Paramount Theatre
America's Labyrinth: A Fettered Fascist Regime
RECEIVED Mon., Jan. 15, 2007
Louis Black,
I'm again mindful of the ironic circumstance that you and I could so passionately agree on a cultural event, i.e., that Pan's Labyrinth is a masterpiece, yet be so at odds in our world-view (of things as they are, not as we think they should be) [“Page Two,” Jan. 12].
Pan's Labyrinth's mundane reality is set in 1944 with an unfettered fascist regime in a closed setting. Americans' mundane reality involves a fettered fascist regime attempting an international coup, in our name. Our situation is more complex, no less cruel and lethal, just less overtly so (within our shores at least). A huge propaganda endeavor reinforces the newspeak and doublethink to which we're exposed daily in the mass media.
The only thing Pan's Labyrinth lacked for me was two or three minutes – no longer – developing the character of an alternate magazine editor, perhaps named Luis White, writing weekly that the full-blown fascism the people were experiencing was in fact not occurring, and its detractors simpleminded, deluded fanatics.
Another thought: Thank God my first viewing of Pan's Labyrinth didn't have an egomaniac in the audience spinning in his seat, flailing his arms, exclaiming “what a ... oh my God ... that was ...” etc. Jesus God, thank you for that!
(And reverent thanks to del Toro for his vision.)
I'm again mindful of the ironic circumstance that you and I could so passionately agree on a cultural event, i.e., that Pan's Labyrinth is a masterpiece, yet be so at odds in our world-view (of things as they are, not as we think they should be) [“Page Two,” Jan. 12].
Pan's Labyrinth's mundane reality is set in 1944 with an unfettered fascist regime in a closed setting. Americans' mundane reality involves a fettered fascist regime attempting an international coup, in our name. Our situation is more complex, no less cruel and lethal, just less overtly so (within our shores at least). A huge propaganda endeavor reinforces the newspeak and doublethink to which we're exposed daily in the mass media.
The only thing Pan's Labyrinth lacked for me was two or three minutes – no longer – developing the character of an alternate magazine editor, perhaps named Luis White, writing weekly that the full-blown fascism the people were experiencing was in fact not occurring, and its detractors simpleminded, deluded fanatics.
Another thought: Thank God my first viewing of Pan's Labyrinth didn't have an egomaniac in the audience spinning in his seat, flailing his arms, exclaiming “what a ... oh my God ... that was ...” etc. Jesus God, thank you for that!
(And reverent thanks to del Toro for his vision.)
Cordially,
Kenney C. Kennedy
Kenney C. Kennedy
