Aaron Dykes & Alex Jones, PrisonPlanet.com, Sept. 5, 2010
‘Machete’ reached the #3 spot at the box office opening weekend. But after viewing the film, it is clear that its producers lied about the extent of the film’s racial message, which includes vulgar atrocities, including the killing of a pregnant woman attempting to cross the border during one of the opening scenes. This deception about the film’s message could bring its tax incentives, worth millions in production costs, into question.
When Alex Jones expressed concern in May that a leaked script portrayed white characters as vehemently racist and wantonly murderous, or that a Latino mob is roused to take on border vigilantes in racial conflict, director Rodriguez assured Ain’t It Cool News, that he’d ‘had too much tequila,’ and that those types of scenes wouldn’t make it to the final edited version. Producer Elizabeth Avellan went on the attack just before the release, defending the tax incentives ‘Machete’ had practically already been assured. Avellan denounced the ‘uproar over the film’ as “unfounded and unnecessary,” stating there was ‘no reason for a denial of incentives’:
“A lot of people made up a lot of stuff in terms of what the movie is about and who the bad guy is,” she said. “There were a lot of things that people misconstrued . . . without even knowing the script and pretending they have a script.”
Now there is no doubt. Everything Jones quoted from the script was on screen in one form or another–and its tone was clear: opposition to illegal immigration is tantamount to murder, white racism and vile Machiavellian scheming. One scene that was excised from the script repeated the one-sided demonization of the Freedom Force vigilantes, who were to murder a young child on the border at the end. However, that ending was left behind for a different sequence altogether.
Reviewers like ‘Big Hollywood’ panned the film as ‘Dull, Convoluted, Racist and Anti-American,’ criticizing that: “‘Machete’ offers no middle ground, no reasonable, non-racist position against wide open borders for those fleeing from what one character describes as the “personal hell” that is Mexico.”
Who the illegals fight against on screen is one thing. What their words mean is altogether something else. That’s the shell game Rodriguez plays and his racially divisive messaging goes way beyond the normal cinematic political posturing and button-pushing. And you will never see a more stereotypically racist portrayal of Southerners, who, in an obvious reference to the border Minute Men, are not only played for cheap laughs but portrayed as sub-human animals who hunt and murder illegals–kill a helpless pregnant woman and say “Welcome to America.”
Blood-soaked and dripping with hate
It wasn’t the extreme levels of violence or its nudity that made this film so offensive; it was the one-sided approval of Hispanic revenge killings while uniformly demonizing the actions of the white groups involved. Though the head Mexican drug lord was the ultimate enemy, he was served exclusively by white politicians and radical groups; everyone in ‘The Network’ worked against him.
What’s more, the film was marketed towards Hispanic groups, including widespread promotion throughout Latin America, featuring a poster with an image of a blood-dripping machete (the symbol of peasant uprising). Now Hollywood’s exports aren’t just American cultural hegemony, but a weaponized-subsection of radicalized Latino culture that draws in crowds by playing to Hispanic supremacy.
There’s not been such an openly racist film in America since the early days of cinema where the pro-KKK ‘Birth of a Nation,’ and films featuring Charlie Chan and other “coolies” epitomized a cruder era of filmmaking full of offensive stereotypes. 70s exploitation films don’t come close to ‘Machete,’ despite inspiring much of its style. Today, such depictions from early cinema have been denounced. Why then would today’s politically-correct culture who denounce these stereotypes accept and praise a racist filmmaker who pans to the Hispanic market?