SpyTHINK 022: Houston, We Have Serious Carl Foreman Anti-Stoical Problems

Military man loves me? He loves me Not?

We know Rear Echelon Mother Fucker (REMF) Stanley Kramer had a passive-aggressive dislike for police/military stoicism. 

https://jamesbondisreal.blogspot.com/2020/07/spythink-021-decoding-its-mad-mad-mad.html

Could it be that since he and his fellow REMF buddy, Carl Foreman were envious of combat veterans that this personal failing was the cause of their many sometimes PRO and other times, ANTI-police/military movies?    

REMF Foreman--who did not serve in combat in WW2 but was in a film unit safe in the U.S., was the author of CLEARLY HEROIC POLICE/WAR STORIES:

High Noon
The Bridge on the River Kwai
The Key
Cerano de Bergerac
The Guns of Navarone
Young Winston
MacKenna's Gold
Force 10 from Navarone

He said he liked telling stories of individual, STOICAL under dogs....

https://en.wikipedia.org/wiki/Carl_Foreman

Carl Foreman, CBE (July 23, 1914 – June 26, 1984) was an American screenwriter and film producer who wrote the award-winning films The Bridge on the River Kwai and High Noon, among others. He was one of the screenwriters who were blacklisted in Hollywood in the 1950s because of their suspected communist sympathy or membership in the Communist Party.

He once said his most common theme was "the struggle of the individual against a society that for one reason or another is hostile."[2] He elaborated that "the stories that work best for me involve a loner, out of step or in direct conflict with a group of people."[3]

Foreman's career was interrupted by service in the United States military during World War II. He served with the U.S. Army Signal Corps and was assigned to a unit that made orientation and training films, run by the director Frank Capra. [EDITOR: best movie ever made: "It's a Wonderful Life"] During his time in the services he helped write the script for Know Your Enemy – Japan (1945). He provided the original story for a John Wayne Western, Dakota (1945). Foreman says "I began to learn the craft in a serious way", in this time.[3]

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The Immoral Exceptionalism Gotya! Game to Reject Stoicism for Hedonism

Yet...he says the following nihilist defeatist crap; note its the same gotya! game of finding immoral exceptions to the MAJORITY'S STOICAL BEHAVIOR to shit-can ALL STOICISM. Just like libtards do today whining about police murdering 1x drug-thug criminal, George Floyd claiming it somehow authorizes them to commit THOUSANDS of rioting, looting, vandalism and murder crimes. 

WHAT GIVES?

https://en.wikipedia.org/wiki/The_Victors_(1963_film)

Carl Foreman wrote, produced and directed the epic. He called it a "personal statement" about the futility of war. Both victor and vanquished are losers.[4]

The film slips between Pathé-style newsreel footage showing the conquering heroes abroad for the audience at home, and the grim reality of battlefield brutality and post-conflict ennui. No battle scenes are depicted in the film.

The story is told in a series of short vignettes, each having a beginning and an ending in itself, though all are connected to the others, as a series of short stories adding up to a longer one.

Atypically of Hollywood interpretations of the Second World War at the time, the depiction of American G.I.s shows Soldiers worn out by battle, weary of conflict and capable of casual cruelty towards outsiders and also to other Americans. In one vignette a group of white American Soldiers attack and brutally beat two black American Soldiers. Others show American military personnel (star George Peppard) becoming players in the "black market," although Peppard goes back to his unit when he sees them leaving for the front, and Americans and Russians alike exploiting German women sexually. The hostility of German civilians towards their American and Soviet occupiers is also depicted. [EDITOR: my father's 1st wife was a post-WW2 German lady and she was pretty happy how he treated her, bringing her here to the U.S.A.]

One of the cinematic high points is the detour of one truckload of GIs out of a convoy, for the express purpose of supplying witnesses to the execution by firing squad of a G.I. deserter (a scene inspired by the real-life 1945 execution of Pvt. Eddie Slovik). Depicted in a huge, otherwise empty, snow-covered field near a chateau at Sainte-Marie-aux-Mines on Christmas Eve, while the film audience first hears Frank Sinatra singing "Have Yourself a Merry Little Christmas" and then a chorus of "Hark! The Herald Angels Sing", after the fatal shots are fired. [EDITOR: classic God-killing psyops] This scene is remarkable for its stark, visually extreme imagery, and the non-combat stress and anguish foisted on G.I.s during a lull in combat. The New York Times film review stated "it stands out in stark and sobering contrast to the other gaudier incidents in the film".[5]

The whole film is shot in black and white, and so the black regimented figures of the firing squad and witnesses face the lone man bound to a stake in the midst of a snow-covered plain. The addition of surreal accompanying Christmas music and absence of dialogue make this scene an often cited one. The juxtaposition of saccharine music with a frightful scene was emulated the following year by Stanley Kubrick in Dr. Strangelove, which was also shot in black and white.

An anti-war message also unusual for the time period - and particularly regarding America's involvement in the Second World War - is found in the final vignette. An American Soldier (co-star George Hamilton) stationed in post-war Berlin picks a fight with a drunken Soviet Soldier (Albert Finney), possibly to avenge the rape of his German girlfriend by Soviet Soldiers during the Battle of Berlin. The fight ends with each man killing the other and the camera slowly pulls back to show the bodies of the two one-time allies lying in the shape of a V for Victory in a seemingly limitless desert of rubble and ruins.

In August 1961, Foreman said the project would be titled The Victors as he felt the theme of the book was that in war the winners are also the losers.[12] In February 1962 Foreman arrived in Los Angeles to cast the movie.[13]

"It will be controversial and may well shock people", said Foreman in August 1962, just as filming began. "But it represents a deeply personal feeling I have about war and specifically heroism. People are very capable of coming up with heroism when it is necessary - but it's not a game anymore. What I resent is the need for heroism in warfare."[14] [EDITOR: why STOP there? How about resenting the need for heroism in LIFE since you see yourself as a non-heroic loser even though you stood up to McCarthyism?]

Plot

An American infantry squad is sent to Italy including Sergeant Craig, and Corporals Trower and Chase, and G.I. Baker.

The squad take possession of a small town in Sicily. Craig has to stop his men from looting. Baker strikes up a relationship with Maria, a young mother whose Soldier husband is missing. They talk to a Sikh Soldier. At another stop, white American Soldiers beat up black American Soldiers in a bar.

The squad then transfer to France. Craig spends the evening with a Frenchwoman who is terrified by bombing raids.

The men help liberate a concentration camp. In Ostend Trower meets Regine, a violinist, and falls in love with her. However she leaves him for a sleazy pimp, Eldridge. The men observe an American Soldier be executed for desertion.

Chase has a relationship with Magda, who suggests he desert and join her in the black market. He refuses, rejoins his unit, and is wounded in the leg.

In Belgium, Trower falls in love with a violinist called Regine. She leaves him for a pimp.

A newcomer to the group, Weaver, adopts a dog. But when the unit pulls out, his fellow Soldier, Grogan, shoots it dead.

When Chase gets out of hospital in England he is stuck at a bus stop in the rain. A man, Dennis, invites him in to have tea with his family. He has a pleasant time but when he visits Craig in hospital, he discovers Craig has had most of his face blown off.

The war in Europe ends. 

In 1946, Trower lives in the Russian zone of Berlin. He lives with Helga whose parents he provides with imported goods. Helga's sister has been sleeping with Russians. Trower gets in a fight with a drunken Russian Soldier. Neither understand each other, and the two men pull knives and stab each other to death.

The Victors was cut by about 20 minutes within a few weeks of opening. The version in circulation (to the extent that it is circulating at all) is 154 minutes (see Leonard Maltin's Film & Video Guide).

Among the sequences cut was one where an 11 year old boy, Jean Pierre, propositions the American Soldiers to exchange sex for food money. The Hollywood Production Code, also known as the Hays Code, insisted that several scenes be deleted. While the Code had been gradually liberalised in the 1950s-early 1960s, homosexuality was still something that could only be, vaguely, implied in order to get approval from the Hollywood Production Code and the Catholic Legion of Decency.[19]

The film was a box office disappointment. George Hamilton argued it "was way too dark, foreshadowing the great paranoid movies of the later sixties, ahead of the bad times that seemed to begin with the Kennedy assassination."[21]

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This is fucking bullshit; were it not for the heroic, moral violence of WW2 Soldiers, Foreman--and all the rest of us wouldn't even BE HERE. We need war heroism today, too. 

What is with Foreman's passive-aggressive, love-hate for the G.I./Tommy? Envy because he was a REMF? 

A Foreman--John Ainsworth Davis/Christopher Creighton Connection

https://en.wikipedia.org/wiki/The_Victors_(1963_film)

In November 1963, Dell Publishing issued a novelization of the screenplay by critic, author and war veteran Milton Shulman. The book's presentation is idiosyncratic, as it is both unabashedly a tie-in edition, yet seems to cautiously sidestep labeling itself an adaptation of the script per se. Both the cover and title page trumpet "Carl Foreman's The Victors" under which the byline is "by Milton Shulman, based on The Human Kind by Alexander Baron." bypassing mention of the actual screenplay. However, the copyright is also assigned to Baron. It is unknown whether Dell bid for the publishing rights and commissioned the novelization, or if Foreman engineered its publication. The latter would seem the more likely, given Foreman's possessive over-the-title billing, and that the source of the screenplay is itself an established work of fiction. In either event, the book sold well enough to earn a second print run, issued in January 1964.[citation needed]

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So the question must be asked--with Foreman beloved by the U.K. Pinewood movie industry--while banned from the U.S.--did he become a member of the "Eyes Wide Shut" Rothschild Illuminati of Stanley Kubrick?

https://en.wikipedia.org/wiki/Carl_Foreman

Foreman was elected to the executive council of the British Film Production Association, was made a fellow of the Royal Society of Arts and was appointed a governor of the British Film Institute (1965–71), the British National Film School and the Cinematographic Film Council.[6]

He was president for seven years of the Writers Guild of Great Britain.[6]

In 1970, Foreman was made a Commander of the Order of the British Empire. Such is his influence on the British film industry, that from 1998 to 2009 there was a British Academy Film Award named in his honor; the Carl Foreman Award for the Most Promising Newcomer.

When he returned to the U.S., he served on the advisory board of the American Film Institute, on the public-media panel of the National Endowment for the Arts, and on the executive board of the Writers Guild of America. He was also a member of the board of directors of the Center Theater Group in Los Angeles.[6]

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Kramer's The Sniper featured a sexual loser veteran murdering sexy women who reject him with a M1 Carbine, PRELM-fed Semi-Automatic Rifle: BAN WEAPONS, libtards? How about work on the peaceful integration of war veterans back into polite society?

I think YES.

James Bond is REAL.