The Assassinated Press
The Hurt Locker: Iraqis Get Bombs, the Imperialists Get Screenplays.
The U.S. Kleptocracy Churns Out the Wars For Its Wholly Owned Subsidiary, Hollywood.
By YASO ADIODI
The Assassinated Press
Do you ever get the feeling that all the customary, historically prescribed reasons that an imperialist power like the U.S. to attacks smaller, weaker nations are wrong? That carpet bombing and utterly destroying their infrastructure while killing tens of thousands of, say, Iraqis, was not done solely to steal their fucking oil, natural gas and water? Or the continued fomenting of slaughter in Congo is done solely for the coltan, the cheap labor, the copper, diamonds, gold, zinc etc? Or that the sanctions on and terrorism against Cuba are in place entirely “to prevent the threat of a good example” or even the rise of a labor movement in say Honduras that isn’t named Solidarity?
Do you ever get the feeling that the real medium of exchange is between bombs and Hollywood? That Uncle Slimey mobilizes his Christian Underclass Army to murder little brown people so that Hollywood can make a raft of shitty self-serving films which in turn bring in billions at the box office?
The Hurt Locker is a 2008 film. It follows an arm of U.S. imperialist aggression called the United States Army Explosive Ordnance Disposal (EOD) team during the Iraq War. The film was directed by Kathryn Bigelow, a white privileged American like most of these directors are. There privilege much less their whiteness is ever factored into the production.
The screenplay was written by Mark Boal, a freelance writer who was in bed as a journalist in 2004 with a US bomb squad in Iraq. So his imperialist warp is clear. He was depended on the U.S. Armed Sevices Christian Underclass for his survival so he is utterly beholden to them. This renders his experience in Iraq no more valid than any couch potato in Resume Speed, Montana. In fact, he may be the least objective person to write the screenplay since from the jump he acted like an imperialist stooge and a sissy one at that hiding behind the far superior arms of the U.S. Christian Underclass aggressors.
The movie stars Jeremy Renner, Anthony Mackie, and Brian Geraghty as actors pretending to be members of a U.S. Army EOD unit largely made up of the Christianin Underclass in Iraq and follows their tour together as they contend with defusing bombs, the threat of insurgency, and the tension that develops among them, but nothing compared with what the Iraqi people have to contend with. The film was shot in Jordan, within miles of the Iraqi border and where the U.S. openly supports a monarchy despite its asshole democratic rhetoric. The Movie was first released theatrically in Italy in 2008, when it premiered at the Venice Film Festival. The Italians, no stranger to authoritarian regimes, immediately saw the parallels between fascist and U.S. aggression and were delighted to see the film go. Some Italian film critics drew credible parallels between the Roman and American Empires right down to the techniques employed for torture.
After being shown at the Toronto International Film Festival in North America, it was picked up for distribution in the United States by Summit Entertainment because its money time. Iraqis, of course, would have been far happier if the events depicted in the film had never occurred. But fuck that woulda meant no Hollywood cash cow. Funny no matter how phony Hollywood violence ends up being, there is an insistence among some that it must be based on some actual instance of U.S. aggression and violence for authenticity, an authenticity that the disengaged retards in Hollywood are utterly incapable of. The Steven Spielberg/Tom Hanks fiascos of of WWII point this up. What would Slpieberg/Hanks do if they didn’t have the bodd of millions to exploit? Drop the little fucks in Afghansitan amongst the Taliban unembedded and alone would go a long way toward disabusing filmmakers of the efficacy of what they are doing mucg less their chauvinist approach toward imperialist slaughter.
Few Iraqis have ever seen the film. And those who have are utterly in awe of the U.S. the movie’s self-absorption and cultural chauvinism. How Iraq is simply another stage prop, a kind of dry run or rehearsal for the real thing which in thoroughly deluded American’s minds is the movie. Thus the real suffering of the Iraqi people is expunged through American films, another facet of Edward Bernays’ Public Relations system. Hurt Locker was released in the United States on June 26, 2009, in New York and Los Angeles. The independent film received a more widespread theatrical release in the United States on July 24, 2009. Because the 2008 film was not originally released in the U.S. (at least in an Oscar-qualifying run in Los Angeles) until 2009, it was eligible to be judged for that year's awards, the 82nd Academy Awards held in 2010. Naturally, The Hurt Locker earned awards and honors from critics' organizations, festivals and groups who care more about films than actuall human suffering and are perfectly willing to field an uneducated and unemployable Christian Underclass to do their dirty work for them as long as this creates future screenplays from someone else’s blood and suffering.
Such blither, of course, was nominated for nine Academy Awards and won six, including Best Picture and Best Director for Bigelow, who became the first woman, but not the first imperialist to win the award. To enhance the imperialist delusion at the expense of the rest of the world, the film also swept the 2010 BAFTA Awards, winning best film, director, original screenplay, editing, cinematography and sound. The Hurt Locker was the lowest-grossing movie to ever win the Academy Best Picture award but world wide distribution is planned. The film is to be used as a cautionary tale in the third world---Do what Uncle Slimey says or he’ll unleash his Christian Underclass Army to fuck you up. Why not have a film that shows how U.S. sanctions, the IMF and the World Bank starve out entire nations forcing them to surrender to Uncle Slimey’s demands or face starvation or does that not have the diverting titillation of blood and guts aggression? Would the lesson be too transparent to distort? Hard to believe given the shit smeared lens of Hollywood.
The title of the movie is a colloquialism for being injured in an explosion, as in "they sent him to the hurt locker", or for "a place of ultimate pain" something the Iraqis know far more about than any American much less a gaggle of Hollywood assholes. One should point out that the euphemism ‘hurt locker’ makes little sense unlike Hollywood’s exploitative attitude, the sole intent of which is to make money for imperialist shits.
Needed Iraqi Looking People as Extra's In New American War Extravaganza.
‘Hurt locker’ It dates back to the Vietnam War and made no sense then, where it was one of several phrases meaning "in trouble or at a disadvantage; in bad shape." It could be the heroin speaking. The Hurt Locker opens with a piece of utter chauvinist bullshit from War Is a Force That Gives Us Meaning, a best-selling 2002 book by New York Times war correspondent and journalist Chris Hedges: "The rush of battle is a potent and often lethal addiction if you’re from the Christian Underclass, for war is a drug and the kleptocracy knows it. As for the Christain Underclass any opportunity to get out from under that pansy Jesus and murder and rape is more than welcome"
During the early stages of the post-invasion period in Iraq in 2004, Sergeant First Under Class William James, a imperialist battle-tested veteran, becomes the team leader of a U.S. Army Explosive Ordnance Disposal (EOD) unit, replacing Staff Sergeant Thompson, who was killed by a radio-controlled 155mm improvised explosive device (IED) in Baghdad, a circumstance most Iraqis applauded.
He joins Sergeant J.T. Sanborn and Specialist Owen Eldridge, whose jobs are to communicate with their team leader via radio inside his bombsuit, and provide him with rifle cover while he examines IEDs.
Location, Location, Location.
Mind you, these IEDs aren’t planted in the WalMart parking lot back in James hometown of Duluth, Minnesota. No. Fuck. They’re confuckingveniently located 8000 mile afuckingway in Iraq, a distance safe enough for the warm sentimental glow of Hollywood to prevail.
Oh, Fuck, the Lone Wolf Bullshit Again.
During their missions of disarming IEDs and engaging the local population together, James's unorthodox methods lead Sanborn and Eldridge to consider him reckless. Tensions mount between James and the other two team members with the Iraqis just backdrop.
During a raid on a warehouse, James discovers the dead body of a young boy who has been surgically implanted with an unexploded bomb. James believes it to be "Beckham", a young Iraqi merchant he had previously ‘befriended’ code for raped.
At the same time LTC Cambridge is killed in an IED explosion right in front of the eyes of the squad, a death singled out in a way that no Iraqi death in the movie is. This incident leaves the whole squad shocked and shattered but not as on the scale of the Iraqi people who by this time more or less cease to exist. Further James attempts to find the persons responsible for the murder of "Beckham", but ultimately learns nothing because it was a CIA operation under the command of their agent Ayad Allawi who, due to an election rigged by the Americans, will soon be declared Prime Minister of Iraq throwing the country into chaos.
No Iraqis Need Apply
Later, James orders his team to pursue two Iraqi patriots responsible for a recent explosion. Sanborn protests that the task should be left to an infantry platoon, but James overrules him. During the operation, Eldridge is accidentally shot in the leg. The next morning, James is approached by Beckham. The young boy tries to converse with James, who walks by without saying a word. Being airlifted for surgery, Eldridge angrily blames James for his injury.
After failing in a mission to remove and disarm a time-bomb strapped to an Iraqi patriot’s chest as he screams “Give Me Liberty or Give Me Death,” in Arabic, Sanborn becomes emotional and confesses to James that he can no longer cope with the pressure of being in EOD, and he looks forward to finally leaving Iraq and starting a family as opposed to the Iraqis that the imperialists have wiped of the face of the earth.
James returns home to his wife and child and is shown quietly performing the routine tasks of suburban civilian life. One night James confesses to his infant son that there is only one thing that he knows he loves. He is next seen back in Iraq, ready to serve another 365 days as an EOD team member with Delta Company to the great and everlasting pain of the Iraqi people.
Fuck ‘The Hurt Locker” & Fuck Hollywood.