Civanticism — The reason of Humanism and the compassion of Buddhism, with a touch of snark for good measure.
https://www.civanticism.com/
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The cast of The Poseidon Adventure, 1972. Clockwise from back left: Ernest Borgnine as Mike Rogo, Arthur O'Connell as Chaplain John, Carol Lynley as Nonnie Perry, Red Buttons as James Martin, Jack Albertson as Manny Rosen, Roddy McDowall as Acres, Shelley Winters as Belle Rosen, Gene Hackman as Reverend Scott, Stella Stevens as Linda Rogo, and Pamela Sue Martin as Susan Shelby.
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Titanic: Rose DeWitt Bukater —Aesthetic
Rose DeWitt Bukater's Character & Personality
Due to her torturous first-class life, Rose was quite pessimistic about her future. She convinced herself committing suicide was the only way to escape from a man she didn't like. Although generally polite and reserved, Rose would occasionally make lewd remarks. She could be feisty and strong willed too. Rose had no problem hitting or shoving others when the situation calls for it. Sometimes being carefree, Rose didn't shy away from rude habits. These included drinking alcohol, dancing among the passengers and spitting. Rose is quite smart with an upper class education. She's passionate and brave towards her lover. Rose is also a talented actress, performing in New York for a time. In her elderly life, she begins to forget certain things. However, Rose is still the same kind-hearted woman.
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Considering the infamous "Disaster Movie" was filmed back when the WWE Divas division was doing lingerie pillow fights, bra & panties matches, and mud/gravy/pudding wrestling (and that movie as well as other Seltzerberg movies sexually objectify women), I'm surprised during that WWE divas reference scene in "Disaster Movie" that Carmen Electra and Kim Kardashian didn't do some lingerie pillow fight or bra & panties match.
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Sci-Fi Saturday: Deluge
Week 11:
Film(s): Deluge (Dir. Felix E. Feist, 1933, USA)
Viewing Format: Blu-Ray: Kino Lorber
Date Watched: August 6, 2021
Rationale for Inclusion:
Not all disaster movies fall under the genre of science fiction or speculative fiction. What causes the disaster and/or its results are what determines the classification.
Deluge (Dir. Felix E. Feist, 1933, USA) came to my attention either from browsing the Wikipedia list of 1930s sci-fi films or Kino Lorber's website. The film was regarded as lost for decades, but promised apocalyptic natural disasters and the survivors needing to rebuild society. We had yet to encounter the post-apocalyptic subgenre on our survey and figured it would be interesting to compare to later examples. Plus, neither my partner nor I had known Deluge existed, much less seen it, prior to this survey.
Reactions:
As one would hope with a disaster movie, Deluge has respectable special effects for its era. Stop motion, models and superimpositions render the epic storm, eclipse, earthquakes and tsunamis that absolutely wreck the world. No explanation is provided for the extreme weather and geographical upsets, in part because it comes on so quickly no one can gather sufficient data to form a hypothesis, and in part because it does not matter to the overall narrative. The natural disasters are just set up for a post-apocalyptic survival narrative.
Despite its spectacular opening, Deluge goes downhill as a film rapidly. The cinematography and acting are just okay. The concerns of survival in the new wrecked landscape become the main focus, and in the process the film ends up treating some gross attitudes about gender as matters of nature not socialization. Some amount of sexism is bound to be present in most films, even if it's implicit systematic context that doesn't even register to the target audience, but Deluge had examples that deeply bothered me and my partner.
Typical of post-apocalyptic narratives, a gang of roving rapist men assemble and become a threat to other survivors, including the newly formed town the protagonists end up in. Do the townspeople band together, kill the rapists, and then post their corpses with expository signs around the borders of their new community as a warning to others? No, because the film does not treat these men as outliers and societal threats beyond reform, but the expected result of men not being constrained by law or social pressure.
The newly formed community takes for granted that they cannot stop men from devolving to rapists, so instead of direct action against the rapists, the men who have assumed leadership roles decide that every woman must be married to a man. I do not know if the logic is that rapists supposedly do not rape women that belong to a man, or that wives cannot be raped by anyone, or that the husbands will defend against the rapists as necessary. However, their logic boils down to the only way to protect women from feral men is to have them become subjugated by civilized men; it's not to eliminate the threat or hold people who break community expectations accountable for their actions, but affirm the same position held by the rapists that women are commodities and resources, and treat them as they would storehouses of grain.
As repugnant as I find Deluge being explicit in its belief that Patriarchal values are unquestionable, universal laws, it is hard to truly find fault with the survivors clinging to what bits of the world they knew that remain. For all protagonist Martin Webster (Sidney Blackmer) has to say about rebuilding society better than it was, he and the other civilized men hope to rebuild society along the same lines as prior to the apocalypse. It's why Patriarchy and monogamy are clung to so tightly by the main characters. Yes, Martin and his wife Helen (Lois Wilson) could build a polycule with the new romantic interests they met when they thought the other was dead, but no one involved can see the viability or appeal in it. Frankly, if anyone suggested it they would view that person as morally on par with the roving rapists. Humans, after all, are creatures of habit despite existence being nothing but change.
As someone who finds Patriarchy limiting and damaging, and generally is not a fan of disaster movies, Deluge is not a film that I enjoyed. It's an interesting case study, but it failed to spark positive impressions or a desire to watch it again.
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Review - No Way Up (2024)
It's Airport 77 meets Jaws as survivors of a plane have got to escape the sunken wreckage and the sharks between them and the surface.
https://www.voicesfromthebalcony.com/2024/02/12/no-way-up-2024-review/
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