I viewed this film the night before last in Tehran–of all places sanctions notwithstanding!–in the format of a complimentary “For Your Consideration” category of DVDs, passed on to me by a prized acquaintance. Although not overly gung-ho, the film does indeed liberally mete out plenty of cheap supremacist sentiments, particularly against the Arabs and Pakistanis.
I gave it 5 out of 10 as a run-of-the-mill movie, mostly for it being relatively revealing. But I didn’t enjoy the not-so-subtle, and if I may say so, “redneck” tone of the film, doubtless aimed at the regrettably abundant appreciating dullard audience, presumably chiefly in America.
Skimming past the shocking–but not surprising –sample remarks above at the beginning of this article mostly of the “white trash genre” category—and it has nothing to do with race realy because there’s a fair deal of the same sort of “social regrettables” in Iran too!–it is however, a comfort to also read intelligent reviews presented above by the more level-headed, more cultured Americans, which when find the chance to shine through the heaving heap of putrid “trash” which there appears to be aplenty, they are often first class in being enlightened as well as enlightening.
I agree that the so-called “artistic license” for presenting an appallingly inhuman treatment of the prisoners in the care of the Americans, indeed speaks rather more for the reasons behind the fundamentalists’ hatred of America, than the gratuitous ignorant remarks vomited forth by the homespun US “redneck” community sampled above.
It would be quite useful to look at the West today being overrun by immigrants fleeing from their “homelands”–a word oft emphasised in this film–ravaged by practices displayed condescendingly in this production. Pakistan and Iraq are but to name two disastrous examples of devastated “homelands”.
This category of “artistic license” hardly makes it any easier for the sensible “others” who struggle often at the risk of their own freedom and safety to help promote peace and friendship around the world, and drive for global enfranchisement for effective establishment of the “Universal Human Rights” … of course for ALL human beings.
Such high-minded values after all are slogans loudly lectured at the world by the American leaders, who themselves supervise reprehensible practices such as occupation under false pretenses–like the infamous WMD scam–and torture that now the world even better knows, thanks to the graphic illustration of this not-to-be-a-proud-American film, with Art as its emblem.
Masquerading behind this subterfuge seems more unfair to the average educated Americans, than it may be to the intended targets of a precarious “artistic license” that seems to promote base inhumane sentiments.
If there must be an agreeable “narrative” for the American leadership in the world–and who would in a sane mind oppose acceptable “narrative” for worthy goals– then this film honestly does NOT do justice to this universal ideal.
There is a weary commonplace to inform responsible liberal Arts which might directly or potentially impact critical social development: “Leadership starts by example not by preaching”. If so, then one may as well be a most undignified American ever after watching this film than feeling proud.
Then again, perchance, that might have been the underlying remarkably subtle vision behind making this film together with all the accompanying ignorantly violent sentiments raised in its praise, for the disgustingly outrageous practices exhibited in this “Art work” is enough to truly put any decent “Leader” to shame.