the USA in this field, or in the whole world, is to get as much out of Russia as possible: for them this period is nothing but looting. And eventually to prevent a nuclear catastrophe, provided they can loot again as much nuclear weaponry from Russia as possible.

Yeltsin was dismantling the military apparatus and arsenal to please the Americans and to enable some hijackers, black-marketers, and disgruntled Soviet communists to get their vengeance as well as some profiteers to make some million dollars in a way or another. Simple isn’t it, Dr. Watson?


Yes, indeed. You will get slightly lost in the intricate meanders of the plot, if it is a plot. First some Russian general organizes the hijacking of some nuclear wars during their transfer from where they were to where they are supposed to be kept or destroyed. It has to look like an accident but it does not work like that to satellites who can see this was a plain criminal stealing action.

The nuclear heads are supposed to be transported to Iran, but one Serbian has infiltrated the whole gang to carry out his own objective: to steal the heart of one and bring it to Bosnia for it to go in the diplomatic bag, pouch or “suitcase” of a peacemaker, i.e. a negotiator of peace for Bosnia, to New York, to the United Nations and blow himself up with the nuclear bomb.


The Americans are of course supposed to prevent the nuclear heads from going to Iran, and then when they discover one has disappeared they manage to trace it and then run after it in New York. A very hectic chase. Luckily it does not last what it was supposed to last so that we can have a nice hectic chase that is after all the best part of this entertaining political fiction.

The film concerns very important questions like the lack of security in the world concerning nuclear weapons; the hectic crazy situation in Russia and the world after the fall of the Berlin Wall and then the dismantling of the USSR; the ambition of the USA to be the only super power in the world; the immunity with which the USA wants to be able to intervene anywhere without any authorization from anyone except themselves. The only ones who resist that ambition are the Russians who down one US Air Force helicopter who was illegally intervening in the Russian military zone. The very bad Russians, indeed. I guess if a Russian helicopter had gotten lost in Alaska it would have been received by the Governor of Alaskan and the State Secretary of the USA with a full red carpet rolled out, flowers and a band. And then of course for the USA all other discontented people are terrorists, even if they are tied up so tightly that they only have that terroristic path to let the world know they are subjugated, enslaved and menaced with pure and simple destruction.


You can now read this film twenty years later exactly when the USA have gotten so involved in terrorist or anti-terrorist wars that they are in fact helpless; when the USA are no longer the only super power because China has completely changed the game and within just a few years the USA will be the second economic power in real terms (and it is already second in PPP terms); when the USA will not impress anyone anymore with their bullying and imperialistic show of power; when the main power in this world will be a commercial alliance of about 80 countries centered around Asia and particularly China and soon India, an alliance out of which the USA excluded themselves and out of which the participants are very reluctant, for some of them at least, to let the USA come in: on a flap seat maybe but not on the stage.

In other words, this film was pure propaganda for the USA as opposed to Russia, but it was nothing but the brilliant bragging of Bill Clinton who was trying to tie up the world under his own rule with the Internet managed by the Secretary of Commerce of the USA. Things have changed in twenty years and that bragging is no longer possible, even for Trump who can only moan and complain that he is the victim of a witch-hunt. The poor darling, my heart is really bleeding for him.


Dr. Jacques COULARDEAU



Thursday, May 18, 2017

 

With time from propaganda to prophesy


BEN AFFLECK – MORGAN FREEMAN – THE SUM OF ALL FEARS – 2002

This is a film that was essential at the time when it came out and that is all the more important today as a generic film on global tension in a time when tension is seen as some aphrodisiac drink by some politicians.

In 2002, one year after 9/11, the same year when the invasion of Afghanistan was ordered and performed and one year before the similar strike was ordered and performed in Iraq, this film showed that politicians are constantly manipulated by various factions in various agencies or out of them, and what’s more are the victims of all sorts of plots from isolated but networked individuals, isolated since they are representing no one at all and networked because they are half a dozen and they are engaged in some “project” that makes them both dangerous and tied up together. To step out means to be eliminated radically to death.


That was a strong call against any limitless war project against terrorism because it was inevitably going to rekindle the animosity between the USA and Russia, especially since the Russian president in the film is typically a personification of Putin though the film insists too much on the fact that he does not really control his military or even the political system at all that is still in the hands of the old Soviet Communists. This last fact is just not feasible since Putin was the last generation of security top officers, working outside the USSR mostly trained by the KGB under Brezhnev. That could maybe have been right for Gorbachev but cannot be true for Putin, though like any state there are contradictory motivations among the bureaucrats or civil servants. This is perfectly well shown on the American side where the President is surrounded by people who have very contradictory opinions from extreme war mongers to rather conciliatory peaceful minds.


But the film has to be taken today as a generic film about the danger of nuclear war in our modern world and we have to keep in mind the opposition between Trump’s USA (and I insist on the fact we are talking of the USA under the leadership of Trump) and North Korea. Or as for that China and Russia, not to speak of Iran, Syria, Turkey and so many other countries in the world. All those who defy the absolute leadership Trump wants to represent and impose after the USA definitely lost it in Iraq after having partially lost it in Vietnam.


Of course North Korea is a mystery. Their young leader may be considered as easily manipulatable though from what me know or may know he seems to be strong-headed too and able to get rid of people who are in his way, including his uncle and his own brother. That might be because he is under control from one faction in the upper tiers of the regime, or he has his own agenda and he has managed to bring enough people around his agenda to be secure.

On the other hand, Trump on the American side is impulsive and does not know what even medium range thinking is all about. He fired the FBI director in the worst possible way but he certainly had not foreseen the backlash after this event, with a first official reason from employees, and then another one completely different from the President himself that caused the worst possible speculations, accusations, and amplified backlash effects by connecting the firing with the Russian investigation, and this firing brought the private memos of the Director on the various conversations he had had with the president and that brought the next wave of tsunami rage bringing the suspicion of possible corrupted obstruction of justice, which is impeachable. Unpredictable, impulsive and what’s more unable to say in any way “I was wrong but I have changed my mind and I am sorry about what I said before” and this last characteristic is strong in appellate courts where he has to defend his travel bans and runs into the contradiction between his strongly anti-Muslim declarations during the campaign and the fact he has never stepped back and clearly said he had changed his mind on this point before signing the two executive orders of his travel bans against seven at first and then six dominantly Muslim countries.


In the film you have the Israelis connected – is it accidentally or is it openly – with the descendants of Nazi war criminals and other Nazi continuers who try to correct what they call the stupidity of Hitler who went at war against the USA and the USSR instead of doing what the modern world makes very easy, i.e. to make the USA and the USSR fight each other to death and then the surviving Germans would have been able to pick the pieces and draw the chestnuts from the roasting pan without burning their paws too much. Today we know that Israel was vain enough to use cyberwar weaponized software devised by the Americans, probably within the NSA in 2007-2009, on their own and with some modification against Iran’s nuclear project in such a reckless way that it went out public on the Internet. And even more advanced in time we know the latest global cyber-attack by criminal hackers used a ransomware that had gone public “accidentally” but that had been devised by the NSA as a cyber-war weapon to be used against terrorist organizations (and some other nation states of course). Adding a line or two of code to turn a weaponized tool exploiting a vulnerability in Windows Operating System to turn it into a ransomware is rather easy and possible for small hacking groups, whereas they could not devise the whole software because they do not have the means nor the time nor the equipment to do it on their own.

When politicians get engaged in such at-the-brink cliffhanging procedures and actions there is no way to say whether they will back up in time or that they will let the whole world go the way this reckless procedure is bound to go. And the film is just that.


Of course it is a film and it has to be both frightening but also with a certain hopeful dimension. That hopeful line is provided on both sides by some individuals who have the intelligence, the stamina and the guts to play it cool and just push the right button at the right time to block the most dangerous developments. And at this level the film is most pregnant with human reason and human vision. And it is these human reason and vision that make me consider a man like Donald Trump has nothing to do in the White House. He is dangerous and he may cause a political and military catastrophe before the end of the year. Here again he has to be humble and he is not able to be. He has to admit the USA have been wrong all along with North Korea when they refused to implement the agreement negotiated with North Korea so long ago no one remembers in spite of Jimmy Carter’s recollections about it since he was the main negotiator. At the time there was not even the slightest nuclear allusion. But now it is too late. The USA have to negotiate with North Korea as a nuclear power, one nuclear power to another nuclear power and they can ask a few other nuclear powers to help like in Asia Russia, China, India and Pakistan. But Trump will never be able to do that on his own. He will have to be forced to do it by a global alliance that might get the attention of Congress.

This film is a masterpiece then and it is the recipe how to avoid the Apocalypse that will destroy the red Babylon and the Red Babylon is the Red Republican Party in the USA. This Republican Party will have to be destroyed if they do not want to put Trump on the side, and they better accept the voice of reason and the vision of sanity. This film will remain prophetic for a long time because humanity being what it is there will always be a crisis situation of some sort developing among the nation states of this planet. They get that from the milk they drink after birth and the diapers they are wrapped in on minute one after birth, after being checked and measured and made ready to be given to the mother wrapped up in some kind of diaper and a woolen blanket. The germ of it is in our genes.

Dr. Jacques COULARDEAU


OLDER REVIEW ON AMAZON, 5 December 2007
Propaganda is hateful, especially when it smells antisemitic

This film could have been a good one. It came out after 9/11 but before Iraq, at the time of Afghanistan. It is about the "final" confrontation between the USA and Russia. A nuclear terrorist attack is organized in Baltimore so that the USA may believe it comes from the Russians and may start the procedure leading to a full out nuclear war. From the very start the theory that is illustrated here is that terror in the world is organized by the Israeli secret services with the help of some western autonomous adventurers and with the complicity of the hard liners in the Russian and Ukrainian armies.

Then the whole story is difficult to believe because of the total lack of real believable hard facts. The American president appears as quite manipulated by his own military personnel and his State and Defense Secretaries, without speaking of the CIA. The Russian president appears just as much manipulated but with maybe a little bit more nerve. The whole plot fails because a small CIA intellectual agent manages to speak to the Russian president directly via the red telephone and make him take the decision to halt his alert, a decision that the US president immediately imitates. How can we believe that.


The Weapons of Mass Destruction are quoted  in some remote small sentence somewhere unimportant but the propaganda is clear. The various actors of this plot are then eliminated one after the other in the most radical way possible. That's a shame in a way because the film is rather well made and acted but it is obvious war propaganda that supports the theory pretending the world is being manipulated if not controlled by the Israelis, a resurgence of sorts of the old hitlerian anti-semitism of old. I guess some believe that good old hate-theories can always be revived in a way or another, with a little bit of upgrading if necessary.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines


ANCIENNE CRITIQUE SUR AMAZON.FR, 5 décembre 2007
La propagande de guerre fleurit toujours abondamment aux USA

Un film sorti après les attentats de septembre 2001 mais avant la guerre en Irak, probablement en même temps que la guerre en Afghanistan. Une histoire de politique fiction à peine crédible, mais c'est la piste terroriste israélienne qui est développée ici : les services secrets israéliens en connivence avec les purs et durs dans l'armée ex-soviétique et maintenant russe ou ukrainienne. On est après Eltsine mais pas très clair sur le président américain qui apparaît comme manquant pour le moins d'information et manipulé facilement par ses propres extrémistes dans l'armée ou la diplomatie, ni sur le président russe qui semble tout aussi soumis à des pressions mais pourtant plus lucide et prêt à nettoyer son écurie. 


On découvre en même temps que l'attentat nucléaire qui doit provoquer la destruction mutuelle des USA et de la Russie a été fait avec du plutonium volé par la CIA aux USA et fourni aux Israéliens en 1968 pour en faire une bombe qui sera perdue quelque part dans le Sinaï. De fil en aiguille on va tout droit à l'ordre final et c'est un petit agent intellectuel de la CIA qui parle directement avec le téléphone rouge au président russe qui accepte d'arrêter son ordre d'attaque, ce en quoi le président des USA le suit. 

Puis les comploteurs sont tous éliminés radicalement d'un côté comme de l'autre. On cite les armes de destruction massive, mais on nous raconte la fable que ce ne sont ni les Russes ni les Américains qui veulent la guerre, mais qu'ils sont les victimes d'un complot international mené par les Israéliens et quelques autonomes d'origine occidentale. C'est dommage que ce film soit trop plein de propagande car les acteurs jouent relativement bien et le film est assez bien ficelé. Il y a de l'argent pour les films de propagande militaire aux Etats-Unis.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines





Wednesday, May 17, 2017

 

The Valley Rebels





No way to close our eyes, except very wide shut and howling at the top of our voices against the inhuman tragedy we are leaving in the WESTERN world.

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