Oct 13, 2014

Fight for Your Life




While the superlatively sleazy exploitation flick Fight for Your Life (1977) aka Blood Bath at 1313 Fury Road aka Getting Even aka Held Hostage aka I Hate Your Guts aka The Hostage's Bloody Revenge aka Hostage Staying Alive has been described by countless film reviewers as one of the most racist and politically incorrect films ever made (for example, the dorks at AllMovie.com described the work as “amazingly racist”) due to its depiction of a conspicuously white trash fugitive killer terrorizing a black bourgeois family and saying some not-so-nice things about negroes, the reality is that it is one of the most overtly anti-white (or, more like ‘anti-white proletarian’) pieces of Hebraic agitprop ever dreamed up by a bunch of scheming Semitic smut-peddlers, though that does not mean it cannot be enjoyed by the good, the proud, and the racially insensitive members of white America. Indeed, directed and co-produced by Jewish pornographer turned dentist Robert A. Endelson (Filthiest Show in Town), penned by Hebrew hack Straw Weisman (who, most recently, acted as an executive producer on his young kinsman James Franco’s 2014 Faulkner adaptation The Sound and the Fury), and produced by Judaic sexploitation mogul William Mishkin (who, among other things, was responsible for producing most of gutter auteur Andy Milligan’s films), Fight for Your Life is as shameless as films get as an unsubtle piece of majorly moronic race-hate that was clearly made to appeal to the more base instincts of both blacks and whites, the former being mostly depicted as dignified saints and the latter as a combination of law abiding morons who question nothing, resentful white trash scum, and nigger-loving whores. A work that, despite being about a cracker con that ‘tortures’ a nice negro family, only features whites being killed (including a prepubescent boy and a beautiful teenager girl), Fight for Your Life, not unlike the also Judaic directed mess Good Luck, Miss Wyckoff (1979) is just one sick Semitic fantasy where the Jew is nowhere to be seen and the white man is the authoritarian puppet master who wallows in torturing so-called ‘people of color.’ Starring mainstream actor William Sanderson (who is best known for his role as ‘J.F. Sebastian’ in Ripley Scott’s 1982 sci-fi masterpiece Blade Runner) in an exceedingly embarrassing role as a raving redneck rapist killer whose favorite words are “nigger” and “coon” and featuring a less than subtle “black power” message that rejects the Christian message of “turning the other cheek” (in one literally heavy handed scene, the redneck villain repeatedly smacks a negro patriarch on both sides of his cheeks with a bible), Fight For Your Life is the sort of film that makes it quite clear the Hebrews did their damnedest to fan the flames of white hate.




While traveling through Manhattan in a prison van en route to Sing Sing, southern fried white trash sadist alpha-con Jesse Lee Kane (William Sanderson) and his two slavish colored comrades—a sexually depraved East Asian named Ling Chow (Peter Yoshida) and a stereotypically coke-addled and flashy dressing Puerto Rican named Chino (Daniel Faraldo)—manage to escape after the automobile crashes and they murder the prison guards. Luckily, the fucked fugitive trio do not have to look far to find a car, which they steal from a typically effeminately dressed negro pimp, whose flashy clothes Chino steals. Meanwhile, an atypically cultivated negro family named the Turners headed by a self-declared pacifist Christian patriarch named Preacher Ted (Robert Judd) and his much more aggressive wife Mrs. Turner (Catherine Peppers) congregate at a dinner table and disagree with one another in a respectful fashion regarding their feelings on evil white folks and black unity. Unquestionably, the toughest member of the Turner tribe is wheelchair bound Grandma Turner (Lela Small), who, to the chagrin of pussy peacemaker Ted, proudly proclaims to her preteen grandson Floyd (played by Reggie Rock Bythewood, who went on to become a director/producer/screenwriter who has directed big budget black cinema garbage like Biker Boyz (2003) starring Laurence Fishburne), “Black Power…that’s where it’s at.” Mrs. Turner is not exactly a fan of crackers either and, unfortunately for her, her daughter Corrie (Yvonne Ross) is friends with her dead son’s white girlfriend Karen (played by Bonnie Martin and who she blames for the death of her son), who is invited to eat with the family. Of course, Karen will never make it to dinner, as sexually depraved chink Ling Chow will find her, molest her, and murder her, before she gets to the front door. Indeed, while on the run, Jesse Lee Kane and his multicultural minions make it to the Turner home and torture the family à la The Last House on the Left (1972), albeit in a bawdy and bigoted Blaxploitation fashion.




As killer Kane and his seemingly half-retarded comrades torture the Turner family to perform degrading Stepin Fetchit-esque routines, a humorous and uptight cop named Lt. Reilly (David Cargill)—a seemingly emotionally vacant fellow who so mindlessly follows the law that he got his own best friend’s son imprisoned in a horrendous jail due to a meager marijuana charge—begins looking for the three outlaws. A somewhat impulsively unhinged maniac, Kane makes the mistake of killing a liquor store owner not far from the Turner home, thus eventually leading cop Reilly and a bunch small-town hick police to the fugitives, but before then, the trashy criminals have their fun at the expense of the dignity of some rather dapper darkies. Indeed, Kane likes calling preacher Ted things like “black ass coon” and “black ass bugger.” In tribute to a MLK Jr. portrait hanging on the wall of the Turner home, Kane also says “Martin Luther Coon” a couple times. Unquestionably, Ling is the most depraved of the three fugitives, as he not only molests and murderers blonde teen Karen when he catches her walking to the Turner home through the woods, but he also beats in the skull of Floyd’s white friend and “blood brother” (David Dewlow), who also happens to be the son of the local Sheriff, who makes it a personal mission to take out Kane and his followers when he discovers his brutally murdered progeny.




Of course, like most post-WWII screen racists, Kane is depicted as a loser with an inferiority complex who gets a self-esteem boast by torturing poor little ‘minorities.’ In fact, Kane’s persecution-complex is so transparent that he more or less confesses to his victims that he was raped in prison while still just a teenager. Going from victim to victimizer, Kane rapes Mr. Turner’s virginal teenage daughter Corrie, which infuriates the patriarch so much that he finally gets the testicular fortitude to fight back against his torturer. Indeed, the last ten minutes or so of the film feature a racially-charged showdown between Kane and Mr. Turner, but before that, Chino is fatally wounded by a bullet to the balls by the Turner family and Ling commits accidental suicide when he attempts to make a great escape out of a window and is fatally wounded by broken glass. After listening in on the radio and learning that Corrie was raped, uptight lawman Lt. Reilly decides to break the law for the first time and throws a handgun to Mr. Turner so he can have a showdown with Kane, who is using Mrs. Turner as a hostage and has a gun to her head. After Kane states to Mr. Turner during their showdown, “Ain’t gonna be a fair fight, boy…everyone knows whites are naturally superior,” the spade preacher accuses the fugitive of being a faggot who was raped by negroes in jail, even stating, “Is that what happened to you Kane…some big black boogeyman stick it to you, boy? I knew you weren’t a man.” By this point, Kane begins losing more than just his cool and screams at Mr. Turner in a hysterically hateful fashion, “I hate you…You just like the black man my momma run off with.” Of course, Turner shoots Kane dead, thus spreading the message to black audience members to never accept pacifism when dealing with racist whites.




In its depiction of a poor white redneck who uses an East Asian and Latino to persecute a noble middle class negro family, Fight for Your Life seems to spread some audaciously absurd allegorical message about the state of America that borders on science fiction. If the film had been about a heinous Hebraic bankster who, with the help of an East Indian, a Chinaman, and a deracinated white liberal WASP, kidnapped and tortured a white Christian middle class family while demanding a pound of flesh, it would probably best reflect the current socio-political climate of America today. In fact, Fight for Your Life was made and advertised to incite blacks, which it did, or so was described by Bill Landis and Michelle Clifford in Sleazoid Express: A Mind-Twisting Tour Through the Grindhouse Cinema of Times Square (2002). Indeed, as the authors wrote regarding the experience of watching the film with a largely black audience: “When the pacifist Turner finally shoots Cain, the Empire crowd broke into cheers: “Fuckin’ cracker deserved it!” White patrons tried to leave the theater as unassumingly as possible […] The whole freakish racist hallucination is distinguished by William Sanderson’s idiosyncratic fireball performance as Cain, which inflamed the Empire audience into booing, hollering “cracker” and “honky,” and flinging any handy object at his image on the screen. Even little kids with their parents joined in the act. Sleazoid Express never witnessed an audience so enraged and unified against what was going on on the screen.”




Unquestionably, Fight for Your Life makes the perfect double feature along with the somewhat strange anti-Anglo Blaxploitation Bone (1972) directed by kosher cult director Larry Cohen, which depicts an arrogant slick-talking black buck thief torturing an white upper-middle class married couple. Of course, while white racist Kane is depicted as a purely despicable monster in Fight for Your Life, the eponymous black racist Bone is treated as a hero who gave two hypocritical bourgeois honkies just what they deserved, thus reflecting the rather transparent agenda among Jewish exploitation filmmakers during the 1970s, which is not all that different from the Hebrews that run Hollywood today. I certainly cannot think of a National Socialist propaganda film that is so hateful in its one dimensional propaganda that it depicts a Jew putting a gun to the head of a infant, but that is just one of the many cartoonish things one sees the redneck racist do in the Fight for Your Life, which does for American exploitation cinema what Judeo-Bolsheviks Leon Trotsky and Ilya Ehrenburg’s writings did in terms of siring irrational hatred for the dreaded Nordic race. Ironically, Fight for Your Life was also made to appeal to the very same racist rednecks it criticizes, thus demonstrating the truly ungodly lengths a Hebraic hack will go to just to make a shekel. 



-Ty E

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