Most migrants do not qualify for legal asylum in the U.S. This is an unsurprising info item in a short documentary which contains a few surprising info items and many unsettling ones. I mean the Federalist dot com documentary (which I viewed on YouTube), Cartel Country: The Untold Story of America’s Black Market on the Border (2022) , a sad film about border crossers and the cartels.

Migrants flee poverty, organized crime, and gang violence. Curiously, we hear Haitians tell an interviewer that they emigrated to such places as Chile and Brazil but eventually moved out (because of no prospects?) to try to enter the United States. We see migrants in Mexico near the U.S. border naturally filling the shelters until there is no more room and people are sleeping in the streets. Many of such migrants do not know how to enter the country once they’re close to it. Often they wish to hire lawyers.

Lawyers or not, masses of them are here. Illegal immigration is much in the news right now, but I don’t much care what the major networks are saying about it. I would decidedly rather see this 36-minute doc. Calmly it presents quite a lot.

The Scalphunters is an often silly 1968 Western directed by Sydney Pollack and written by William Norton. It’s interesting and fun, though, and has some merit as a racialist work. Black actor Ossie Davis co-stars in a major role. There is no miscasting here: Davis is a well-educated black man of the 1800s. Shelley Winters is delightful, “nuance” her middle name. Even the limited Burt Lancaster is acceptable as a gruff trader.

By ’68 there was a tasty realism in Western movies, even if The Scalphunters is yet another film more interesting than good.

In The Penguin Book of the Modern American Short Story, I have read “Emergency” (1991), set in a problematic 1973. It begins with common trauma and sensitivity in a city emergency room before centering on the illicit drug experiences of two of the ER’s orderlies. The title summons the thought of there being a true state of emergency for modern Americans/Westerners. They’re spiritually adrift. (One of the orderlies feels like going to chapel.) A man who can make the claim that “I save people” ought not to be a drug addict.

A Denis Johnson story, “Emergency” remains relevant to our times. Unerringly written—Johnson was right, after the orderlies take a car ride, to return the piece to the hospital for a short passage—the story is clever and humorous and grim. Not to be considered DOA.

The invasion of America is effected by bloodthirsty Soviet and Cuban terrorists. Invasion U.S.A., a Joseph Zito film, was released in 1985.

This is my fellow conservative John Nolte’s favorite Chuck Norris picture, referred to on Breitbart.com, as well as my only Norris picture to date. Norris’s Matt Hunter is an agent perfect with a firearm and imperturbable in vexing situations. Watch the police bust into his motel room to arrest him for anti-terrorist vigilante acts and notice how calm he is. (Hunter is the good guy. It reminds me of when U.S. officers are made to get tough with conservatives merely because of their conservative causes.)

Do I agree with Nolte’s words of praise for the film? Substantially, yes. Norris is a dull actor but others in this eye-opener, such as Richard Lynch and Melissa Prophet, are energetic enough to hold us. I like the no-b.s. action, the gunplay power. It’s fun.

It is compelling to hear in the French De Gaulle (2020) the grave arguments over whether France should sign an armistice with Hitler’s Germany or persist in warring against it. General De Gaulle is there and so is Petain, both men admirable, in a distressing national situation similar, really, to that in Ukraine in early 2022. Although De Gaulle, unlike Petain, wants heroic action, the French fighters are not there and he himself does only what he can (and it isn’t taking up arms). It’s a fairly sophisticated flick, with striking outdoor shots, directed by Gabriel Le Bomin.

One is obliged to say that a certain tidiness, a constrictedness, in De Gaulle prevents it from resembling life as well as it should. Still, with prowess Lambert Wilson enacts a tough soldier and anxious family man, De Gaulle; and from Le Bomin comes intelligent sensitivity. The film is wonderfully watchable.

(In French with English subtitles)