Sep 15, 2009

Lakeview Terrace

I absolutely loathe Samuel L. Jackson. For some reason, when I see him on a TV screen I just wish that his head would explode (kind of like in Cronenberg's Scanners) during one of those moments where he acts “uppity.” I have also never found Mr. Jackson to be “cool” nor have I ever felt that most of those “cool” films that he has starred in have been of any quality. I once explained to a burnt out hippie type why I felt that Black Snake Moan was easily one of the most degenerate stylized pieces of cancerous filth that I had ever seen. Naturally, the hippie fuck was baffled and just continued to talk about why he thought Samuel L. Jackson was so “bad assss.”

There is one performance featuring Samuel L. Jackson that I do appreciate and it happens to be in the universally hated film Lakeview Terrace. Of course, Lakeview Terrace is your typical Hollywood high quality (as in high priced) dung, but it features SLJ in a new type of role. Jackson plays a racist cop that hates race mixing and “progressive” types. When an interracial couple moves next door to this black racist cop, things start to get excitingly politically incorrect. Not only does SLJ hate race mixing, but he also hates wiggers that spend their wasted days loitering parking lots.

From my personal experience, I have encountered two types of black cops: lovable uncle toms (like Sgt. Al Powell in Die Hard) and angry racist black cops. SLJ does a superb job playing the latter type of cop and he also demonstrates a valuable point. The masses love Samuel L. Jackson when he’s a belligerent criminal unloading bullets into people, yet they hate him when he’s a belligerent criminal cop unloading bullets into other criminals. Are blacks only cool to the masses when they are criminals (or "messiahs")? Why is a black criminal cop something to be despised yet many times black gangsta crack dealers are considered cool?

Hollywood loves to romanticize over “minority” criminals and the masses love these imaginary criminals even more in return. In Lakeview Terrace, a black man holds a decent job and supports his family (as a single father) but is made out to be the ultimate villain. Of course, Hollywood is run by “men” that lack more than a little testosterone and hate to see a man that actually is responsible for his family. After all, isn’t it fascist and misogynistic for a man to run a household nowadays? According to Lakeview Terrace, “being a man” might even lead you to trying to kill interracial couples. Hollywood certainly knew how to channel Samuel L. Jackson’s “cool” uppity behavior and utilize it to demonstrate the PURE EVIL of a Negro dats gotta job!

-Ty E


Vince Ynzunza said...

One thing that I really appreciate about Soiled Sinema's film reviews is how the critique is not afraid to connect the content of the film with the state of the world at-large. Other film reviewers try this but when it is done correctly - the two worlds become inseparable.

Phantom of Pulp said...

First, it's good to have you back. I missed your potent, honest reviews.

Second, nice take on LAKEVIEW TERRACE and Jackson's so-called "cool" persona.

Totally true about Hollywood's uneasy relationship with black portraits.

Derek said...

Ty E:

Have you ever seen Todd Solondz's Storytelling? If so, how did you feel about the "fiction" portrayal of the dominant negro?

Soiled Sinema said...

Vince- Thanks for the groovy support and keeping up the good fight! Your dedication is very much appreciated!

Phantom of Pulp- Thanks for the welcome back and support. There is nothing I welcome more than serious and obsessed cinemaphiles/filmmakers as yourself. Also, thanks for seeing Hollywood for what it truly is! That is the mark of someone that truly loves cinema!

Derek- I reviewed storytelling a while back here:

The dominant Negro in Storytelling to me is typical of the "afrocentric" teachers you will find at most liberal art colleges across the United States. You will not find more unthinking and brainwashed individuals than your typical liberal college girl (or "boy"). Unfortunately, the pink haired girl in Storytelling finds out too late what is the outcome of "Afrocentric" and irrational multiculturalism. Just look up the rape statistics to find out the racial reality of crime in this country. Just like in real-life, the pink haired girl's classmates are offended by the reality of her situation. No one cares about nonfiction (as in a white girl getting raped by a Negro), but the irrational social construct of fictional contemporary "racism." A "racism" that has been reversed today as the Afrocentric "professor" demonstrates.

-Ty E