It's a Gas Gas Gas

[MASCARO at humnet.ucla.edu]

In no way wishing to fuel and arguements, I want quietly to exercise my first amendment 
rights and voice public approval of this post from mittelwerk.  Extremely insightful and 
very well put, from your excellent one-liner--

>Spielberg is a self-hating Spago Jew and philistine.

--to your commentary on his weird sexual scars. As I was reading that I was reminded of 
the early scene in 1941 (a film which, except for being one of Belushi's last roles, is 
mercifully all but forgotten) where the unbelievably shiksa blonde woman goes skinny 
dipping only to be hoist on the phallic periscope of the lurking Japanese sub with all those 
funny little bucktoothed yellow jap gooks inside (hey, has this fimmaker got HUMANITY 
or what?)  where she remains perilously clinging, all naked remember, as the sub surfaces 
and one little jap guy comes on deck, looks up at her bare golden SoCal bottom, and, 
transfixed, can only point up at her and scream  (in japenglish dialect, of course):
HORRYWOOD!!!!

sure, I guess it's funny in a sick kind of way, but it's also pretty revealing of this 
humanitarian artist's personal vision.

Good piece of criticism, mittelwerk.

john m
******************************

The rest of the post quoted:

>
>There aren't really any Jews in that whole damn movie:  mostly they're props
>to be murderered in order to highlight the moral variation between the two
>German leads, Schindler and Goeth.  Usually they're shown in panicky and
>delusive crowd contexts; when shown individually or in 'private' its only to
>stress some caricatured element of eternal Jewness or other.  Apart from the
>Germans in the movie, there is no reason for the Jews to have existed at all.
>
>It isn't really suprising that Spielberg views himself as a benevolent
>German.  He exempflies the category of philistine--a man who made a career of
>denying himself in order to turn out whitebread gentile daydreams like a
>latter-day Zanuck.  All his movies bear the scars of assimilation:  the
>little Jewboy's comic-book dread of beach-resort White America, symbolized in
>the figure of a floating 35-foot dick with razor-sharp teeth; the comic-book
>idolatry of Indiana Jones, another ur-Gentile, pure wish-fulfillment,
>de-sexualized for your arrested viewing enjoyment.  Spielberg's subject
>matter has always been the Great American Lie, as something to be
>uncritically celebrated.  As least Woody overcame his neurosis by fucking his
>adopted-daughter; but Steven has always been a partisan of necrophilia. . . .
>
>
>Spielberg's neurosis, however, always produces embarrassing ruptures in his
>films--particularly in moments that have sexual content.  In Schindler's List
>this occurs twice:  once, in the cattle cars, when he cranks that goddawful
>John Williams ddeck as the rodent-like Jews thrust their tongues out to
>receive Schindler's heaven-sent droplets of water (this scene is truly
>repulsive, in that it spiritualizes the loss of humanity); and again, in the
>showers, as the Jewish women huddle naked in terror expecting the gas (and
>here comes that goddamned abysmal fucking John Williams tripe-score again),
>collapsing into joy as water spews forth from the nozzles instead.  The whole
>bit is pure schlockola (Look!  You're in here with these Jews getting the
>business!).  This time Spielberg spiritualizes the absolute loss of dignity,
>flipping the emotions on his Jews like switches (Gas=Terror; Water=Glee).
>
>In all seriousness, one has to be a complete buffoon to equate this movie
>with dedicated Art.  One has to completely miss the impossible-to-miss
>celebratory content of it:  Now we can sleep, little childrens, we can
>congratulate ourselves for feeling sorry for ourselves for being able to feel
>sorrow for those poor dead millions.  Ah, Schindler!  Ah, humanity!
>
>