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Bankenstein - a treatment for a movie
Subject: BANKENSTEIN - "For good's sake"
Working title, freely adapted from the author's book Bankenstein (2006)
http://leconomistamascherato.blogspot.com/2009/12/subject-bankenste...
Content
The plot is related to events to occur in the next few years: a deep economic and financial crisis, a harsh depression which will compel all of us to address the incertitude of our future.
The film is about the story of a couple: she is a radiant woman in her 30s, long black hair, who likes sexy dresses. She has a doll-like body, she is about 1,70 tall and subtly perverse, sort of Angelina Jolie. He is in his 50, a character looking like George Clooney.
Disguised as Mandrake, Bankenstein is a confidence inspiring third character, turning up at various moments when the couple faces a crisis: from trivial daily bickering to jealousy scenes. Bankenstein appears as a narrator in flash-back-like episodes as Piero Angela usually does (an Italian Journalist and showman who makes popularization programmes about science, history, etc.). On such occasions he uncovers to the benefit of the audience the subtle thread which ties the couple's troubles to the
obscure tricks of the international banking system. Key-episodes of the daily micro story open lightning views into the occult power system which from the backstage and by unseen actions affects the life of normal people.
In the first part of the film Bankenstein poses as an Internet activist-conspirationist, then towards the end he gradually becomes the devil’s advocate (of himself ultimately). Deploying a sophisticated oratorical and manipulative ability, he thus reverses what he explained before till he contrives to talk the audience into accepting that, as negative the consequences of banking and great finance policy are, everything is ordained for a good sake, a truly good and truly new world order where everyone can attain the longed-for goal of becoming a member in the strong power Elite ruling the social pyramid and enjoying wealth and privileges.(provided he/she has the suitable, scruple-free mental attitude of the Anarchist Banker of Pessoa).
The film is a reply to the many conspiratorial films - of which the latest is Michael Moore's 'CAPITALISM'. This reply is a baffling and questionable apology of the reasons and ultimate aims of the 'Great Banker of the Universe'.
The spectators, the man on the street, will be left in confusion by this movie: on the one hand, they will have gained a better understanding of and an unexpected insight into the dark side of money and banking and their often devastating effects upon everyday life; but on the other hand they will be puzzled by Bankenstein's paradoxical, half convincing apology of the bankers' ways and plans - an apology which sounds sometimes cynic, sometimes exhilarating, sometimes surreal but rational and competent.
Some scenes echo back to De Sade’s Justine, Kubrick’s Eyes Wide Shut, Sellers’ Chance the Gardener, and Besson’s Nikita. Some of the couple’s tics remember Allen’s women and his neurotic stories.
In the opening scene, the first meeting of the couple occurs by chance: they chat on Facebook, they decide to watch each other on the web-cam, but they can’t set up the visual connection. So he writes: to see you I’ll have to come to you! And she: then come at once! It’s the middle of the night, he takes his car and drives to her home by means of a GPS navigator. She opens the door and after a coffee they have a sex night like in Last Tango in Paris. The day after he leaves her some cash money on the table (by accident?). She takes it and goes to the bank to deposit and…
Working title, freely adapted from the author's book Bankenstein (2006)
http://leconomistamascherato.blogspot.com/2009/12/subject-bankenste...
Content
The plot is related to events to occur in the next few years: a deep economic and financial crisis, a harsh depression which will compel all of us to address the incertitude of our future.
The film is about the story of a couple: she is a radiant woman in her 30s, long black hair, who likes sexy dresses. She has a doll-like body, she is about 1,70 tall and subtly perverse, sort of Angelina Jolie. He is in his 50, a character looking like George Clooney.
Disguised as Mandrake, Bankenstein is a confidence inspiring third character, turning up at various moments when the couple faces a crisis: from trivial daily bickering to jealousy scenes. Bankenstein appears as a narrator in flash-back-like episodes as Piero Angela usually does (an Italian Journalist and showman who makes popularization programmes about science, history, etc.). On such occasions he uncovers to the benefit of the audience the subtle thread which ties the couple's troubles to the
obscure tricks of the international banking system. Key-episodes of the daily micro story open lightning views into the occult power system which from the backstage and by unseen actions affects the life of normal people.
In the first part of the film Bankenstein poses as an Internet activist-conspirationist, then towards the end he gradually becomes the devil’s advocate (of himself ultimately). Deploying a sophisticated oratorical and manipulative ability, he thus reverses what he explained before till he contrives to talk the audience into accepting that, as negative the consequences of banking and great finance policy are, everything is ordained for a good sake, a truly good and truly new world order where everyone can attain the longed-for goal of becoming a member in the strong power Elite ruling the social pyramid and enjoying wealth and privileges.(provided he/she has the suitable, scruple-free mental attitude of the Anarchist Banker of Pessoa).
The film is a reply to the many conspiratorial films - of which the latest is Michael Moore's 'CAPITALISM'. This reply is a baffling and questionable apology of the reasons and ultimate aims of the 'Great Banker of the Universe'.
The spectators, the man on the street, will be left in confusion by this movie: on the one hand, they will have gained a better understanding of and an unexpected insight into the dark side of money and banking and their often devastating effects upon everyday life; but on the other hand they will be puzzled by Bankenstein's paradoxical, half convincing apology of the bankers' ways and plans - an apology which sounds sometimes cynic, sometimes exhilarating, sometimes surreal but rational and competent.
Some scenes echo back to De Sade’s Justine, Kubrick’s Eyes Wide Shut, Sellers’ Chance the Gardener, and Besson’s Nikita. Some of the couple’s tics remember Allen’s women and his neurotic stories.
In the opening scene, the first meeting of the couple occurs by chance: they chat on Facebook, they decide to watch each other on the web-cam, but they can’t set up the visual connection. So he writes: to see you I’ll have to come to you! And she: then come at once! It’s the middle of the night, he takes his car and drives to her home by means of a GPS navigator. She opens the door and after a coffee they have a sex night like in Last Tango in Paris. The day after he leaves her some cash money on the table (by accident?). She takes it and goes to the bank to deposit and…
Views: 15
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Comment by John D. Boyden on May 12, 2010 at 10:28pm
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lol I love it! A little Fallstaff, perhaps a touch of dante and a big dose of Big Brother :)
Comment
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