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June 15th, 2012 
FAKE NEWS for the Zionist agenda
The Grey
is a story about a ragtag group of Alaskan oil workers who find
themselves stranded in the midst of the Alaskan winter following an air
crash and are subsequently hunted down by man-eating wolves.
This is as ridiculous a premise for a work of art as you’re likely
to hear any time soon – The Way Home meets The Silver Bullet. Yet this
premise serves as the foundation of one of the most haunting, sensitive
and compelling meditations on mortality, loss and courage I have come
across.
The Grey is powered by Liam Neeson in the role of a sharpshooter employed by the oil company to protect its
field workers from wild wolves. The film charts his progress along a
path from despair, through disaster, to redemption in the face of
hopeless odds in the bleak Alaskan midwinter.
The cinematography of the film is superb and evocative, while the
haunting soundtrack deftly weaves emotion through vistas of pristine
North American wilderness.
However, it is Liam Neeson who transforms The
Grey into something special, investing his character with sublime
pathos and crafting an increasingly rare and unapologetic representation
of true masculinity.
Our mainstream media has increasingly come to represent men in extremes
of idiocy. The timid, unthreatening and witty intellectual loser of
countless teen flicks, the violent and emotionless ‘Robocop’ of the
action genre and the cocky supercilious jerk seeking redemption in the
latest romantic comedy.
None of these are sincere, and are instead
templates used by the thoughtless and unimaginative to model their
behaviour to fit the expectations of a society that has assimilated
these archetypes equally thoughtlessly.
Liam
Neeson’s character goes beyond these bankrupt archetypes, cutting
through to the heart of man, and the fundamental role that courage and
compassion play in true masculinity, crafting a character that spoke to
me at a visceral level.
From the moment we are introduced to him, we find
a man who has no interest in the trivialities of social escapism, norms
or group behaviour. Instead we find masculinity expressed as sincerity
and power; man expressing strength not through pointless bullying
gestures of dominance, but through restraint, kindness, individualism
and endurance.
There are two iconic moments in the movie where this masculine energy
comes to the fore, both of which stayed with me for days. One of these would act as a spoiler if I repeated it, and
I’ll therefore leave it for you to discover for yourself.
The other
finds Neeson talking a severely injured man
through his death with astonishing compassion and honesty. Having
recently witnessed the process of my mother slipping into death, I was
mesmerised by the sincerity of the depiction, the gravity and honesty of
the moment – offering no easy answers, no promises of salvation, simply
the opportunity to be present in a moment of suffering and loss.
And
this ability to shy away from giving easy answers to the fundamental
philosophical questions that the film asks is the perfect complement to
the sincerity of Neeson’s performance and character.
On the one hand The
Grey makes no effort to disguise the savagery and pitiless elements of
nature and the broader stage of human life, yet it continually reflects
on the astonishing beauty of nature, the vitality and profundity of
simply being alive, and our capacity for courage and loyalty.
Rather than providing answers to the questions it poses, The Grey leaves
the audience to answer these questions for themselves, just as the
central characters are left entirely to their dwindling resources to
survive in the frozen forests of North America.
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