“I am not a vigilante. I am just trying to get home to my little girl’s birthday and if everybody’ll stay out of my way, then nobody’ll get hurt.” – Falling Down
I think I’m done with the “It Came From . . . “ series. Now I’ll probably just spend some time (once a month) looking at propaganda in movies and TV and how it was used to manipulate us. I’ll miss those because they were fun, but I’ve just nearly run out of good years to review.
For no reason other than I was thinking about it for some reason, I’d like to look back at the movie Falling Down to discuss how, even though it was popular among some people on the TradRight, it wasn’t a love letter: it was a hate letter. Back in 1993, the movie Falling Down came out. I went and saw it that one time in the theater. I recall being repulsed.
I wasn’t very wise then. I didn’t and couldn’t exactly put a finger on why I was repulsed other than walking out of a movie with the distinct feeling that I was just in the presence of Evil. It was a memorable movie, though. I still remember many of the scenes and the setups and the way those scenes made me feel even though it’s been nearly 33 years since I watched them.
This movie is pure propaganda dressed up as action-adventure.
First, the propaganda is firmly against white people. There is something very wrong with all of the white people in the movie, and we’ll get into more details on that. Second, it’s against families as no intact family is shown in a positive light. Third, it’s utterly against not just white people, but white men in particular.
That’s where our protagonist comes in, with Micheal Douglas playing a white guy. Michael Douglas plays D-FENS (he has a name, but who cares), a generic replaceable technical guy or manager in the defense industry in Los Angeles.
The main technique used by quite gay and quite leftist director was to put the quite white main character into a sympathetic position so that the audience, mainly white men for “action” movies in 1993, sympathizes with him.
So, it starts in traffic. Everyone hates traffic. Everyone has been in traffic.
We see D-FENS stuck in traffic and his air conditioner fails, and he says “screw it, I’m not parking it, I’m abandoning it.” Every single man I know has fantasized about at abandoning at least one car.
We understand D-FENS.
The fact they choose minor things to make the character relatable is in Wilder’s Rule 7: The biggest fights are over the smallest things. This is the trick to make you feel what he feels. They chose to do that by picking relatable things, and then magnifying the reaction to them to the level of the darkest fantasy that I’ve ever had.
Then, D-FENS is confronted with another minor annoyance, this time a crappy convenience store with an asshole owner/clerk and ludicrous prices. In this case, it’s a Korean who D-FENS tags as being insufficiently grateful to America.
It’s that pattern again. But we’ve all been there to the shitty convenience store with outrageous prices offset by surly service. In this case, though, after being threatened with a baseball bat after asking for the owner/clerk to make change so he could use a pay phone, D-FENS takes the bat from the owner/clerk and smashes the place up.
Again, we’ve all been there.
Except we didn’t smash the place up, though deep down we understand and sympathize with D-FENS. Heck, to show how morally righteous he is, D-FENS even pays the inflated price for his beverage.
He ends up fighting with some gang members over a pay-phone, beats one with a bat so they try to shoot him. They crash their car after trying to kill him (convenient, that), and D-FENS takes their convenient bag of weapons. The GloboLeftist critics HATED this, because the gang members were Hispanic.
“How dare you show anyone but a white, blonde man as a member of a gang. Or not have one of those multi-racial gangs that only exist in movies?” This is a second point aimed at the white male audience. “See, we’re on your side. Ethnics in gangs with no adherence to Western values are scary. See, we’re not GloboLeftists if we show we’re race realists.”
As we go through this, we find that D-FENS was laid off from his defense job.
Why as he laid off?
The Soviets no longer existed, so why did we need a defense industry? It was going to be nothing but peace forever, and in fact the only question was which moslem country was first going to turn into a liberal democracy and make celebrating gay sex a national requirement.
Except . . . well, here are the words of the guy who actually wrote the screenplay:
“To me, even though the movie deals with complicated urban issues, it really is just about one basic thing: The main character represents the old power structure of the U.S. that has now become archaic, and hopelessly lost. And that way, I guess you could say D-FENS is like Los Angeles. For both of them, it’s adjust-or-die time–that’s what the movie is about.”
If you’re a white guy and thought that this movie was about you, from your frustrations with fast food to the epidemic of divorced dads who couldn’t see their kids, notsofastguido. The author hates you. The director hates you.
They hate you and want not only to replace you but to eradicate you from memory. In the end, D-FENS is shot to death in front of his ex-wife and kid. Erased from history just like he was erased from his job and erased from his family. His life, his dedication, turns to dust. Even the lines, “I’m the bad guy? How’d that happen? I did everything they told me to,” are meant to demoralize you.
When a bad guy that you’re meant to see yourself in is killed and his legacy is wiped away the intent is clear: to demoralize you. You have been symbolically sacrificed by the movie.
They want you to know how they feel: Nothing you do matters, white guy. Your life is meaningless. Worse than meaningless. We will tear your statues down. We will erase your genes from history.
Oh, and who kills D-FENS? Robert Duvall, a retiring cop. And the precinct he’s retiring from?
Almost all of they younger cops are black or Asian or Hispanic. Duvall’s character is being replaced, too by a sassy Latina. But since Duvall is going gracefully, he gets to live.
The lesson that you were meant to take away as a white guy was simple: you are being replaced. You will lose. Resist, and we will erase you. Retire, and we will give your culture a retirement while you whither and die.
The California the writer and director lived in wasn’t the California they wanted.
Not long after this movie came out, the populace voted to deny welfare benefits to illegals.
“Not constitutional,” said the judge.
Then California voters mandated that nearly all public school instruction be in English. Student performance increased. Yet, in 2016, that new California, the California the director and writer of Falling Down wanted, the California without room for people like D-FENS, voted to overturn it.
So, I hate this movie. And unlike younger me, I now know why.
Because it hated me first.