The missiles are flying… Hallelujah! Hallelujah!

 

© Paramount Pictures / Dino De Laurentiis Company

 

With Donald Trump enacting his latest insanity – joining forces with Israel and bombing the bejeezus out of Iran, which has prompted the latter country to retaliate by firing ordinance in all directions and lighting up the Middle East like a Christmas tree – I find myself thinking of Greg Stillson, a character featuring prominently in Stephen King’s novel The Dead Zone (1979).  In the David Cronenberg-directed movie version of The Dead Zone (1983), Stillson is played by Martin Sheen.  It’s Sheen, as Stillson, who utters the quote that’s this blog-entry’s title.

 

Stillson is a psychotic bully who begins as a salesman, becomes a businessman and then a politician, and finally leads a populist movement that sweeps him into the White House.  Well, he does in one timeline.  Before winning the presidency, while he’s on the campaign trail, he shakes hands with The Dead Zone’s hero, Johnny Smith, who’s been blessed – or cursed – with the power to see into people’s futures just by touching them.  He has a vision of Stillson’s future wherein, as a despotic and unhinged US president, he presses the buttons that trigger an apocalyptic nuclear war.  Thereafter, Smith has to decide how he’s going to stop him.  (Spoiler – he does, but with tragic consequences for himself.)

 

I don’t know if anyone with clairvoyant visions touched one of Trump’s little hands a couple of decades ago and witnessed him pressing buttons and wiping out humanity in 2026, the 250th anniversary of American independence.  But it wouldn’t surprise me if someone had.

 

Anyway, it doesn’t need saying, but Trump’s actions – which began on February 27th, when in conjunction with the Israelis and under the moniker ‘Operation Epic Fury’, he had his military bombard Iran with missiles and drones; one source estimating on March 4th that nearly 900 people had been killed so far, including Iran’s Supreme Leader Ayatollah Ali Khamenei – are a vastly bad idea for many reasons.  Here are some of those reasons.

 

From wikipedia.org / farsi.khamenei.ir

 

One.  The attack is illegal under international law.  In the Conversation, Shannon Brincat and Juan Zahir Naranjo Caceres have written that “Israel said the strikes were ‘preventative’, meaning they were to prevent Iran from developing a capacity to be a threat.”  However, they point out that “preventative war has no legal basis under international law. The UN Security Council did not authorize any military action, meaning the sole lawful pathway for the use of force for self-defence was never pursued.”

 

Two.  The attack went against the American constitution.  The American historian Heather Cox Richardson has noted on her Substack: “In his letter to Congress notifying them of his attack, Trump said he had acted under the 1973 War Powers Act, which permits a president to attack another country if there is an urgent threat.  But the letter itself doesn’t identify any such urgent threat.  It simply said Iran is one of the world’s largest sponsors of state terrorism and that it ‘continues to seek the means to possess and employ nuclear weapons’…  The Framers of the Constitution placed the power to declare war in the hands of Congress and not in the president above all because they did not trust that much power in the hands of one man…”

 

Three.  It’s likely Benjamin Netanyahu bounced the USA into the attack.  Going back to Reason One, the supposedly ‘preventative’ nature of the USA and Israel’s assault on Iran is torturous to say the least.  A few days ago, US Secretary of State Marco Rubio said, “It was abundantly clear that if Iran came under attack by anyone – the United States or Israel or anyone – they were going to respond, and respond against the United States…  We knew that there was going to be an Israeli action. We knew that that would precipitate an attack against American forces, and we knew that if we didn’t pre-emptively go after them before they launched those attacks, we would suffer higher casualties.”

 

In other words..  We had to attack them before they attacked us, which they would surely do because Israel intended to attack them first.  This means the USA’s vast military firepower isn’t actually under the control of the American commander-in-chief, but under that of Israeli Prime Minister Benjamin Netanyahu.  The wily Netanyahu says ‘Jump’, the Americans say ‘How high?’

 

Four.  Dodgy Middle Eastern deals are possibly involved.  Who else, besides Netanyahu, has a finger in the pie here?  In 2025 Trump did investment deals with Saudi Arabia, Qatar and the United Arab Emirates, which he claimed were worth over two trillion dollars.  Qatar saw fit to gift – some would use the verb ‘bribe’ – Trump with a 400-million-dollar Boeing jumbo jet that he plans to turn into a new Air Force One, making one wonder how much of these investments will be enriching Trump and his clan rather than the USA itself.  Also, Trump’s son-in-law Jared Kushner and Steve Witkoff – the real-estate developer whom, laughably, Trump sent into negotiations with Russia about the Ukraine War even though he had zero diplomatic experience – have been in the Middle East lately as ‘envoys’, hawking the idea that the decimated Gaza should be reinvented as a luxury resort with ‘180 skyscrapers’ (and any remaining Palestinians, presumably, doing jobs like cleaning the toilets).

 

In the future, if a saner administration ever comes to power in Washington DC and launches an investigation into this debacle, it’d be wise to ‘follow the money’.  I’ll bet at least some of the encouragement for this war came from business interests and wealthy leaders in the Middle East who regarded the Iranian regime as an undesirable neighbour, lowering the tone and property value of the area, and wanted it removed.

 

Five.  It’s actually Operation Forget Epstein.  Trump likes to distract.  When the headlines look bad for him, he does something outrageous that generates different headlines – not necessarily favourable ones, but enough to banish the previous, bad headlines from people’s memories.  This works especially well in our screen-obsessed, social-media-fixated era where attention-spans are short.

 

On February 25th, the New York Times published a report under the headline EPSTEIN FILES ARE MISSING RECORDS ABOUT WOMAN WHO MADE CLAIMS AGAINST TRUMP.  This mentioned documents “released by the Justice Department” that “briefly mention a woman’s unverified accusation that Donald J. Trump assaulted her in the 1980s, when she was a minor.”  Yet other documents relating to these allegations have been withheld or removed from the public database about Trump’s paedophilic, sex-trafficking old buddy Jeffrey Epstein.

 

And two days later, the assault began on Iran.  Funny, that.

 

From wikipedia.org / © Jesse Monford

 

Six.  There’s no plan and no objectives.  The George Bush Jr-led invasion of Iraq in 2003, which toppled Saddam Hussein but created massive instability and led to huge numbers of fatalities – estimates of which range “from 151,000 violent deaths as of June 2006 (per the Iraq Family Health Survey) to 1,033,000 excess deaths (per the 2007 Opinion Research Business [ORB] Survey)” – was a ruinous fiasco. It was also built on the lie that Saddam possessed ‘Weapons of Mass Destruction’.  But compared to Trump’s Iran incursion, it looks like a masterpiece of planning.

 

For one thing, to have a plan, you actually need to have objectives, i.e., things to plan towards. Trump and his cabinet apparently have no idea what the goal of all this is.  Rubio, as we’ve seen, has said they’re waging war simply because that’s what the Israelis are doing.  Meanwhile, Trump has suggested at one point it’s to achieve regime-change in Iran and replace Khamenei with someone more compliant to US interests, as was allegedly done in Venezuela after the abduction of its former president, Nicolas Maduro.  Though the other day Trump admitted there was a problem with this because his airstrikes had killed all the possible candidates to take over: “…none of the people we had in mind are going to come to power, because they are all dead.”  No, so far, that doesn’t sound like a brilliantly executed plan.

 

Trump has also claimed the war is to prevent Iran developing nuclear weapons, even though after the USA carried out a bombing raid on Iran in June last year he was adamant that “Iran’s key nuclear enrichment facilities have been completely and totally obliterated.” Trump has tried to justify this new war by saying Iran was – here plucking a figure out of his arse – ‘two weeks’ away from acquiring a nuclear weapon.

 

Elsewhere, it’s been suggested the war is to encourage the Iranian people to rise up and overthrow the regime that’s oppressed and abused them for 47 years; to stop Iran sponsoring terrorism; and to destroy Iran’s navy.  But most likely it’s because Trump woke up the other morning, looked out of the window and thought, “Gee, this would be a good day to bomb Iran back to the Stone Age.”

 

Seven.  This sort of thing has been tried before.  Vietnam…  Afghanistan…  Iraq…  Libya.

 

Eight.  Possible destabilization of the Middle East.  Even if by some fluke Iran ends up with a Trump-and-Netanyahu-approved government, it’s difficult to see how it can impose order on a country so diverse and, after all this devastation and upheaval, febrile.  Iran’s population is 61 percent Persian, 16 percent Azerbaijani and 10 percent Kurdish, and the rest of it includes people like Lurs, Arabs, Baloch, Arabs and Turkish groups.  While it’s overwhelmingly Shia Muslim, 9 percent of the population are Sunni and other sects of Muslim and there are also Baha’i, Christians, Zoroastrians, Jews and Sabean Mandeans.  That’s before we get to political differences.  Has anyone in Washington DC considered this?  I doubt it.

 

Civil war in Iran could have devastating consequences for the Middle East.  We’ve already seen the current conflict’s knock-on effects on the world’s oil supply, especially the disruption of tanker-traffic in the Strait of Hormuz, and on air travel, with more than 20,000 flights grounded and a million people stranded around the world since late February.  The Middle East going J.G. Ballard is not good news for anyone.  Well, apart from Vladimir Putin, who’ll see an increase in demand for Russian oil.

 

Nine.  China may be thinking, “Hold my beer!”  Trump’s rhetoric about attacking Iran sounds uncomfortably like Putin’s excuse for invading Ukraine in 2022 – his goal was to ‘demilitarise’ and ‘denazify’ the country.  I also suspect China is watching keenly and wondering how it could cook up a similar motive for taking over Taiwan in the future.

 

Incidentally, Taiwan is the world’s foremost producer of Artificial Intelligence chips and according to the New York Times, without those chips, “the tech industry and the US economy would be crippled.”  Haven’t thought that one through either, have you, Donald?

 

From pixabay.com / © clecaux

Cinematically stoned (Part 2)

 

© Taplin-Perry-Scorsese Productions / Warner Bros

 

I ended my previous post by promising I’d give a list of my favourite movie scenes wherein songs by the Rolling Stones are employed to memorable effect.  Here it is.

 

Jumpin’ Jack Flash (1968) in Mean Streets (1973)

Wow.  Martin Scorsese really likes the Rolling Stones.  Not only has he made a concert movie about them, 2008’s Shine a Light, but he’s used their music in umpteen films: Goodfellas (1990), Casino (1995), The Departed (2006) and the one that first put him on the map, 1973’s Mean Streets.  Even today, more than 50 years later, the scene in Mean Streets where a young Robert De Niro comes swaggering through a bar, in slow motion, towards a pensive Harvey Keitel, while Mick Jagger hollers in the background about being “born in a cross-fire hurricane”, is a great synthesis of rock ‘n’ roll music and rock ‘n’ roll cinema.  Indeed, Jumpin’ Jack Flash is a fitting accompaniment for the arrival in popular consciousness of De Niro, who’d spend the rest of the 20th century showing Hollywood how to do proper acting.  The 21st century, featuring such efforts as The Adventures of Rocky and Bullwinkle (2000), Little Fockers (2010), New Year’s Eve (2011) and Dirty Grandpa (2016)…  Okay, not so much.

 

Satisfaction (1965) in Apocalypse Now (1979)

The Stones’ early, primordial and still potent stomper Satisfaction gets a brief but memorable airing in Francis Ford Coppola’s baroque Vietnam War masterpiece, playing on the radio while Captain Martin Sheen and his not-exactly-fighting-fit crew go cruising up the Nùng River in search of Marlon Brando.  Cue some funky on-deck dance moves by a frighteningly young-looking Laurence Fishburne and some funny / cringeworthy water-skiing moves by Sam Bottoms that knock various Vietnamese people out of their fishing boats.

 

© Omni Zoetrope / United Artists

 

Sympathy for the Devil (1968) in Alien Nation (1988) and in Interview with the Vampire (1994)

Graham Baker’s sci-fi / cop movie Alien Nation isn’t very good.  Its premise of an alien community getting stranded on earth and having to integrate as best as they can with the curmudgeonly human natives was handled much better in Neill Blomkamp’s District 9 (2009).  But I do like a woozy, hypnotic scene in it where alien-loathing cop James Caan enters a sleazy alien bar while a lady-alien performs an erotic dance to the strains of Sympathy for the Devil.  Not the original Stones song, but a correspondingly woozy, hypnotic cover-version of it by the great Jane’s Addiction.  I can’t find a film-clip of the scene, but here’s the Jane’s Addiction cover.

 

Meanwhile, Neil Jordan’s adaptation of Anne Rice’s Interview with the Vampire ends with Sympathy for the Devil on the soundtrack.  Again, this isn’t the Rolling Stones version but a cover, this time by Guns n’ Roses.  It’s every bit as ramshackle, shonky and (for me) enjoyable as the other covers Guns n’ Roses have done, for example, of Wings’ Live and Let Die (1973) and Bob Dylan’s Knockin’ on Heaven’s Door (1973).  Sympathy for the Devil kicks in when the vampire Lestat – Tom Cruise in one of his rare interesting roles – pops up to claim Christian Slater as his new vampirical companion for eternity.

 

Can’t You Hear Me Knocking? (1971) in Casino (1995)

While Martin Scorsese serenades Robert De Niro and Harvey Keitel with Jumpin’ Jack Flash in Mean Streets, he employs the Stones song Can’t You Hear Me Knocking? for another of his regulars, Joe Pesci, in Casino.  Remarkably, Scorsese plays all seven minutes of the Santana-esque Can’t You… as an accompaniment to a lengthy sequence showing how Pesci’s Casino character Nicky Santoro gets established in Las Vegas.  Predictably, the sequence has Pesci doing what Pesci usually does in Scorsese movies: being a psychotic shit, barking orders at hoodlum sidekicks twice his size, eating in restaurants, ingratiating himself with fellow Mafiosi, being a psychotic shit, cursing and swearing, getting a blow-job, being a psychotic shit, talking about food, knocking off jewellery stores, acting the loving family man with his non-criminal relatives… and being a psychotic shit.

 

© Légende Entreprises / Universal Pictures

 

Ruby Tuesday (1967) in Children of Men (2006)

Wistful Stones ballad Ruby Tuesday features briefly on the soundtrack of Alfonso Cuarón’s gruellingly pessimistic science-fiction thriller Children of Men.  It’s another cover, sung by Franco Battiato.  We hear it during one of the movie’s calmer moments when Theo (Clive Owen) is visiting his old mate Jasper (Michael Caine), whose home provides a small pocket of sanity amid the unfolding dystopian grimness.  Amusingly, Caine, well known in real life for being a right-wing old grump with an aversion to paying tax, here plays an elderly anarcho-hippy with a fondness for smoking exceptionally strong pot.

 

Gimme Shelter (1969) in The Departed (2006)

Martin Scorsese loves the Rolling Stones and he loves their apocalyptic number Gimme Shelter in particular.  By my count he’s used it in three movies: Goodfellas, Casino and The Departed.  It’s best deployed at the beginning of The Departed, rumbling in the background while gangland thug Frank Costello (Jack Nicholson) expounds his philosophy.  “I don’t want to be a part of my environment,” he intones, imbuing his words with that leery, languid menace that only Nicholson is capable of.  “I want my environment to be a part of me.”  Strangely, in Scorsese’s Shine a Light two years later, Gimme Shelter was one of the songs the Stones didn’t perform on stage.  Marty missed a trick there.

 

© Plan B Entertainment / Warner Bros

 

Street Fighting Man (1968) in Fantastic Mr Fox (2009)

Director Wes Anderson also sticks Rolling Stones into his movies, but so far I haven’t mentioned him because I think most of his work is smug, pretentious and annoying.  For example, Play with Fire (1965) figures prominently in 2007’s The Darjeeling Limited, an Anderson movie so twee I find it the cinematic equivalent of being force-fed with chocolate-cake mix.  However, I like the scene in his stop-motion-animation adaptation of Roald Dahl’s Fantastic Mr Fox where, to the sound of the rabblerousing Stones anthem Street Fighting Man, Farmers Bean, Boggis and Bunce use three diggers to tear up the den of the titular Mr Fox; forcing the den’s inhabitants to frantically dig an escape-route.  Yes, they really ‘dig’ that song.  Sorry.

 

And finally…  Out of Time (1968) in Once Upon a Time in Hollywood (2019)

I’m not the biggest fan of the Stones song Out of Time – Jagger’s vocals get a bit too caterwauling for my liking – but it sees good satirical use in Once Upon a Time in Hollywood, Quentin Tarantino’s paean to the American movie-making capital in the late 1960s, a fascinating period when traditional notions about what made a good film were rapidly being undermined by an uppity younger generation.  Played when Rick Dalton (Leonardo DiCaprio), his new Italian spouse Francesca Capucci (Lorenza Izzo) and sidekick Cliff Booth (Brad Pitt) return from Italy, where Rick has been making spaghetti westerns and action thrillers with the likes of Sergio Corbucci and Antonio Margheriti, Out of Time gives an one-the-nose summation of DiCaprio’s sad-sack character – an actor a bit too old, un-hip and uncomprehending of the changing world around him to get the leading roles he once did, now doomed to playing villains in second-rate TV shows.

 

© Columbia Pictures / Sony Pictures Releasing