Thursday 20 March 2014

One time I took some acid and when the trip was over I could play the bagpipes and drive stick

I will admit that sometimes you can forget that the bigger picture is that we're actually getting better as a species.  The vegans and the vegetarians have the right idea, of course, we just don't want to admit as much right now because that would be to announce our moral inferiority and culpability in something appalling, so we respond to their perfectly sensible dietary choice with open hostility, denial, ridicule, and even outright lies, and this notion returned to me as I was watching The Dallas Buyers Club, finding it weird - suddenly - to see people walking down dowdy hospital corridors talking about the "business" of tending the terminally ill, seeing money symbols instead of human beings and deciding on the life and death of people based on where a decimal point goes.  This is what the millionaire boys' club of the Condems want for the NHS, so the film is a horror story as much for us as it is for the US audience, possibly more so because we at least have to go through the anticipation of waiting for the full scope of the atrocity to make itself known over the coming years, while the yanks have been brainwashed already into thinking private healthcare is normal rather than yet another example of their money being spirited away into the coffers of the rich, the public debate on Obamacare successfully hijacked - with the gleeful aid of the media - by the tea party donkey show of America's crypto-fascist upper-middle classes infuriated yet again at the idea of altruism, because while bombing anonymous brown children is all well and good, giving them a band-aid afterwards is going too far.
Dallas Buyers Club uses the banality and uniform acceptance of this everyday evil to give its story an antagonist in the form of corporate America and the complicity of uncaring and small-minded government bureaucracy, so it's an easy watch in that regard for a big softy like me who likes things to throw back to the telemovie-of-the-week trappings of the mid-80 as the film does quite often.  It also has a protagonist who's essentially a paradigm for the modern politically-incorrect misogynistic racist dickhead central to much of modern entertainment, only here his failings aren't held up as indicative of a rebel spirit who blazes their own trail, these things are held up as failings to be surmounted so that the character can be less of an asshole, which again is quite welcome.

I seem to have waffled uncontrollably again when I could have just said "good film, I liked it."

No comments:

Post a Comment