Jurassic World: Fallen Kingdom is a typical example of a token film in which Hollywood proposes that the United States and Donald Trump be devoured by dinosaurs in the name of “humanity”.
Hollywood is determined to become a pamphlet factory that, as pedestrian as all libel can be considered, is the antithesis of art that film should aspire to transcend. On the other hand, fun (the other side of the seventh art) is also seriously compromised because the pamphlets, being highly predictable, irredeemably ruin entertainment … at least for people with even the most minimal amount of brains. That would explain why the box office still accompanies the clunkers.
The most grotesque case of symbolic Hollywood film-making to date is Jurassic world: Fallen Kingdom, directed by Juan Antonio Bayona, and whose executive producer is Steven Spielberg. The movie is an idiotic ode to illegal immigration and a caricature of Donald Trump. With that, the entire thing is summarized.
The plot is as follows. The dinosaurs that are isolated on Nublar Island after the collapse of the amusement park of the first film (which was good and entertaining because it had no thinly-veiled political sublot) are in serious danger. The volcano, the very nucleus of the island, is near eruption and the extinction of the Jurassic animals is imminent. A congressional committee from the United States debates on whether to save them or not. The most reputable scientist (Jeff Goldblum, an actor from the previous entries in the series) thinks that the government should not save them because their tragic destiny is a correction to nature’s natural order; Congress dictates that the animals be left to their fate.
However, an old altruistic billionaire (James Cromwell)- ex partner and co-founder of the original Jurassic Park- organizes a clandestine expedition to rescue some of the endangered dinosaurs. Through his agent, he recruits the former manager of the park (Bryce Dallas Howard) and former velociraptor trainer (Chris Pratt), who leave for the island where a group of elite mercenaries will help them in their mission. The most coveted prey for the rescue is the velociraptor Blue, raised by the Pratt’s character from birth.
So far the suspicion that the film has an ulterior motive beyond the entertainment is emerging in the audience’s mind, and the suspicion is confirmed when the villain appears. Actor Toby Jones, whose character is an unscrupulous billionaire with a hidden agenda and a yellow souffle as a toupee is nothing less than Donald Trump in the Liliput version (Toby Jones is nearly 3 ft, 4 inches tall – a dwarf) and the intent of this character is nothing less than crude. Thus, if Trump is a 6 ft. 2 giant, his parody is a pygmy that retains his unmistakable hairstyle. The appearance of this caricature of a character for whom everything is negotiated reveals that the rescue of the dinosaurs is not for “the love of pigs but for the pork rinds”: they are worth hundreds of millions of dollars for genetic use in the arms industry, of which the Russians -nothing less! – are the main stakeholders through a nasty gangster who would represent … Putin? The dwarf Trump and the agent of the altruistic magnate are in a conspiracy to sell these dinosaurs and, thus, while the old millionaire believes that he saves the dinosaurs, he is condemning them without knowing it.
From then on, the obvious propaganda leaves no room for imagination. Isla Nublar is the place of an endangered species as immigrants would be in their countries of origin. The Mt. Sibo volcano represents violence. The scene of the “rescue” has a sinister sort of allusion to Noah’s Ark, with the gigantic and good-natured brontosaurus standing on the dock, caught between the sea and the tide of fire and lava behind him is powerful but fallacious imagery used purely to appeal to feeling, and is sealed with the cry of his dying agony. The film proposes that this cry is the same as that of immigrants. The journey of the dinosaurs in the ship that takes them to the United States, caged and mistreated by the mercenaries, is also that of the immigrants harassed by the “coyotes” as they pass through the border between Mexico and North America. And their stay in the land of freedom, prostituted by the capitalists led by Toby Jones’ “mini Trump” as an auctioneer, is the first step to be sold to the highest bidder as slaves, just as dinosaurs are auctioned off to a brotherhood of unscrupulous millionaires.
Locked in what looks like a concentration camp in the basement of the mansion owned by the aforementioned altruistic millionaire (who is, of course, killed by his conspiring agent), the dinosaurs wait to be sold. Helped by Bryce Dallas Howard and Chris Pratt – who symbolize the human rights and civil activists who help the illegal immigrants in this film -, help the Jurassic beasts escape by breaking into the hangar of the mansion where the auction takes place. There, they end up devouring the mini-Trump and his partners and demonstrate – while a stupefied audience applauds – all of their natural power.
Here comes the breaking point of the-purely propaganda film in which a moral decision must be made: whether or not the dinosaurs get to leave the boundaries of the fortified mansion. That is, if they get to grow and multiply throughout the United States and the whole world. Like God in the Bible, the decision remains in the hands of Chris Pratt, Bryce Dallas Howard and an 11-year-old girl (Isabella Sermon) who is the granddaughter of the murdered philanthropist. The adults, despite all the weakness and sentimentality they have for the Jurassic animals, see the danger of opening the borders and leaving them loose and end up refusing to do so. The little girl, who represents the future of this new generation is the one who finally takes the decision and, to the astonishment of the two adults, presses with her own hand the button of freedom that opens the doors to the dinosaurs.
The message is clear, simultaneously idiotic and apocalyptic: for all the dangers involving their nature, dinosaurs / migrants have the right to live and share the land with us. Such is the moral of this pamphlet film. And as stupid as it sounds, Fallen Kingdom is not that of the dinosaurs but that of a United States devoured by them, all with the blessing of Hollywood.