Always between two trains, or two countries, or two towns, catch me if you can. You may find me in English, except if I am in Pali or some other more or less exotic language, or book. Have you tried the Dhammapada recently? If not, just give it a try, in Pali of course. You may also have a try at looking for me on the Internet, simply Coulardeau with Google, but on the global web, not on the French pages of it. Have a good trip.
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
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
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.
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
Every single story or moment is pleasure and nothing but
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
"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
"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
making friends with nasty Sunni dictators or autocrats;
making fun of the Pope by being a grinning giant puppet next to the serious
look of this grave charismatic religious leader;
pushing some Prime Minister out of his right way to be in the front of the
chastising 23 out of 28 of his allies and trying to bully them into paying for
his own bills to make America great again;
his gripping handshake that a French President turned into a gripping-back
handshake that he could not escape anymore;
his leaking confidential details of a criminal investigation in a terrorist
attack in Manchester;
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;
his sending 23 million people out of insurance coverage;
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.
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.
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”?
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.
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
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 LatinAmericanand especiallyPuerto
Ricanslang, it's a contraction of "para adelante" or
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.
ORCHESTRE A CORDES DE LEMPDES – PATRICK BRUN – IMPROMPTU – 2011
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.
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.
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
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
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
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.
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
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
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
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
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.
COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne
& University Versailles Saint Quentin en Yvelines
ANCIENNE CRITIQUE SUR AMAZON.FR, 5
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.
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.
COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne
& University Versailles Saint Quentin en Yvelines
Dr Jacques COULARDEAU, PhD in Germanic Linguistics (University Lille III) and ESP Teaching (University Bordeaux II) has been teaching all types of ESP, especially technological, scientific and historical ESP. He has done research in the fields of English and American literatures, drama and arts; opera, cinema and television at a global level; general linguistics with particular emphasis on Germanic, Indo-European, African and more recently Indo-Aryan languages, as well as Pali and Sumerian. He spent some time in Africa, the USA and many countries in Europe, and more recently Sri Lanka where he studied Buddhism and oriental spirituality. His present research covers the “language of Cro-Magnon” and the emergence of language among Homo Sapiens, the phylogenic and psychogenetic emergence of human language, and further studies on opera, drama and cinema, including mythological contacts between Indo-European and Turkic traditions and cultures. He is vastly published in many countries in all these fields and on the internet.
More recently Ivan EVE has been assisting him in his main research on the emergence of human language and co-authoring an important project on the TV series Supernatural, after having co-authored an article on “Sri Lanka : from the arrival of Homo Sapiens to the Indian Ocean as a maritime Hub” published by a New Zealander publisher and assisted on the paper on the re-emergence of the Indian Ocean in global maritime commerce.
In the same way Paula OSARIO is co-authoring another important project on the role of Indian women in the colonization of Central and Northern America (La Malinche, Sacagawea, Pocahontas and Black Indians)
He presently teaches within the CEGID (Compagnie Européenne de Gestion par l'Informatique Décentralisée, European Management Company by Distributed Computing; established in 1983) for the Groupement des professionnels de paie et de gestion (Synopsis paie, Centre of pay-roll management professionals) in Nice, after having taught in many Paris universities, including Panthéon-Sorbonne and Assas-Panthéon within the Sorbonne itself.
He has just published at KDP-Amazon two books of fiction and poetry, RIGHT AT THE BOTTOM OF THE URN, TRIPPING ENDLESSLY ALL ALONG THE DOWNFALL and THE INDIAN OCEAN THE MARE NOSTRUM OF HUMANITY, this last one with Ivan EVE.