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- VLADIMIR DIE HARD TRILOGY MOVIE
- VLADIMIR DIE HARD TRILOGY PROFESSIONAL
- VLADIMIR DIE HARD TRILOGY SERIES
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Sometimes, these bad movies would have the indirect consequence of encouraging a person to research a topic and learn more about it.
VLADIMIR DIE HARD TRILOGY SERIES
This led to movies such as Dances with Wolves, JFK, Thirteen Days and the Path to War, which took a series of factual historical episodes, distilled the poly-chromatic facts that emerge from any historical narrative into a black and white tableau of right versus wrong (sometimes the underlying message was pro-establishment and sometimes anti), either employing poetic licence with established facts or just plain fabricating them and confecting these ingredients into entertaining narratives in which miscable pieces of facts and fiction could be forced into a false consistency consonant with the filmmaker’s fundamental biases.
VLADIMIR DIE HARD TRILOGY MOVIE
What began shortly after the first Die Hard movie in 1988, was the intellectually dubious habit of Tinseltown treating serious subjects through the medium of feature-length movies, whose fundamental purpose was to entertain and not to educate. The original Bruce Willis trilogy represented one of the last examples of the (in its own way noble) Hollywood tradition of providing low-fiber entertainment and leaving weightier matters to the publishers of books, periodicals, newspapers and documentaries where they could be discussed and analysed in cool clinical terms by serious people motivated by intellectual curiosity. The movies were, in simple terms, harmless rubbish, of no more relevance to the concept of cultural enlightenment or decline than Enid Blyton’s racially insensitive use of Golliwogs in her literature was to segregation or Apartheid. There was no attempt to inject any kind of moral nuance into the battle between the goodies from the US government and the baddies from outside it, but at least in the sterile world created by the shallow script, there was no ambiguity: the goodies were good and the baddies were bad – one might not consider that to be a realistic narrative but it was an entirely reasonable and rational implication of the plot. They made no effort to examine in truly questioning fashion the actual behaviours associated with securocrats, but they did not show those securocrats engaged in dubious behaviour and then seek to explicitly or implicitly endorse it. They catered to the existing prejudices of the audience, but at least they didn’t seek to implant new ones like the propaganda movies associated with the Bolsheviks or the Nazis. They were, after all, light entertainment. However, only the most puritanical of their number would have objected to the movies. For the libertarian, the socialist, the paleo-conservative or the conventionally conscientious constitutionalist, there would be no examination of the philosophical principles or often nefarious motivations behind the use of government power. The movies made no attempt to explore actual themes of complex human behaviour that have characterised the activities of American police forces or branches of the military or intelligence.
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Never was a US government official seen to behave inappropriately (unless he had gone rogue like Colonel Stuart or Major Grant in Die Hard II). The movies provided a fundamentally benign view of the American security establishment – one of public service against drug dealers, kidnappers and bullion snatchers. The movies also served up what was already becoming the highly dubious Hollywood fare of contrasting the appropriately heroic but empathetically ordinary American security operative (in this case, the physically super-human but emotionally immature John McClane) with the evil and shadowy terrorists, who, it was implied, could bring civilised life to an abrupt end in a matter of hours or at least days. There was an implicit endorsement of police violence and a glorification of cops acting contrary to established rules of conduct. It’s not that the underlying message was necessarily wholesome.
VLADIMIR DIE HARD TRILOGY PROFESSIONAL
The uncomplicated dynamic of good Americans and bad foreigners, laced with some nostalgic slices of politically incorrect Americana, such as characters who openly smoked cigarettes and Bruce Willis’s open contempt for Johnny Foreigner evokes memories of the days in which movies primarily catered to the uncomplicated blue-collar mind or that of a stressed professional seeking the intellectual anesthetic of a plot so banal as to be capable of being explained in less than a minute. Many of my pleasantest memories from childhood involve watching the original 1980s and 1990s Die Hard Trilogy.