The latest movie The Odyssey directed by Christopher Nolan has sparked a lot of criticism across the board. When you survey the internet in general and the YouTube channel in particular, then you are amazed by the avalanche of critical material that is rising on a daily basis. The film has been savaged by everyone in many languages of the world. It is criticized for its shoddy workmanship, for its stiff dialogues, for its music, for its shots for its cast… for everything.
A website that is devoted to politics and the economics will not normally deal with a movie, but this time the movie is significant. Christopher Nolan reflects in his work everything that the current West is all about. That is why we would like to draw the reader’s attention to this film, and not as a work of art but precisely as a reflection of the state of the mind that the West has found itself in.
That are certain points to be broached. The first obvious one is the race swap when it comes to the film’s cast. As is well known not only in Europe but across the world The Odyssey is a literary epic that was created by ancient Greek bards, is set in ancient Greece, and tells a story about ancient Greek heroes. In other words it is a story about the Caucasian race, about the Caucasian heroes and the Caucasian nations. Christopher Nolan deliberately cast in the role of Helen black actress Lupita Nyongio. This does not merely fly in the face of the white viewers and historical truth: worse, the actress that has been selected for the role of the most beautiful woman in the ancient world can by no stretch of imagination be regarded as a beauty that sparked the conflict and caused thousands of men to furiously fight against each other. The character of Helen has been compromised on the altar of political correctness to such an extent that beauty has been ridiculed.
The other interesting thing that you cannot wrap your mind around is that one Ellen Page turned Eliot Page has been cast in the role of one of the Greek warriors. Elliot Page born Ellen Page looks ridiculous in this role. She/He is of a tiny build so that it is very difficult for the viewer to bring himself to believe that this is one of the Greek warriors. But again political correctness has trumped up anything else.
Then there’s the translation that the film’s director drew on. It is one of the most recent translations into English that was done by Emily Wilson. And of course – how otherwise! –this translation has the purpose of stripping the epic of anything that we are accustomed to: patriarchy, masculinity, and heroism. The translator’s task was to deconstruct the epic story.
These three observations that we’ve made above are not the only things that characterize Chris Nolan’s movie. When you look at the other heroes, you can see people of all the races but for – as many commentators point up – the Greeks themselves.
The film reflects precisely what is the West is currently all about. Christopher Nolan’s movie is an x-ray of the collective psyche of the West’s elites. What is this collective psyche? Its main tenets are the race swap in society and culture, rainbow sexuality, and deconstruction of the past. One can rest assured that the film will be rewarded with some Oscars. Already now all the professional movie critics lavish praise upon the movie, the actors and the director; the common viewers are upset, angry, disappointed and generally highly critical of what has been created.
The Weste’s elites have been undergoing evolutionary development and they have adopted ideas and beliefs that a redolent of those of the Bolshevik Soviet Union. Because, yes, in the Soviet Union we also had political correctness. What did that communist political correctness consist in? It consisted in putting on the altar the worker and the peasant. Hence the famous sculpture created by Vera Mukhina (1937) Worker and Kolkhoz Woman, with the former raising a hammer and the latter – a sickle. This iconic sculpture has been adopted by the Moscow film manufacturing company – Mosfilm – and has become its recognizable logo, even now, when the same company operates in an otherwise capitalist Russia.
The Western elites might as well have a talented sculptor produce something similar to Vera Mukhina’s Worker and Kolkhoz Woman: a figure of a black person raising a fist together with a figure of someone undergoing gender transition. Why not?
What Christopher Nolan has made does not actually come as a surprise. Race swapping has been present in Western films for a long time now. The same is true of elevating protagonists who represent rainbow sexuality. Christopher Nolan merely fits this recent trend. Black actors have been cast in typically white historical or mythological roles for some tome now: think of Anne Boleyn played by Jodie Turner-Smith or Achilles played by David Kwaku Asamoah Gyasi.
You rid yourself of the impression that Christopher Nolan did all this to get a couple of Oscars. We know that some time ago Hollywood prescribed which movies are allowed to be considered for this award. The requirement is that the cast be multiracial, which must also apply to the production team. The topics presented in a movie shortlisted for an Oscar deal with race and gender identity. Christopher Nolan is either a staunch supporter of this ideology, or else, if he secretly does not identify with it, but nonetheless produces films that fit such requirements, he must be a craven covered, a careerist, someone who will do just about anything to get a pat on the shoulder from the powers that be.
You can only wonder what is next in store. Are they going to turn all the great epical stories turn their head? The powers that be may choose Robin Hood for instance and depict him as a black protagonist or someone who has undergone a gender transition. It really is like in Bolshevik Russia. There, too, everything needed to be deconstructed. Soviet historians went out of their way to prove that all the good things that humanity had created had been created by the working class and sometimes by the representatives of the peasants. The same soviet historians would go out of the way to show that the aristocracy, the gentry on the rich were nothing but the scourge on the curse of humanity. And of course in the Soviet Union the overwhelming majority of the intellectual or professional people – doctors, engineers, teachers, actors, and scientists – did their best to fit what was required of them. No palpable opposition arose.
You can observe precisely the same in the western world today. In exchange for an easy and comfortable life the educated classes comply with the requirements of race swapping and the elevation of rainbow sexuality. The educated may not necessarily believe in all this in their heart of hearts, but they are too cowardly to oppose the enforced trend, sometimes even in their thoughts. Since this ideological pressure is so intense and has lasted for a few decades now, very many people have come to really started believe in that righteousness of those ideas. Such is the power of propaganda, such as the power of the carrot and stick – reward and punishment – system.
In this respect Christopher Nolan’s movie is nothing new under the sun. History has shown again and again that a tiny minority is capable of holding power and imposing the views of the minority on the vast majority of society. It has never been otherwise, and it’s never going to be different. Humanity lives in convulsions of now communism, now fascism, now genderism, now egalitarianism, and so on, and so forth. These psychological concept or constructs are birthed in the minds of the very few, then accepted by the minds of a larger (but still relatively small) small circles of influential people and once such people gain power, these ideas are enforced upon the whole of society. The imposition of such ideas is easy once the tiny minority has at its disposal law enforcement, the education system, the entertainment industry the circulation of information, and the finances. Who can effectively oppose them?
And yet, as you will have noticed, all such symptoms sooner or later grind to a screeching halt. They all eventually disintegrate and collapse or – more dramatically – go up in flames. Why is that so? Usually not because of the opposition from the masses of people that are controlled by such systems. Such systems – collective psychiatric phenomena – collapse of and by themselves because they are abstract constructs that have nothing to do with reality, and reality, as we al know, always wins out. Not that each such collapse will teach humanity anything. When one sickening system is dying, another one – equally unrealistic – is being born and is ready to replace the old one. Humanity appears to be doomed to proceed from one ideological convulsion to the next.
