Straight Outta Oscars

IMG_3001The places we come from, told in the annals of world history, are often the places we never would like to have been in the first place. We found ourselves there out of the misfortune of an intolerable circumstance and the human drive would sometimes make lemonade out of a fruitless lemon tree, or would make a savage out of civil human being. We’ve always seen movies about people shipwrecked, like Cast Away, people left unattended to by the rest of humanity, as in The Blue Lagoon and I am Legend, or people lost at sea like The Perfect Storm. These movies never highlight humans succumbing to their carnal nature to devolve when faced with insurmountable challenges. They are usually redeemed by a noble death, love, or luck.

In the two movies that received the important Oscars this year, Mad Max and The Revenant, there was no redemptive circumstance to emancipate these characters from their abysmal predicaments. They went absolutely insane, even causing the actors to do things like eat live fish, and sleep naked inside of a dead animal carcass. America has always had a special affinity for their majority class trying to survive in a land where they’re the minority. Think Jamestown Virginia in 1619 before the House of Burgesses and the Mayflower Compact when those who call themselves the majority in this country today, were very few amidst Native Americans and the slaves they were bringing in.

When we hear the stories about them scraping by to survive, eating their own dead and cannibalizing each other for sustenance, those Hollywood stories are told with such empathy and gloriousness as if loosing all civility and becoming a savage instead of befitting a righteous course to beckon salvation is more laudable. Instead of feeling like they reaped what they had sown, the early settlers felt like nature and fate were their oppressors, and instead of rethinking how they approach coming into a foreign land taking, raping and pillaging, they added another chip on their shoulder and sought revenge against the universe for putting them in predicaments that drove them crazy.

IMG_2909.JPGWhat I am trying to say is that when we see this country’s ruling class go crazy in movies, like they did in the Mad Max and the Revenant, this is merely Hollywood mimicking what happened to their predecessors in real life. They put themselves in unwinnable predicaments and barley survived, but went crazy. Hence, they identify with maniacal behavior because they have inherited a predisposition for it and they celebrate films told in the vain of them going crazy in an uninhabitable environment because history says that was their experience.

When I saw Mad Max as a kid I said to myself, “this is a movie about crazy people chasing one another in some god forsaken wasteland.” When I saw Mad Max this past summer, I said to myself “This a movie about crazy people chasing one another in some god forsaken wasteland.” Why did it win six Oscars? It won because the ruling class pities themselves for what they went through and what they became to come out of their tumultuous circumstances. They empathize with their fore parents becoming maniacs because they believe that the predicament they were placed in was unfair. Their empathy and sentimentality for their ancestors loosing their minds to make it out of miserable conditions causes them to turn these lunatics in real life into heroes in movies.

One of the opening scenes in Mad Max was Tom Hardy eating a live scorpion; this tells us emphatically that this person is crazy. The montage we watched before the credits of him trying to escape a horde of powdery white, stitched mouth, tantrum twitching, flitting eyed, hallucinogen addicted lunatics who chase him like they want to eat him was a clear indication that the movie was about crazy people chasing another sanity teetering man to the brink of insanity. The inhabitant’s leader is a man with no mouth who has a mutated dwarf as a pet. All of the women in this land are sex slaves who are kept in bondage. There was no vegetation in this land, and there were no animals so what do we suppose they ate? I would presume that these maniacs thirst for blood and carnage would indicate that they were supposed to be cannibals.

IMG_2972.JPGAllow me to pause here to make a secular point. Everything we see in movies is an illustration of something that that happened to the human race in real life that is being manifested from our collective unconsciousness. History tells us that the ruling class and the second-class citizens in this country all have an Egyptian lineage. When Moses led the Hebrews out of Egypt in 1513, he had with him some white people some black people and some mixed people.

History tells us that the white people then were slaves in Egypt, but some of them had assimilated with the Hebrews. Some of the Egyptians had already assimilated with the Asians, giving them lighter complexion and they in turn assimilated with the Hebrews. Some of the Hebrews were as black when they left, as they were when they went into Egyptian bondage. History tells us that Moses led the white people across the hot Arabian dessert to a place called Caucasia, which is on the border of Europe and Asia, which they used to call Eurasia. It is quite plausible that in this long trek from Egypt to Caucasia across the hot Arabian Desert, some of these white people fell by the way side or couldn’t continue the journey and decided to stay in the desert making a home for themselves there.

Because the sun would have been too much for their skin and umbrellas hadn’t been invented, perhaps these people covered themselves in a powdery substance to protect themselves from the sun. With no livestock or vegetation, perhaps their only strategy was to procreate and consume human flesh, particularly the flesh of visitors. In order to cannibalize, they must be made mad first. Perhaps the spray they ingested represented some hallucinogen they discovered that would make them crazy enough to eat a person. Sex slavery would be something they learned from inhabitants across the Sahara who had been indulging in the trans Saharan sex trade for centuries.

The story conceivers of Mad Max cleverly exaggerated the history that haunts their people. Because of their sheer relatability to the story, and the sympathy for what they endured, Hollywood honors this depiction with Oscars because it is their way of venerating the abandoned who became savages because they were left in a land un-hospitable. The Fury Road is the escape from the derangement that fate handed a people that were supposed to be taken to the land in Eurasia that birthed their identity. Around the same time that Moses took the rest of the color lacking family to Caucasia, the Indo Europeans were returning from India bringing back imagery, symbolism and philosophy they would use to create white supremacy.

Then again, perhaps the fury road is not a metaphor for escaping the infectious insanity of a nation disturbed. Presumably, it could be exactly what the movie depicted, a man turned maniacal turning going back to destroy the place that corrupted and humiliated him. The fury road could represent the ruling class going back to abolish the vestiges of what represents the lowest parts of his civility. If that is, in fact, what the movie represents it is pretty ingenious.

This would be the equivalent of black people making a movie about the slaves from the interior of Africa escaping their African brethren who enslaved them, taking over a ship and sailing off to an uninhabited island they could repopulate. However, their desire to obliterate the corrupt African raiders that tried to enslave them overpowered their desire to be free, so they go back to destroy their enslavers so they would never have to remember the lowest part of their humanity. If we went on a “Fury Road” in the seventeenth century, when the transatlantic slave trade began, to wreak havoc on our fellow African enslavers, the slave castle in Ghana and the others along the gold coast would no longer exist. We wouldn’t have to revisit the lowest parts of our humanity physically, emotionally or psychologically.

IMG_2919.JPGThe Revenant, outwardly, is a movie about a man seeking revenge for the murder of his son and an attempt on his own life. But at the core, it is a film about an unlucky person who dies unlucky, gets resurrected and given another life to go on a quest to find God so his luck would improve. The movie looks a lot like the lowest class undesirables of Britain getting sent to America to establish the early American colonies and finding themselves is the unlucky predicament of hopelessly trying to colonize a land they were ignorant of. The Natives, who were trying to kill them, had all of the knowledge about horticulture and how to herd cattle for food and knew how to navigate so as to best survive the harshness uncertainties of the seasons.

They found themselves in the unlucky predicament of being very sickly, having no rights as citizens of England having been cast out as indentured servants. They had no rights in America because they were not citizens of the Native American government, and most unluckily of all, they were sent to a land and no women were sent with them. The only women that were there were forbid from fraternizing with the white man. Hence, just like most men would do in that predicament, just like the anointed King David of the bible did, they killed the Native American men and raped their women. In the process they stole their land too, but thus is bounty of war spurned on by sexual frustration.

The first thing I noticed when watching The Revenant was that there were no women present which helped me understand that these were sexually frustrated savage men. Savage because their bad luck put them at odds with the Native Americans who were hell bent on taking their land back so they began fleeing their encampments to make it back to their fort alive. Savage because it was difficult for them to find adequate food and shelter and the animals that they killed were sacred to the Native Americans making the colonizers appear even more diabolical. Leonardo Dicaprio’s character was supposed to be the most conscionable of his group who had consensual relations with a native woman and produced a son. He killed one of his fellow officers to save his son so he became a moral hero.

Leonardo’s character, Hugh Glass, was accepted by the Native countrymen, but the abject of his own people despised him. This was typical in the seventeenth and eighteenth centuries in the early colonies because benevolent intentions were looked at as weak because having to forge a living for yourself amidst uninhabitable circumstances was supposed to make you unscrupulous. Furthermore, the more Hugh showed leadership and valor, fortune seemed to turn against him in catastrophic ways. The mother of his child dies, his son’s face gets burned, his crew is suddenly undermanned and becomes sitting ducks, he gets mauled by a bear, his son gets killed by his enemy, and Hugh gets partially buried alive. After his resurrection he gets healed in a cave and gets reborn from the belly of a dead horse.

For what seems like half of the movie, Hugh crawls around grunting, slobbering and spitting, almost behaving barbaric like. It seems like the majority class is preoccupied with reminding black people that we come from slavery, but they rarely choose to be reminded of the fact that when they came here they lost all civility and degenerated to groveling heathens. Hugh’s inability to speak for a time in the movie is indicative of the period in history when the majority class didn’t have a language; they had to be taught it by the Phoenicians they were trading with in Tyre. The irony in the glorification of The Revenant is that if it were about any other race of man, it would not have been so iconized. It is because it is representative of the humiliating history of the said majority class that it is elaborately honored.

In dreams, bears represent hazardous emotions like fear, anger and being easily aroused. Some have argued that the majority class feared genetic extinction by the Native Americans who outnumbered them, and obliteration by their warrior marauders. The white men who found themselves suspended in an American wilderness nightmare were angry because there country sent them on a death mission and left them to fend for themselves desperately. They were easily aroused because by virtue of being men they were horny, and the women around them were exotically beautiful. And even worse, they were deprived of sexual gratification because Native American women found them grotesque.

We often see movies of seventeenth century Europeans copulating with whores in public alleys an night, we know they had sex with slaves in front of onlookers on the slave ship or the plantation as if they couldn’t restrain themselves to seek private quarters. In the Revenant, we see one of the settlers having sex with a Native American woman on a tree in broad daylight. Clearly, they sexual arousal was at a level of near animalism. The appearance of the bear may have represented the majority class’ struggles with fallible tendencies they could not control.

IMG_2896.JPGAnother representation of the bear in dreams is the symbolization of success and good luck. It could be reasoned that there was no good luck or success to be had in the early 17the century colonization period. Too many settlers didn’t make it for numerous reasons. The bear ravaging Leonardo’s character in the movie may have symbolized luck and success being at odds with the early colonizers plight. It as if the movie was saying that the principle of good fortune was against them, the very concept of good luck and success was their enemy. It must be difficult to admit that fate dealt devastation and misery to your fore parents, damning you before you could even conceive of redemption. To repudiate the pain of this memory, Hollywood makes movies in lamentation of the pitiful history early European Americans experienced. The suffrage of knowing fate is your enemy is enough to make you depict every other race of people as being unintelligent, savage, uncivilized, immoral and self destructive. Reality is that Hollywood in depicting blacks, Asians, Native Americans and Middle Easterns as being moronic and inept is their projection of their own qualities that they came to embody by being forced into a lunatic mind set because of misfortune and bad karma.

The reason the Revenant won best actor, best director and best cinematography is because when the voters watched that movie, they watched their own history, they relived what happened to them when they were trying to colonize this country and ended up being decimated, buried alive, and reborn to crawl on the ground, slobbering and grunting unascertainable utterances until they were redelivered from the womb of an animal. The movie is about the beastly nature of man damning him until he becomes a beast and finds god in letting go of his beastly tendencies. Some who look at this country from the lens of another land deduce that European Americans have wreaked havoc on the world through their beastly tendencies. To change this perspective, those who have the power of cinematic symbolism in this country turn those Cretans into heroes.

The real heroes are the ones who those Cretans brought here as slaves and stripped of them, their language, heritage, customs, religion, family structure, moral integrity, cultural piety, civility, masculinity, pride, self-image, identity, color, sexual chastity, and warrior prowess. The only thing these sons of slaves had left was their communication with nature, which speaks in rhythmic patterns that black people feel. That rhythm birthed Negro Spirituals, ragtime, the cakewalk, blues, jazz, boogie woogie, which came to be called rock and roll. The blues rhythms coalesced with the Caribbean rhythms that other sons slaves brought and the fusion of these coalesced with spoken word which comes from the call and response of the black church which also started on the slave plantation.

The fusion of these magnificent rhythms birthed rap and hip hop which is the most compelling communication device in the world, created by sons of slaves who used gangster rap to express the outrage that sons of slaves feel because they’re in slavery still. Straight Outta Compton is about scholars, not savages, and the old white voters who gave the screeners to their white granddaughters, who love gangster rap, can only see grandeur in the depiction of the savage because he became the ruler in this country. The slave became the spokesman for this country who journalize the heathenism of the ruler who is more degenerate today than they were when they were cannibalizing each other like in Mad Max, or groveling on the ground in their own saliva like in the Revenant. They can have their Oscars, all it proves is they are bat shit crazy because they worship themselves in spite of their deliberate unrighteousness.


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