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Film Celebrates Three-Sided Marriages

Thursday, October 19, 2017 22:34

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In a large satanic cult, Western society, art devolves into pornography. This trailer has had over a million disappointed viewers. Alas, the movie is devoid of genuine eroticism or nudity.

Harvey Weinstein or not, Hollywood continues its assault on

society. Professor Marston & Wonder Woman is about the menage a trois that inspired the Wonder Woman comic book. We’re talking about a man with a bisexual wife and mistress who have sexual relations. The director, Angela Robertson, is a lesbian. The producer, Jewish heiress Megan Ellison, is also a lesbian. It has received positive reviews but has not yet caught fire at the box office and will not because, apart from some inspired moments, the film is, in the words of one reviewer, “underpowered.”

Lesbianism is all about penis envy. These women want to be men. The Illuminati, call them Cabalists or Communists, have always wanted to destroy heterosexual marriage and the nuclear family. This movie is about “social pioneers” who want to establish polyamorous, bisexual or lesbian marriage as an acceptable template for the family. I’ll let this review from a Catholic website describe the movie and conclude with more comments below.

Movie: ‘Professor Marston and the Wonder Women’

By Joseph McAleer

NEW YORK (CNS) — Fans of the comic book superheroine Wonder Woman (and of the recent blockbuster film) are advised to steer well clear of “Professor Marston and the Wonder Women” (Annapurna).

The sheer escapist pleasure of watching the wholesome feminist icon fight for truth and justice is downright spoiled on learning the sordid story of the comic’s creator, William Moulton Marston (1893-1947).

(Writer & director Angela Robinson)

In this case, the truth hurts, and not simply because Marston (Luke Evans) liked to tie women up and paddle them. In addition to sadomasochism, he was a proponent of so-called free love and open marriage. Or, in Hollywood parlance, he was “ahead of his time.”

At Radcliffe College in the late 1920s, the hunky professor teaches behavioral psychology to his eager female students. Marston purports that all human behavior can be traced to the interplay of four emotional states: dominance, inducement, submission, and compliance.

It’s not hard to see where all this will lead. “People are happiest when they submit to a loving authority,” Marston insists.

By his side is his wife and research partner, Elizabeth (Rebecca Hall). Together they invent a lie detecting machine, which offers multiple opportunities to ask awkward questions (and inspires Wonder Woman’s “lasso of truth”).

Open-minded Elizabeth tolerates her husband’s roving eye. “I’m your wife, not your jailer,” she says.

The door thus opened, in marches one of Marston’s students, the gorgeous Olive (Bella Heathcote), who volunteers as a research assistant. Marston is instantly smitten. But Olive, in a surprising twist, only has eyes for Elizabeth, at least initially.

What ensues is an astonishing love triangle devoid of all propriety. The trio moves in together, engages promiscuously and, as the years pass, multiple babies are born.

It’s only a matter of time before neighborhood whispers are confirmed, and Marston is fired. To earn a living (and support all those children), he turns to writing.

“I’m going to inject my ideas right into the thumping heart of America,” Marston boasts.

Viewers will be disappointed to learn that the inspiration for Wonder Woman comes from Marston’s visit to a seedy Manhattan sex shop filled with tight costumes, ropes and cuffs.

( i.e. Marriage? Never. Women used to raise upstanding citizens in strong families.)

Indeed, the early years of the Wonder Woman comic (which began in 1941) raised eyebrows for its extreme violence, bondage episodes and an acceptance of “free love” and homosexual behavior. Amid calls for the comic to be banned, Marston is hauled before a tribunal headed by moral gatekeeper Josette Frank (Connie Britton), director of the Child Study Association of America.

He has some explaining to do, as does writer-director Angela Robinson, who eagerly hoists the banner of relativism, painting a sympathetic picture of the outrageous Marston triad and casting traditional morality to the winds.

So much for being lassoed by the truth.

The film contains a negative view of religion, strong sexual content with nudity, a benign view of aberrant behavior, pornography and birth control, sexual banter, frequent rough language and one profane oath. The Catholic News Service classification is O — morally offensive. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

McAleer is a guest reviewer for Catholic News Service.

Makow rating “O” for bOring- The movie opens with a scene of repressed white Christians burning Wonder Women comics reminiscent of Nazi Germany.

Marston sold Wonder Woman as a feminist statement but it seemed to be a vehicle for his own weird views about willing submission and compliance which have an NWO resonance. (See below) Indeed when Marston sells the concept to the Jewish comic book mogul, he makes a Masonic hand sign.

For a comic book about “female empowerment,” it was obsessed with women in bondage and being spanked. The male role is also attacked. In real life, Marston wrote, “Give men an alluring woman stronger than themselves to submit to, and they’ll be proud to become her willing slaves!”

He is all for “submission to loving authority” as long as it is not a woman’s to her husband’s.

Apart from the usual feel-good scenes, there is nothing to recommend polyamorous relations or evidence that women –bisexual or otherwise– are so “wonder”ful. The “sex” scenes are basically three people hugging each other and jumping up and down.

People are seeking intimacy in a love relationship. Intimacy requires an exclusive two-way commitment. In a threesome, the parties are always shut out of an intimate relationship they are made to witness.

Furthermore, the filmmakers don’t appreciate the irony of the man saving the family finances by inventing the comic book about how powerful women are. This movie has its moments of good dialogue but overall, it comes across as a history lesson. A much better movie about lesbians is Lisa Cholodenko’s High Art (1998.)

——-

(Marston, also the inventor of the lie detector, liked to experiment on young women.)

Wikipedia- The gender-bending theories of the real William Moulton Marston: “Though Marston had described female nature as being more capable of submission emotion, in his other writings and interviews, he referred to submission as a noble practice and did not shy away from the sexual implications, saying:

The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound… Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society… Giving to others, being controlled by them, submitting to other people cannot possibly be enjoyable without a strong erotic element.”

One of the purposes of these bondage depictions was to induce eroticism in readers as a part of what he called “sex love training.” Through his Wonder Woman comics, he aimed to condition readers to become more readily accepting of loving submission to loving authorities rather than being so assertive with their own destructive egos.

About male readers, he later wrote: “Give them an alluring woman stronger than themselves to submit to, and they’ll be proud to become her willing slaves!”

————-

Related

http://sequart.org/magazine/67544/do-you-want-to-know-my-secret-identity-professor-marston-the-wonder-women/

https://www.newswise.com/articles/how-professor-marston-the-wonder-women-spawned-a-multi-million-dollar-industry-that-has-nothing-to-do-with-superheroes-international-disc-personality-styles-expert-available-for-commentary

Source: https://www.henrymakow.com/2017/10/movie-celebrates-three.html

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