The Time Machine
by Mark Rivers
From Dreamworks SKG (Spielberg, Katzenberg, Geffen) comes the darkened-down version of H.G. Wells's "The Time Machine," starring Guy Pearce and a whole lot of negroes.
Guy Pearce has been in some films I've enjoyed: "Memento," "Ravenous," even "L.A. Confidential." But this is his first (and I hope last) foray into films that will be appreciated most by the world's arrow fodder (the "Armageddon" crowd, I call 'em). This version of "The Time Machine" takes Pearce, as a university professor set on changing his dead fiancee's fate, into the conflicted Utopia of the Eloi and the Morlocks, only this time the two races are shown in true Jew-endorsed fashion: black good, White bad.
In H.G. Wells's book, the Eloi were White. They were small, unassuming, and easy, sheep-like prey for their subterranean counterparts. The Morlocks were not so much White or negro as they were monstrous deformities; they had "flaxen" hair, but red eyes, and were said to have been inspired by a picture of a gorilla that spooked Wells as a child. In the 1960 version of "The Time Machine," the Eloi were presented as blue-eyed, Nordic types who were still pretty well sheep-like. The Morlocks were underpaid extras in cheesy rubber suits.
When the unholy Jew trinity of SKG, along with executive producer Arnold Leibovit, put together the 2002 version of "The Time Machine," they made doubly-damn sure that the sheep-like American audiences of today would get the message very clearly: "White bad...black good." The Eloi in 2002's "The Time Machine" are a race of mulattoes, most of whom have puffy lips, flat noses and dark, kinky hair. SKG makes sure the lemmings know where we're all headed, race-wise: that, after the moon inevitably explodes, the mean White folks with the English accents will pessimistically stay underground and develop their own cruel caste system, while the wholesome and peace-loving non-Whites stay above and rebuild the world.
The Morlocks, although still in cheesy rubber suits, this time have a spokesman; the oh-so-very-British Jeremy Irons as the Morlock uppercrust, who kidnaps the head negress from above so that he can "breed" with her and perpetuate his brain-box caste. Oh, and they eat the Eloi, too, just like before. Another embellishment to this version is the inclusion of a wacky negro holographic information kiosk (Orlando Jones). Through the miracle of suspension of disbelief, the holographic power cells stay charged for eight hundred centuries, and the hologram is able to tell the Time Traveller (and the audience) what is going on. Instead of ONE race, points out the wise negro hologram, there are now TWO; the good race (mulatto) and the bad race ("other").
The Negloi (as I'm now calling them) are not really sheep-like (though the hologram accuses them of such), but they do play the part of martyrs to the hilt. When the Time Traveller encourages them to fight back, they look at him like he's on fire. It was the same way in the book and the previous film, but Wells elaborates in the book by noting that the complacency of the Eloi is due to mankind having achieved its peak, and having no more need for strength, ambition or the will to survive. In this movie, the Negloi are shown as victims, so the audience can see the Negloi more as the African slaves in "Amistad" than as the trans-universal Egyptians in "Stargate."
The Negloi have also never heard of thievery. The Time Traveller gives his pocket watch to a niglet, and later worries aloud to the negress about it possibly getting stolen. "Stolen?" replies the negress. There is no such word in their vocabulary. Wow! We must all start breeding with non-Whites RIGHT AWAY, so that there will be no more stealing!
The 2002 version of "The Time Machine" has good special effects, and little else that is good. The machine itself has giant spinning wheels around it, the sound for which was provided by the noise H.G. Wells is making in his grave. Do not see 2002's "The Time Machine." If you must, rent the old version, or better still, read the book, and a see for yourself a few of the notions H.G. Wells had on race, communism and the nature of man.
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MARK RIVERS
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