Guest Post: Liberty Cinema: Media That Inspire Us

Submitted by Brandon Smith of Alt-Market

Liberty Cinema: Media That Inspire Us

Media, from film, to television, to newsprint, has from its inception been used as a tool for manipulating public opinion and influencing mass psychology; this we are all aware of. However, every once in a while, an honest writer, an honest filmmaker, an uncontrolled media company, slips through the establishment filter and makes something quite spectacular: a story that tells the truth. This is, frankly, something we should expect. Something we should be used to seeing. Unfortunately, with only a few major global conglomerates dominating the content of nearly every TV station and film distributor in this country, a truthful film or weekly show seeing the light of day is akin to a small miracle.

The fog of lies seeping from the corrosive tar pits of Washington D.C. is getting thicker by the day, our social environment has become a vortex of confusing mismatched messages and conflicting data, and getting a straight answer from any mainstream outlet has become a fools errand. For those of us who are awake and aware, it seems as though our senses are under attack every minute of everyday. We are overwhelmed with illusions, delusions, mirages, and unsupported opinions masquerading as cold hard fact.

Sometimes, we need media that inspires us and teaches us, rather than attacking us with amoralist rhetoric and rewriting our history in real time. Sometimes, we need to know we are not alone in our daily fight against disinformation. We need to know that there are, and always have been, others out there who see the truths that we see. Sometimes, we just need a break from the propaganda machine.

In the hopes of providing for you as many moments of rest as possible, I have listed below some of the films and other media which have, at the very least, messages that support the vestiges of liberty and free thought. Some people may disagree with certain choices, and certainly, not all of the films below are examples of “artistic auteurism”, but at least they don’t spew up the bile of globalism and collectivism all over your living room when you watch them, which is always a nice change of pace. Onward with the show…

TV And Film That Inspires Us

Citizen Kane – Directed By Orson Welles, 1941: The story surrounding the release of Citizen Kane is even more interesting than the movie itself. The film is, definitely, a masterpiece. It broke every rule of filmmaking at that time and set the standard for every decent film to come after. The inspiration for the film’s main character, Charles Foster Kane, was based on the very real and sill living William Randolph Hearst. The infamous Hearst whose disinformation exploits and unfettered elitism are infamous to those of us in the Liberty Movement who know anything about propaganda.

Citizen Kane portrayed Hearst, and globalists like him, in their underwear. An unprecedented act for a film in the 1940’s. Welles’ depiction of an aging billionaire whose accumulation of wealth and power fails to fill the gaping hole in the man’s soul strikes a chord, not because we are meant to feel sorry for him, but because it shows us that these men we often imagine as invincible demons, are in fact very vulnerable, and very weak. They live in their own fantasy lands, hoping that with enough money and influence, they can expand their fantasies until the rest of us are completely enveloped in them. They want our admiration, our praise, even our love; things that have to be earned, not bought, to be felt and appreciated. Kane’s struggle to make people love him brings the world of elitism down from its self imposed pedestal where we can all see and shake our heads. There is nothing more pathetic than a man who feels the need to dominate to be respected.

As is well known, Hearst attempted to destroy Citizen Kane, first by trying to buy the original negative, then trying to shut it out of theaters completely. When he failed, he set out to destroy the career of Orson Welles himself. Welles faced obstacle after obstacle for the rest of his life in the moviemaking business, blacklisted by Hearst’s circle of elitist friends in Hollywood, Welles’ image was attacked for decades, despite Citizen Kane’s reputation as one of the greatest films ever made.

On The Waterfront – Directed By Elia Kazan, 1954: Marlon Brando plays Terry Malloy, an ex-fighter who’s life has sunk into poverty and discredit, pushing him towards a career of crime as the muscle for an underworld mob boss. Terry is, for the most part, a good man caught in the midst of horrible circumstances. However, he soon begins to realize after helping to cause the death of an outspoken dock worker that being good on the inside is simply not enough; a man has to ACT upon his conscience if he wants to be truly free, even if it means he could die in the process.

‘On The Waterfront’ is a tale of redemption, but also a tale of revolution in the purest sense. A single individual making the hardest of all decisions; to face his own mistakes and stupidity for the sake of those he cares about. Only when a man is aware of his failings can he finally find the strength to face down the seemingly invincible monsters of the world. This is as true in reality, as it is in the movies, and it is a lesson we desperately need to relearn in America today.

High Noon – Directed By Fred Zinneman, 1952: The parallels between the dilemmas facing the character of Marshal Will Kane (played by Gary Cooper) and the dilemmas, tangible and psychological, that currently face the Liberty Movement, are astonishing. So much so that I was inspired to write an entire article for Neithercorp Press on the film ‘High Noon’. Kane is an honest lawman, who discovers just after his wedding that a band of murderous thugs called the “Miller Gang” are returning to the town they terrorized years ago. Thugs he sent up the river. And, they want revenge. Kane rushes frantically, having only until noon to rally the townspeople and form a posse to stop the Miller Gang once again, but there’s just one problem; no one wants to help him...

Every internal conflict plaguing America today, from apathy, to cowardice, to greed, to bias, to corruption, is represented in the scenes of High Noon. To understand the obstacles we face as a movement, one only needs to understand the character of Marshal Will Kane, and the town of weaklings which his conscience demands he defend.

Seven Samurai – Directed By Akira Kurasawa, 1954: This is perhaps the greatest samurai epic ever made, as well as one of the best action/dramas in any language of any era. Japan has been ravaged by the destruction of feudal wars, and bandit hoards now roam the countryside freely, pillaging defenseless villages as they go. The farming class has been left to the wolves, and with an economy in ruins, one village finds they will soon starve if they cannot end the vicious cycle of looting. At first, they see no recourse but to conform to the demands of the criminal throngs. However, an elder relates a tale of a village he had known long ago that had hired samurai for defense, a village which survived the onslaught of the feudal wars.

Excited by the idea of saving their homes and finally ending their enslavement, a group of young farmers heads to the cities to recruit whatever samurai they can find who will work for mere rice, the only currency the village has. They return with only seven brave warriors. Seven……against an army.

So begins Seven Samurai, a story of defiance in the face of overwhelming odds, but also a study on the desperation of societal collapse, as well as the inevitable need for the common man to learn how to defend himself, or find himself ruled by villains forever.

The 400 Blows – Directed By Francois Truffaut, 1959: Antoine is a 13 year old boy with a chip on his shoulder (but really, what 13 year old boy DOESN’T have a chip on his shoulder?). His unwillingness to conform, of course, gets him into trouble often, and soon he finds himself in progressively worse situations with progressively worse consequences. The real power of ‘The 400 Blows’ is that it forces us to question whether Antoine is actually wrong for not conforming. It reveals the foolishness of the social system in which he is forced to live, as well as the greed, jealousy, and hypocrisy that fuels it. Antoine is surrounded by deviants and liars who parade as upstanding people, judging him harshly for his rather minor infractions. With hints of Kafka’s ‘The Trial’, the idea of a corrupt culture handing down judgments upon anyone who seeks independence becomes rather horrifying. The need in many to revolt, and to break free, becomes inevitable. The stunning end to The 400 Blows is the most iconic cinema moment I can think of that illustrates this very human need.

The Manchurian Candidate – Directed By John Frankenheimer, 1962: Based on the mind control experimentation of the Soviets conducted with the help of Nazi psychiatrists captured after WWII (The U.S. had a similar program called MK ULTRA conducted at the same time), the Manchurian Candidate is about the malleability of the human mind, and how certain men, under the right circumstances and with the right methods, can be made to do almost anything, even kill.

Staring Frank Sinatra as Major Bennett Marco, a man in search of answers to the experiments he believes he may have been a part of, and an amazingly evil Angela Lansbury (this ain’t Murder She Wrote, folks!), the film was essentially pulled from screening and distribution after the Kennedy assassination in 1963, though some maintain that the assassination had nothing to do with the film being shelved. Strangely though, the movie was only shown on television a mere three or four times from 1963 until 1988, when, after decades, it was finally released for wider distribution.

Mind control is not the stuff of science fiction. Very real programs have been conducted by security agencies around the world for many years, some of which have been declassified. How much of The Manchurian Candidate is real, and how much of it is Hollywood conjecture? That’s hard to say. When it comes to such programs, I find that reality is often far more disturbing than anything Hollywood can think up.

The Prisoner – British Television, 1967 to 1968: Patrick McGoohan’s serial tale of a former secret agent whose retirement is cut short when he is kidnapped by an unnamed organization and thrown into a prison that looks like a beach resort, called “The Village”, and given a number instead of a name. Loosely based on true events, including Operation Epsilon during WWII, as well as government “black sites” around the world in which many people over the decades have been “renditioned” and tortured for information, simply tortured for fun, or tortured until they can be turned to another purpose. ‘The Prisoner’ is truly a parable for our times…

Number 6 (McGoohan) is watched 24/7 by microphone and video surveillance. His every move is meticulously studied. He is tortured mentally and physically. His entire identity is put under attack. The people who run the Village, finding that torture is completely ineffective, turn to increasingly elaborate mind games meant to break 6’s will, and reveal information he doesn’t even have.

Ultimately, Number 6 is punished and imprisoned not because he has something the organization wants, but simply because he quit the game. Number 6 is everyman who wishes to decouple from the corrupt system and be left alone, only to find that to the elites, independence is the worst crime of all.

The final episode of The Prisoner left half its audience angry and confused, and the other half in awe of its brilliance. In a nutshell; the system has no power over us but that which we GIVE them. We are our own prison guards. And, in effect, we have made our entire world just like “The Village”. We are accomplices in our own slavery, because we refuse to see the very large part we have played in the construction of the prison itself. Number 6’s ability to prevail in the battle of wills we all face in the real world is meant to inspire, as well as to caution. All wars for freedom are first won in the mind…

Bad Day At Black Rock – Directed By John Sturges, 1954: Spencer Tracy plays Macreedy, a WWII veteran out to uncover the circumstances behind the death of a Japanese friend in a remote western town. Macreedy, injured during the war, appears to be rather harmless, which is just the way he likes it. As his investigation takes a dangerous turn, he soon discovers the town itself may be involved in his friend’s death, and the townspeople discover that Macreedy is not as helpless as he seems.

‘Bad Day At Black Rock’ is a mystery/thriller, to be sure, but it is also an example of the quiet warrior. The man who sits patiently, and picks his battles carefully. The man who doesn’t put all his cards on the table until it is absolutely necessary. Any fight, whether man to man, or army to army, is decided first and foremost by the intelligence of the combatants. He who fights smartest, wins. Period. The man with the biggest girth, the biggest mouth, or the biggest guns, is often irrelevant. The man that watches quietly, he’s the one to worry about…

Sleeper – Directed By Woody Allen, 1973: Woody Allen plays Miles Monroe, a man who dies in the 20th century and his body frozen, only to be brought back to life 200 years in the future to find that he is surrounded by naïve yuppies, hippies, and mindless drones living in ignorant bliss in the midst of a scientifically administrated police state (Sometimes, I feel like I’m living this movie, as I’m sure many of you do).

Miles was never supposed to be brought out of cryogenic stasis, and is deemed a dangerous infectious element by the state. Hilarity ensues as he tries to outrun government goon squads while attempting to understand the strange manners of the citizenry of the future. Eventually, he ends up becoming a reluctant revolutionary, and, comes face to face (or face to nose) with the world’s “supreme leader”. Funny, smart satire on man’s unfortunate ability to ride the wave of absurdity into the rocks of tyranny without a second thought.

Star Wars – Directed By George Lucas, 1977 to …?: Star Wars is a cinema success story for a number of reasons. First, Lucas used (some say stole) many ideas from the great director Akira Kurasawa (we discussed one of his films, Seven Samurai, above). He also applied the studies of mythology professor Joseph Campbell to the world of film. Lucas was the first to do this deliberately. Tapping into the realm of mythology and archetypes can backfire, but, if done correctly, you could have a viral cultural phenomenon on your hands. This is what Star Wars accomplished.

Good and evil are inherent psychological elements as old as man. We are born with conscience, and the ability to ignore conscience. We have the power to choose what is creative, or destructive. We are both darkness, and light, all at once. Star Wars makes this internal and external battle between good and evil explode with dazzling adventure and fantasy. However, the root ideas within Star Wars are anything but fantasy. Truly, each person battles against the “dark side” within himself, and sometimes, men embrace it wholeheartedly. When they do (as we see in the society of global elitism) unprecedented catastrophe results, and only the strong of heart can rise to meet the challenge.

V – Television Miniseries, 1983: Yes, this is the miniseries with the “reptoids” in flying saucers come to dominate the Earth and steal all its resources. But seriously, look past the reptilians for a moment, and think of ‘V’ not as a sci-fi cheese fest, but a study in revolution set in a different genre. In fact, the first half of the V series was meant by creator Kenneth Johnson to be a parable for revolt against fascism, whether it be in the form of establishment military might, or in the form of aliens from another galaxy. The series premier was an obvious attack on the U.S. Government’s involvement with the School Of The Americas, and their clandestine use of death squads and fascist dictators in Central and South America, especially El Salvador. The point is that freedom is a universal quality, and people will fight against despotism, even if it comes from another planet.

Repo Man – Directed By Alex Cox, 1984: There is something I really admire and miss about the in your face angry punk attitude and alienation of the late 70’s early 80’s. It’s a vibe that has since been thoroughly commercialized and prepackaged, like almost every counter culture movement tends to be, although remnants of it still exist in the computer hacking communities of today. Not that punk was ever a movement that could change the world, it was too directionless and shortsighted, but at least they were able to get MAD about the way our world was turning. At least they weren’t afraid to show some of that angst and rage in public, and perhaps sabotage the system here and there. Today, we find ourselves surrounded by whiners and overgrown babies looking for acceptance. People show their angst by conforming even more, rather than rebelling, because they actually believe that at some point, they will have enough money to escape their pathetic pasty suburban lives. But you don’t earn respect by being a coward and a yes man. That is what the punk movement understood.

Repo Man is a rollicking absurdist adventure in punkland complete with corrupt CIA agents, a mysterious radioactive package, and a flying Chevy Malibu, that teaches us that sometimes it’s good to give the system the finger, and stop trying to be so damn nice all the time.

Brazil – Directed By Terry Gilliam, 1985: There is only one way to describe this movie; George Orwell’s 1984 meets Monty Python’s Flying Circus. Yes, it is absolutely that weird, and, that ingenious. This is not necessarily an “inspiring” film, its actually very disturbing, but I have included it because its plot is eerily similar to the international conditions we are experiencing today, and its message is absolutely important to teach to those who actually believe terrorism is a viable excuse for removing freedom from society.

Jonathan Price plays Sam Lowery, a low level pencil pusher in a massive conglomerate linked inexorably with the government. In fact, the corporation has basically BECOME the government. Sam’s world is plagued by tyranny, and he has found that the only way he can cope is to escape into fantasy. Government goon squads in black roam the cities hijacking people at will. Everyone is watched, catalogued, and controlled. The ultra rich do whatever they please to anyone they please without repercussions, and true love is a thing of the ancient past. Terrorist bombings occur daily, killing at random, giving the rationale behind the governments severe martial law, however, no one has ever seen a real terrorist outside their television sets (Terry Gilliam would explain in future interviews that there are no terrorists in Brazil, and he envisioned a government that used bombings as a means to maintain control. Sound familiar…?). All of this is portrayed in a very hallucinatory way, which sometimes makes it funny, while at other times makes it gut wrenchingly uncomfortable to watch.

Gilliam had final cut on the film, a rare stipulation in filmmaker contracts which allows the director, not the studio, to decide the exact manner in which the film is edited. When MCA Inc. finally saw the finished version of Brazil, they apparently were not happy. The reasons for this have been debated years. Strangely, MCA tried to shelve the film completely, not allowing it to be shown anywhere in the U.S., despite having spent millions on the production, and admitting that it had Academy Award winning potential. Fox had already released the movie in Europe, to wide acclaim. Gilliam was forced to initiate covert screenings of the film at colleges for critics, all of whom gave it rave reviews. Still, MCA tried to keep the general public from seeing the movie. Eventually, after the film won critics choice awards without ever being in a real theater, the studio was publicly embarrassed, and finally it was officially released.

My suspicion? Brazil hit way to close to home for the disinfo-media moguls, and they tried to send the film down the memory hole. Just as they tried to do with Citizen Kane.

Pump Up The Volume – Directed By Allan Moyle, 1990: I don’t care what anyone says, this movie kicks ass! And, the soundtrack is fantastic! Although, I think the 90’s was a bad decade for any movie trying to highlight the encroaching government deconstruction of free speech. I remember well that most people at that time just didn’t want to hear it. The Berlin Wall had recently fallen and money was the only thing on everyone’s little minds. We were headed for Utopia, American style, and globalism was the means by which it would all come to pass. What idiots we all were…

Christian Slater plays Mark Hunter (aka Hard Harry) an A-student in High School who has pirated the radio waves in a suburban paradise in Arizona, where he has been uprooted to by his well meaning but semi-clueless parents. Mark takes on the persona of Hard Harry, a raunchy radio personality that’s not afraid to call it as he sees it in the land of yuppie dreams. Unfortunately, his attempts to reach out to the residents of his new city and help them to see the error of their banal and empty lives has attracted the attention of the FCC, and has also resulted in a growing sense of rebellion against petty authority amongst the local youth. Pump Up The Volume is entertainment, but entertainment with a message that no matter how good you think you might have it, your freedom of speech should never be taken for granted.

Nowhere Man – American Television, 1995 to 1996: Nowhere Man is a kind of “The Prisoner” for the 90’s. An exploration of government mind control very similar to the MK-ULTRA experiments of men like Ewen Cameron back in the 1950’s and 1960’s, employing Nazi scientists brought to the U.S. secretly through Operation Paper Clip (all true folks, look it up…). This show was a sort of “anti-X Files”, because it dealt with government programs and covert ops in a way that was at least legitimate in certain regards, instead of making everything about flying saucers. Not surprisingly, the show was cancelled after the first season by the network despite stellar ratings and reviews by critics! When you make a show that explores mind control and torture without throwing in Big Foot and Chupacabra, you’re probably going to get cancelled. Just saying…

Bruce Greenwood plays Thomas Veil, a journalist who took a photo of a mass hanging he never should have seen. Now, his life is being turned upside down by a nameless group. He is thrust into a massive mind game in which he is imprisoned in an insane asylum, his friends forget his name, his associates die suddenly, and everywhere he goes, someone is trying to get his photo negatives. But all is not what it seems. Veil’s memories are clouded, and he is beginning to wonder if he is even who he believes himself to be.

Michael Clayton – Directed By Tony Gilroy, 2007: George Clooney plays Michael Clayton, a sort of “legal fixer”; an attorney who know how to bend the rules and save clients, no matter how guilty, from certain ruination, at least, for a price. But when Michael’s friend and top attorney Arthur Edens (played by Tom Wilkinson) suddenly loses his cool during a case, starts babbling, and strips naked during an important meeting, things begin to change for Michael. Now, sent in to “fix” his friend, and his mistakes, he begins to realize the pain of being a professional liar in the face of immense corruption, as well as the danger of telling the truth in a world of corporate fraudsters and hitmen.

Michael Clayton is about the meaning of “the lie”. The reasons why we choose to believe it, and the destruction lies leave in their wake. The choice to follow the lie, or to expose it, is in each of our hands.

There Will Be Blood – Directed By Paul Thomas Anderson, 2007: Another movie that’s not exactly “uplifting”, but it is painfully honest. Based on the novel ‘Oil!’ by Upton Sinclair (and much better written than the book, in my opinion) There Will Be Blood is an exploration of ruthless evil. Pure and simple.

Daniel Day Lewis plays Daniel Plainview, a mineral prospector in 1902 obsessed with power, money, and the respect he believes he deserves from others. Plainview will do anything, absolutely anything, to get his hands on the oil rich lands of California. His desire for control slowly unravels his mind, leading him to cheat landowners, use his adopted son as a sympathy play, and even to murder. His conquest brings him into confrontation with a young corrupt evangelist who also enjoys control over the local townspeople, setting in motion a battle of religion (false representatives of religion) versus industry for the minds of the masses.

There Will Be Blood is made as if putting elitism under a microscope, exposing all the horrid little details. Whenever you wonder why global corporatists do the awful things that they do, I want you to think of Daniel Day Lewis’ character in this movie. This is who we are dealing with. Conniving, sociopathic madmen, who assume the world owes them everything, and they owe nothing in return. Frightening indeed…

Firefly – Television, Created By Joss Whedon, 2002 to 2002: Firefly is the anti-Star Trek. Where Star Trek glorifies the philosophy of collectivism and paints it as the magic solution to war, famine, pestilence, etc., Firefly shows collectivism as it actually is; the foundation of complete totalitarianism, and the solution to nothing. In Star Trek, the methodology is: The needs of the many, outweigh the needs of the few. In Firefly, the methodology is: The many are usually too ignorant to know what they “need”, so why should the aware few be forced to suffer in the wake of their stupidity or greed? The show is a breath of fresh air, to say the least…

Whedon’s story of a band of outlaws on the rim of the “civilized” universe trying to make ends meet while faced with encroaching Federalist control is, without a doubt, a parable for Constitutionalism. How much is Whedon aware of the Liberty Movement or the New World Order? Watching Firefly or his latest show on mind control, ‘Dollhouse’, I think he knows quite a bit. Which is why, of course, Firefly seems to have been cancelled before it even finished its first season.

Fox sabotaged Firefly from the very beginning, showing the episodes out of order, including the premier, which introduces all the characters and the main plotline (when was the last time you saw a show launched without showing the first episode first!?). Of course, ratings on the show flopped, because audiences had no clue how to follow a story told out of sequence. Fox then used the low ratings as an excuse to cancel the show. Again, don’t make TV shows that are anti-collectivist, or you will be cancelled.

Red Belt – Directed By David Mamet, 2007: How do you search for honor in a world of sellouts? What is a man with principles to do when surrounded by men who believe in nothing? Is there room for a warrior code, like that of Bushido, in today’s modern and superficial society? Red Belt asks all of these questions and more in a film that blew me away from start to finish.

Mike Terry (played by Chiwetel Ejiofor) is a good man. Not a good man in the fairytale sense of knights in armor and superheroes, but a good man in a very real, down to earth manner. He operates on honesty, courtesy, and a sense of honor many consider far outdated. He is also a master of Brazilian Jiu Jitsu.

Terry’s values prevent him from competing professionally, making him a virtual unknown outside those who train in his halls, as well as making him virtually penniless. When he saves a Hollywood celebrity, Chet Frank (played by Tim Allen….yeah….Tim Allen, and he’s good!), from a severe beating in a local bar, though, good tidings seem to turn his way. Frank takes Terry under his wing and offers unbelievable opportunity, but as we all know, if it sounds too good to be true, it probably is. Terry soon realizes that very few men are as honorable as he, and that his training methods have been stolen to create a televised circus of a fighting competition, a competition that has been rigged.

Everyone, including his own wife, tries to stop him from exposing the lie. Terry is faced with a choice; fight in the competition, play the game, and allow the fraud to continue, or do something drastic…and risk everything by playing by his own rules…

Red Belt sounds like an action martial arts movie, but really, it nothing of the sort. And, at the same time, it is the ULTIMATE martial arts movie, because it takes an aggressively pure approach to the spiritual qualities that make martial arts more than a sport, more than a sideshow of lumbering muscle bound gladiators. It grapples with the question of the warrior code, the idea of a principled caste of men who can fight, and fight well, but never consider themselves “fighters”. It also denies the assumption that because everyone is against you, or your position, that you are trapped, that there is no way to win. As the character of Mike Terry wisely relates in the film, there is always an escape. There is always a way to win.


No comments yet! Be the first to add yours.