What it is About the Underground

I watched a 1995 award winner of the Cannes film festival about Yugoslavia and Serbia over a period of 45 years or so. It is good in some respects yet it is a review of people that are rather immoral. It isn’t about warriors so much as civilians experiencing the meaninglessness of war. Its an odd film. 

I don’t wish to write critical reviews. There is much excellent work in the movie and it can withstand my evaluation. It is the philosophical aspects of the film and the nature of truth that it presented that are the issue here. While some wars are meaningless even so it is the character of the people and their being immersed in life-drowned in a way, that are responsible for their own fate (in the film).

I wasn’t impressed with part 1 of Underground. The heroes or protagonists besides the Nazis are thieves; criminals. Not to say that the Nazis weren’t criminals too. The partisans are communists and criminals that have advanced their careers during war with the prosperity of the fruits of crime. They are immoral exploiters of everything they can, and act to exploit everything. Those that can’t act and be successful criminal careerists tend to be inferiors. Marko at the end of part 1 is the best criminal and rises to the top of his circle becoming a communist leader while keeping his best friend and family in a basement for twenty years exploiting them in order to have his best friend’s girlfriend for his wife (Natalia). Marko even feeds them dog-food because of his avarice. Marko’s speech explains that he believes there is no truth. The truth is implicit in being and acting, even if the acts are evil.

I will write later of my opinion about truth theory. It differs from that of Marko.

Marko says to Natalia; “No text, my dear, has any truth in it. Truth exists in reality. The truth exists only in real life. You are the truth, you. You are supposed to be the truth. There is no truth, only your conviction. That what you act is the truth.

No, art is a lie, a big lie! We are all liars, at least a little bit.”

Natalia is sexually aroused. She says of herself and her Nazi experiences ‘those people raped me and beat me. Your wife is a whore, anyone can f her. Then she say; “Does it really matter if those people in the basement remain alive?”

Through the end of part one virtually no one worked at anything besides crime with dependents on criminals being a large secondary group. Silly musicians play through most of the film and are of course thoughtless. One is killed accidentally by a machine gun aboard a boat.


Marko, Blackie and Natalia sing…

Is it moonlight at noon

is it sunshine at midnight

from the skies above light is beaming

nobody knows, nobody knows

nobody knows, nobody knows

what is really shining

They are happy idiots of the sort that Elton John sang of in Mona Lisa and Mad Hatters with his lyrics;

Sons of bankers, sons of lawyers

turn around and say good morning to the night

unless they see the sky

but they can’t and that is why

they know not if its dark outside or light”

Elton John may have regarded himself as a Mad Hatter and women as Mona Lisa(s). In that regard he was simply criticizing establishment youth in a way to bring company into his lifestyle of social relativism without productive work such as farming or medicine. Blackie before being recruited by Marko was at least an electrician. He reminds one a little of Lech Walesa in his appearance in part 2.

Part two begins with the viewer incredulous that those moved from above ground to become Plato’s prisoners of the cave in a manner of speaking, living decades below ground in a basement in the false belief that Marko has convinced them of that the second world war is continuing above, while he lives mostly above-ground, that they are such complete dopes being so easily fooled. Marko was the intellectual poet however while Blackie was just an electrician- a pole man; tough as nails yet a gullible idiot representing ordinary communist symp criminals being fooled by intellectuals that are communist leaders.

When the characters escape from the cave, rather unintentionally, liberated by a chimpanzee, firing a home-built tank underground, they continue in their own ways until the Serbian war era. Marko and Natalia are war merchant-profiteers captured and killed by Blackie’s militia forces, Ivan-the brother of Marko hangs himself, and Marko drowns himself perhaps for remorse after the death of Marko and Natalia. He sees his drowned son in a well and dives in to join him.

There is a kind of afterlife-repeat of all the dead characters in their own criminal party circle of acquaintances. Fundamentally the story views life as atheist phenomenality and people as meaningless as cattle. The film itself is a propaganda piece of a writer and producer perhaps overwhelmed by the Serbian war.

The disquotation theory of truth basically says that saying that something is true is redundant, yet it saves restating all of the statements about a state of affairs that would be necessary to explain that something is true.

For example; Sally, Jane, Princess, Harry, Jewel and Spike all hate Dickie. All of the preceding people except for Dickie are math students at the Hill School. If someone were to ask if the math students hate Dickie, the easiest answer would be yes it is true. The alternative would be to say that Sally hates Dickie and Jane hates Dickie and Harry hates Dickie and Jewel hates Dickie and Spike hates Dickie. The disquotation theory comprises a disquotation of the full, formal expression required to explain a state of affairs.

Another example is that of a computer programmer with a list of all of the phone numbers in a city. If someone asks if it is true that all of the numbers have area codes for London the programmer may answer yes it is true or alternatively read out all of the numbers to prove the point is in agreement.

Truth theory that is disquotation theory simply means that the reference point questioned about being true or false is in agreement with the conditions that would make it true rather than false. Truth is still about words rather than things in themselves. A description of what things-in-themselves are is also a matter of words. People tend to forget or overlook the fact that all words about anything remain a matter of words and word structures rather than things-in-themselves. People are free to correspond words to objects after deciding what objects are, yet the objects or reality remains imbued with Kant’s noumenal reality. That is the field objects in the Higgs field are elements of a Universal for-itself existing independently of human labels.

The Apostle John wrote that “In the beginning was the Word, and the Word was with God, and the Word was God. 2 The same was in the beginning with God.

3 All things were made by him; and without him was not any thing made that was made.” Only God transcends the gulf or ditch between words and objects implicitly. Truth or the coincidence of Word and Objects correspond perfectly solely for God for there is no difference for God, while for humans, they are always on the outside of the perceived objects and Higgs field that they comment about, and about its operations and configurations. The Oxford Dictionary of Philosophy say that; “The simplest formulation {of disquotation theory} is the claim that expressions of the form ‘S is true’ mean the same as expressions of the form S. “

There isn’t a Platonic aspect to truth, unless one refers to God and John’s statements about the Word. Truth doesn’t exist independently outside human language except for God. That deosn’t mean that Platonic forms don’t exist; I believe that the forms of force comprising particles are a reasonable facesimile of Plato’s ideas applied within a modern and upgraded context.