extreme left hollywood reporter provokes Conservative criticism by describing director Paul Thomas Anderson’s film Battles continue one after another as propaganda supporting immoral terrorism.
***Spoiler Alert***
- Dorothy doesn’t actually go to Oz; it was all imaginary.
- Humphrey Bogart doesn’t end up with Ingrid Bergman.
- Bruce Willis has been dead the whole time.
- Kevin Costner’s dad is the “he” in “If You Build It, He Will Come.”
- What’s in the box? Gwyneth Paltrow’s head.
- Tyler Durden exists solely in Ed Norton’s imagination.
- In the background, Tom Petty’s “American Girl” plays as Leonardo DiCaprio’s daughter becomes entangled with leftist terrorism.
The final segment is crucial, as the film’s essence is revealed then. In those last moments, Leo’s talented and caring mixed-race daughter runs off to join a character representing Antifa. That’s the overall message.
The movie wanders between interesting and overly long, stretching nearly three hours. It portrays leftist terrorism as a significant force opposing the film’s version of ICE. White characters are either portrayed as foolish (like Leo’s role) or as racist villains, while racial minorities, particularly black women, are depicted as strong and admirable. The core of the story revolves around rescuing an innocent black girl from the clutches of the white characters.
This narrative bears resemblance to my earlier review of Battles continue one after another. It’s somewhat of a modernized take on the racist classic from 1915, Birth of a Nation. The only shift? Anderson has flipped the racial dynamics, portraying those he views as superior or inferior in reverse.
One constant remains: In both films, the venerated terrorists belong to the Democratic Party, though I suspect Anderson may not realize this. In Birth, the lead is a Ku Klux Klan terrorist, historically linked to a party resentful of Republicans who ended slavery. Meanwhile, in fight, Antifa is romanticized and exists within the framework of Democratic support.
Both films represent morally questionable narratives. This is especially relevant considering recent events, like a leftist sniper’s attack on an ICE station or the assassination of Charlie Kirk by a leftist suspect. Some on the right have expressed disbelief over the idea of a major studio producing a film that seemingly supports domestic terrorism as justified.
It’s a bit surprising that this story hasn’t been adapted into film sooner, especially since it’s politically charged. It follows a weary revolutionary (DiCaprio) trying to save his daughter (Chase Infinity) from a white supremacist (Sean Penn). The film opens with a jubilant raid on an ICE facility, showing government agents ruthlessly executing unarmed individuals and sending operatives into peaceful protests to instigate violence.
Nonetheless, THR offered a different perspective:
While some claim the film glorifies political violence, it actually presents it as a temporary measure, illustrating how drawn battle lines lead to mutual casualties and impact those enduring the same struggles in the U.S.
This viewpoint strikes me as disingenuous. Had fight concluded with Leo and his daughter forgoing violence for a conventional life, I would have found that argument more convincing. I honestly anticipated that ending. For the majority of the film, I felt like I was watching a journey of a left-wing terrorist choosing family over revolutionary endeavors. But then…
Leo’s daughter courageously leaps into the fray with Antifa, as “American Girl” echoes through the theater, and the credits roll.
Honestly, it takes either a significant lack of comprehension like Leo’s character or some extreme dishonesty to fully grasp what’s being conveyed.
