Liam Neeson in the Flying Film “Non-Stop”

Edmund Connelly, Ph. D.


In February I reviewed the film Sully, a tale of White heroics on the Hudson River. Director Clint Eastwood cast Tom Hanks as Captain “Sully” Sullenberger and managed to keep the entire film a White affair.

Today I have a less profound flying film to play with, but still one with a pro-White perspective, which is reason enough to feel good inside. Hollywood does, after all, appeal to White audiences, at least some of the time. In this day and age even Thor can be played by a black actor, so when Hollywood hands us a treat, as they did with Sully, and now Non-Stop, we can sit back and enjoy it.

The plot of the film is totally preposterous, so accept that for what it is. We are, however, treated to a fine performance by Irish actor Liam Neeson, who has somehow been transformed over the years from a serious actor with serious roles to an action hero, albeit a good one. I know I sure didn’t see that coming when I watched him in the Steven Spielberg-directed Schindler’s List (1993).

Liam Neeson as Oskar Schindler

By the turn of the millennium, however, one began to see how Neeson had transitioned to an action character, playing Jedi Master Qui-Gon Jinn, the main character of the 1999 film Star Wars: Episode I – The Phantom Menace. A few years later, in K-19: The Widowmaker, he appeared as the executive officer aboard a Soviet nuclear submarine involved in a disaster, and in Batman Begins (2005) he was arch-villain Ra’s al Ghul.

 

I felt he had completed the transition to action character by 2008, when the first of three Taken  films appeared. Wiki too notes that “Numerous media outlets have cited the film as a turning point in Neeson’s career that redefined and transformed him to an action film star.” As a retired CIA field operative named Bryan Mills, Neeson’s character chases bad guys who have kidnapped his daughter in Paris. As luck would have it, I reviewed the film seven years ago. See here.

One of my points in the review was that once again Hollywood was peddling the image of depraved, lustful Arabs. Some things never change.

 

Nabil Massad as Sheik Raman

Finally, we get to Neeson’s 2014 flying film Non-Stop (and here’s a useful trailer).  Be warned: the following is full of spoilers.

In essence, Neeson’s character in Non-Stop, Bill Marks, is identical to his Taken persona, morphing from a CIA agent into an air marshal (and former NYPD cop). We meet him as he’s preparing for his latest assignment, guarding a flight from New York to London. To brace himself, this alcoholic pours a stiff drink, then boards his flight. To make a long story short, once in the air, Marks gets messages on his secure e-mail line that predict murders every twenty minutes until $150 million is transferred into a bank account. It turns out the account is in Marks’ own name, so the film becomes a thrilling whodunnit. Is it really Marks, or is there another killer on board?

The next four potential suspects are also White: Jen Summers (Julianne Moore), who has maneuvered her way into the window seat next to Marks; flight attendant Nancy Hoffman, who knows Marks and knows about his drinking problem; Austin Reilly, an active NYPD policeman; and Tom Bowen, a schoolteacher. Two non-whites are the Black computer whiz (surprise!) Zack White and a very dark flight attendant. Then to really raise our suspicions, there is Dr. Fahim Nasir, a physician wearing a Moslem prayer cap.

Before getting into the racial politics of the film, however, I must say I was surprised at how closely much of the plot of Non-Stop follows that of the 2005 flying film Flightplan, starring Jodie Foster. To begin with, both protagonists are bereaved, Marks having lost his daughter to a childhood illness, and Foster’s character Kyle Pratt having lost her husband to an apparent suicide. Next, the entire tension in each film revolves around the strong suspicion that the protagonists themselves are somehow to blame. The back and forth over this mystery occupies the broad middle of both movies.

A key factor in raising our suspicions about the protagonists is the discovery that money is the motive for the onboard hijackings, and the bank accounts in both films can be traced to the protagonists themselves. In Non-Stop Marks is an air marshal, but there is also a crooked air marshal aboard, one smuggling cocaine. Flightplan also features a crooked air marshal, who turns out to be the actual extortionist. Oh, both films give us suspicious Arabs — 9/11 and all that, I guess.

Oddly, I found no mention of these connections on the major sites discussing Non-Stop, instead finding only what looks like a personal blog here, which admittedly is insightful on both movies. In any case, by far the biggest shared characteristic of both films is their impossible-to-believe plots. Just accept that you will not find either film the least bit plausible. Then either sit back and enjoy them — or don’t.

Now, the reason I am doing this review for TOO is because of the race (and gender) politics of Non-Stop. As mentioned, it is pro-White just like Sully. This begins in the cockpit, where both pilots are White males, just as they are statistically likely to be in real life (in the 95% range for American commercial carriers). Next, the main characters are White — Neeson’s air marshal Bill Marks and Julianne Moore’s Jen Summers. Other Whites, as we just saw, include flight attendant Hoffman, teacher Tom Bowen, NYPD cop Reilly, as well as corrupt air marshal Jack Hammond.

Of the non-White cast, we have two Blacks — rude passenger Zack White and Kenyan actress Lupita Amondi Nyong‘o as a flight attendant. Like Ta-Nehisi Coates, senior editor at The Atlantic, Nyong’o has one of those names we’ll just have to get used to. After all, she is the first Kenyan to win an Academy Award, in this case as Patsey in the drama 12 Years a Slave (2013), for which she took home the award for Best Supporting Actress. In Non-Stop, however, her flight attendant character is a very minor role.

Lupita Amondi Nyong’o

As for Muslim doctor Nasir, he is provided merely to bait us, given all the stories swirling around perfidious Arabs in our world. Unlike the Arab in Flightplan, however, Dr. Nasir does not lecture us on our White American racist assumptions about Arabs. Refreshingly, Dr. Nasir is just a prop.

This leaves us with only computer genius Zack White to examine. While initially rude, he later renders service to Marks by showing his superior computer skills in trying to catch the killer. (As we all know, many, if not most, computer wizards in the real world are Black.) Is he going to emerge a hero? To my surprise, no. It turns out he, along with the White schoolteacher, are the ones responsible for the hijackings and murders, and they plan to parachute to safety while the rest of the crew and passengers die horrible deaths when a bomb they planted goes off.

Since this is an action movie, we next get plenty of action, as Marks engages in a fight with the two bad guys. Zack White, who only wants the money, attempts to exit the plane, but his more ideologically motivated partner shoots and wounds Zack. After some aerial acrobatics, Marks is able to kill the schoolteacher, whereupon Zack White attacks Marks and tries again to exit the plane. Marks, however, gets the better of him, and White dies at the back of the plane when the bomb he and his partner planted goes off, blowing open the door and killing White.

Like Greg Johnson has done with Trevor Lynch’s White Nationalist Guide to the Movies and Son of Trevor Lynch’s White Nationalist Guide to the Movies, I am trying to provide a list of White-friendly Hollywood films. Over the years, the bulk of my Hollywood coverage has been negative, in that I’ve endeavored to show how Jews in Hollywood have worked to undermine White civilization through sophisticated propaganda techniques. With the rise of the Alt Right, however, I’ve seen how White Nationalist critiques can be more positive, so I’m trying to offer more of that. I confess that it doesn’t come easy to me.

In conclusion, if you’re looking for something to watch on a dreary early spring day, you can order or stream Non-Stop and/or Sully.  Both films have, in my eyes, earned the White Nationalist’s seal of approval, in contrast to so many others that have appeared in this millennium.

Share and Enjoy:
  • Print
  • Digg
  • StumbleUpon
  • del.icio.us
  • Facebook
  • Yahoo! Buzz
  • Twitter
  • Google Bookmarks

24 Comments to "Liam Neeson in the Flying Film “Non-Stop”"

  1. Grauhund's Gravatar Grauhund
    April 14, 2017 - 10:41 am | Permalink

    Watching thier propaganda. except to point out the obvious antiwhite anti Christian anti Western European brainwashing is not harmless. Allowing ones children to ingest thier garbage is to hand them over to thier enemies. The mechanisms of our.destruction were stolen from Thomas Edison 100 years ago when Jews hijacked his inventions and absconded to the west coast where a federal judge refused to enforce his patents. But that’s gone down the memory hole.

    • April 15, 2017 - 8:27 am | Permalink

      Yes. And ahem Liam Leeson in Schindler’s List – a serious actor?? Ahem.

      • ariadnatheo's Gravatar ariadnatheo
        April 15, 2017 - 2:39 pm | Permalink

        After “Kinsey,” a movie celebrating the pervert who convinced America that sex is endlessly variable and pushed the pedophile agenda, Neeson was bound to be declared a serious actor

  2. pterodactyl's Gravatar pterodactyl
    April 14, 2017 - 11:47 am | Permalink

    We must have a bit of sympathy for the screen writers carefully checking each character and line to determine if they will offend BLM or other similar groups who now monitor the output, and who are keenly supported by the 15% or so of the population who are the anti-white enemy within, and who tell the other 85% of the whites what they are allowed to say.

    PS On ‘Rotten Tomatoes’ the reviewers give 99% positive reviews to the current film ‘Get Out’ which is about racism (from whites to blacks – did I need to mention this detail?). Non of the reviewers dared to question the message and all felt obliged to give a positive review.

    PPS anyone who wants to watch a current film but does not want to contribute to its revenue or box office popularity rating can do so by buying a ticket for another film in the next studio.

  3. m's Gravatar m
    April 15, 2017 - 4:38 am | Permalink

    I suggest Ingmar Bergman’s The Virgin Spring. First, it only features white folks in the cast, and second, it’s a telling allegory of how White Guilt arose from early Christianity that dispossessed an earlier indigenous, so-called pagan folk spirituality.

    The protagonist “reverts” back to his pagan ways, and in the spirit of Wotan kills some vagabonds who rape his daughter. Then, feeling Christian guilt over his justified act of revenge, he builds a church to honor his raped and murdered daughter. I think he cries over it, but I’m not sure about that part, having not seen it in a while.

    Would that the Swiss revert back to their earlier sensibility, and take revenge upon those who are now raping their daughters. But they needn’t feel guilty about it. Nor should they cry over it.

    • Lucy's Gravatar Lucy
      April 15, 2017 - 6:52 am | Permalink

      [email protected], you meant Swedes, not Swiss, I guess.

      • m's Gravatar m
        April 16, 2017 - 5:01 am | Permalink

        [email protected], you meant Swedes, not Swiss, I guess.

        Like the March Hare told Alice, “We must speak by the card or equivocation will undo us.” Or something like that… Yes–it was a Sweden thing.

    • Pierre de Craon's Gravatar Pierre de Craon
      April 15, 2017 - 10:49 am | Permalink

      I can’t agree with you here, m. However remarkable Bergman’s theatrical and cinematic skills, he was the sort of friend to whites who obviates any need for enemies. Did he ever deal a hand from anything but a stacked deck? Not to my way of seeing.

      In the risible language of (((psychoanalysis))), Bergman was a guy with lifelong unresolved daddy issues. In the plainer speech of civilized white men, he never seemed to outgrow the adolescent’s propensity to resent any and all authority and seemed to indulge an especial resentment for forms and figures of authority that might appear to others appropriate and just.

      I think too that his career-long access to Max von Sydow, Liv Ullmann, Harriet Andersson, and a half-dozen other excellent-to-great actors and actresses serves primarily to deflect attention from what—to me, anyway—is his fundamental flaw: his characters, with hardly an exception, are even less real than the science fiction and fantasy figures of Spielberg and Lucas. For this reason and others, I’d say that among white people who are less interested in explosions and time travel and graphically acrobatic on-screen intercourse than in plot and character development, Bergman’s films have had an immeasurably greater malign influence and pose a far greater danger.

      I’m willing to bet that if Bergman were alive today, he’d be an outspoken apologist for the Jews’ destruction of Sweden by mass immigration.

      • m's Gravatar m
        April 16, 2017 - 5:09 am | Permalink

        Pierre: Do not misunderstand, please. I was not endorsing Bergman, per se. Only citing one particular movie in this article’s context. The original film’s story, by the way, is adapted from a 19th century folk tale–but evidently earlier versions exist.

        I understand your point, however if we hold to the idea that it is the organization that produces a movie that subsequently validates (or invalidates) the film, then pretty much anything from Hollywood, or on television, would be less than worthless, ipso facto. Of course, if one wanted to argue that, they’d at least have good anecdotal support.

        • Pierre de Craon's Gravatar Pierre de Craon
          April 16, 2017 - 12:37 pm | Permalink

          Points well made and taken, m!

          You won’t be surprised that I am in especial sympathy with your second paragraph above. Apropos which, to paraphrase what Johnson told Boswell, though we all find ourselves at times doing things out of the need to alleviate the taedium vitae, one must endeavor to prevent such rubbish (Johnson called it “cant”) from taking root in the mind.

      • Theodora's Gravatar Theodora
        April 16, 2017 - 6:04 am | Permalink

        You are right about Bergman.

        Bergman served the communist agenda to mould Sweden into the country we see nowadays. Almost all his films in the seventies are about the ´impossibility´ of a happy marriage. It´s all about cheating and bickering spouses. All in a very intellectual manner, o yes. Almost al his characters where academics.

        Bergman was a tool in the communist toolbox to get Sweden under the rule of ´The New Totalitarians´. Well, they are of course the old totalitarians but under the nice banner of freedom and fun.

        http://www.eindtijdinbeeld.nl/EiB-Bibliotheek/Boeken/The_New_Totalitarians__Brave_New_Sweden___1980_.pdf

        Sweden has been since WWII the experimental field of the communists. It was the first country in Europe where women on a large scale turned into feminists and ´liberated´ themselves, and it was the first country in Europe where porn became an industry and we all know that porn is a communist assault weapon on the mores of mankind. In the end it neuters men altogether.

        • Pierre de Craon's Gravatar Pierre de Craon
          April 16, 2017 - 12:58 pm | Permalink

          I seem to recall Erik von Kuehnelt-Leddihn referring favorably to this book (on Firing Line perhaps?) longer ago than I care to recall. So thank you for the reminder and the link, Theodora.

  4. John's Gravatar John
    April 15, 2017 - 3:49 pm | Permalink

    I would like to suggest that one and all would highly enjoy Liam Neeson’s superb performance in the 1995 film, “Rob Roy”, set in 18th centry Scotland.

    There is definitely a heavy dose of “action” throughout that film along with a number of lessons given regarding both honor and morals.

    Enjoy.

  5. John's Gravatar John
    April 15, 2017 - 4:21 pm | Permalink

    Liam Neeson in the 1995 film “Rob Roy” set in the Scottish Highlands circa the 18th Century. You will definitely enjoy it.

    • T. J.'s Gravatar T. J.
      April 15, 2017 - 11:14 pm | Permalink

      You can say that again!

  6. Trenchant's Gravatar Trenchant
    April 16, 2017 - 1:08 am | Permalink

    I’d like to propose Bone Tomahawk (2015) as an exception that proves the rule. (((Zahler)))’s treatment of both whites and indigenes is anomalous. Hollywood couldn’t bring itself to pony up the $2m. even with Kurt Russell and other big names on minumum wages.

  7. Trenchant's Gravatar Trenchant
    April 16, 2017 - 1:24 am | Permalink

    Look Who’s Back [Er is wieder da.] (2015) is another film deserving of analysis. The final credits are hilarious, Arbeitsmigranten spontaneously throwing Roman salutes as “Hitler”‘s motorcade drives around Berlin. Clearly, the film’s purpose was to push collective German war-guilt. The viewer will make up his own mind as to whether that goal was realized.

    • Gemjunior's Gravatar Gemjunior
      April 20, 2017 - 7:09 pm | Permalink

      What a great move, with Hitler as a hero LOL. I don’t think they succeeded in provoking more German guilt, the movie was too funny and too good. The guilt attempt was too late.

  8. Trenchant's Gravatar Trenchant
    April 16, 2017 - 1:34 am | Permalink

    Kon-Tiki (2012) is a good depiction of the singularly European Faustian spirit. A non-affirmative action action.

    • Pierre de Craon's Gravatar Pierre de Craon
      April 16, 2017 - 12:53 pm | Permalink

      I’m glad for your recommendation. Knowing what filmmakers tend to do with the work of people whose sandals they aren’t fit to strap on, I’ve kept my distance from the film.

      However dubious certain of Heyerdahl’s ethnographic and migratory theories now appear to be, I have felt a deep admiration for his physical courage and truly heroic spirit since I first read my mother’s copy of Aku-Aku nigh on sixty years ago.

  9. Trenchant's Gravatar Trenchant
    April 16, 2017 - 1:39 am | Permalink

    Of course, everybody on this forum who hasn’t seen The Naked Prey (1954) has a 96 minute appointment with political incorrectness.

    • Gemjunior's Gravatar Gemjunior
      April 20, 2017 - 7:11 pm | Permalink

      Yes, The Naked Prey was fantastic – on netflix btw. An even better one, for truly obscene antics is “Addio Africa,” which is really hard to get but you might be able to see it on youtube. Shocking beyond anything. I have a feeling you might have seen it though…

  10. Sam J.'s Gravatar Sam J.
    April 16, 2017 - 11:55 am | Permalink

    I haven’t watched it in a while but “Master and Commander: The Far Side of the World”?

  11. April 16, 2017 - 3:48 pm | Permalink

    I thank everyone for the useful comments. And since we have gotten into naming race realist films, I can’t help but consider “American History X.” Wow, what a powerful film. There is so much going on. I’ve always wondered what the filmmakers were trying to do. In many scenes, their anti-White intent is obvious, but were they oblivious to how red-pilling much of the film is? I’ve long used this film in class but haven’t written about it for TOO. Maybe I should.

    I see that Spencer Quinn has done a good review of the film on Counter-Currents. See https://www.counter-currents.com/2017/01/unintentionally-great/

    BTW, Spencer is a very talented writer, but just when he appears on the scene, Gregory Hood vanishes. Does anyone know where he went or why?

Comments are closed.