Free Falling.mp3

00:00:05 I've made a few videos pointing out the obvious degeneracy in Hollywood films, but I think it's more important to point out the more dangerous and subtle social engineering that has been going on in Hollywood for most, if not all, of its history.
00:00:15 One example that I think that has become particularly relevant in the last few days is the film.
00:00:21 Falling down, I'm sure by now you've heard of Richard.
00:00:24 Russell the 20.
00:00:25 9 year old airline employee that stole the Horizon air turboprop plane from the Seatac International Airport.
00:00:30 And after performing a few acrobatic stunts and speaking briefly with air traffic controllers crashed the plane in an apparent suicide.
00:00:39 What you might not know about his discussions with air.
00:00:42 Traffic control because the mainstream media conveniently failed to mention it, and CNN went so far as to edit out.
00:00:49 That part of the video, when they aired the conversation was when Russell asked the air traffic control if he could get a job if he successfully landed the plane after the controller said that he would probably get any job if he could pull off the landing.
00:01:02 Russell simply replied very matter of factly.
00:01:06 On white, that simple statement has a lot of people looking at rust.
00:01:10 Is kind of a symbol of the frustrated, disenfranchised white male in America and a symbol of a man who wanted to show the world what he was capable of doing before going out in a blaze of glory.
00:01:21 I'm not gonna comment on whether or not I think it's appropriate to lionize what Russell did, especially when we'll never really know for sure what motivated him to do what he did.
00:01:31 But I would like to discuss a film that has some similar aspects.
00:01:35 A film that many view as the same kind of a symbol, a metaphor for the disenfranchised white male trying to live in a country.
00:01:43 That their ancestors would no longer recognize a country that's undergone changes that make the descendants of the country's founders feel like unwanted foreigners in their own land.
00:01:54 That film is Joel Schumacher's 1993 film Falling Down, Because who better to express the plight of disenfranchised white Christian males in America?
00:02:03 On a wealthy gay Jew from New York now, before you start commenting that I'm being anti-Semitic for mentioning that he's Jewish or homophobic for mentioning that he's gay, I I do want to read a quote from Schumacher from an interview he gave BBC to kind.
00:02:19 Of give you some context.
00:02:21 Quote I don't like to use the word God because it's overused in the United States, not so much in Europe, but it's become politicized and has this ugly meaning now, like asking someone if they believe in God has become an attack.
00:02:37 Like if you don't believe in Jesus, you're not one of us so clearly.
00:02:41 Like most people in Hollywood, he he has a bias and it's a bias that's repeated throughout the film, falling down.
00:02:48 Oh, and and by the way, Schumacher is also the guy who put ******* on Batman's costume and ruined Batman for a decade, but anyway.
00:02:55 Falling down begins with.
00:02:57 William Foster, who is a middle-aged white man played by Michael Douglas, who just for Full disclosure sake, is also Jewish.
00:03:04 His father, Kirk Douglas, his real name was Issur Danielovich.
00:03:09 Foster is stuck in traffic in LA, surrounded by several symbolic threats or annoyances.
00:03:16 1st, we see the Hispanic Girl holding a blonde white baby doll and then we see a white woman who's completely disengaged from her surroundings but focused on doing her makeup.
00:03:26 Then we see a, a busload.
00:03:28 Misbehaving and diverse children.
00:03:30 Kind of a symbol of the next generation of Americans.
00:03:33 After that, we see two rude rich guys arguing loudly on a cell phone and the time we're having a cell phone was very much a luxury.
00:03:41 Then we see a a plush Garfield cat suction cup to the window, which could be taken as a symbol of the shallow commercialized.
00:03:49 Culture of the United States at the time we see symbols of debt.
00:03:53 We see symbols of Christianity.
00:03:55 Possibly the same Christianity that Schumacher himself saw as a threat.
00:04:00 This montage of imagery drives William Foster out of his car and into the concrete jungle of LA while getting out of his car and just leaving it on the freeway could very well be seen as the breaking point.
00:04:13 It's not where William Foster goes completely off the rails.
00:04:17 What sends Foster into a tailspin in which there's no coming back from is his first encounter with the various people.
00:04:25 He will meet.
00:04:26 Throughout the film.
00:04:27 This is where the bias really begins to show.
00:04:30 Up the theme of debt.
00:04:32 Of economic hardship is repeated throughout the film.
00:04:36 It is the outside pressure that drives foster over the edge, and it's the fundamental pressure that the the demographic that this film was made for was meant to relate to.
00:04:46 Foster goes into a convenience store to get change so that he can use a pay phone.
00:04:51 The store is run by a Korean.
00:04:52 Immigrant that demands that he buy something in order to get change when he discovers that a can of soda has been so overpriced to the extent that he.
00:05:00 That it wouldn't.
00:05:01 Leave him enough change to even use.
00:05:02 The pay phone this.
00:05:04 Is the straw.
00:05:05 That breaks the camel's back. I think this is the most crucial scene.
00:05:10 In the entire movie and the subtle blame shifting that has performed is done to perfection.
00:05:18 You see, Europeans have a history, and you might say even a natural dislike of usury.
00:05:24 And by this I mean anything from predatory loans to price gouging any time people use their position of authority.
00:05:32 To extract money from the people around them or extort money from.
00:05:35 People, not by.
00:05:37 Providing value but by exploiting people who have no other choice.
00:05:41 This behavior you have to remember this behavior was seen as so reprehensible to the Europeans who founded this.
00:05:48 Country that it was exactly what led to the Revolutionary War.
00:05:53 People often forget it was financial exploitation of the American settlers by the royal family who lived half.
00:05:59 A world away.
00:06:00 And did nothing to earn the treasure they were demanding.
00:06:03 There was this that led to the violent uprising and eventual independence of this country.
00:06:08 The entirety of the American culture is.
00:06:10 Built on the.
00:06:11 Idea that you earn what you get and you earn it by adding value to society and that anything less than that is extortion and it justifies violent revolution.
00:06:20 And that's what happens in falling down.
00:06:23 However, the catalyst isn't the bankers.
00:06:26 It's not the politicians or even a common thief robbing the protagonist at gunpoint.
00:06:31 Instead, it's a Korean immigrant charging too much for a can of soda, and in the midst of his violent outburst, William Foster mentions that prices have skyrocketed out of control since the 1950s. But instead of blaming.
00:06:44 Any of the real causes are people behind the inflation and the rising prices.
00:06:48 The blame is inexplicably placed on a small business owner in a bad part of town.
00:06:54 So rather than tackle the real economic concerns of the audience, this film was designed to attract.
00:06:59 Schumacher makes a bet.
00:07:01 On bigotry and makes the Korean shop owner as unpleasant as possible to shift the blame away from the ruling class and then further muddies the waters by by throwing in a line about foreign aid going to Korea, hoping that the audience will take.
00:07:17 The bait.
00:07:17 Any idea how much money my country has given your country?
00:07:22 And I think most of them.
00:07:23 Did so now that.
00:07:24 The A story is in full swing.
00:07:27 The film shifts over to the B story.
00:07:29 The B story has many parallels, and it follows another white male who is dealing with the end of his usefulness.
00:07:36 Robert Duvall plays a cop who is retiring.
00:07:39 It's his last day on the job, and he's he's being replaced by a strong, independent Hispanic woman played by racial Dakotan now we.
00:07:46 And that.
00:07:47 Duvall's character is retiring and moving to Arizona, and his character represents the older generation.
00:07:52 Of white men.
00:07:53 Who faced with problems?
00:07:54 Or maybe just the new reality, which was represented in this character's case as the loss of his daughter and his unstable life, they've decided just to check out of society voluntarily. And at first this is kind of presented as a.
00:08:06 Type of impotence and his character is ridiculed on good fun, of course.
00:08:11 And he seems to have accepted his fate. At any rate, we go back now to Foster who was calling his ex-wife on his.
00:08:17 Daughter's birthday.
00:08:18 We never learned the details of their separation, but what's interesting is how the blame is implicitly placed on Foster that his ex-wife admits in the movie that he has.
00:08:29 Never been violent.
00:08:30 But still has a restraining order on Foster and doesn't allow him to see his daughter. And in true 1990s fashion, Foster is an obsolete father.
00:08:39 And his single mother ex-wife is the blameless victim who fears his toxic masculinity. Robert Duvall's character is similar and that he's powerless against women when it comes to the power of his wife when she calls him up, hysterical and he submits to her irrational behavior because it's their maleness.
00:08:59 That is also obsolete.
00:09:01 So Foster, having decided to take a load off after freaking out in the Korean corner store, sits down in the wrong neighborhood and is confronted by two Hispanic gangsters that tell him he.
00:09:12 Needs to pay.
00:09:12 The toll for being in their hood and foster first attempts to reason with his assailants now much in the same way he he tried to reason with the Korean.
00:09:22 Shopkeeper before he flipped out and this is.
00:09:24 An important and honest.
00:09:26 Aspect to his character, and I think the demographic he's meant to represent his first response is always to reason with people he doesn't resort to violence right off the bat.
00:09:37 It's not until negotiations collapse now, when they do collapse, however, he he reacts disproportionately and devastatingly Plan B.
00:09:46 As reluctant as he seems to resort to, it is always excessive force, and that's exactly what he uses.
00:09:54 Against the gangsters.
00:09:56 We now go back to Robert Duvall's.
00:09:57 Character, who humbly.
00:09:59 Accepts being rebuked for not knowing the exact ethnicity of another one of the younger officers.
00:10:06 Lee is Korean.
00:10:07 I happen to be Japanese.
00:10:08 In case you never bothered to.
00:10:09 Notice you know this scene.
00:10:11 This scene is a contradiction of itself that openly chastises Robert Duvall's character, the old white man, for not knowing exactly what type of Asian that the Japanese guy is, while at the same time it's making this racist.
00:10:27 Out of the the.
00:10:28 The Korean guy, the scapegoat from earlier in the film.
00:10:31 The hypocrisy is amazing.
00:10:33 It's not the last time it will happen.
00:10:34 This is also where the A&B stories begin to merge, as the caricature Korean shopkeeper tells Robert Duvall's character about Foster and the investigation kind of starts. So then we go back to Foster.
00:10:47 He was once again trying to call his ex-wife, but the Hispanic gangsters from earlier in the film have tracked him down and opened fire on him in a drive by shooting, they managed to shoot several people, but Miss Foster and then crashed their car. Foster then goes to the crashed car and has the motivation.
00:11:06 And the opportunity to eliminate his enemies and once again in what I feel is an honest if may be unintentional portrayal of what foster represents.
00:11:16 He doesn't react at a vengeance.
00:11:19 He doesn't kill him when he has a chance, but instead he inflicts a non fatal injury, simply takes their weapons and then leaves.
00:11:25 He walks away and then he goes to a bus stop where he appears to be dismayed by all the diversity in this part of town.
00:11:34 And then in a.
00:11:35 Really effective visual metaphor.
00:11:38 He tries to get on the bus but is pushed out of the way by all the minorities and eventually just gives up.
00:11:43 He's then stopped by a government worker who tells him he can't go that.
00:11:46 Way either these.
00:11:47 Are the Nuggets of truth that really make this film so appealing to its audience?
00:11:52 The director masterfully presents scenes.
00:11:55 Like this that will resonate on a visceral level before really layering in the propaganda. Now, for brevity's sake, I'm gonna kind of skip through some of the more repetitive aspects of the film, like this scene where the two young minority cops once again are dismissive.
00:12:10 Robert Duvall's character, as he begins to kind of figure out who Foster is and the scene where where Foster is upset that the burger joint is no longer serving breakfast and and after trying to negotiate once again, he overreacts and threatens the manager and the scene where he shoots up a phone booth because someone complained that he was using it too long.
00:12:32 These are the scenes that show that he feels disconnected with society itself, that it's very everything, that everything's very impersonal now that the cohesiveness of the culture and the basic humanity seems to be gone. But then.
00:12:46 That's when we get into the real, predictable Hollywood propaganda.
00:12:50 Foster goes into a military surplus store run by the most cartoonish Skinhead imaginable, who inexplicably chases a painfully out of place gay couple out of the surplus store.
00:13:03 Turns out the cartoon Skinhead guy has been listening to the police scanner.
00:13:07 And knows who foster is, and once again in a stunning lack of self-awareness, this film.
00:13:14 That is supposed to.
00:13:14 Be sympathetic to disenfranchised white men gives us the most exaggerated caricature of an evil white man in Hollywood history who, in addition to hating gays, minorities and women, has a secret Hitler room.
00:13:32 Yeah, a secret Hitler room, complete with a A can of cyclon B.
00:13:36 I'm not even kidding.
00:13:37 You know what was in this?
00:13:40 Cyclon, B.
00:13:42 You remember.
00:13:44 With the Nazis head.
00:13:46 He has a can of cyclon.
00:13:48 It's now in this movie that white men are supposed to identify with foster, the disenfranchised white man kills the cartoon character evil white man with the secret Hitler room with bazookas and cans of Zyklon B.
00:14:00 And after murdering the Nazi.
00:14:03 Foster takes the bazooka, dresses up in tactical gear, and then, after a a little black kid shows him how to use the bazooka cause he's too stupid to figure it out.
00:14:12 He blows up some government property scares some rich guy into having a heart attack and begins to head home.
00:14:19 Meanwhile, Robert Duvall's character and his strong independent Hispanic woman character friend cracks the case, and by the way, just as a side note, as to how much our culture has changed and you can make of this what you will, but just to give you an idea of how much things have changed since 1993 for his retirement party, the other officers.
00:14:40 Hire a stripper to come down to the station again.
00:14:43 Think of that what you want.
00:14:44 I just think it's important to know that when they made this movie, the film makers thought.
00:14:48 That was totally normal behavior.
00:14:50 So anyway, we get to the showdown at the end. Foster has a gun and is with his ex-wife and daughter at the end of.
00:14:58 The pier, Robert Duvall's character tells him he can relate to all the changes.
00:15:02 He's seen everything go to **** too, but he just needs to accept it.
00:15:06 Foster realizes that there's no way to get out of.
00:15:09 This situation, he'll.
00:15:10 Never have the life that he wanted.
00:15:13 He'll never have his wife and daughter again.
00:15:15 That the world itself is no longer for him, he then tells Robert Duvall's character that that he has a life insurance policy that will all go to his daughter.
00:15:27 If Robert Duvall's character will just shoot him in order to force the situation and commit suicide by a cop, he pulls out a toy water pistol and shot dead on the spot. And that's not even the depressing end of the film.
00:15:40 The depressing end.
00:15:42 Is after all this.
00:15:44 Foster's worst fears are realized the filmmaker smoothly and the film.
00:15:51 With Foster's daughter, despite her father's body being fished out of the ocean.
00:15:56 Just a couple of blocks away.
00:15:59 And Foster's ex-wife, despite having watched the father of her only child, shot dead just moments ago.
00:16:07 They don't even postpone the birthday party they had planned for that evening.
00:16:15 What should I do?
00:16:17 Tell her tomorrow.
00:16:20 Gonna have a little party.
00:16:21 And they carry on as if Foster never even existed.
00:16:27 None of the things that pushed Foster over the edge will ever get resolved either in the.
00:16:32 Movie or in?
00:16:32 Real life this movie was made over 25 years ago. It's certainly worth watching.
00:16:38 And you certainly wouldn't be allowed to make this move.
00:16:41 Even if you killed even more Nazis.
00:16:42 In it.
00:16:43 But it's also not the red pill movie that people think it is.
00:16:46 It's cleverly dressed up propaganda that, in my opinion, defends the status quo and in many ways told us that even if we try to reason, and even if after that fails, we react with overwhelming force in the end.
00:17:02 Once we're gone.
00:17:05 Not our women, not our children.
00:17:08 Will even remember.
00:17:10 That we existed.
00:17:12 At all.
00:17:15 For black pill.
00:17:16 I'm Devin stack.
00:17:19 If you like my videos, make sure you like and subscribe and share.
00:17:23 You can donate@patreon.com/black, pilled or donate to the crypto addresses below.