|I think all the reviewers here have missed all the points. Which is the way this sort of propagandist material is of course meant to be taken in, by the taken-in. The Hungarian sub-plot ignored the blazingly obvious point that Hungary was run by Jews - and the 1956 revolt was part of the period supposedly depicted here. There was of course the supposed development of nuclear weapons - now known to have been a fraud, but used by Jews to pretend the USSR was a formidable force. The truth about atom spies - i.e. they were a phoney, to pretend Stalin and the USSR had got nuclear weapons - would have made a good story, but 'Le Carre', his story as fake as his name, could not write such a thing. Worth noting that a Rothschild during WW2 was allowed access to new developments such as radar. The idea of picking sides of course is part of the bullshit.|
As is typical of propagandist crap, the setting has to be elaborate to give some illusion of accuracy. The faded marbly grandeur of official buildings, the filing cabinets, and the incoming melamine and formica style was quite well done. There was virtually no advertising, and this must have been a specific decision to give Britain a 'communist' impoverished feel. As is typical of 'Le Carre' there's a schoolboy element to the story - obviously a 'Circus' 'traitor' must be someone who was badly brought up. And the elderly lush, quite well done I thought by Kathy Burke. Another characteristic is the complete absence of discussion - so what if there were ships in the Black Sea? What had the 'mole' actually leaked? What sort of information was in fact valuable? What was American intelligence like? Was anyone interested in wars etc round the world? What political events were happening? Would one general in fact know much? - anything thoughtful is replaced by portentous abbreviations and slang, much as Americans use slogans to evade serious questions in their pathetic political pseudo-campaigning.
It's not quite the complete truth to say the film is 'boring'. Bear in mind that truths about the period are still cloaked and hidden; for example the truth about post-1945 eastern Europe, and for that matter the secret pushes to an undemocratic EU and unasked-for immigration. Cut out all that, and what's left is 'Le Carre', a hollow official story as unconvincing as Lenin's fake creative constructions.
|The World is Not Enough 1999 film - review posted 9 Sept 2012|
Too difficult a film for most Amazon Reviewers!
 Almost a tick-box check list of features of 1950-2000 mass braindead entertainment for the operational type ...
* Cars exploding with vast amounts of fuel
* Product placement of buildings - London waste of money dome, Bilbao?, Thames... - so the studio shots seem to be somewhere
* A chase or two to allow suspension of thought - amphibious, skiing, powered parachute, supposedly in a nuclear submarine...
* Fights (fists usually) between a few characters. At least they don't sword fight. Enlivened with a few planned kicks, and moves designed around props
* Exotic-ish locations
* Special effects; here we have a five-part circular-saw cutting device, designed quite well
* Has to be in English. All the characters speak accented Eeengleesh, Meest-air Bond. There's a filmic joke about 'Mummerset' rural English; here we have something like 'Mussian'
* Official views of history taken for granted; in practice this means Zionist. The ridiculous Judi Dench as head of something also illustrates the feminist thing. There are some embarrassingly sidelined black actors. 'Terrorism' of course is something 'they' do
* Big wads of paper money!
* Ritualistic casino/ hotel room sex - to be fair the film makers could hardly show anything less dismal
* No impact bullets so that people aren't upset by what bullets do. With lasers. But nothing more recent
 Interesting more up to date themes..
* Swiss banker shown with thuggish colleagues. This must be a reference to Jews extorting money from the Swiss by the 'Holocaust' (TM) fraud.
* Nuclear stuff even more stylised than usual, with obvious designoid artefacts. This is the fraud that ran and ran. Interestingly, here it's in phase-out mode. It allows the female nuclear physicist, always half-dressed, considered necessary so that the way 'nuclear weapons' work isn't too obvious, despite the Carlyle baddie character understanding all about it.
* Interesting references to oil pipelines (or possibly gas) with graphics showing pipes snaking over landscapes, which may or may not have been models or computer graphics. This is a bit puzzling, since the motives for killing Afghans and others were kept secret; how many people have heard of TAPI? I take it that before the Jewish 9/11 fraud a couple of years later the pipeline(s) were considered done deals.
 Amusing to speculate on villains. What about villains who plot to flood white countries with immigrants, to weaken or destroy them? Who plan to foment divison and wars, to make fortunes for themselves? To publicise fake stories to (for exmaple) poison and damage large numbers of people? To cause hyper-inflation? To arrange slave labour to the death? All well-documented Jewish activities. I don't know enough about Ian Fleming to know what the bases were for his choice of baddies. Who knows?
|Most fiction addresses concerns of the readership - few people read anything abstract or general. Science fiction no doubt follows this pattern, and therefore, rather paradoxically, usually has little scientific content. No writers predicted digital technology, for example. So it makes sense, looking at oldish fiction, to see which social concerns of the time are present. They may be more obvious looking back than they were at the time. Wyndham's story deals with the 'contesserate mind' - i.e. a mind made of separate units, like tiles, interlocked by 'telepathy', though Wyndham evidently felt this wasn't enough, as his fictional joint mind was given the special ability to influence other human minds. The English event turned out not to be unique: dotted around the world other clusters of births had been generated at the same time. This is, or may be, a commentary on Jewish monomaniacal intrusiveness. It may also refer to television, at that time at its maximum rate of increase in Britain. Much the same thing, in any case. The explosive finale in Britain - others elsewhere are described, but not in any detail - isn't very well worked-out, as a single mind-reading person, let alone a group, would seem unlikely to fail to notice a murder plot against them.|
Another issue, not much considered by Wyndham, is the mass rape or mass implantation of embryos. There's not much on medical implications, and not much on people wondering if it might happen again, both rather unreasonable plot devices, as is Zellaby's daughter 'falling' pregnant, but the child being human, despite both parents' protestations they'd 'done nothing'. One can imagine men from the Ministry turning up. In keeping with the times, an assurance from authority figures suffices for Wyndham.
Four stars because of the inconsistent and not very plausible plot-line. But the scene-setting of the time is quite good - rivalry between three English villages, coal fires, small shops, rather primitive sports cars, professors a rarity, record players, Peter Ustinov and the theatre, Flanders and Swann-style entertainment, high status of dim military types, neat suburbs, naive beliefs about the BBC and Germans and wars.
With computer film (or digital recording) techniques this could be made, with some plot tweaks, much more compelling than the old version(s) - I can only remember a black and white version with laughable effects.
|It's quite interesting to read this curiosity, clearly written as a propagandist 1930s thing, and published by Hogarth Press, of Bloomsbury.|
One of the reviews or blurbs here described this as about 'pre-war Berlin' - probably whoever scribbled that hadn't heard of the 'first World War'.
The whole thing is not credible and in fact I have to wonder whether Isherwood spent any time in Germany at all; the descriptions are so utterly devoid of anything characteristic of Germany that one has to wonder if in fact the whole thing was made up, with a bit of guidebook backing. I can't remember, for example, a single street or building being named; and the German language extracts are exiguous and barely exist.
And it's amusing to see from these Amazon reviews how Americans in particular, doped by their Jewish controllers, think in terms of films rather than facts.
Thus Isherwood presumably liked anal sex (there's a school reference suggesting this). And, therefore, Germans were decadent! Mr Norris is shown as a violence fetishist; this of course means that Germans are fetishists! Isherwood's narrator presents himself as a neutral observer; in fact, after naval blockades during which many Germans starved, it's unlikely they would be as well-disposed to him as this novel suggests. (He's put forward as a teacher of English, with pupils, but with nothing to suggest this was in any way genuine).
For some reason many reviewers think the descriptive writing is excellent; in fact it's rather laughable, and mainly concerned with peoples' faces; Norris is described in rather painful detail, mostly in conflicting ways as the book drags on. However he does just manage to emerge from one dimension into one and a bit. He has zero plausibility: a man with an inheritance, which he squandered, and which Isherwood is careful not to trace to any roots, with obvious character and money problems, is not credible as a spy; the plot in fact can only be held together by withholding essential evidence.
Isherwood's grasp of the politics (this was a time when Stalin's murder machine, funded by Jews, was building arms factories, tanks, and so on, preparing to invade Europe) is infantile. It's conceivable that Jews might have decided to change sides; if for example Germany had offered to guarantee Palestine. But of course there's nothing in this book of possible twists of history.
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