RUTHFULLY YOURS

https://www.frontpagemag.com/irenas-vow/

Irena’s Vow is a 2023 film dramatizing the World War II heroism of a young Polish nursing student, Irena Gut. Irena’s Vow is a two-hour, color film. It was shot in Poland. The film is in English. It received a limited US release in April, 2024. Irena’s Vow has an 86% professional reviewer rating on Rotten Tomatoes and a 93% fan reviewer rating. Veteran reviewer Rex Reed calls Irena’s Vow “One of the most astounding holocaust stories.” He says, “It’s true, if fantastic.” The film is “anchored by the powerful, heartfelt performance of Sophie Nelisse as an innocent girl whose integrity and resolve turns her into a woman of maturity and strength.” Roman Haller, a Holocaust survivor, says, “It is a very great film. I expected a good film, but it is even more than I expected. … I saw my mother. I saw my father. I saw Irena … She was like a mother to me … I want to tell you there were people like that.”

Dr. Glenn R. Schiraldi wrote the 2007 book, World War II Survivors: Lessons in Resilience. He devoted a chapter to Irena Gut Opdyke. She was, he writes, “a diminutive, elegant woman with warm, radiant blue eyes and delicate features. She is one of the kindest, most loving women I have encountered. She reminds one of Mother Teresa. As she spoke, I often found myself choking back tears.”

Dan Gordon is a veteran screenwriter and also a former captain in the Israeli Defense Forces. Gordon says, “About 25 years ago, I was driving to my home in Los Angeles and listening to the radio. I heard a woman, Irene Gut Opdyke, telling her story. When I got home, I sat in the car in the driveway for another hour and a half, because I couldn’t stop listening.” He worked for years to get the film made.

From Janet Levy Ross

In 1941 Occupied Paris, Jews are instructed to identify themselves to the authorities.  Jeweler Joseph Haffmann makes arrangement for his wife and children to flee from Vichy France and offers an employee the opportunity to take over his business and upstairs living quarters until it is safe for him to return.  As his attempts to escape and join his family are thwarted by the omnipresence of Nazis in the city, Haffman is forced to reside in the basement of his home with his employee and his wife.  Their relationship is transformed in intriguing ways but poetic justice prevails in the end.  Excellent acting by the nonpareil Daniel Auteuil and others.  

https://www.wsj.com/articles/woody-allens-cancellation-is-a-crime-against-culture-hollywood-metoo-fb417fa5?mod=opinion_lead_pos8

In August 2017, a year after Prime Video aired Woody Allen’s comic miniseries “Crisis in Six Scenes,” the director signed a deal with Amazon Studios to produce his next four films for a reported minimum payment of $68 million. A few weeks later, allegations of sexual misconduct against Harvey Weinstein emerged and the #MeToo movement was born. In December, Mr. Allen’s adopted daughter, Dylan Farrow, published an op-ed in the Los Angeles Times with the headline “Why Has the #MeToo Revolution Spared Woody Allen?”

Mr. Allen wasn’t spared much longer. Ms. Farrow’s op-ed accused Mr. Allen of molesting her in 1992, when she was 7—a charge that her mother, Mia Farrow, had raised at the time in a custody dispute with Mr. Allen. Authorities in two states thoroughly investigated, and no charges were filed against Mr. Allen. Child-abuse investigators at Yale-New Haven hospital reported that “it is our expert opinion that Dylan was not sexually abused by Mr. Allen.”

Yet a quarter-century later, Mr. Allen found himself an unperson. Though in the intervening decades he had worked with acclaimed actors at major movie studios, been nominated for Oscars and won one for writing “Midnight In Paris” (2011), he became a target of obloquy and outrage.

Several of Mr. Allen’s collaborators, including Kate Winslet, Colin Firth, Timothée Chalamet and Greta Gerwig, publicly turned against him. Others, such as Diane Keaton, Alec Baldwin and Scarlett Johansson, rallied to his defense. Amazon Studios canceled the deal with Mr. Allen, leading to a lawsuit that was settled out of court on terms that weren’t disclosed. Amazon Studios also declined to release to theaters the third film he had made for them, “A Rainy Day in New York” (2019).

https://www.frontpagemag.com/one-life-and-nickys-family/

The 2023 biopic One Life concludes with a very moving scene. An elderly man is surprised by a televised celebration of heroic deeds he performed when he was young. I could not resist the scene’s power. I cried. I made sniffling sounds. I didn’t even try to apply the emotional brakes.

If only the rest of the movie were as good as that final scene.

One Life dramatizes the life of Sir Nicholas George Winton MBE. When he was 29 years old, Winton participated in an effort to save Jewish children from oncoming Nazis. His heroism warrants an uplifting, inspirational, unforgettable film. I was worried when I saw that One Life would be released in the US on March 15. Early March is part of the “dump months” when movies that haven’t tested well are released.

One Life is not a bad movie. It’s just not good enough. I’d give it a six out of ten, but, given that the subject matter is so important and so appealing, I will nudge that up to a seven. Nicky Winton deserves an eleven out of ten.

As I left the theater, I asked, “Who was Nicholas Winton? Why did he perform these heroic acts? How did he perform them?” One Life didn’t answer those questions for me. I spent hours reading about Winton. I stumbled across a movie I’d never heard of before. Nicky’s Family is a 2011, English language, Czech and Slovak documentary. It is currently streaming for free. Nicky’s Family moved me deeply, answered my questions, and worked for me.

Nicholas Winton (1909 – 2015) was born in London. His parents were German Jewish immigrants named Wertheim. During World War I, they encountered anti-German prejudice. In an effort to assimilate, they converted to Christianity and changed their last name to Wortham. After the war, they changed back to Wertheim, but eventually switched to Winton. Nicholas was baptized in the Church of England. At the elite Stowe school, young Nicholas attended chapel regularly and chose to be confirmed as a Christian. Later he self-identified as an agnostic and a socialist.

Winton’s father was a successful banker. The three Winton children grew up in a twenty-room mansion in West Hampstead. At Stowe school, young Winton made connections that lasted for years, including with charismatic Stowe headmaster, J. F. Roxburgh. Roxburgh said that his goal, as an educator, was to produce young men who were “acceptable at a dance and invaluable in a shipwreck.” Winton fenced at Stowe and he would eventually be accepted to his nation’s Olympic team. He would never compete, though, as World War II canceled the games. After Stowe, Winton fenced at Salle Bertrand in London. There he fenced against British aristocrat, politician, and antisemite Oswald Mosley. Hitler attended Mosley’s second wedding.

https://www.nationalreview.com/corner/the-worst-cold-war-documentary-ever-made-part-2/

I jumped the gun near the end of my review of the first three episodes of Netflix’s documentary series Turning Point: The Bomb and the Cold War. As I wrote in “The Worst Cold War Documentary Ever Made,” the series did not address the Korean War, the Soviet invasion of Hungary in 1956, the Berlin Crisis of 1958, a brief Chinese–Taiwanese war, or the global communist guerrilla insurgency. But the series’ coverage of the 1950s did not end with episode three, as I suspected it had. The series pivoted in episode four to the so-called missile gap and Fidel Castro’s 1959 Cuban revolution, introducing both phenomena to establish the backdrop against which the Cuban Missile Crisis took place. Unfortunately, the film did so only to promote further the narrative that it had established in its first three episodes, which are organized around the notion that the United States was the foremost belligerent in the Cold War.

“The Russians were not on a crash program to build missiles,” the Pentagon Papers leaker Daniel Ellsberg said of the discovery unlocked by the launch of America’s first spy satellites. The Soviets were “not trying to be superior,” which meant that they “weren’t trying to dominate the world militarily.” Nefariously enough, American policymakers declined to internalize the conclusion that was so intuitive to Ellsberg. That was motivated reasoning designed to perpetuate the “fraudulent belief” that the Soviets represented a military threat to the West only because it was “very profitable.”

With this, Turning Point’s audience is treated to a Marxian theory of everything that explains the Cold War as an outgrowth of the fact that the American economy was “increasingly oriented around defense, and security, and nuclear weapons,” in the author Audra Wolfe’s formulation. “It’s sort of in everyone’s interests to keep building toward this world-ending moment because it’s good business,” the journalist Garrett Graff posits. Indeed, the arms race was a game, and “both sides played it,” said author Scott Anderson, by which he meant Democrats and Republicans, not the Americans and the Soviets.

https://www.wsj.com/arts-culture/film/25-years-later-were-all-trapped-in-the-matrix-3f3a3aea

Twenty-five years ago, “The Matrix” offered us a modern twist on Plato’s cave. Today we are once again asking what it will take to find our way out of the lonely darkness, into the brilliance of other human souls in the real world.

It is a cinematic scene familiar to millions: A man named Morpheus sits across from another man named Neo and informs him that his entire notion of reality is a lie. If Neo wishes to know the truth of human existence, Morpheus says, all he has to do is choose one of two pills. “You take the blue pill—the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill…and I show you how deep the rabbit hole goes.”

This scene is the turning point in “The Matrix,” the sci-fi classic that was released 25 years ago this month. Of course, Neo chooses the red pill and learns the terrible truth that the advent of artificial intelligence allowed machines to take over the Earth. He believes it is 1999, but in fact it is 2199, and all human beings are perpetually asleep in vats, exploited by their AI masters as a source of energy. The world they think they experience is actually a virtual reality known as “The Matrix.”

Morpheus, played by Laurence Fishburne, has devoted himself to freeing individuals from the Matrix and leading them to a refuge called Zion. He believes that Neo, played by Keanu Reeves, is “the One” destined to liberate humanity.

https://www.nationalreview.com/2024/03/the-worst-cold-war-documentary-ever-made/

The new Netflix series Turning Point pushes revisionist history that might as well have been lifted straight from Howard Zinn’s fevered imagination.

Netflix’s new documentary series, Turning Point: The Bomb and the Cold War, opens with a captivating premise: Vladimir Putin’s war of conquest in Ukraine has imposed on the West unenviable conditions akin to those that pertained during the Cold War. Indeed, the series posits that Putin’s war cannot be understood without a study of the rivalry between the superpowers. But that pretense is swiftly abandoned. The series’ real purpose is to push a revisionist history that manages to render the Soviet Union a bit player in a Cold War narrative that might as well have been lifted from Howard Zinn’s fevered imagination. Though this could not have been the documentarians’ intention, the series might even convince some viewers that Putin has a point.

Within the first few minutes of episode one, the audience is confronted with the documentary’s true objective. “We were so good. We were the country that finally was so virtuous, in addition to being powerful,” says Overthrow author Stephen Kinzer in a blithe summary of the post-war American ethos. “And it was logical that we would then be threatened by a hostile, evil force that wanted nothing but destruction and nihilism.” The documentary then sets out to prove these two presumptions wrong.

According to the series, the Cold War begins not with Winston Churchill’s observation in Fulton, Mo., that an “Iron Curtain” had descended across the European continent but with the atomic bombing of civilians in Hiroshima and Nagasaki. These were not the first civilians wantonly murdered by the United States through nuclear warfare, of course. The first casualties were American citizens, who were poisoned by their proximity to the Trinty test and lied to about their condition by the U.S. government.

That digression aside, the film maintains that racialized caricatures of the Japanese made the atomic bombings that ended the Second World War thinkable. It was an unnecessary act of violence aimed not at ending the war — the Japanese were willing to negotiate, and the U.S. wasn’t really seeking “unconditional” surrender as advertised — but at keeping the Soviets from invading Japan. “We didn’t need to use the bomb. Japan would have surrendered. We didn’t need a land invasion in order to be victorious,” one of the documentary’s interviewees postulates.

It’s a tidy narrative, but it elides the extent to which industrial war-making facilities in Japan, unlike in Germany, were interspersed within residential areas. Harry Truman’s advisers did seek relatively intact urban targets to demonstrate the weapon’s power, but neither city subject to atomic bombing was purely civilian. Hiroshima hosted the 2nd Army Headquarters, the command in charge of the defense of southern Japan (where Operation Olympic would have begun). Likewise, Nagasaki was home to manufacturing facilities producing ordnance, naval assets, and weapons platforms.

https://www.frontpagemag.com/the-boys-in-the-boat-the-peasants-and-the-zone-of-interest/

Friend, I beg of you. Go to a theater and see three great movies sometime soon: The Boys in the Boat, The Peasants, and The Zone of Interest.

Leopold Staff, a Polish poet who survived the Nazi occupation of Warsaw, said that “Even more than bread we now need poetry, in a time when it seems that it is not needed at all.” Movies are democratic. They are accessible and they are communal. It’s fashionable to declare one’s superiority by sneering at popular culture. It’s harder to sneer when you remember that Ayaan Hirsi Ali, a fearless counter-jihadi, was inspired by Nancy Drew novels, and that Top Gun and Saving Private Ryan drove military recruitment. Politics is downstream from culture. The culture we support with our ticket-buying dollars is as important as the candidates we support with our votes.

We get something from publicly watching a movie together with our fellow citizens. The Major and the Minor is a 1942 screwball comedy. I’d watched it a couple of times at home, alone, on a small TV screen before seeing it for the first time in a jam-packed, Greenwich Village art house theater. In that crowd of rollicking laughter, I suddenly realized what a very naughty movie The Major and the Minor is. Its double entendres had flown right over my head. While watching Gone with the Wind, a loud and spontaneous sigh erupted when the camera zoomed in on Rhett Butler’s handsome face (see here). Gathering in the ladies room after a movie like that is a genre of psychotherapy. While washing your hands you ask complete strangers, “Do you think Scarlett and Rhett ever got back together?” You comfort and enlighten each other and the world is warmer, more connected, less lonely and tense. Mel Gibson’s The Passion depicts Christ’s torture, crucifixion, and death in grisly detail. Three Muslim guys took seats directly behind me. They were joking sarcastically. Clearly, they were in the theater to mock. After the film ended, I turned around to check on them. One was doubled over, distraught. His companions were rubbing his back and speaking softly to him.

The loss of public movie-going erodes not just community, but also art. Ali’s well is a famous, eight-minute scene in Lawrence of Arabia. Most of what we see is a completely flat, lifeless, tan desert landscape against a blue sky unbroken by any cloud. Two men draw water from a desert well. A tiny dot appears on the horizon. Slowly we realize that that dot is a man approaching on a camel. He shoots one of the men to death. As we wait, and wait, and wait for the approaching man  to arrive, we experience a fraction of the desert: the emptiness, the boredom, the terror, the sudden and irrational violence, the value system so very different from our own. That scene could never move us in the same way on a small screen. And, when we are watching alone on a small screen, we can fast forward through the parts we don’t like, like, say, the grim depictions of the Holocaust in Schindler’s List.

My students, trained on media that rushes and delivers jolts of violence and sex aimed at the lizard brain’s reward-squirting mechanisms, lack the ability to sit through a scene like Ali’s well. They also have trouble sitting through a complex lecture on current events, or a long story of personal struggle told by a friend. Movies, like all art, have the potential to train us to be our best selves.

This movie punctures the political correctness that heaps praise on  Black novels and films, even when they are trash.

Monk as the chief protagonist is named, devises an outlandish book of his own, under a pseudonym and false claim that he is a convict. Critics rave in hilarious scenes of White hypocrisy and condescension. rsk