Movie Critic Review: Death Proof (2007) Part One

MCA: Death Proof 2007 Part One

The American Dream

(Or How I Learned To Start Worrying And Love The Crash)

The shocking video clip below includes moments of configured sex/violence corporeal fusion in which the machine (the deathproofed car) is the virulent metal-organic erection of a rapist Thanatos, exonerated and unrestrained!
This sequence from Quentin Tarantino's "Death Proof" flashes representations of the varied but agonizingly empty, almost one-dimensional hyperreality. Squirts postmodern denials of unity of the fragments in their spatial quest for meaning. Elements high and low in quality playfully displace the viewer from the onlooker's spot and catapult him into the lap of the gasping assailant as he climaxes under the shower of hot blood.
The sequence resonates guilt and frustration into your judgmental capacity and negates the natural positive inside you that pinpoints the right from the wrong. The victim is stripped of victimhood. The aggressor might well be a simulation of you!
The land of the "American Dream" is suddenly a merger of the underground and subversive with the elite and righteous in a farcical passage of the hurtful time of non contractual convergences. A land fertile for the seeds of disfiguring configurations that throw everything into and out of wedlock for the heck of trying or taking the liberty to try! Such is the general outlook of this crash scene and the intertwining of sex and violence.
As argued by a Wayan of World Dream Bank "few movies are made in America that deal with sex WITHOUT violence. So sexual freedom becomes linked with the freedom to kill! Violence is MADE sexy!"
The human facial expressions in the split seconds of inflicted agony are transformed into masks by the extravagant abuse of substance and soul, trashing your sympathy into the squeaks of flesh and steel. "The American Dream does not appear as that which one lives out or even as ideology, but as a person and possession. One possible reading of this allegory involves the all-important theatrical concept of the mask." States one student of Albert Albees Pulitzer Prize winning play The American Dream.
Those who warned Tarantino not to film a reportedly drafted script about the evils of the American Dream, did not properly count both Tarantino's movies and the evils of the
American Dream!