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Inlantuind oameni liberi |
Critica de film |
Scris de Ninel Ganea |
Duminică, 07 Iulie 2013 19:30 |
“Copperhead” reprezinta genul de film care nemultumeste, in egala masura, atat publicul de cinema, cat si critica de film. Pentru spectatorii dedicati, pelicula are toate ingredientele unui spectacol din cale afara de obositor: o intriga politica foarte complexa, situata intr-un trecut obscur pentru standardele de azi, doua saruturi lesinate, o singura scena mai violenta, iar toate astea suprapuse peste atmosfera teribil de apasatoare a puritanismului “made in New England”. In acelasi timp, criticii de film nu vor putea inghiti usor o productie in care distributia maniheista a rolurilor jucate de cele doua tabere, in timpul Razboiului de Secesiune, este pusa serios sub semnul intrebarii. Sa sugerezi macar ca ar fi ceva in neregula cu “Honest Abe”, mai ales dupa tone de hagiografii si un portret encomiastic recent, semnat de Steven Spielberg, nu e cea mai buna reteta de succes. “As you know, I took a lot of criticism from the mainstream media for treating the men in blue and gray equally”, declara intr-un interviu recent regizorul Ron Maxwell, facand trimitere la receptia de care s-au “bucurat” “On Gods and Generals” si “Gettysburg”. Cu toate acestea, “Copperhead” este un film serios, curajos, inteligent, care disloca clisee, ridica probleme importante de filozofie politica si ne forteaza sa reevaluam atat istoria cat si prezentul. “Copperhead” reprezinta eticheta peiorativa, atasata pacifisitilor din Nordul Statelor Unite ale Americii care, in timpul Razboiului de Secesiune, s-au opus interventiei armate contra Sudului, declansate de Abraham Lincoln. Ei si-au sustinut pozitia invocand neconstitutionalitatea actiunii si efectele politice indezirabile, cum ar fi, de pilda, centralizarea politica excesiva si interzicerea libertatii de exprimare. Personajul principal al filmului, Abner Beech, este un astfel de “copperhead” izolat intr-o comunitate rurala, dominata categoric de abolitionisti radicali. Influentat de gandirea politica a lui Thomas Jeffferson, Beech ramane ferm pe pozitii constitutionale, in pofida opozitiei agresive a vecinilor sai, care ii boicoteaza produsele si incearca sa-l intimideze. O nota importanta a filmului e data de descrierea fanaticilor interventionisti, remarcabili printr-o fervoare religioasa speciala. Principalul opozant al lui Abner Beech este Jee Hagadorn, un personaj care, alaturi de pastorul satului, pare desprins din coasta lui Calvin. Cei doi au o perspectiva neagra asupra existentei si a naturii umane, reconfigureaza lupta interioara a omului cu raul intr-un razboi extern contra diverselor manifestarii ale pacatului (sclavia in cazul de fata), se vad drept arhangheli ai dreptatii, cazuti pe pamant pentru a-l purifica in vederea eschatonului egalitarist, in timp ce opozantii lor nu sunt vazuti decat ca manifestari insidioase ale Diavolului. Si, pe cale de consecinta, trebuie starpiti. Interpretii atenti ai fenomenului puritan din New England, precum Murray Rothbard, au sesizat continuitatea febrei fanatismului chiar si la mult timp dupa ce incarcatura religioasa s-a epuizat. De pilda, acelasi tip de personaj sumbru, descris in “Copperhead”, se va afla, ulterior, in avangarda razboiului “pentru a face lumea sigura pentru democratie”, a prohibitiei, si, de asemenea, in actiunile mai recente ale lui Hillary Clinton. “The hallmark and the fanatical drive of the left for these past centuries has been in devoting tireless energy to bringing about, as rapidly as they can, their own egalitarian, collectivist version of a Kingdom of God on Earth. In short, this truly monstrous movement is what might be called “left-post-millennialist.” It is messianic and post-millennialist because Man, not Christ or Providence, is supposed to bring about the Kingdom of God on Earth (KGE), that is, in the Christian version, that Christ is only supposed to return to earth after Man has established the 1,000-year KGE. It is leftist because in this Un al doilea punct important al filmului imi pare a fi critica abstractiilor politice, care survine intr-un dialog cheie purtat de Abner Beech cu vecinul sau Avery, personaj interpretat de Peter Fonda. Intrebat daca Uniunea nu inseamna chiar nimic pentru el, Beech raspunde printr-o enumerare a prioritatilor firesti din viata unui individ: “My family means more to me. My farm means more. Even though we disagree, Avery, YOU mean more to me than the Union”. Relevanta replicii nu ar trebui subestimata in epoca progresivista a “satului global” in care ni se inculca ideea ca ar trebui sa ne simtim vinovati pentru saracia planetara, ca ar trebui sa sustinem interventii militare pentru cauze neclare, samd. De altfel, creatorul filmului sustine raspicat ca mesajele filmului nu se rezuma la Razboiul de Secesiune, ci tintesc spre orizonturi mai familiare: “But the underlying issues are still there: Free speech.International sovereignty”. Iar in acest sens cuvantul de baza ramane Constitutia dublata de imperativul biblic al iubirii aproapelui. Nu e cea mai comoda solutie pentru o majoritate din ce in ce mai satisfacuta de iesiri tehnice din probleme morale, insa lectia demolarii Sudului, “ultima civilizatie non-materialista a Occidentului” si a inrobirii treptate a Nordului ar trebui sa fie o avertizare clara. Am eliberat sclavii si i-am facut pe oamenii liberi sclavi, conchide la un moment dat Abner Beech, parafrazand titlul unei carti semnate de economistul liberal Jeffrey Hummel. |