Oct 4, 2013
Despite being made over thirty years ago and being as American as apple pie in terms of its carnage-filled content, the death-filled documentary The Killing of America (1982) aka Violence U.S.A.—an anti-gun agitprop that chronicles the most infamous murders, assassinations, race riots, and serial killer/mass murderers since the death of JFK leading up to the early 1980s—has yet to be officially released in any format in the United States, which is not surprising, at least at the time of its initial release, as it is undoubtedly one of the most unflattering depictions of the USA ever made as a sort of cinematic rap sheet of American barbarism. A pseudo-intellectual mondo mix-tape of Americana murder and mayhem that strives for enlightening the viewer but thrives on sensationalism of the bloody and ultra-violent sort, The Killing of America is not a work that will entertain sadists and masochists (or a combination of the two) but also cinephiles as it was co-written and co-directed by screenwriter Leonard Schrader (Kiss of the Spider Woman, Naked Tango), the elder brother of writer/director Paul Schrader (Mishima: A Life in Four Chapters, The Comfort of Strangers). Describing America as the “land of a million murders and one hundred million guns” and a place with a homicide rate comparable to Third World shithole countries like Cambodia and Nicaragua during a civil war, The Killing of America wastes no time in portraying the United States as a fallen place of dramatic social, cultural, and moral decline, yet it ultimately has no serious answers as to why, as if the directors (Schrader co-directed it with relatively unknown documentarian Sheldon Renan) and writers (Schrader’s Japanese wife Chieko Schrader also contributed to the script) were too politically correct and fixated on their rather redundant anti-gun idealism to give it much thought, though they ‘dare’ to hint that the assassination of president JFK was a conspiracy. Featuring real-life stock footage of negroes being killed by white pig cops and race riots, as well as interviews with infamous criminals, including (but not limited to) anti-Zionist assassin Sirhan Sirhan, serial killers John Wayne Gacy and Ted Bundy, and mass murdering cult messiah Jim Jones, The Killing of America works best as an uncensored history of post-WWII American true crime, which makes more sense when one considers it was originally made for the Japanese market, who must have laughed their scrawny East Asian asses off after realizing how screwed up the nation that defeated and nuked them during the Second World War really is. A mundanely narrated archival document of American decline, The Killing of America inadvertently depicts a nation that, after embracing civil rights, multiculturalism, counter-culture movements, and liberalism, degenerated into a nihilistic negro-crime-filled real-life nightmare, so it is only fitting that the documentary concludes with the barely tragic assassination of alpha-hippie scum John Lennon.
According to The Killing of America, Japan, England and West Germany have a combined population (at least, at the same of the docs release) equal to that of the United States, yet while the former three countries have around 6,000 murders a year, the U.S.A. has about 27,000, thus demonstrating that the krauts and Japs should have probably won the Second World War and England should have sided with their Germanic brothers as America—the stillborn cultural and racial mongrel—is a misbegotten bastard from hell. According to the narrator Chuck Riley of The Killing of America, President John F. Kennedy was a “symbol of his handsome young country” (one must ask what Barack Obama is a symbol of!) and his dubious assassination more or less sparked America’s decided degeneration and assassins, snipers, political terrorists, cult charlatans, serial killers, and ‘mad saviors’ starting popping up all around America as if the country’s population starting worshipping death and destruction. In reference to blacks starting race riots and burning down America’s cities one by one in the name of ‘equality,’ the narrator states that the “government fought a war with its own people,” as if the burning down of cities and assaults against whites should have been simply tolerated. On top of that, the unpopularity of the Vietnam War lead spoiled bourgeois whites to rebel against the government, thereupon leading to a lot of the garbage counter-culture and Frankfurt School/New Left ideas that have become quite mainstream today, albeit in a degenerate form. As The Killing of America reveals, most snipers, assassins, and especially serial killers, are white males from middleclass backgounds with genius IQs, which is depicted in endearing interviews with real-life man-hunters Ted Bundy and Ed Kemper. In terms of murderous nonwhites, one gets to hear a heartwarming interview with Senator Robert F. Kennedy assassin Sirhan Sirhan, a Palestinian-American Christian whose greatest wish is that, “there should be peace in the Middle East.” One is also introduced to the whitey-hating crimes of Mark Essex, a negro spree killer who killed 9 people, including 5 police officers, and wounded 13 others in New Orleans in late-1972/early-1973 simply because they were white. Of course, aside from Essex and a black sniper who is featured being gunned down the police in broad daylight, The Killing of America totally underplays black criminality. In an aesthetically foul yet fitting (especially considering the film’s leftist anti-gun angle) conclusion, the assassination of John Lennon is discussed while the Brit hippie messiah’s hit shit single “Imagine” plays in the background.
Like a Michael Moore pseudo-documentary minus the Irish-American slob's infantile sneering humor and actually featuring a number of deaths in real time, The Killing of America is undoubtedly a work by a carelessly cliché leftwing ideologue who does not have the balls nor the common sense to discusses why the United States is turning into a multicultural Third World full of crime and corruption and lacking in even the most rudimentary of culture. Being a perennial peasant nation comprised of Europe’s rabble and ex-slaves whose ancestors were brought here unwillingly from Africa, not to mention an absurdly large and growing Third World population who have no interest in assimilating (not that I blame them, nor that most of them actually could if they tried), the United States is a monstrous mongrel of the untermensch sort, so it is only natural that criminality and cultural chaos reign here and one can certainly expect more of the same in the future as demonstrated by the latest news headlines. The Killing of America essentially depicts a country that, ever since winning the Second World War, has lost its moral compass and racial identity and thrives on fear and terror, as if these things are substitutes for real cultural ingredients, like classical music and arthouse cinema. With the assassination of communist-pawn charlatan Martin Luther King, Jr. resulting in race riots in no less than 125 cities as mentioned in The Killing of America, one can only wonder the sort of chaos that would erupt if some mental midget decided to assassinate the metrosexual mulatto messiah that is now, quite absurdly yet symbolically, the President of the United States.
As someone whose grandfather moved to the United States out of necessity when his own nation was destroyed during the Second World War and ultimately regretted obtaining citizenship in the so-called “New World”, I also think that The Killing of America overrates America as a nation before the assassination of JFK as America’s prosperity after WWII is almost solely the result of Europa’s destruction and the raping/pillaging/occupying of the Occident by the Americans. Culturally speaking, at its height, America was, at best, an over glorified European colony, but with the arrival of Jews and every other non-European race, it has thrived completely and totally on formlessness of the racial and cultural variety, where personal material gain is the sole collective ‘Weltanschauung’ that ‘unites’ the people in any sense. Personally, considering how things have deteriorated in every regard since its release, I found The Killing of America to be a bit ‘lighthearted’, especially considering we now live in a deranged pseudo-culture that respects serial killers (Se7en, Dexter) and criminals (Sopranos, Sons of Anarchy), thus the documentary would probably appeal most to serial killer fetishists and those with an interest in true crime, though those who have already read a book or two on the subject while learning nothing new, even if it features an iconic assassination or two. Undoubtedly, even the title of The Killing of America is outmoded as the United States is not being killed, but is already dead as a berserk zombie corpse with a Hebrew brain that is determined to infect the world with its deadly disease. Written by the older brother of the man who penned Taxi Driver (1976)—a film featuring an anti-hero eerily reminiscent in his thinking to various serial killers and assassins featured in the documentary—The Killing of America is ultimately a symptom of the forsaken society it condemns, but also a half-interesting, forgotten celluloid piece of American cinema history that strangely makes for a great double-feature with Martin Scorsese's underrated documentary American Boy: A Profile of Steven Prince (1978), a celluloid cultural artifact that provides a somewhat concise depiction of when and where (but not why) America lost its innocence, or at least its semblance of it.
Posted by Soiled Sinema at 11:35 PM
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