In “Death of a Nation,” Dinesh D’Souza laments the end of the “American Experiment,” brought low by racism, xenophobia, unlimited Koch Brothers money and gerrymandering, finally embracing its deplorable “Id” by putting a racist Russian puppet in the White House.
Nah. But that’s about as factual as the Punjabi Pinocchio of the Lunatic Right’s own pronouncements in “Death of a Nation,” a laugh-out-loud lie, almost from start to finish.
Seriously, if you haven’t fallen in the sticky aisles of whatever 9/10’s empty multiplex is showing this latest abortion by the Mengele of Moronic Political thought long before he equates Abraham Lincoln to Ronald Reagan, and then to Donald Trump — who pardoned him for his election fixing scheme of a few years back-– you probably are worried that your walker won’t help you get back up.
Because before that D’Souza, a pathological, well-connected hustler whose well-financed defense against corruption charges couldn’t keep him out of prison because he was guilty as hell, and stupid about it, has argued that “The South became more Republican as racism ended.” Oh REALLY? He’s quoted a Nixon campaign adviser who swore there was no “Southern Strategy” (Sure, we believe that, too.) that reformed the GOP as a racist xenophobic and Fundamentalist cult guaranteed to win “The Solid South” in general elections, and that the Nazis were inspired by and emboldened by the Democrats in America to start work on their Master Race.
The opening image of “Death of a Nation” is a recreation of Hitler’s last day — suicide and all. That’s right, a guy trying to distance today’s fascist, Nazi-sympathizing, treason-enabling GOP from “Nazi” and “fascist” labels sentimentalizes the Nazis, brands them as “progressives,” and then has the gall to visit the grave of Sophie Scholl, of the German White Rose resistance group to Hitler’s regime.
It’s a good thing D’Souza abandoned any belief in karma when he emigrated to America, because that’s all that keeps the real Scholl from reaching up from her grave and strangling his chinless neck.
Yeah, the “Punjabi” crack crossed the line, but hey, you make your bed with bigots, you get what you asked for.
Throughout “Death of a Nation,” which has the usual attacks on wingnut boogeymen the Clintons, “Antifa” and George Soros and the third act “patriotic” performances by D’Souza approved singers (an African American choir, ironically), the man finds himself coddling Nazis. Why is he so much more comfortable cozying up to American “alt right” swastika fan Richard Spencer, than any Democrat? Because he’s a gutless hack who flees “real” debate. He’d rather hang with those who don’t challenge his comfort zone or question his honesty/intelligence.
Not that he doesn’t interrupt Spencer when Mr. Alt Right rips into Reagan or corrects D’Souza’s hilariously dishonest insistence of “Republican vs Democrat” thru-lines, when the real connection between Andrew Jackson Democrats and Roy Moore Republicans is racism, capitalist “control” of working people, backwoods “conservatism.”
D’Souza cherry picks quotes from major academics, but as always, builds his standard array of straw-man arguments on the backs of D-list “thinkers” from the U.S. and Germany. He abandons context for quotes about FDR and others, leaves The GOP Great Depression, “Mein Kampf” loving Joe McCarthy and decades of outspoken GOP bigots, then and now, out of his narrative. Because. Well. Because.
There’s a whole half hour of Trump 2016 nostalgia to buck up the faithful. But the film’s focus might be a head-scratcher, pondering why D’Souza is talking so much about “resistance” and moral high ground in a testing time, with his sorts of people/corporations/oligarchs/fascists in charge of most state governments and all three branches of the hated Federal government.
But he can look out into his own audience, and into his savior Trump’s, and see the reckoning to come. They’re not just sending their money to Nigerian princes any more, and indictments are starting to pile up for their voted-in idols. And QAnon theories, “emails” and “pizzagate” won’t save them.
They’re out of touch, forever blaming the wrong people and party for their ignorance, poverty and moral bankruptcy and that gloomy future facing their kids. Their icon, put in power with Russian effort and Russian money (through the bankrupt NRA) is about to be indicted.
D’Souza is prepping these folks for the fall, and for his NEXT next book, which they will buy but not be able to get through, and his next movie — which they will applaud, in their ever shrinking numbers — because who thought putting this rhymes-with-Mitt movie in over a thousand theaters was a good idea (it’s bombing)? D’Souza’s on to the next hustle and con.
Maybe it’ll be about “straws” and “sucking away our freedom.”
Most hilarious of all is how eagerly they’ll await, in the fury and fog of Alex Jones and Fox News, the next affirmation that they’ve been right all along — that the dentist WAS putting microphones in their fillings, fluoride WAS a Communist plot, that billionaires (Not Trump, who isn’t one.) were their FRIENDS and brown, black and yellow people and foreigners were their inferiors. Except for the one they agree with.
MPAA Rating: PG-13 for strong thematic material including violence/disturbing images, some language and brief drug use
Credits:Directed by Dinesh D’Souza, Bruce Schooley, script by Dinesh D’Souza. A Pure Flix release.
Running time: 1:48