I have read enough  Fu Manchu novels to know that certain themes are basic.  Neyland Smith, the British detective will never carry a walking stick to test the floors in a strange house, he will walk into the room blindly and the floor will drop away leaving him sailing down a chute.  This is inevitable, no matter how often it happens. In Cinema, particularly action cinema, certain things will always happen: you will not know who to trust, the Director will mislead you to wrong conclusions in order to facilitate a twist.  Everyone knows this, they go along with it as part of the game, but what many do not realize is that Film is viewed and then come the reviewers, some of them heavyweight inside traders when it comes to Hollywood. In the purposeful misleading  to false conclusions Hollywood media in fact follows the audience after the film is supposedly ended and solved, delivering them again to go home with false conclusions. This is part of the brainwash and hoodwinker’s game.

        Looking at Mamet’s film, “Homicide,” you see quickly what I mean.  There are the usual exchanges in New York of ethnic slurs. The dual themes between loyalty to America and loyalty to secret Israeli forces plays out in all simplicity, where the Christian Right Wing and black poverty unite against the poor Jews, but in the end all of this intrigue goes a great way following drama and proving  specific enneagrams that serve only to confuse and solve nothing. Put that away because the Nazi Flag against the American Flag isn’t what happened on Mt. Desert Island. Black Power and Jews worked together promoting a white Nazi named Zell in the AIDS war game, and the revenge of the Axis team who killed JFK, all proven by maternal script.  At CMU, the Japanese in the loop had a precocious saying, “Subvert the dominant paradigm.”

       Like Reagan greeting  Abernathy, Mamet scolds the Statute of Limitations that attempts to reconcile the rights of everybody in a special mutual tolerance framework, but many come in hating, looking to target symbols of oppression, some of  them old tools of the slavery trade. Forming a new alliance of symbolic types getting ahead, they create a new colonial pie cutter, this time taking their piece of what they term, “Idiot America,” who let them in and imagined they would settle for mutual restraint in a system of laws.

        John Oliver Killens, in his book from 1965, chastising the non-violent Black man, a book called, “The  Black Man’s Burden,” claims that Blacks want Reconstruction. But is it true? The venom in the eyes of those who wear the Element of trust doctrine jerseys of Obama advertise a different thought.   While I was advocating for dismantling Apartheid and confiding in my Black peers about the love of my life, they were laughing their asses off character assassinating me and setting me up for white Nazis because I was white and innocent and weak.  Symbols mattered more to them. J.O.K. may not be telling the truth. Reconstruction isn’t what they want, they want revenge, laughs, on anyone handy. They hate NOTHING like the rights of others.

        E.T. which was an Arnie Sacnusum for Elizabeth Taylor, came with the anima twist in the Brahma-phrenia of the cinema hallucination team promoting Oliver Stone’s vision thing, with Mitchell radio at CMU.    It sends a vision of androgyny for holiness against sex in promotion of the attack concept.

       I suffer from a kind of schizophrenia growing up in  Jewish Holocaust survivor community for the simple reason that the misery of  the saving remnant who barely escaped Hitler and their survival plight is challenged by what I know and witnessed about them in the 70’s at places like “Gorilla Theater.”   So Mamet’s film, like the film, “Little Drummer Girl,” doesn’t really convince me of some special duty to swear a Loyalty Oath to the Star of David.