Pink Flamingos

Not rated yet!
Director
John Waters
Runtime
1 h 32 min
Release Date
12 March 1972
Genres
Comedy, Crime
Overview
Notorious Baltimore criminal and underground figure Divine goes up against Connie & Raymond Marble, a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
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AltRight.com Staff1
AltRight.com



(Reviewers' Site/Bio)

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

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  • How the Alt Right Ruined My Love of Film
    As time ripens the mind, wisdom renders a paradigm shift which tarnishes the love and discovery of that younger self which I now experience with a tainted sense of nostalgia. The Alt Right offers intellectual nourishment contextualized by history (not rationalized at history’s expense as in Marxist critiques) and aligned with the natural order which resonates deep in the marrow of the European soul. This Traditionalist understanding of the world far exceeds the infantile worldview of Marxist academia. Thus, the Alt Right’s Traditionalist worldview erodes this mode of pretension revealing the leftist narrative manifest in much of the world of film with seemingly very few exceptions. As a child growing up in the nineties, film offered a window into the greater world to which I did not yet have access. The nascent internet did not yet have streaming video. Waiting for pictures to load could be laborious. However, the the locally owned movie rental place provided a joy which could not be experienced in any other capacity. There was a certain discovery in the limited variety of film that one could watch in those days depending on what your local store could get. Often, you would end up watching films in which you had little interest because that particular film was the best of the hours’s offerings if you were watching TV. Thus, over the years, I would find myself watching a wide variety of movies from classics, to blockbuster re-runs, to obscure B-schlock. The burgeoning internet by the early aughts yielded a new selection of independent and foreign films which filled in the downtime afforded by my new college schedule. It was during this time period I discovered art house film and cult film and a variety of foreign classics. I read essays on Sergie Eisenstein’s Odessa Steps sequence from Battleship Potempkin. I wrote papers about communist Red Scare allegory in Invasion of the Body Snatchers. I discussed Pink Flamingos using the gender lens/feminist film theory. In my late teens and early twenties, I felt as if I was seeing film for the first time again learning how to unveil the layers using what I learned from college and from reading and from analyzing with friends after a viewing. This sophomoric appreciation of film gave me, as I now understand, a somewhat false sense of elitism which is one of the means which the academic institutions and universities use to turn middle class teenagers from the suburbs and rural communities further removed into the good-think cosmopolitans we know inhabit the urban wastelands of the West. As time ripens the mind, wisdom renders a paradigm shift which tarnishes the love and discovery of that younger self which I now experience with a tainted sense of nostalgia. The Alt Right offers intellectual nourishment contextualized by history (not rationalized at history’s expense as in Marxist critiques) and aligned with the natural order which resonates deep in the marrow of the European soul. This Traditionalist understanding of the world far exceeds the infantile worldview of Marxist academia. Thus, the Alt Right’s Traditionalist worldview erodes this mode of pretension revealing the leftist narrative manifest in much of the world of film with seemingly very few exceptions. The revelations begin with even the earliest cinema. Case-in-point Battleship Potempkin. Even this 1925 film features all that the Alt Right expects from film in 2017. Consider Sergei Eisensen. Born of a German Jew Father, whose father before him was a Christian convert who married a Swede, and a Russian Orthodox mother. Eisenstein, a mischling, manifests the classic features of the rootless cosmopolitan involved in film. Furthermore, Eisenstein’s considered his 1925 magnum opus a Marxist revolutionary allegory of a lowly ship crew engaged in mutiny against the ship’s officers. Additionally, many film critics since have noted the strong homosexual subtext to the film, and Eisenstein’s own homosexuality is well documented though not often publicized. Even in these seemingly “quaint” times, filmmakers used cinema as a tool which uses narrative as a vehicle to manipulate ethos, pathos, and logos for a socio-political effect. Jumping to 1956, Jew Don Siegel directed Invasion of the Body Snatchers. In this classic 50’s sci-fi drama, aliens take over the bodies of friends, neighbors, and relatives in this small, idyllic, though fictional, California town. Where the 1954 novel by Jack Finney seems to reflect the earnest fear of a potential silent communist invasion and subversion of America, the 1956 film adds a meta-narrative which satirizes the Red Scare providing a criticism of McCarthy era inquiries into communists in Hollywood which would have certainly affected colleagues, artists, and writers in Siegel’s social circle. The verisimilitude of the scope and intent of McCarthy’s suspicions have obviously been vindicated in the decades since. In this self-aware meta-narrative, Siegel accuses Americans of a fear induced conformity sparked by the House Un-American Activities Committee and various Senate hearing into Hollywood and the extent of communist infiltration therein. This film stands as an early example of Jewish filmmakers, either communists or communist sympathizers, chastising the very audience which sustains their careers. The traditional American demographic still continues to be the punching-bag of Hollywood proving that Europeans’ threshold for masochism is indeed very high. When you are young, you have a naive thirst for consumption of your particular hobbies. The want to see and learn more about film encouraged me to watch John Water’s 1972 film Pink Flamingos with friends one weekend. This particular film exemplifies the transgressive art film genre. There is no need to explain the plot. Just imagine everything a trashy, degenerate gay man (a gentile in this case) would put in a film starring a white trash drag queen. Today, I would not even finish reading a synopsis of this film. However, the academic intelligentsia defends this as a work of art, and, because I took their authority on art as a matter of fact, I engaged the film as if it were. Even now, I remember being repulsed by Pink Flamingos the same way I would feel repulsed by Harmony Korine’s 1997 film Gummo during that same time period. Before my awakening, the matter of quality was one of pretension. A movie could be considered good or artful if the film in question was critically lauded by hipster consensus, written about by university professors, and praised by published film critics. Now, the matter of quality faces a different criteria entirely. Film is put under the scrutiny of the following question: Is a film positive, neutral (apolitical), or negative in its critique of Western Civilization and to what extent? I would consider film and television negative toward Western Civilization if the film incorporates any of the following leftist narratives which includes but is not limited to homosexuality, any deconstruction of Western traditions/mores/gender roles, critiques of patriarchy, degenerate sexuality, and/or interracial sexual relationships. As you read the list of leftists narratives, a montage of films probably flash through the mind. Even though I do still continue to watch film and television, the desire to invest myself in the medium has died. I know that I am not the only one who feels this way. However, what may come out of this void? Much like music, the future of the Alt Right will include film and “television” by way of the medium of the internet. In 2017, we are already seeing a nascent culture grow around this movement. The fertile intellectualism of the last half century is finally manifesting in other mediums. Thus, the death of film to the tide of rising nationalists in the West will bear fruit in the time to come, and I am very much looking forward to this new Nationalist Renaissance in Art.
    ...
    (Review Source)

PJ Media Staff2
PJ Media



(Reviewers' Site/Bio)

  • The 50 Greatest Counter-Culture Films of All Time, Part II
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Support Liberty Island!', 'videoType': 'Curated' }); Click here to start reading Part I of this list-letter to the CEO of Liberty Island with ideas for his team of creative counter-culture writers drawn from my years practicing "pop culture polytheism," the worship of the images in mass media today.Dear Adam Bellow,As this series of films continues I'll expand the opening index to include links to each of the films that have come before it. Here are links to the first titles I discussed, establishing the paradigm of celebrating both mainstream, big budget films and also more obscure titles that more traditionally conjure up the idea of counter-culture:50. Disinformation: The Complete Series49. Maybe Logic: The Lives and Ideas of Robert Anton Wilson48. Yellow Submarine 47. Dark City46. By Brakhage, An Anthology: Window Water Baby Moving45. Dog Star Man44. Mothlight43. The Dante Quartet42. Lord of the Rings: Fellowship of the Ring41. The Two Towers40. Return of the King39. Dick38. The Avengers37. WatchmenI was nervous when publishing the first installment of this series, knowing that I was leaping off into the unknown again and certainly not going as detailed as I'll need to when explaining these ideas in my book someday. A few commenters pushed back, with criticisms I anticipated -- too long, all over the place, titles insufficiently "counter-culture" -- and that are partially justified:How do I defend such a broad understanding of "counter-culture" that the term can include both experimental shorts with moth wings taped to the film and hundred-million-dollar blockbusters? The fourth title from my list of "23 Books for Counter-Culture Conservatives, Tea Party Occultists, and Capitalist Wizards" remains my favorite definition and general history: 4. Counterculture Through the Ages: From Abraham to Acid House by Ken Goffman and Dan JoyPublication Date: September 13, 2005Official Description:As long as there has been culture, there has been counterculture. At times it moves deep below the surface of things, a stealth mode of being all but invisible to the dominant paradigm; at other times it’s in plain sight, challenging the status quo; and at still other times it erupts in a fiery burst of creative–or destructive–energy to change the world forever.But until now the countercultural phenomenon has been one of history’s great blind spots. Individual countercultures have been explored, but never before has a book set out to demonstrate the recurring nature of counterculturalism across all times and societies, and to illustrate its dynamic role in the continuous evolution of human values and cultures.Countercultural pundit and cyberguru R. U. Sirius brilliantly sets the record straight in this colorful, anecdotal, and wide-ranging study based on ideas developed by the late Timothy Leary with Dan Joy. With a distinctive mix of scholarly erudition and gonzo passion, Sirius and Joy identify the distinguishing characteristics of countercultures, delving into history and myth to establish beyond doubt that, for all their surface differences, countercultures share important underlying principles: individualism, anti-authoritarianism, and a belief in the possibility of personal and social transformation.Ranging from the Socratic counterculture of ancient Athens and the outsider movements of Judaism, which left indelible marks on Western culture, to the Taoist, Sufi, and Zen Buddhist countercultures, which were equally influential in the East, to the famous countercultural moments of the last century–Paris in the twenties, Haight-Ashbury in the sixties, Tropicalismo, women’s liberation, punk rock–to the cutting-edge countercultures of the twenty-first century, which combine science, art, music, technology, politics, and religion in astonishing (and sometimes disturbing) new ways, Counterculture Through the Ages is an indispensable guidebook to where we’ve been . . . and where we’re going.Why Counterculture Conservatives Should Read It:The key insight in reconciling counterculture and conservatism comes when we define the term historically, beyond just the caricature of the 60s hippie counterculture.A counterculture is just any group of people who choose to reject some aspect of a dominant culture and then live peacefully in opposition to it. The Jews were a counterculture. So were Socrates, Plato, and Aristotle. So were the Christians in ancient Rome. So were the Pilgrims. And the Transcendentalists. And the Mormons.Counterculture Through the Ages presents an alternative way of understanding the West: what if “Western Civilization” was actually just the compilation of all the best countercultural ideas that worked? What if Western Civilization wasn’t really about places or people or things but about a process to understand ourselves, one another, and our purpose in the world? And how do we figure out what that purpose is?So yes, I admit it -- my list was a mess, and so it shall be going forward. (I can only un-messify Aleister Crowley and Robert Anton Wilson and their basis in Kabbalah and Tarot so much! Learning how to jump from mess to mess is kind of the point. God hides in the spaces between the letters and in the connections between the cards, in the invisible gap between my mind and yours.) Counter-culture is messy -- it's a big muck mixing and gurgling together. But that's no excuse. I'll employ the new media tool highlighted in the last segment in an effort to cut down on the word count in this and future installments. Here's a basic start, as I've progressed through writing the list I've begun exploring new ways to utilize Instagram, Hyperlapse and other tools: I think I'm getting closer... #hyperlapse writing A post shared by Thoth, Ma'at & Husky Familiar (@thothandmaatmarried) on Sep 16, 2014 at 1:45pm PDT(I will try to improve the handwriting in future hyperlapses. Over the course of this list I experiment with a number of different configurations improving on that early one. I think for the next round I'll pick up a white board and dry erase markers...)In trying to define Western Civilization in broad we have to confront that WE are a mess. Americanism, the idea of the West -- we are a mess of conflicting ethnic, religious, and philosophical traditions all crammed together.But we must overcome our primitive tribal nature. Unfortunately some of film's most glorified filmmakers rose to prominence through glamorizing and glorifying their tribal identity, building whole careers on mythologizing their tribe, obscuring the ugly truth of their primitive ideologies. The next three titles on the list are by filmmakers I once idolized, though now look at with skepticism. However, each still has a film in their canon that runs counter to their usual output and offer useful lessons for counter-culture crusaders. class="pages"> https://pjmedia.com/lifestyle/2014/9/19/the-50-greatest-counter-culture-films-of-all-time-part-ii/ previous Page 1 of 16 next   ]]>
    ...
    (Review Source)
  • Why We Need To Celebrate More Holidays
    (”Pink Flamingos” is briefly mentioned in this.)
    Lifestyle This is Week 2, day 3 of my new 13 Weeks Radical Reading Experiment. I keep a daily journal of the most interesting media that crosses my path each day. See or create something I should check out? Email me at [email protected]/* https://pjmedia.com/lifestyle/2014/1/16/the-x-most-intriguing-things-i-read-on-wednesday-january-15-2014/ ]]>
    ...
    (Review Source)

Soiled Sinema7
Soiled Reviews



(Reviewers' Site/Bio)

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

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  • Cry-Baby
    (”Pink Flamingos” is briefly mentioned in this.)
    Cry-Baby is the undeniable mainstream cult success of John Waters' career. Although Pink Flamingos is more known to the midnight movie cr...
    ...
    (Review Source)
  • Bad Boy Bubby
    (”Pink Flamingos” is briefly mentioned in this.)
    Finally, the lines of bad taste and extreme nihilism have been crossed without squandering the quality of a film. I have seen countless film...
    ...
    (Review Source)
  • Flesh Eater
    (”Pink Flamingos” is briefly mentioned in this.)
    Bill Hinzman may be the most terrifying and iconic zombie in film history. His performance in George A. Romero’s Night of the Living Dead n...
    ...
    (Review Source)
  • The Crude Revolutionary Aesthetic of Sweet Sweetback's Baadasssss Song
    (”Pink Flamingos” is briefly mentioned in this.)
    Many film critics and historians have called Melvin Van Peebles Sweet Sweetback’s Baadasssss Song the first blaxploitation film...
    ...
    (Review Source)
  • A Dirty Shame
    (”Pink Flamingos” is briefly mentioned in this.)
    A Dirty Shame is the most recent film from the “pope of trash” John Waters. Only a pile of cultural garbage such as Baltimore could pr...
    ...
    (Review Source)
  • Mockingbird Don't Sing
    (”Pink Flamingos” is briefly mentioned in this.)
    The value of a tragedy on film can be somewhat redundant at times. When a film is made to showcase an incident "based on" some event that s...
    ...
    (Review Source)
  • Dying Breed
    (”Pink Flamingos” is briefly mentioned in this.)
    A common tactic in provoking irrational fear; take a true story and apply a "What if" element to the story in order to blindly steer the sc...
    ...
    (Review Source)

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