Built upon a number of converging stories and characters—as in Traffic, Crash, The Red Violin—Cloud Atlasrelies upon chaos theory for its philosophical foundation (without the idea of history repeating itself, or Mandelbrot sets, such a story as Cloud Atlas would not be possible). Now, dear readers—especially those who have been bearing with me all summer and my talk about Darwin vs. Chaos theory, now is your reward!--because Cloud Atlas aligns itself with chaos theory yet aligns the villains (capitalists) with Darwin's “natural order” (there are a number of philosophers who incorporate a form of “natural order” into their system of thought yet the application of "natural order" in Cloud Atlas specifically targets race and class relations but the point is, I told you this opposition between the two scientific paradigms was going to be important, and now we see how it's turned out) and it thoroughly demonizes "order" in society only to replace it with a new, unnatural natural order of its own making.
Slavery is a primary subject throughout the film, whether due to skin color or economic status, and those who have the advantage consistently cite "the natural order" as justification for their enslavement of others: according to the film, and the general ideas of "social Darwinism," certain people (read: rich, white people) validate the poverty and suppression of other people (read: all women, all blacks, all homo- and bisexuals, robots/machines and all non-human life-forms and anyone outside industrialized society or those within industrialized society in low-skill jobs) because those "on top" are "naturally" more talented and capable at success than those on the bottom; those at the top are destined to stay at the top and those on the bottom destined to stay on the bottom and that is the will of God.
There is a problem with this, however.
Liberals/socialists have a very selective, random memory of history, specifically, that it was the Democratic party who enslaved the blacks in the Old South pre-Civil War, incorporating the "natural order" into their party platform to justify it, but also the socialist party of Adolf Hitler employed natural order to justify his party's slaughter of the Jews, homosexuals and Catholics. Socialists argue that Hitler wasn't a socialist, he was a Nazi, but he was a socialist and his programs were socialist: in other words, the very un-natural natural order of which liberals and socialists accuse conservatives, capitalists and Republicans, is the unnaturalness inherent in their own party and has been practiced by them throughout history.
Sonmi 351 illustrates a popular liberal strategy: we, the viewers, are put into a position of unreality by this line of the plot, because it's a real human playing the part of a robot with artificial intelligence (computer code to simulate human thinking patterns and emotional reactions) so we "forget" that she's a fabricant because we see her emotionally respond to situations to which we ourselves are responding; her capitalist employers at the food court only treat her like a fabricant because she is a fabricant! People who treat robots like robots--by the film's reasoning--are intrinsically evil!
To the viewer, and because of the inherent power of stories to grab the audience and compel us to identify with the characters, we believe that somehow the socialists who free Sonmi 351 endow her with human life, just as the slaves are endowed with freedom. This is impossible, but they promise it just the same, just like the sinking utopian island of Atlantis in Journey 2: Mysterious Island, and the ginger bread house made of candy in Hansel and Gretel Witch Hunters. The socialists employ our natural, human emotions and turn them against our brains.
Let's examine what position Cloud Atlas takes on art.
There is a consistent tattoo of a shooting comet upon several people throughout the story (those meant to do something important but not live long, shine brightly for awhile, but then expire). The "comet tattoo" appears on Robert which we see when Robert lies in bed with Rufus Sixsmith, and this "mark" and it reminds me of what was said of Edgar Allan Poe in The Raven, that Poe (John Cusack) had a great genius but God cursed him with misery. It's only misery, however, if you don't believe in God (and the last words of Poe in The Raven factually reflect Poe's real last words, God have mercy on my poor soul). To a Christian, suffering and misery is an allotment each person is given by God to aid them in fulfilling their destiny and preparing them for the glories of heaven; to socialists, suffering signifies a break down in the government and must be eradicated, unless, of course, that suffering comes from a socialist government, and then God help you if you criticize it.
In Cloud Atlas, artists are cursed with capitalists. The plot is clear that, had Robert not been compelled to go stay with Vyvyan, he could have worked on his art--with no worries about rent, food or theft of his ideas--if the state were sponsoring him,... we are not treated to an actual depiction of this grand idea, it's only hinted at as a better alternative to Robert foolishly shooting Vyvyan then later killing himself, BUT, had Robert had better surroundings, the film posits, the Cloud Atlas Sextet would have become a major work of art instead of being consigned to just a few copies in North America.
But this is where socialism fails to understand art.
There is an example of an artist under a socialist system, Soviet writer Aleksandr Solzhenitsyn, whom the film cites (by name two times) as being a great writer, and who also was writing against the socialist system which imprisoned and exiled him. Trying to understand the devastation the October Socialist Revolution caused Russia which became the Soviet Union, Solzhenitsyn wrote:
"Over a half century ago, while I was still a child, I recall hearing a number of old people offer the following explanation for the great disasters that had befallen Russia: "Men have forgotten God; that's why all this has happened." Since then I have spent well-nigh 50 years working on the history of our revolution; in the process I have read hundreds of books, collected hundreds of personal testimonies, and have already contributed eight volumes of my own toward the effort of clearing away the rubble left by that upheaval. But if I were asked today to formulate as concisely as possible the main cause of the ruinous revolution that swallowed up some 60 million of our people, I could not put it more accurately than to repeat: "Men have forgotten God; that's why all this has happened (Wikipedia)."
The film, while simultaneously holding up socialism and Solzhenitsyn, doesn't seem to realize how critical of socialism/communism Solzhenitsyn was and why. It's difficult to name great artists (of whatever medium) who have emerged from socialist states, but Solzhenitsyn was the writer most critical of the state imprisoning him, not glorifying socialism, and the makers of Cloud Atlas really don't seem to get that.
Here's a perfect example.
Timothy Cavendish is another character in the story and his book publishing perfectly deconstructs what socialism doesn't want us to know. Cavendish plays a publisher to Dermot "Duster" Hoggins (Tom Hanks) and we are supposed to be picking up the "hog" in Hoggins' character. Hoggins wrote a terrible book called Knuckle Sandwich (perhaps a reference to "brass knuckle tactics" we see in the anti-capitalist film Lawless), which was reviewed by a critic; Hoggins then throws the critic over the apartment railing, killing him on the street below. Even though Hoggins hasn't an ounce of talent, the infamy of the murder makes him famous and his book sells out, meaning that Cavendish also makes a tidy sum.
Enter socialism.
There is a problem with this, however.
Liberals/socialists have a very selective, random memory of history, specifically, that it was the Democratic party who enslaved the blacks in the Old South pre-Civil War, incorporating the "natural order" into their party platform to justify it, but also the socialist party of Adolf Hitler employed natural order to justify his party's slaughter of the Jews, homosexuals and Catholics. Socialists argue that Hitler wasn't a socialist, he was a Nazi, but he was a socialist and his programs were socialist: in other words, the very un-natural natural order of which liberals and socialists accuse conservatives, capitalists and Republicans, is the unnaturalness inherent in their own party and has been practiced by them throughout history.
Sonmi 351 illustrates a popular liberal strategy: we, the viewers, are put into a position of unreality by this line of the plot, because it's a real human playing the part of a robot with artificial intelligence (computer code to simulate human thinking patterns and emotional reactions) so we "forget" that she's a fabricant because we see her emotionally respond to situations to which we ourselves are responding; her capitalist employers at the food court only treat her like a fabricant because she is a fabricant! People who treat robots like robots--by the film's reasoning--are intrinsically evil!
To the viewer, and because of the inherent power of stories to grab the audience and compel us to identify with the characters, we believe that somehow the socialists who free Sonmi 351 endow her with human life, just as the slaves are endowed with freedom. This is impossible, but they promise it just the same, just like the sinking utopian island of Atlantis in Journey 2: Mysterious Island, and the ginger bread house made of candy in Hansel and Gretel Witch Hunters. The socialists employ our natural, human emotions and turn them against our brains.
Let's examine what position Cloud Atlas takes on art.
There is a consistent tattoo of a shooting comet upon several people throughout the story (those meant to do something important but not live long, shine brightly for awhile, but then expire). The "comet tattoo" appears on Robert which we see when Robert lies in bed with Rufus Sixsmith, and this "mark" and it reminds me of what was said of Edgar Allan Poe in The Raven, that Poe (John Cusack) had a great genius but God cursed him with misery. It's only misery, however, if you don't believe in God (and the last words of Poe in The Raven factually reflect Poe's real last words, God have mercy on my poor soul). To a Christian, suffering and misery is an allotment each person is given by God to aid them in fulfilling their destiny and preparing them for the glories of heaven; to socialists, suffering signifies a break down in the government and must be eradicated, unless, of course, that suffering comes from a socialist government, and then God help you if you criticize it.
In Cloud Atlas, artists are cursed with capitalists. The plot is clear that, had Robert not been compelled to go stay with Vyvyan, he could have worked on his art--with no worries about rent, food or theft of his ideas--if the state were sponsoring him,... we are not treated to an actual depiction of this grand idea, it's only hinted at as a better alternative to Robert foolishly shooting Vyvyan then later killing himself, BUT, had Robert had better surroundings, the film posits, the Cloud Atlas Sextet would have become a major work of art instead of being consigned to just a few copies in North America.
But this is where socialism fails to understand art.
There is an example of an artist under a socialist system, Soviet writer Aleksandr Solzhenitsyn, whom the film cites (by name two times) as being a great writer, and who also was writing against the socialist system which imprisoned and exiled him. Trying to understand the devastation the October Socialist Revolution caused Russia which became the Soviet Union, Solzhenitsyn wrote:
"Over a half century ago, while I was still a child, I recall hearing a number of old people offer the following explanation for the great disasters that had befallen Russia: "Men have forgotten God; that's why all this has happened." Since then I have spent well-nigh 50 years working on the history of our revolution; in the process I have read hundreds of books, collected hundreds of personal testimonies, and have already contributed eight volumes of my own toward the effort of clearing away the rubble left by that upheaval. But if I were asked today to formulate as concisely as possible the main cause of the ruinous revolution that swallowed up some 60 million of our people, I could not put it more accurately than to repeat: "Men have forgotten God; that's why all this has happened (Wikipedia)."
The film, while simultaneously holding up socialism and Solzhenitsyn, doesn't seem to realize how critical of socialism/communism Solzhenitsyn was and why. It's difficult to name great artists (of whatever medium) who have emerged from socialist states, but Solzhenitsyn was the writer most critical of the state imprisoning him, not glorifying socialism, and the makers of Cloud Atlas really don't seem to get that.
Here's a perfect example.
A part where Jim Broadbent, as Timothy Cavendish, has "returned to his first love," Ursula (Sarandon) and writing his own works instead of publishing others' works. This scenario of returning to the first love, and especially how it plays out in the film, is meant to remind people who have perhaps been successful in capitalist markets that when they were young and innocent, and probably supported socialism, they can still do that today because our first love was always our greatest love,... or so they want us to believe. |
Enter socialism.
As Cavendish enjoys his wealth from the sell of Knuckle Sandwich, three thugs come to Cavendish claiming they are friends of Hoggins' and they want Cavendish to give them $50,000. The thugs accidentally symbolize socialism, because whenever someone succeeds, a socialist government is thee to "drag them back down" to the equalized mediocrity the government artificially creates throughout society, so the thugs are not an accurate reflection of capitalism, rather, of socialism.
Now enter nationalized health care.
The nursing home Cavendish gets tricked into entering is partly owned by his brother Dennis (Hugh Grant), and Dennis does it to get rid of his brother borrowing money all the time and in part for revenge against his brother for having an affair with his wife Georgette (Ben Whishaw, yes, he plays a woman). The guilt of Cavendish's affair with his sister-in-law is overlooked (probably a symbolic reference to Cavendish "coveting his brother's wife," and possessions, i.e., he wants to be as rich as his brother and sleeping with Georgette is a way to do that). What Cloud Atlas focuses on is that, because the nursing home is privately owned, it is being used by the rich to "imprison" the elderly who are "no longer wanted" by their relations except to get their final will. So, the logic is, by nationalizing all nursing homes, your relatives can't punish you for sins you have committed by locking you up because they won't be able to use their wealth against you,... that's the logic. And you won't get into trouble for sleeping with you sister-in-law because "marriage" is only a religious institution that will be done away with because sex, too, will be nationalized and you can sleep with anyone you want.
In a work of art, a “highpoint” references a moment, detail, plot twist, character, etc., that is the interpretative "vantage point" from whence to interpret the film because of that singular element in the art, there is no other way to understand the encoded message/agenda but through that sutureof the highpoint revealing the message beneath the art's surface, i.e., the art breaks its own encoding. Every scene of Cloud Atlasis a highpoint, leading to a break-down of all its encoding in every scene and revealing a political manifesto in its place, in every scene, with no or little encoding, making it tedious to watch in addition to being a call for socialist revolutionaries to unite and overthrow capitalists.
Now enter nationalized health care.
Cavendish gets "tricked" into signing himself into a retirement home he doesn't want to be in by his older brother. In this scene, Cavendish and Mr. Meeks (left) engineer their escape from Nurse Nokes (Hugo Weaving, yes, the men play a number of women in the film, supposedly to make capitalism look "unnatural" but it really only makes socialism look unnatural). Mr. Meeks doesn't say anything except, "I know, I know." Which begs the question: what is it that Mr. Meeks knows? Four of the group have escaped the nursing home but Mr. Meeks has gotten left behind, so they risk their own escape to go back and get him (this is a jab that, "In America, you're on your own," because the capitalist government won't help you, only the socialist government will, and we saw this in Ice Age 4). They then go to a pub and have a drink when the pursuers from the nursing home catch up with them. Mr. Meeks stands up and, recognizing the Scottish makeup of the pub, incites the crowd to defend him because the English are taking advantage of him and disregarding his human rights and liberties; the Scottish being Scottish, immediately seize upon the English and beat them to a bloody pulp with the refugees from the nursing home escaping once again (please note that my mother's maiden name is McAlpin, the name of the first dynasty of Scottish kings, so I am very Scottish myself). This moment, and what happens and why, is imperative because of the tumultuous relationship of Scotland and England (and, because, it's very probable that this will come up in Skyfall, because the film is named for the Bond home in Scotland and is the scene of the major fight sequence of the film). Because the union of Scotland and England was achieved through the Treaty of Union, which came about as the resulting failure of the Darien scheme (a failed capitalist venture Scotland undertook which bankrupted them), and there are all those terrible, and bloody wars for Independence between the two countries, there still lingers some hostility which flares up occasionally. Socialists artificially employ the "take over" of Scotland by England as an anti-imperialist argument against capitalism, i.e., only capitalists are imperialists because capitalism (being Darwinistic and therefore unnatural) naturally seeks to enslave everyone; both Italy and Germany sought to take over African countries in World War II, the Soviets gobbled up all their neighbors behind the Iron Curtain, North Korea is still officially at a state of war with South Korea, etc. (there is literally too many examples to name here, however, I do discuss it in An Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini and the Vietnam War, how that song reflects America's policies in stopping the spread of communism). Cloud Atlas utilizes this bit of history to make the audience believe that everyone has more freedom under a socialist government than a capitalist government, however, socialist governments are historically the world's worst violators of human rights (China, the Soviet Union, North Korea, Nazi Germany, Fascist Italy, the Warsaw Pact countries, etc.). |
In a work of art, a “highpoint” references a moment, detail, plot twist, character, etc., that is the interpretative "vantage point" from whence to interpret the film because of that singular element in the art, there is no other way to understand the encoded message/agenda but through that sutureof the highpoint revealing the message beneath the art's surface, i.e., the art breaks its own encoding. Every scene of Cloud Atlasis a highpoint, leading to a break-down of all its encoding in every scene and revealing a political manifesto in its place, in every scene, with no or little encoding, making it tedious to watch in addition to being a call for socialist revolutionaries to unite and overthrow capitalists.
Eat Your Art Out,
The Fine Art Diner
P.S.--I am considerably upset about the attack Cloud Atlas makes on Seoul; here is the full episode of Peter and Dan Snow's 20th Century Battlefield special on the Korean War; if you know nothing about that period of the Cold War, this is the show for you!
The Fine Art Diner
P.S.--I am considerably upset about the attack Cloud Atlas makes on Seoul; here is the full episode of Peter and Dan Snow's 20th Century Battlefield special on the Korean War; if you know nothing about that period of the Cold War, this is the show for you!
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