Apr 30, 2014

Nice to Meet You, Please Don't Rape Me!




I am not exactly sure of the exact idiosyncratic socio-political Weltanschauung that South African auteur Aryan Kaganof (Ten Monologues from the Lives of the Serial Killers, Beyond Ultra Violence: Uneasy Listening by Merzbow) has assembled for himself over the years as testified by his thematically complex and ever-changing oeuvre, but I feel that I have found a kindred spirit of sorts in his films, namely because he clearly does what he wants artistically, no matter what the consequences may be. Indeed, with his lovingly titled work Nice to Meet You, Please Don't Rape Me! (1996), Kaganof caused such a spectacle at the Pan-African Film Festival in Ouagadougou—the largest and most important film festival on the dark continent—that about 900 of the spectators left the venue after being deeply offended by the film and its semi-surreal depiction of white-on-black homosexual forced entry. Advertised with the endlessly endearing tag-line, “From the country that gave you apartheid, now the world's first rape musical...,” Nice to Meet You, Please Don't Rape Me! aka Confession of a Yeoville Rapist is a fiercely fucked filmic farce of the patently politically incorrect and catchy musical sort that follows three professional multicultural rapists—a Negro, Jew (actually, Kaganof did not mean for this character to be of the Hebraic faith but most reviewers assume he is and I think the film works more effectively if looked at from that perspective), and Englishman—who have been ordered by a South African cabinet minister to bring total equality to the rainbow nation by overcoming ‘rape prejudice’ and transforming the country into a place full of equal opportunity rapists. Indeed, while a deeply and intrinsically South African work that was shot on location in Yeoville, Johannesburg between April 26 and 28 in 1994 during the three days of the first democratic election held in South Africa, which inevitably resulted in Nelson Mandela becoming the first black president of the country, Nice to Meet You, Please Don't Rape Me! is also relevant to Europe, America, and the rest of the ex-European colonies in that it depicts a world where all races and creeds are ‘equal’ in terms of spiritual slavery and metaphysical rape as carefully carried out by a homogenizing system run by international bankers and other globalist entities. Of course, whether they want to admit it or not, one of the first things most Americans think (aside from AIDS, Mandela, apartheid, etc.) when they hear the words ‘South Africa’ is rape and in Kaganof’s film, sexual pillaging is the country’s sole growth industry and everyone is in on it, including heebs, nig-nogs, and bitchy Brit twits. A disturbingly prophetic, if not singularly comedic, work, Nice to Meet you, Please Don't Rape Me! features a whacked-out world where rape has become all the rage in SA, yet Kaganof's depiction of human depravity seems rather tame when one considers the facts regarding contemporary South Africa and its epidemic rape problem.  Indeed, rape has gotten so bad in South Africa since the film's initial release two decades ago that a piece of untermensch filth actually raped two female paramedics in 2010 while they were attending to the wounds of a burnt toddler, which is a scenario that is as unbelievably absurd as those in Kaganof’s marvelously maniacal melodic musical. Powered by the devilishly catchy title theme song “Nice to Meet You, Please Don't Rape Me” as sung by a vicious vag-terrorizing trio, the film is nowhere near as ugly as it sounds and is quite arguably Kaganof’s most accessible work, as a playful piece that uses Hollywood genre conventions against themselves, ultimately not only 'reverse-raping' rape culture, but also the mass media (in interviews, Kaganof has described the campaign by mainstream liberals to censor dark realities in SA as “the new Stalinism”), globalization, the International Monetary Fund (IMF), the pernicious philanthropy of white European liberals, and the sappy delusions of idealistic mainstream leftist morons who thought that Mandela would solve all of South Africa’s seemingly perennial problems. Originally planning to make a documentary on hatred against women in SA, Kaganof interviewed 15 rapists and 15 rape victims about their experiences, ultimately deciding that the nonfictional film format was too inadequate for getting his message across, thus siring something completely different, Nice to Meet You, Please Don't Rape Me!, which is quite arguably the only film that will make you ‘LOL’ at rape and South Africa’s total deluge into sub-barbarism. 



 As Nice to Meet You, Please Don't Rape Me! reveals in an almost sadistically satirical fashion, sexual ravagement is a booming industry in South Africa and is only going to rise with a vengeance with the election of the first black president, so ‘progressive’ politicians seek to recruit professional rapist soldiers to diversify sexual sadism in the country to make it a true rainbow nation of colorful involuntary coitus. Indeed, a fellow that goes by the title ‘Cabinet Minister’ (Bill Curry) meets up with a three-man multicultural brigade of rapists at a restaurant and tells them that in South Africa, a rape occurs “every 83 seconds but that simply is not good enough” and that they need to make sure that at least one rape occurs every single minute. The Cabinet Minister then unleashes the following objective to his trio of rapists: “We have to take in cognizance the changing norms and values of society. Indeed, we have to be two steps ahead of the game…always have and always will […] What I’m saying to you is…your mandate for the future will be to rape everybody regardless of race, sex, creed, color, gender, sex preference, height, looks, qualifications…it simply doesn’t matter anymore. Continued funding for our organization by NGOs and the IMF will heavily rely on your total desire to overcome rape prejudice and to see to it that this country becomes a country of equal opportunity rapists.” Naturally, the revelation of ‘total rape’ brings total joy to the three special serial rapists and they leave the restaurant together singing the following lyrics in broad daylight like good little politically correct globalist cattle: “Well, we’ll rape you when you’re walking on the street…we’ll rape you when you’re trying to keep your seat..We’ll rape you when you’re trying to make a buck […] we’ll rape you when you’re playing your guitar…but I would not feel all afraid because everybody must get raped…everybody must get raped…everybody must get raped...everybody must get raped…everybody must get raped.”  Indeed, not only will these men rape an eclectic collection of individuals, but also rape each other, as diversified rape is akin to spiritual divinity in a multicultural land where a rampant rape culture trumps true social order and racial harmony.




 As Nice to Meet You, Please Don't Rape Me! progresses, one learns that the trinity of sexual terror might be in solidarity when it comes to indiscriminate rape, but they have little in common otherwise and even begin raping each other—both literally and metaphorically—in what can be described as a sort of metaphysical cannibalism. Going simply by the names Rapist #1 (Eric Miyeni), Rapist #2 (Matthew Oats), and Rapist #3 (Gustav Geldenhuys), the crooning rape soldiers are more like archetypes than real individuals. Indeed, Rapist #1 is a black, Rapist #2 is a white Englishman, and Rapist #3, who acts as the sort of unofficial leader of the group, is a SA Jew (it should be noted that many Jews played a prominent role in the anti-apartheid movement, with Marxist Jew Joe Slovo being a longtime friend/ally of Nelson Mandela who became the ‘Minister for Housing’ of Mandela's ‘democratic’ government in 1994). As depicted early on in the film, the terrible threesome abduct white women (which are actually white mannequins, as Kaganof opted for not using real women, so as to not ‘excite’ certain viewers with realistic portrayals of rape) at gunpoint and then proceed to ritualistically rape them as a militant and specially organized team. Indeed, after kidnapping a chick from her car at gunpoint in a parking garage, the merry melody-making men carry their inanimate victim to the rooftop of a gas station and Rapist #3 proceeds to symbolically cover his white victim's body with black tar (after all, with the end of apartheid, all South Africans are negroes now!) before he sexually savages her. The unhinged trinity also attend ‘rapist classes’ where they are taught by a ‘Feminist’ (Winnie Ryall) about what does and does not constitute rape. For a test in class, the rape students must answer ‘true’ or ‘false’ to the following scenarios: 1. Women who go to bars alone ask to be raped. 2. A woman who does not report a rape immediately after it happens is lying or has behaved unreasonably. 3. Prostitutes cannot be raped. Instead of turning his test paper in, Rapist #3 (who sits by himself, thus indicating his superior status over the other two rapists) hands the Feminist a paper with the sentence, “A cunt is a hole and a hole is nothing” written on it. A rather stern but fair professor, the Feminist also examines her pupils' flaccid penises to see if they have the proper tools for the job (she gives special attention to black Rapist #3’s pecker). One night, Rapist #3 forces Rapist #2 to get drunk on beer, telling him, “You gotta love your own people before you change the world […] One more for your ancestors,” as the seemingly ethno-masochistic English man begins to tear up after suffering a ‘psychological rape’ of sorts as a result of having guilt due to his nation's leading role in colonialism and whatnot. Meanwhile, black Rapist #1 ritualistically rapes a white woman that is bound to a chair while sporting a mask of an old white Afrikaner politician in a rather symbolic scene. During the last major scene of Nice to Meet You, Please Don't Rape Me!, black Rapist #1 forces Jewish Rapist #3 to brutally whip and bugger him at gunpoint. While being beaten, black Rapist #1 yells, “teach me manners…teach me etiquette…teach me respect…civilize me…teach me to speak mother fucking English.” Before taking a vanilla member in his pitch black nether-region, Rapist #1 pleads, “Give me what you think you’ve got to give me. Give me my freedom. Give it to me up the fucking ass.” In the end, black Rapist #3 metaphorically bulldozes the fourth wall and states directly to the viewer: “I know you all just want to be victims. You fucking thrive on it…committed to your own slavery.” Indeed, it is really the politically correct rapists who are the real slaves, as demonstrated by various scenes featured in the film of the threesome chained together naked.  Not only are they self-deluding victims of their own nation's troubled history, but they must carry the burden of the metaphoric chains of that history into a dubious future where collective rape and genocide is more likely than any sort of real reconciliation amongst the black majority and declining white minority. In their political and spiritual impotence, the rapists take out their angst and hatred on the most defenseless and innocent of victims via rape, thus ironically strengthening the system that enslaved them in the first place. 




 In an interview conducted years after the release of Nice to Meet You, Please Don't Rape Me!, auteur Aryan Kaganof offered the following insights regarding his radical rape musical and the three actors that played the rapist leads: “I get letters from all three actors who are still to an extent dealing with the after effects of the openness with which they dealt with each other during the shooting. I think you can see that clearly in the final scene of the film in which the men are literally chained to each other: despite all the terrible stuff they have done to each other they still have to face the future together. It is a simple metaphor but I wanted it to be clear and I hope that South Africans get the opportunity to see the film. People have found the film extremely pessimistic… but for me it is about the insight that these people are bound together because of the appalling history that they share. So I see it as a hopeful film. Not a pleasant, but definitely an honest film.” Of course, it has been two decades since Nice to Meet You, Please Don't Rape Me! was created and rape, violent racial tensions, and government corruption have only got all the more ugly since the end of apartheid, especially for white Afrikaans, with the group Genocide Watch theorizing that recent attacks against white Boer farmers constitute early signs of an impending genocide against the dying Europid population. Indeed, aside from many whites being driven into abject poverty as a result of so-called ‘Employment Equity’ and ‘Black Economic Empowerment’ legislation, since 1994 when Mandela was elected as the first black president of South Africa, about 3,000 (out of a total 40,000) white farmers have been violently murdered by blacks, with a good percentage of these victims being raped and/or tortured before being killed, so it should be no surprise that many whites have opted for leaving the rainbow nation permanently. As for rape, sexual violence and child and infant rape (according to a 2001 report from the South African Police Service, children are the victims of 41 percent of all rapes in the country) in South Africa is now among the highest in the world, with an estimated 500,000 rapes occurring every single year, thus making Nice to Meet You, Please Don't Rape Me! seem like all the more of a strangely 'optimistic,' if not equally darkly prophetic, work in retrospect. Indeed, with the aesthetic plague of mainstream trash propaganda movies like Zulu (2013) featuring American negroes like Forest Whitaker portraying black South Africans, Nice to Meet You, Please Don't Rape Me! makes for a rare piece of honest and authentic South Africa cinema, which was Kaganof’s objective as a filmmaker as demonstrated by his remark regarding the film in an interview: “I wanted people not to see South Africa in the political correct way, like the political parties that say "here's the problem, here's the solution". I have made a film of questions, a document that can make the audience think around what rape might imply, without giving any absolute answer. It's difficult to watch. But whomever you might be I know you will laugh once in a while [...] Political correctness doesn't treat the fact that we are human and that our emotions and sexuality were formed before we were given a political consciousness.” An isolated piece of cinematic honesty in a psychologically plundered, Hollywoodized world drunk on spectacular delusion and p.c. puffery on worthless public figures and bogus philanthropic causes that merely obscure the real problems of South Africa, Kaganof's Nice to Meet You, Please Don't Rape Me! is a rare voice of sardonic sanity that reminds one that the post-apartheid rainbow nation is not the magic multicultural place that Clint Eastwood, Matt Damon, and Morgan Freeman cowardly led you believe it was in the repugnant work of sentimentalist celluloid swill that is Invictus (2009), but a sexually and socially sadistic real-life dystopia run by a small 'minority' of modern day slave-masters and inhabited by forsaken slaves of the mind and soul who will not rest until they have raped themselves into oblivion.



-Ty E

11 comments:

DIONYSOS ANDRONIS said...

THIS MUSICAL IS NOT A GOOD ONE BECAUSE IT IS MADE FOR "the sappy delusions of idealistic mainstream leftist morons" ("imbéciles" in french) AND MADE BY A JEWISH BAD FILM-MAKER:KAGANOF.

jervaise brooke hamster said...

LONG LIVE HETEROSEXUAL BUGGERY, DEATH TO ALL PANSY QUEER FILTH.

jervaise brooke hamster said...

Of course birds want to be fucked and buggered and sodomized when they say they dont, that ludicrous contra-twat-tion is derived wholly and completely from lies, hypocrisy, sexual repression, and absurd nonsense.

jervaise brooke hamster said...

If the rapists are faggots that does rather negate them as rapists ! ! !, a real rapist would only fuck and bugger and sodomize birds, he wouldn`t be a bloody dirty filthy disgusting pansy queer bastard.

jervaise brooke hamster said...

Why did you have to show the pictures of the chained together faggots ?, that spoilt the reveiw for me.

jervaise brooke hamster said...

That bird touching each dick looks a bit like Julia Von Heinz in profile, she was 18 in 1994 as well ! ! !...WOW.

jervaise brooke hamster said...

The fact that Kaganof chose to use dummys in the depictions of the heterosexual rapes (what a con) proves that this film really is only for faggot scum. DIRTY QUEER BASTARDS.

jervaise brooke hamster said...

I`m not surprised that the three actors who appeared in this film are haunted to this day by what they did, i will never understand why people would want to degrade and humiliate themselves by getting involved in such faggot oriented garbage to begin with, especially if they are heterosexual in real life ! ? ! ?.

jervaise brooke hamster said...

Heres hoping that literally every single one of the 500,000 rapes taking place in South Afrika every single year are carried out by rampagingly heterosexual geezers who are fucking and buggering and sodomizing the life out of a endless line of soft, sweet, defenceless, gorgeous sexy 18 year-old girls ! ! !. If literally EVERY rape did fall into that catagory it would essentially represent and constitute a perfect state of affairs ! ! !. DEATH TO ALL PANSY QUEER FILTH.

jervaise brooke hamster said...

Why are all these idiots crying about that ludicrous British turd Bob Hoskins snuffing it ?, so another fat smelly pile of Limey horse-shit has bit the dust ! ! !, who gives a hoot-in-hell ?, not me thats for sure, the ONLY good thing about that geezer was his rampaging heterosexuality, in literally EVERY other regard he was a fucking pathetic joke.

DIONYSOS ANDRONIS said...

ONLY HIS OLD FILMS WERE INTERESTING : FROM 1990 TO 2002. HIS LAST INTERESTING FILM WAS "WESTERN 4.33" DIRECTED IN 2002. SINCE THEN (even if we can find some rare exceptions like the above in his old ones) ALL HIS FILMS BECAME "LEFTISTS" AND THAT's THE REASON WHY I DON'T LIKE ANYMORE HIS CINEMA. THAT'S THE REASON WHY I NEVER WROTE ABOUT THE ABOVE ANY ARTICLE !