Johnny Got His Gun

Not rated yet!
Director
Dalton Trumbo
Runtime
1 h 51 min
Release Date
4 August 1971
Genres
War, Drama
Overview
Joe, a young American soldier, is hit by a mortar shell on the last day of World War I. He lies in a hospital bed in a fate worse than death - a quadruple amputee who has lost his arms, legs, eyes, ears, mouth and nose. Unbeknown to his doctors, he remains conscious and able to think, thereby reliving his life through strange dreams and memories and unable to distinguish whether he is awake or dreaming. He remains frustrated by his situation, until one day when Joe discovers a unique way to communicate with his caregivers.
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Cultured Thug1
CT Rants



(Reviewers' Site/Bio)

⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

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  • Favorite Movies | Johnny Got His Gun | 7:15
    ...
    (Review Source)

PJ Media Staff1
PJ Media



(Reviewers' Site/Bio)

  • America Over There! A 10-Film Introduction to World War I
    Lifestyle Check out the previous installments in James Jay Carafano’s ongoing series exploring war films: The 10 Best Movies to Watch to Understand the Cold War, 10 War Movies Guaranteed to Make You Cry, America’s First Wars in 10 Movies, 10 Movies For Understanding the Civil War, A 10 Film Introduction to America’s Turn of the Century ‘Small Wars’.They called it the Great War, but not the good war. “The world must be made safe for democracy," declared President Woodrow Wilson.Others were not so sure. Many Americans were none too excited about Wilson’s war, Wilson’s peace or the anti-saboteur measures implemented at home that also swept up political dissidents, union activists and other innocents.Over the years, American films have reflected a variety of views about World War I and its aftermath. After all, movies tell us more about the people who made them and their audience than the war they featured. Here are 10 examples of schizophrenic Hollywood in action.10. The Lost Battalion (1919)Wilson told Americans they were fighting the “war to end all wars.” America’s first filmmakers wanted to show America’s first movie audiences America’s doughboys in action. This silent film includes some of the real soldiers, including Medal of Honor recipient Lieutenant Colonel Charles W. Whittlesey, reenacting the true-story of a U.S. battalion, cut off and surrounded, that holds out for six days until relieved. Six hundred men went into the battle. Fewer than 200 marched out. class="pages"> https://pjmedia.com/lifestyle/2014/9/3/america-over-there-a-10-film-introduction-to-world-war-i/ previous Page 1 of 10 next   ]]>
    ...
    (Review Source)

Counter Currents Staff1
Counter Currents Publishing



(Reviewers' Site/Bio)

⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

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  • Blind Cyclops: The Strange Case of Doctor Fredric Wertham
    (”Johnny Got His Gun” is briefly mentioned in this.)
    [1]

    Fredric Wertham, 1895–1981

    1,247 words

    In 1954 an obscure psychiatrist penned a book called Seduction of the Innocent which almost put paid to the entire comic book industry in the United States. The whole incident is almost forgotten today, but it is highly instructive over how “fire-storms” and cultural wars can break out. It is also reasonably true to say that–unlike the parallel film industry–it took American comics about three decades to fully ingest and recover from Doctor Wertham’s assault.

    Fredric Wertham was an Ashkenazic psychiatrist who basically applied half-digested ideas from social anthropology into the cultural realm. He definitely believed that many of the tear-aways and juvenile delinquents that he had to deal with in the late 1940s and early 1950s were the products of bad culture.

    It’s instructive to point out that Wertham doesn’t seem to import any information from other disciplines or clusters of ideas. Like Boas and Margaret Mead, he believes that Man is totally socially conditioned when almost the opposite is true. Strongly influenced by real criminal cases, Wertham believed that young louts and hoodlums were the actual product of their violent “reading” material.

    This is almost completely base about apex. It was true that reform school types majored on pulps, irregular ‘zines–the subliminal pornography of that era–and violent comic books. Many of the latter were published by Entertainment Comics (EC), owned by William Gaines, whose firm was virtually forced out of business as a result of Wertham’s fiat.

    It is important to realize that a small proportion of Wertham’s assertions were true, at least from a socially conservative perspective. About five percent of these comics or graphic novels depicted quite considerable sadism (eye gouging, etc.) and tacitly sexual imagery. It is also true that such material was unashamedly targeted at minors, children, and young adults. Most parents instinctively believe that the escapist material which the young like to peruse is harmful–and a small proportion of it doubtless is.

    [2]But what Wertham doesn’t understand (on largely ideological grounds) is that mankind’s nature proves to be biologically grounded–the social and environmental attributes of which are themselves tributaries of genetics. Goaty youths want to peruse violent, forceful, imaginative, masculinist, and heroic material in order to escape from an often hum-drum existence. It is doubtless correct, however, that those with a psychopathic personality will be attracted to material that ramifies with their deepest urges.

    The publication of Doctor Wertham’s Seduction of the Innocent led to his appearance before the Senate Sub-committee on Juvenile Delinquency and the decimation of the comics industry thereafter. Many of these comics were completely harmless, in my view–the majority of their themes were Gothic staples akin to Isak Dinesen’s Seven Gothic Tales, or the works of Ambrose Bierce, Arthur Machen, and Edgar Allan Poe. The bulk of them would quite easily have provided scripts or (more accurately) story boards for The Twilight Zone and other series in the ’50s.

    Nonetheless, due to the overwhelming ethnicity of those who founded the comics industry, a subtle “liberal” bias pervades. The touch (at this historical period) is extremely light, but anti-racism, a trace of anti-McCarthy feeling, anti-anti-Semitism, hostility to any type of color bar, a certain anti-police rhetoric, and an unheroic attitude to military service all prevail.

    [3]

    The latter point is quite interesting. In contrast to the virulent patriotism of Sergeants Fury and Rock at Marvel and DC later on, EC comics were pacifist, dead-beat, and cynical. It’s almost as if there attitude was more redolent of an anti-Vietnam war comic like War is Hell—even an ultra-cynical piece like Dalton Trumbo’s Johnny Got His Gun. (This piece of agit-prop, in artistic guise, goes right back to early Communist anti-war art, on the German side, after the Great War. This involved brochures or picture books which depicted soldiers who had been dreadfully maimed at the front. The Nietzschean response would be to commit suicide; the Leftist one to exhibit the maimed.)

    Wertham’s views were subtly different from all of this, however. Despite sharing the “soft Left” or Jewish humanist mind-set of EC (up to a point), he saw things in a much wider way. After all, his intervention led to the self-imposed Comics Code (for fear of state intervention), as well as the destruction of hundreds of thousands of comics by state troopers in the ’50s. Some grainy black-and-white photos from this decade still survive.

    It is interesting to note that much of the indictment of one particular government in the 20th century—book burning; persecution of modernist art; eugenics and dysgenics in psychiatric hospitals, etc.—all occurred in virtually every Western society. This includes Sweden, Britain, and the United States, where far Right movements were all conspicuously unsuccessful.

    [4]

    Bloated with success, Wertham attempted to “clean up” early television in the same way. But he was picking on a much larger, better financed, and more resilient industry here. It also possessed much more influential political backers and friends. His anti-televisual thesis, War on Children (1959) couldn’t find a publisher, and Wertham’s cultural influence subsequently waned.

    His response was to become even more hysterical and side-lined, however. In his fringe published book in 1966, A Sign for Cain, Wertham declared that the increasing violence, grotesquerie, desensitization, and commercial “paganism” of mass media was laying the grounds for a new Holocaust. This was an extraordinary claim when taken at face value!

    Yet Wertham was tapping into something—like Christian evangelicals and puritan campaigners of the time—who realized that generic media is a factor of 20 to 50 times more violent, explicit, sensual, sub-pornographic, and “uncensored” now than when I was born in 1962. Despite having campaigned for this “liberation,” many liberals are secretly uneasy about what they have unleashed—particularly if they settle down to have children in mid-life. But it’s too late now!

    [5]

    Put rather tritely, what Wertham and Co. misunderstand is Man’s dual nature. Most normal or well-adjusted people instinctively feel that children should be protected from low-grade material. Nonetheless, when it comes to adolescent and adult works, there is then a cultural war over the meaning of fare that oscillates between Eros and Thanatos. Humans are violent and erotic beings—this will manifest itself in culture.

    You either have Shakespeare’s King Lear, replete with Gloucester’s blinding scene with Cornwall, or you have the Marxist equivalent of the play, Edward Bond’s Lear, containing, as it does, Bond’s eye-removing machine. The latter is a counter-cultural testament to the utilitarianism of cruelty. The struggle is to decide whether you have one variant or the other; and what it means.

    At a much lower cultural level, does a Marvel comic like the Black Panther subliminally preach what Obama’s wife really thinks about the American Union; or does the revolutionary English Puritan Solomon Kane, another Marvel title from Robert E. Howard touched up by Roy Thomas, exemplify the glories of an Aryan warrior? Howard’s own words in one of his stories—a language use which was excised from a version printed in the late ’60s in Czechoslovakia.

    [6]

    Wertham himself declined later to a stumbling apologia for comics fandom, at least in terms of the fanzines which they produced themselves. These obviously didn’t contain the violent, mastodonic, and sensual material of which he disapproved. This work, The World of Fanzines (1974), attempted to reconcile him with a middle-aged clientele for graphic novels that viewed him with considerable hostility. There was even a revenge against him from within the community of fandom, Doctor Wirtham’s Comix and Stories (1979), which admitted that he was right.

    An age of Horror awaits us all . . .?

    ...
    (Review Source)

Kyle Smith1
National Review



(Reviewers' Site/Bio)

  • Trumbaloney
    (”Johnny Got His Gun” is briefly mentioned in this.)
    The new documentary on Stalinist screenwriter Dalton Trumbo attempts to make a joke out of communism (laugh line Trumbo used to use: “There are only 80,000 Communists in the whole country! The Elks are more dangerous than the Communists!”) and includes a scene from Trumbo’s movie version of his novel “Johnny Got His Gun” that informs us democracy is all about young men killing each other. More Trumbo mumbo jumbo in my posting over at Commentary Magazine.com. The essential book on this matter, by the way, is Ronald Radosh and Allis Radosh book’s “Red Star Over Hollywood,” which is devastating to the ignorance defense (long deployed by Hollywood itself) that its many Communists were too stupid to know what was going on in Stalinland, even as they were writing impassioned pieces for “The Daily Worker” and writing films such as (Trumbo’s) “Tender Comrade.”]]>
    ...
    (Review Source)

The Weekly Standard Staff1
The Weekly Standard



(Reviewers' Site/Bio)

  • Idiots’ Delight
    (”Johnny Got His Gun” is briefly mentioned in this.)
    The Hollywood Ten, a group of screenwriters and directors who briefly went to prison in 1950 for contempt of Congress when they refused to answer questions about Communist party affiliations from the House Committee on Un-American Activities (HUAC), have, in the past few decades, become cultural heroes. The movie industry, consumed by guilt for its blacklisting of uncooperative Communists and ex-Communists, has produced a slew of apologias. Blacklistees have received honors and awards and been h
    ...
    (Review Source)

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