I don’t like to use the word “God” because it’ overused in the United States … it’s been politicized and has become an attack–like if you don’t believe in Jesus, you’re not one of us!
–Falling Down director Joel Schumacher
Bar none, the movie that readers ask me to review more than any other is the 1993 drama-tragedy Falling Down. In this post, those readers will get their wish. Be forewarned, however, that my take on this film may reinforce the maxim “Be careful what you wish for.”
Almost universally hailed in the new counterculture as a based and red-pilled movie, Falling Down chronicles the modern odyssey of William Foster, a former defense contractor running the gauntlet of early 90s Los Angeles to make it home for his daughter’s birthday party.
This simple setup takes a sinister turn when the audience finds out that Foster recently lost his job and his family. His ex-wife, who has a restraining order against him for no established reason, calls the police to stop him from seeing his child.
But the LAPD is the least obstacle in Foster’s way. At every turn, he meets resistance imposed by the disintegrating social trust of a diversifying metropolis. Foster always tries to reason his way out of conflict first, but when his opposition inevitably proves unreasonable, he responds with excessive force as his second, and final, resort. Foster plays no favorites. Whether it’s a seedy Korean shop owner overcharging for a Coke, a couple of Mexican gangbangers shaking him down for trespassing on their turf, or a Neo-Nazi caricature just being batshit gratuitously nasty, Foster shows he is no respecter of persons. All receive a brutal comeuppance.
Credit where it’s due, Falling Down does accurately portray the rampant disorders caused by a predatory finance sector feeding on the middle class, elites importing incompatible diversity to crowd out less tractable white male Christians, and police becoming enforcers for both. What everybody misses is that the movie comes down squarely on the elites’ side.
Propaganda expert Devon Stack lays bare Falling Down‘s subtle yet devastatingly effective anti-white and anti-male message in his incisive review.
Perceptive readers will have noted Joel Schumacher’s self-applied Witch Test at the start of this post. His unabashed failure should leave you with no illusions about where he stands. Like Foster’s ex-wife and the mercenary with a badge she enlists to kill him, Schumacher’s deft propaganda piece readily admits that straight, white, Christian men are being pushed into the dustbin of history. And it delights in asserting that’s where they belong.
Falling Down works marvelously as a study in how the Death Cult has conditioned its main audience to hate themselves for decades. You can learn a lot about the enemy from watching it. Just don’t pay for it.
