Pirates, sailing the seven seas, or the Indian Ocean in this case, in search of bountiful booty, navigate, locate, negotiate.
Their hostages crew a vessel of little value in the projections of their shipping business, so Tobias Lindholm's Kapringen (A Hijacking) shrewdly economizes a bureaucratic humanism.
Leading the company's negotiating team, contrary to the advice of the expert they hire, is company representative Peter C. Ludvigsen (Søren Malling), whose unassailable acumen accrues early on, but his superlative skills have never prioritized pirates.
The advice is to sternly yet non-confrontationally play hardball, and stern yet non-confrontational hardball is played, leaving the captives and their families submerged in agonizing limbo.
The film poses the question, "does Ludvigsen proceed within humanistic parameters, delicately balancing an incisive international reputation with the needs of terrorized workers, seeking to bring them home as quickly as possible, without bristlingly breaking the bank?"
Obviously you can't give into the initial demands of pirates, but Ludvigsen can't seem to comprehend that his genius cannot match this style of adversary, and he delays until everything the expert suggested would happen, happens.
The workers don't even complain about the length of their incarceration, which I initially thought was a problem with the script, but it actually accentuates Ludvigsen's insatiable misplaced resolve, since they're so lugubriously loyal, because of their situation.
Imperceptibly hijacking the bottom line.
Showing posts with label Egoism. Show all posts
Showing posts with label Egoism. Show all posts
Wednesday, July 24, 2013
Monday, May 14, 2012
The Avengers
Prominent Marvel characters begrudgingly unite in Joss Whedon's The Avengers to battle the tyrannical intentions of the recently freed Loki (Tom Hiddleston). Loki travels to Earth in order to commandeer the Tesseract from S.H.I.E.L.D for the Other (Alexis Denisof) who promises him an army of Chitauri warriors in return (with whom he can launch an invasion).
The Tesseract is an extremely powerful and seemingly limitless source of energy.
The overt film's explosive enough, as superegos convincingly clash and physically exhibit their prowess. Their introduction's are concise and pinpointed, their initial meeting contentious and energetic, their conversation's confident, inquisitive and challenging, their commitment during battle self-sacrificing and unwavering, and so on.
Approaches and tactics are intently scrutinized before the necessity to act demands a united counter assault.
Much like any given Sunday.
This business of naming the overarching villain The Other is quite troublesome, however, insofar as this can be viewed as external difference financing and supplying Loki's imperialistic ambition.
Which is xenophobic.
And sucks.
After a nation engages in imperialistic activities a degree of underlying cultural paranoia is retroactively generated which can be thought of as manufacturing a subjugating unspoken psychological incision, an example of this incision's profusion being even more excessively manifested in A Song of Ice of Fire.
The Avengers themselves are exceptions overflowing with otherness as is S.H.I.E.L.D and the film's final confrontation takes place in New York.
These are local irreplaceable others, however, produced on planet Earth, apart from Thor (Chris Hemsworth).
As these special local others combat the 'extraterrestrial' forces of the Other in a metropolitan other the military's solution (the closest possible [ludicrous] representation of the people's voice in this film) is to send in a nuke and unabashedly obliterate all forms of difference.
But the narcissistic techno-other who cannot be somnambulistically subdued by Loki's sceptre catches that nuke and directs it into space, thereby using his 'idyllic' individualistic entrepreneurial ingenuity to simultaneously crush the threat of colonization and prevent a government sponsored homeland nuclear disaster.
He is then saved by brute force as he helplessly falls back to Earth (there's a disturbing image for labour relations [corporate fiefdoms anyone?]).
Thus, not so pleased with what's going on behind the scenes in The Avengers.
Thor does chastise Loki for considering himself to be above his potential subjects.
Thor who is from another planet.
Nice to see Harry Dean Stanton nevertheless.
The Tesseract is an extremely powerful and seemingly limitless source of energy.
The overt film's explosive enough, as superegos convincingly clash and physically exhibit their prowess. Their introduction's are concise and pinpointed, their initial meeting contentious and energetic, their conversation's confident, inquisitive and challenging, their commitment during battle self-sacrificing and unwavering, and so on.
Approaches and tactics are intently scrutinized before the necessity to act demands a united counter assault.
Much like any given Sunday.
This business of naming the overarching villain The Other is quite troublesome, however, insofar as this can be viewed as external difference financing and supplying Loki's imperialistic ambition.
Which is xenophobic.
And sucks.
After a nation engages in imperialistic activities a degree of underlying cultural paranoia is retroactively generated which can be thought of as manufacturing a subjugating unspoken psychological incision, an example of this incision's profusion being even more excessively manifested in A Song of Ice of Fire.
The Avengers themselves are exceptions overflowing with otherness as is S.H.I.E.L.D and the film's final confrontation takes place in New York.
These are local irreplaceable others, however, produced on planet Earth, apart from Thor (Chris Hemsworth).
As these special local others combat the 'extraterrestrial' forces of the Other in a metropolitan other the military's solution (the closest possible [ludicrous] representation of the people's voice in this film) is to send in a nuke and unabashedly obliterate all forms of difference.
But the narcissistic techno-other who cannot be somnambulistically subdued by Loki's sceptre catches that nuke and directs it into space, thereby using his 'idyllic' individualistic entrepreneurial ingenuity to simultaneously crush the threat of colonization and prevent a government sponsored homeland nuclear disaster.
He is then saved by brute force as he helplessly falls back to Earth (there's a disturbing image for labour relations [corporate fiefdoms anyone?]).
Thus, not so pleased with what's going on behind the scenes in The Avengers.
Thor does chastise Loki for considering himself to be above his potential subjects.
Thor who is from another planet.
Nice to see Harry Dean Stanton nevertheless.
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