The TouristTrevor Lynch
The Tourist, starring Johnny Depp and Angelina Jolie was released in December of 2010 and has come and gone in theaters, but it is now available on DVD. I recommend it highly. It is not a “great” or “serious” movie, nor does it try to be. It is, instead, something far rarer: an unabashedly entertaining movie that is entirely free of vulgarity, stupidity, and political correctness (or propaganda of any kind, for that matter). It is directed by Florian Henckel von Donnersmarck, the 6’8” German aristocrat who also directed the superb 2006 German film The Lives of Others.
The Tourist reminds me of the romantic-comic thrillers of the 1950s such as To Catch a Thief. Only the technology – which, mercifully, remains mostly in the background – gives one a clue that this is not a lost film from another, better time. The cast is entirely white, even the extras. The plot is cleverly constructed with a twist ending that I did not see coming – and I can usually spot them a mile away. The dialogue is intelligent, witty, and free of slang and vulgarity. This is a suspenseful and romantic movie, but it is also extremely funny without ever resorting to crudeness. The movie was filmed on location in Paris and Venice, and the settings are absolutely gorgeous. Yet the director does not let the locations do all the work, instead seeking out new and breath-taking panoramas. The score, by James Newton Howard, is also quite good. At 1 hour, 43 minutes, The Tourist is masterfully concise and fast moving without recourse to flashy and jarring editing.
Angelina Jolie is perfect in this movie. I have never been much of a fan before, but I am converted now. She is also absolutely ravishing. Her clothes and bearing bring to mind the glamor queens of the 1950s, Sophia Loren and Grace Kelly to be precise. There is absolutely nothing masculine or feminist about her character. She even gives her opposite number Johnny Depp some lessons in “game.” She is a real woman, impatient at the modern world’s shortage of real men. Depp is also brilliant as a shy, somewhat bumbling American tourist who bumps into a seductive stranger on a train (Jolie) and is drawn into a web of intrigue and danger. There is not a weak link in the rest of the cast, either, which includes Timothy Dalton and Steven Berkoff.
The Tourist is a monument to the beauty, sophistication, and glamor of the European race and civilization at their finest. This is a movie that racially conscious whites can enjoy without guilt or qualifications. Why then, was I surprised to learn that this movie was widely panned by mainstream critics, who were obviously reaching for the lamest excuses to keep you from seeing it? Consciously or subconsciously, they did not want white people seeing this movie because everything about it is a celebration of white virtue and achievement (even the villains are interesting), rather than the studies of white depravity and non-white greatness that the establishment deems salutary. Fortunately, The Tourist did well at the box office in spite of the critics. See it, and see why.
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I skipped it because of the reviews. I’ll give it a try now.
I just added it to my netflix queue. I had avoided it because I had listened to the critics so I’m happy to have been able to read this article.
The thing that bothers me about Jolie is her terrible attempts at using European accents. It’ll be nice to see Johnny Depp playing it straight for a change.
“It is not a “great” or “serious” movie, nor does it try to be. It is, instead, something far rarer: an unabashedly entertaining movie…” good description.
Nothing to write home about, and here lies the problem – this type of light entertainment movie has become so rare, that one feels like writing home about it.
It’s no wonder that there are fewer such films today. Escapism is inimical to the spirit of our cultural commissars. And such films are “sickeningly White,” as someone in the BBC once put it. Even the décor of our past is regarded with suspicion by such types. In Le terrorisme intellectuel (Paris: Perrin, 2004), Jean Sévillia wrote (p. 270): “En 2001, Le Fabuleux destin d’Amélie Poulain, le film de Jean-Pierre Jeunet, est considéré comme équivoque à cause de son décor de vieux Paris: ‘L’air d’accordéon, les quartiers villageois, le drapeau français, accuse Libération, on peut aussi en avoir peur.'” I wonder if the writer of Libération feared being arrested in a rafle and sent to the Vél d’hiv. Amélie (to use the English title) is a highly amusing and entertaining film. With the exception of a Maghrebian cast as a greengrocer’s assistant, and a few Blacks who appear as passers-by in the crowd, there are virtually no non-Whites in the film. In the eyes of the bien-pensants, this probably makes it a “racist” film, even though it is nothing of the kind.
One thing which has helped the Jews to effectively sell their poison to Whites — and make a profit while doing so — is their ability to package it in the form of entertainment. Perhaps it is more difficult for them to do this today. Their agenda is increasingly obvious, grotesque, and heavy-handed. In the past, their poison could appear as a seemingly mild and harmless intoxicant, for it was relatively dilute and one could choose one’s dose. Today, their poison is increasingly concentrated and unpleasant. I have less interest in movies and television programs than I used to. They appeal to me less and less. They are laced with goyicides.
I must confess that I cannot anymore watch any movie made in the U.K. The broth is indigestible.
I would add that we have to deal with a systematic and persistent down spiralling of the things we know and of the world around us into the depths of apostasy.
You sit in an armchair and take time to ponder over things, the next time you look at the window the world has changed, without seeming to, and the people who do not take time to ponder have moved yet a bit more far away from you in another system of references.
The link with the film ? this type of example serves as a landmark for the phenomenon described.
We can hope that this race, this incessant and tiring speculation into the absurd will stop. If so, when ?
Thank you for this review, I haven’t been to a movie or turned on my TV in years, because I hate and resent having all those black faces shoved at me. I live in South Africa, and I’ve OD’d on black. When I started to read this review, my first thought was “Yeah, but does it have black characters?” – thank you for addressing that.
More, please. I had more or less concluded that I would have to confine myself to old John Wayne movies for entertainment.
As soon as I get home I am going to rent this and have a girls night with my daughters to watch it, Thanks for the recomend.
I just saw this movie on DVD, after reading your review.
I loved it. It had a good storyline, witty dialogue and beautiful settings in Paris and Venice. Johnny Depp and Angelina Jolie played their parts well. It was well-paced and entertaining. And yes, the surprising ending was great. Thumbs up!
It was equally notable for what it lacked. There were no wise-cracking, loveable black criminals or all-knowing, senior black police officers. No ball-busting feminists. No diversity at all, in fact. No sly references to “the holocaust” and the Evil Nazis. Also – no boorish behaviour and sleazy sex, and minimal swearing and profanity.
I pretty much gave up on movies 10 – 15 years ago, but occasionally a gem like this appears among the muck and dross.
Thanks for the review!
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