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The Mustang: A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. Really no need to see this uneven film which thoroughly misunderstands the true nature of American masculinity.

The Mustang, directed and co-written by Laure de Clermont Tonnerre, is the story of Roman Coleman, an anti-social prisoner in a Nevada State prison who gets put into a program where prisoners train captured wild mustang horses to be sold at auction. The film stars Matthias Schoenearts as Roman, with supporting turns from Bruce Dern, Connie Britton and Gideon Aldon.

I like horses…I don’t own one or anything, but I have been known to wager a few dollars on one at Santa Anita. I also think horses are actually a wonderful archetypal storytelling device and am down for giving most any movie about a man and his horse a try.

All I knew about The Mustang prior to seeing it was that it was about a horse and it starred Matthias Schoenearts, an actor I like. I had some expectations about what kind of movie The Mustang would be, but none about whether it was good or not. That said…I certainly wanted it to be good…but sadly, it isn’t.

The story of The Mustang is about broken men trying to break horses but at its essence the film is really about the current state of masculinity, particularly American masculinity, which is deeply in crisis. This narrative and sub-text is right up my alley as it is something I think and write about a great deal, especially being a man myself and a father to a young boy.

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The problem with The Mustang though is that it is completely clueless about the true nature and experience of masculinity in general and American masculinity in particular. When the film ended and the credits rolled I quickly discovered why the film felt so foreign to me…the director was a French woman, Laure de Clermont Tonnerre. Now there is certainly nothing wrong with a French woman directing a film, hell, the last movie I saw prior to this was High Life directed by the fascinating auteur Claire Denis, a French women, and I thoroughly enjoyed it. The problem with Tonnerre though is that she is biting off way more than she can chew about a topic of which she has no comprehension. Tonnerre writing and directing this movie about American masculinity is the equivalent of me writing and directing a movie about the experience of women in a remote Amazon tribe…that isn’t to say that I couldn’t do it, but maybe that I shouldn’t do it.

Mustangs are singular American archetypes, symbols of powerful wildness being harnessed as the country moved into the vast expanse of the west. The Mustang is a quintessentially American story set in the west about American masculinity trying to find its way in the modern world. The fatal flaw of the film is that writer/director Tonnerre has a deep and profound misunderstanding about the true nature of not only America, but about masculinity. Tonnerre brings little but surface assumptions and presumptions to the story which make profundity on her themes an impossibility. Tonnerre is telling a story of American masculinity through the eyes of French femininity and that was bound to fail. It is the equivalent of a tourist trying to pontificate on the finer points of a complex local issue…it brings no light to the topic but only succeeds in accentuating the foreignness of the tourist.

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Tonnerre is also never able to penetrate the subject of masculinity deep enough to discover what is in the DNA of the American male. It is no surprise that Tonnerre fails to grasp the intricacies of American masculinity, it is an unwieldy topic that most film makers, regardless of gender, fail to adequately understand.

Tonnerre also lacks any sort of understanding of the complexities and politics of the American prison system. Her ignorance of this very lethal form of brutal interpersonal politics undermines her story to a great extent. It seems like all Ms. Tonnerre knows about the American penal system is what she learned watching bad American television and old movies.

I couldn’t help but think of American screenwtiter and director Taylor Sheridan (Wind River, Hell or High Water, Sicario) as I watched The Mustang, as he is one of the rare writer/directors who could have successfully tackled the subject matter of this film. Sheridan understands masculinity, particularly American masculinity, on a primal level, and is able to explore the psyche of man as a resident, not a tourist.

On a film making level, the film’s narrative is structurally and rhythmically unsound and there are numerous plot lines that are unclear, unneeded or unfulfilled. The lack of clarity and storytelling cohesion wears thin as the movie meanders without any significant or satisfying dramatic payoff.

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The movie does boast some decent acting, with Matthias Schoenearts giving a brooding and at times explosive performance as Roman, the combustible felon. Schoenearts certainly elevates the weak material he is given, but ultimately even his dark charisma is not enough to save the film.

Bruce Dern gives a quirky and engaging performance as Myles, the man in charge of the horse training. Dern is a compelling actor and he does his very oddball best in the role, but again, it isn’t enough to raise it from its depths.

The horse in the movie, Marcus, is a beautiful animal, but Tonnerre fails to adequately exploit the animal’s beauty with her middling camera work. Marcus’ natural power and grace are never captured enough to make the horse anything but a prop.

In conclusion, The Mustang was a disappointment because it tried to tackle a very important topic but did not have the requisite understanding of that topic to be able to conjure even the remotest amount of insight. The film feels like a terribly wasted opportunity to tell a profound story about the tortured state of American masculinity, which is a story that desperately needs to be told and understood. At the end of the day Ms. Tonnerre was unable to control The Mustang which, like the American Male, was just too powerful and wild a force to tame.

©2019

Toxic Femininity: 'Badass' US Women Demand Right to Torture, Maim and Kill for Empire...Just Like Men

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Estimated reading Time: 3 minutes 56 seconds

Thanks to a new wave of feminism and its call for equality, it isn’t just toxic men who can kill, torture and surveil in the name of American militarism and empire, women can now do it too!

 This past weekend was the third annual Women’s March, which is a protest originally triggered by Donald Trump’s defeat of Hillary Clinton in the 2016 presidential election that encourages women across America to rise up against misogyny and patriarchy.

 As sincere as these women are in their outrage, in their quest for power they are inadvertently reinforcing the immoral and unethical system that they claim to detest. This is most glaringly apparent when this new feminism boldly embraces the worst traits of the patriarchy in the form of militarism and empire.

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 The rise of the #MeToo, Time’s Up and the anti-Trump Women’s Movement has brought forth a new wave of politically and culturally active neo-feminists. This modern women’s movement and its adherents demand that “boys not be boys”, and in fact claim that the statement “boys will be boys” is in and of itself an act of patriarchal privilege and male aggression. The irony is that these neo-feminists don’t want boys to be boys, but they do want girls to be like boys…at least the morally degenerate boys.

The inherent contradiction of that ideology was on full display recently when the American Psychiatric Association (APA) put out a guide to treating men and boys. In the guide’s summary the APA makes this extraordinary claim, “Traditional masculinity – marked by stoicism, competitiveness, dominance and aggression – is, on the whole, harmful.”

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 These APA guidelines blatantly turn “traditional masculinity” and “toxic masculinity” into synonyms, and never once mention testosterone, revealing a staggering ignorance of male biology. The APA is in essence blaming the bull for his horns. Further diminishing their credibility, how can anyone look at the mess that is the current emotional state of our world and think we need less stoicism and not more?

 The hypocrisy of the APA guidelines are glaringly evident because everywhere you look nowadays girls and young women are constantly being urged to be more competitive, dominant and aggressive. I guess when women do it, it is empowering, but when men do it, it is dangerous.

 Women, and some men, often tell me that if women were in power, the world would be a better and safer place. But that old trope, which obviously animates the feminist movement of today, is foolishness. I mean have none of these people ever heard of that pernicious beast Margaret Thatcher? And does anyone think that Hillary Clinton’s proposed no-fly zone over Syria or her tough talk about Russia would have led to more peace and less war?

 Another example of the vacuity of this ideology is the group of Democratic women with military and intelligence backgrounds who won seats in Congress in 2018. These women, who have dubbed themselves “The Badasses”, how toxically masculine of them, are being touted as the “antidote to Trump”.

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 No doubt these former military and intelligence “badasses” will be so much less toxic than their male counterparts when they demand the U.S. “get tough” by militarily intervening across the globe to further American interests. This sort of star-spangled belligerence is no less toxic in a pantsuit than a three-piece suit, and will only lead to more victims of America’s “competiveness, dominance and aggression” around the world.

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 Other toxically masculine women in government are also being hailed as great signs of women’s empowerment. Gina Haspel is the first female director of the CIA and women now also hold the three top directorates in that agency. Ms. Haspel proved herself more than capable of being just as deplorable as any man when she was an active participant in the Bush era torture program. No doubt the pussy-hat wearing brigade would cheer her “competitiveness, dominance and aggression” when torturing prisoners…most especially the traditionally masculine ones.

 Hypocritical Hollywood has long been a haven for toxic masculinity, be it in the form of depraved predators like Harvey Weinstein or Woody Allen or counterfeit tough guys like John Wayne. Hollywood has also long been the propaganda wing of the American military machine. It is well established that for decades Hollywood and the Department of Defense have worked hand in hand in creating films that tout muscular American militarism and empire.

 Now Hollywood and the Department of Defense are using the social justice calling card of “diversity and inclusion” to take the next step in indoctrinating young people with the noxious ideology of American exceptionalism and aggression…but this time they are targeting girls and young woman.

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 The latest product of the Hollywood and D.O.D. propaganda machine is the Disney/Marvel movie, Captain Marvel, which comes out this March. The film, which has a budget north of $150 million and stars one of the leading feminist voices in Hollywood, Academy Award winner Brie Larson, tells the story of Carol Danvers, a former Air Force pilot who “turns into one of the galaxy’s mightiest heroes.”

 With Robert Downey Jr. and Chris Evans set to potentially leave their roles as Iron Man and Captain America respectively, Disney is positioning itself to replace them as the face of the multi-billion dollar Marvel Cinematic Universe with Brie Larson’s Captain Marvel, who is described as a “badass superheroine”…one more flag-waving, baddass lady for the girls to look up to!

 The movie has been described as “the recruiting tool of the Air Force’s dreams”, and will no doubt be a huge boost to female recruitment, much like Tom Cruise and Top Gun boosted male military recruitment in the 1980’s.

 The Department of Defense has been partnered with Marvel since 2008’s Iron Man. The D.O.D. and Air Force demand that any film project with which they assist “portrays the Air Force and military in an accurate way and that it is in the service’s interest to partner on the project.”

 It is good to know that ultra-feminist Brie Larson is cashing in by partnering with the Air Force to make a movie that indoctrinates millions of American kids, specifically girls, with the dream of being able to bomb innocent brown people across the globe from miles up in the sky and look really “badass” while doing it.

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 I’m sure Ms. Larson, a public and outspoken advocate for abuse victims here in America, has meticulously weighed the pros and cons of being a recruitment tool for the U.S. military, who in recent years have aided and abetted, or been directly responsible for, the murder of women and children in Yemen, Iraq, Afghanistan, Syria, Libya and elsewhere.

 The cacophony of feminist voices in the public square has effectively challenged some minds about some things, but not the right minds about the right things. The mendacious U.S. establishment and its virulent military industrial complex have co-opted this current feminist moment and are using it to further solidify their deadly stranglehold on the American consciousness and Brie Larson is now an accomplice to that crime.

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 Is this what the new wave of feminism is all about, putting lipstick on the pig of American empire and militarism and calling it a victory for equality? If so, I’ll pass on that toxic femininity. I’ll stick with traditional masculinity, you know, the stoic kind, whose adherents, principled men like Martin Luther King Jr., Cesar Chavez, Daniel Ellsberg, Pat Tillman and Edward Snowden, among many others, all did the right thing in the face of enormous opposition, and who didn’t tout themselves as “badass”, didn’t start fights but finished them, didn’t torture, didn’t spy and didn’t bomb innocent women and children into oblivion.

 I strongly believe that men and women should be equal in their rights and opportunity, but I also believe that regardless of gender, no one has the right to kill, maim and torture for American empire.

This article was originally published on January 25, 2019 at RT.com.

©2019