Harold & Kumar Escape from Guantanamo Bay - Wikipedia
A film like Harold and Kumar Escape From Guantanamo Bay has comes toward the end of the film, when Harold and Kumar, having jumped out of . or in relation to which it merely recapitulates dominant prejudices for their. Harold & Kumar Escape from Guantanamo Bay is a American stoner comedy film, and the but they are imprisoned after being mistaken for terrorists, and end up on a series of comical misadventures Harold, Kumar, and Vanessa travel to Amsterdam where Harold finds Maria, and the couples happily tour the city. Harold & Kumar Escape from Guantanamo Bay () on IMDb: Movies, TV, Celebs, and more No. brother sister relationship .. scene during end credits.
Gayness, like pot smoking, is one of those things that is OK in Amsterdam, even though it is not legitimate in the USA. All this is systematic, and interrelated.
My point is not to try to suggest that homophobia and disavowed homosocial love are the subtexts of the movie; but rather, precisely, to show how they have been deliberately made the focus of a well-constructed screenplay.
As Harold and Kumar, and their immigrant parents — and apparently Dubya as well — quite emphatically do. Patriotism is the keynote of this film, just as consumerism was of White Castle.
Harold and Kumar Escape from Guantanamo Bay – The Pinocchio Theory
I should also mention — since this is something that truly startled me — how little pot, and how little pot humor, there actually is in this movie. Jokes stop being funny when you explain them, and I fear that my making these connections in Harold and Kumar Escape From Guantanamo Bay risk obscuring the fact that the movie works — and, it really does work — affectively rather than cognitively. This simultaneously broad-brush and acute critique of U.
They make their way to Miami via a truck-on-a-raft with teeny American flag hoisted "You guys going to America? In Miami they stumble into a sex party at the home of a rich buddy named Raza Amir Talaiwho lends them a nice ride, pastel suits, and pointy white shoes so they can make their way to Vanessa's upcoming wedding, ostensibly to get Colton to help them work out their legal status.
Fox hunts them relentlessly, the film cutting back occasionally to his brutal interrogations of the boys' parents and friends, including one in which the interpreter takes Harold's parents' English as a "new dialect I don't understand.
None of these revelations is news, which is, of course, the point.
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What's wondrous about this tactic is that the target audience is fine with the anti-racist messaging, even appreciates the obviousness of it. For Daily Show consumers, the crudity is less "extreme" than business as usual. Harold And Kumar Escape From Guantanamo Bay trailer Though it might seem crass and undignified, using crass and undignified humour in a movie as a Trojan horse for a worthwhile message has long proved far more effective than serious arthouse films and earnest documentaries.
Advertisement It's the morning after their doobie-induced White Castle binge, so Kumar Kal Penn hits the toilet while Harold John Cho is still in the shower, such is their haste to make the flight to Amsterdam. They promptly end up in Gitmo, but even more promptly make good their escape and cross the water back to the US with some asylum-seeking Cubans so they can hit the adventure-packed road-movie trail. This involves encounters with rednecks, a ride with a horny, drug-addled Neil Patrick Harris and a hilarious bong session with George Bush.
SoundtrackINFO: Harold and Kumar Escape from Guantanamo Bay Soundtrack
While all this is going on, a sneering government goofball, played with boiling straight-faced conviction by Rob Corddry from Jon Stewart's The Daily Show is in hot pursuit, happily abusing his homeland security powers despite constant reminders from his deputy that ignoring the law isn't really the best way to serve America.
As they did with White Castle which they wrotewriter-directors Jon Hurwitz and Hayden Schlossberg stage their attacks on racism and political idiocy by marshalling every ham-fisted, over-the-top, undergraduate comedy staple they can. It's ironic, but by using a sledgehammer instead of a scalpel, the film is able to lampoon its targets with a precision that is often as surgical as it is funny.