One such man is lan Stuart Donaldson. The memory of lan Stuart is the recollection of a real Aryan who gave no quarter and died for his values. A movement which awoke and roused the shackled White youth around the globe with the ear piercing yell of Hail Victory. A shrill cry that has broken the web of lies and distortion propagated by the political and racial enemies of our race and nation.
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I went to this film with high expectations. It is touted as a part of the growing genre of socially conscious Hollywood productions that have a positive message.
That good message however, is loudly drowned out by the many bad ones.
And the bad messages are not about the diamonds but about the people of Africa. In scene after scene the African population serves as backdrop for the main story about love and ambition involving two white protagonists, a young liberal reporter Jennifer Connely and a tough ruthless diamond smuggler and former mercenary DiCaprio.
In a recent review in the New Yorker, David Denby actually praised the movie because it did not make westerners aka whites feel guilty about the problems of Africa. DiCaprio, a bitter racist who clings fondly to good old days of pre-independence Zimbabwe, where he grew up, is the hero of the movie.
He calls himself Rhodesian in open defiance of black majority rule that came with the end of the Apartheid-like system in Rhodesia renamed Zimbabwe in When there is no other way out, he finally redeems himself in a gesture of generosity at the end.
What is absolutely indefensible, however, is the simplistic one-dimensional portrayal of almost every single black character. Each and every one is either a blood-thirsty mindless killer and pillager or a childlike noble savage and feeble victim.
The talented Hounsou is the later. He is cast as hapless, helpless and clueless in the land of his birth. He is a big innocent good guy who would not know whether to run toward or away from the gunfire if DiCaprio did not pull him in the right direction.
There is no black agency in this film, except for one school master who tries to rehabilitate child soldiers only to be shot by one of them five minutes after he appears on screen.
Viewers are left to conclude the age-old racist stereotype that Africa is lost without European sympathy, know-how and might. This genre of film advertises itself as something more than banal entertainment. It promises to raise awareness and consciousness about serious problems in the world.
At the end of the credits there are a set of statistics that drive home that the subject of the film is real and serious. The narrative and storyline, however, distorts more than it illuminates the real players involved. For every child soldier and blood-thirsty rebel there are compassionate social workers and reformers, intellectuals, writers, and opposition politicians.
There are Africans who are tough and tender, savvy and sinister and the whole range of personalities and motivations that we see in any other group. Real people who have fought to save their country from violence and internal chaos like human rights activist FannyAnn Eddy who was tortured and killed in for her outspoken actions on behalf of lesbians, gays and women.
But that tradition of African self-help and self-determination does not appear in this movie. This producer and director, Edward Zwick could not somehow see beyond the one-dimensional types and simple binaries we have been fed through television for generations.
After African Queen, The Constant Gardener, the Interpreter, and now Blood Diamond, and with the notable exception of Hotel Rwanda, when will Hollywood be able to make a movie about Africa that actually acknowledges the full humanity of black African people? BC Editorial Board member Dr. Barbara Ransby, PhD is an Historian, writer, and longtime political activist.
Click here to contact Dr.Blood Diamond Review by Clint Morris Though most Camembert nibbling film aficionados like a side of brains with their cinema popcorn, Ed Zwick’s got a tub so full of the fluffy and tasty that any luck of meat can [mostly] be leslutinsduphoenix.com · Blood Diamond, directed by Edward Zwick, is a mesmerizing personal account set in and around Sierra Leone in at the height of its civil war, a conflict that took the lives of tens of thousands and saw the displacement of more than two million people (well over one-third of the population), many of whom became refugees in neighbouring leslutinsduphoenix.com tia-africa.
The folks at DeBeers aren't going to be very happy about "Blood Diamond", director Edward Zwick's indictment of the diamond industry, but they can take comfort in leslutinsduphoenix.com Zwick's Blood Diamond is a good picture that places a spotlight on the diamond industry, but if he feels so strongly about these issues, he would have been better off making two different movies.
Review by Erik Samdahl unless otherwise leslutinsduphoenix.com://leslutinsduphoenix.com Welcome to Pajiba. You Could Own Burt Reynolds's Personal "Smokey And The Bandit" Trans Am, But You Probably Can't Afford It. Blood Diamond is a dramatic film that tells the story of Solomon Vandy (Djimon Honsou), a diamond-mining slave, Danny Archer (Leonardo DiCaprio), a mercenary and leslutinsduphoenix.com