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The previous film from conservative pundit-turned-conspiracy theorist-turned-hack filmmaker Dinesh D’Souza, “Hillary’s America: The Secret History of the Democratic Party,” was reviewed by me in 2016, and I offered a mild critique of it, saying, “It may well be the single dumbest documentary that I have ever seen in my life.” Thanks to the qualifier “may well be,” his latest work, “Death of a Nation,” has managed to outdo his previous works to such an extent that it could be considered the “Mission: Impossible—Fallout” of hysterical cinematic ramblings. In fact, the only thing that keeps me from declaring this to be one of the most ridiculous films of any genre that I have ever witnessed is the fact that I am not entirely convinced that something as shoddily constructed and artistically bankrupt as this qualifies as a film in the first place.
D’Souza announced the impending release of this film in mid-June, stating that, in addition to his usual schtick of placing the blame for all of the world’s problems squarely on Democrats, he would also be making the case that President Donald Trump was the modern-day equivalent of President Abraham Lincoln himself. Several people raised their eyebrows in response to this announcement, and not just because it is a comparison that even those whose political leanings are to the right might find difficult to swallow. In only a couple of weeks earlier, Trump had granted D’Souza an unexpected pardon from his 2012 conviction for making illegal campaign contributions; the assumption was that D’Souza would make a film lionizing Trump (presumably after Seor Spielbergo turned down the project) in exchange for his pardon, which he did. D’Souza claims that Trump was unaware of the project when he granted the pardon, and because there is no evidence to suggest otherwise, I will take D’Souza at his word on this point. Nevertheless, to be fair to the filmmakers, “The Death of a Nation” appears to have been assembled in a matter of weeks as part of a dubious-appearing criminal pardon agreement. This is a movie that appears to have been assembled in a matter of weeks as part of a quid pro quo agreement with the filmmakers.
During a montage depicting the 2016 election, D’Souza himself admits that he was not entirely enthusiastic about Trump (he received only a passing mention in “Hillary’s America,” though D’Souza claims that the film was instrumental in his victory), but he has certainly drank the Flavor-Aid since then in his never-ending quest to remain vaguely relevant. His final statement after showing footage of the chaos that outraged Democrats and progressives have created by doing everything they can to overturn the election, ranging from spreading “stories” about how Clinton supposedly won the popular vote to making countless claims about his personal life (“We knew we weren’t electing a choir boy”), is that the election has been thrown into chaos.
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This, according to D’Souza, is exactly the same situation that Abraham Lincoln, the first Republican elected President, faced when he took office and was opposed by a Democratic party that was, in fact, largely responsible for slavery and segregation at the time. While this is not a new discovery to D’Souza (he has made it in his last couple of films), he believes it to be a mind-blowing revelation that history has attempted to keep hidden from the American people, presuming that they never actually open a history book. Some of you may be thinking that this thesis is illogical because the Republican Party and the Democratic Party have essentially switched positions over the years, particularly in the wake of the civil rights struggle in the 1960s. However, this is not the case. D’Souza believes that this was an enormous oversight, even for a guy who was apparently unaware that he was retweeting messages with the hashtags #killthejews and #bringbackslavery. However, he has a simple explanation for this: nothing has changed, Democrats and progressives continue to be racist monsters, and Republicans—the same group that is actively attempting to prevent black voters from voting—are the true anti-racists.
Death Of A Nation Quiz
In the end, the film is D’Souza’s usual concoction of cherry-picked facts, overt omissions, inept historical reenactments, defamatory remarks, innuendos, material from his earlier films, shots of him walking pensively through empty areas, and clips from other, better films. Because D’Souza is well aware that he has gone to the well with blaming Democrats for everything from the Civil War to slavery, he expands his discussion to include the influence that the Democratic party had on a budding young Austrian named Adolf Hitler. According to this film, Hitler learned everything he knew about genocide directly from Jacksonian Democrats. All of this was celebrated by progressives and Democrats in the United States, especially given Hitler’s stated goal of eradicating Christianity. They would continue to celebrate Hitler’s beliefs after the war, in ways ranging from supporting abortion rights (it was later discovered that Mengele had carried out illegal abortions in South America after fleeing Germany) to promoting gay rights in the country (apparently most Nazis were gay). As if anyone still doesn’t get it, D’Souza continues, “Read the Nazi platform at the Democratic convention and it would most likely receive thunderous applause,” just in case anyone out there is still not getting it.
Also, you will find out which character are you in this Death Of A Nation quiz.
“All right,” you might say, “but what about something as horrific as the events in Charlottesville?” In contrast to Trump, who attempted to blame “both sides,” D’Souza once again assigns sole responsibility for the situation to progressives and Democrats. How does he manage to pull that off? He interviews white nationalist Richard Spencer and turns the conversation around until Spencer declares that he believes he has a “white Malcolm X philosophy” and that “I guess I’m a liberal.” After making several false claims about the organizer of the Charlottesville rally (including that he is a CNN employee, an Obama supporter, and an Occupy movement member), he attempts to speak with Jason Kessler, who responds with a barrage of racist invective, all of which has been debunked. While speaking in voiceover, D’Souza observes, “He still appears to be a member of the Occupy movement.” Meanwhile, “Trump is a flag-waving patriot who cherishes the American founders” who is attempting to run the country despite the efforts of the Deep State to force him out of office for no apparent reason is trying to run the country. There is no mention of the numerous scandals that have engulfed the administration, which should come as no surprise).
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In terms of historical accuracy, “Death of a Nation” fails even more miserably than it does on the screen; he and co-director Bruce Schooley have truly outdone themselves here, if that is the right phrase to use to describe what they have accomplished. Despite the fact that the entire thing has been put together with the kind of style and flair that would barely pass muster on YouTube, the historical reenactments are remarkably lifeless (with the actors portraying Lincoln and Hitler coming across so poorly that they seem barely capable of leading lunch orders, let alone nations), and it drags so badly that you get the impression that it is covering 200 years of history in real time. The interviews that D’Souza conducts at various points in the film are the most incompetent aspects of the production. As a result of the way they have been shot and edited, you get the strange impression that he and his subject were either never in the same room together or that they were wildly edited at some point during the filming process. D’Souza spends several minutes practically cooing over disgraced right-wing activist and Project Veritas head James O’Keefe, which is the only time in the interview where you get the impression that an actual conversation is being recorded.)
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In theory, “Death of a Nation” is the kind of cheesy and exploitative pseudo-documentary that exists solely to allow D’Souza to extort more money from the gullible, using arguments about race that ring hollow when coming from the guy who once wrote a book about race relations “Was slavery a racist institution, or was it not? No. Slavery was practiced in virtually all societies for thousands of years, and it still is today… Consequently, slavery is neither distinctively Western nor racist,” as stated above “Is it my intention to call for the repeal of the Civil Rights Act of 1964? Yes, in fact, it is. Accordingly, the law should be amended so that its anti-discrimination provisions only apply to the government.” Will it be profitable? No doubt about it, given his large and enthusiastic fan base, which will devour anything he has to offer that will make them feel a little better about their own prejudices. As a film, it is complete and utter garbage from beginning to end; however, as a document chronicling the devolution of conservatism from a movement of ideas and substance to little more than base trolling and fear mongering, it may be of use to future historians who are trying to make sense of our current madness.
For more personality quizzes check this: Unbroken Path To Redemption Quiz.
