A Structuralist Analysis of Spike Lee's Miracle at St Anna (2008, USA)

8/12/2019 A Structuralist Analysis of Spike Lee's Miracle at St Anna (2008, USA)

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MA VISUAL CULTURE, University of Westminster

MODULE: 2FLM7!

STRUCTURALISM A"D #S$COA"AL$SIS

A Str%&t%r'(ist An'(ysis of S)i*e Lee+sMiracle at St Anna2--., USA/

Written by Alessandra Ferrini

Intro0%&tion: Est'1(isin3 te Meto0o(o3y

In this paper I am going to conduct a structuralist analysis ofMiracle at St. Annaby Spike Lee (2008! "y

methodology is rooted in structuralist linguistics as it dra#s on $elia %ritton&s Semantic Structures in La

Grande Illusion(')*! As such+ I base my analysis on semantics in order to shed light on the deeper

structure of the film&s narrati,e+ stri,ing to bring to the fore some codes that might get o,erlooked at the

surface le,el! -his #ill be e.ecuted by focusing on semantic oppositions and the #ay these are neutralised

throughout the narrati,e! As a result+ this paper #ill establish the main codes and the #ay they are

neutrali/ed+ resulting to the resolution of the narrati,e (the ending+ and thus establishing the main

neutralisation implicit in the film! %efore I put for#ard my argument+ I #ant to introduce this methodology+

as proposed by $elia %ritton!

Semantic Structures in La Grande Illusionis based on the #ork of akobson on linguistics and his claim that

a narrati,e can be e1ualled to a message! Since the message makes reference to a code+ to comprehend the

message (narrati,e it entails an inherent comprehension of the code! "oreo,er+ he also states that the code is

made of binary oppositions and as such it is determined by the presence of a specific characteristic! %ritton

deri,es her methodology from these points+ claiming that both phonology and semantics #ork in a similar

#ay! For instance+ #hen e.amining the latter+ it is to be noted ho# the meaning of a particular #ord is

determined by its difference (opposition to other #ords! As such+ semantics is based on binary opposition!

o#e,er+ %ritton introduces another concept belonging to phonology3 that of neutralisation! 4eutralisation

occurs #hen oppositions happen in certain specific places! In the case of phonology+ this can occur #hen t#o

'


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#ords ending #ith oppositional sounds can pro,oke the illusion of rhyming (she makes the e.ample of t#o

letters+ the 5ermangand k #hich are opposed as,oice is in,ol,ed in pronouncinggbut absent in k! -his

represents a neutralisation of the code3 opposites that come to coincide! -his+ in %ritton&s argument+ can also

be applied to the codes implied in narrati,es! er analysis ofLa Grande Illusion(directed by ean 6enoir

and released in '7) pro,ides a ,ery thorough and con,incing application of this method!

"y argument is that the codes and binary oppositions that structureMiracle at St. Anna share some similarity

at least at a superficial le,el 9 #ithLa Grande Illusion. In particular+ I #ill stri,e to demonstrate ho#

Miracle at St. Annafocuses on the neutralisation of race+ #hich is only possible outside of the national (:S

borders! ;n the other hand+ I #ill point out ho# the opposition bet#een se.es (male and female+ is actually

linked to an underlying condemnation of se.ual desire+ #hich is resol,ed #ith the neutralisation of the code

race in a moral (read catholic male conte.t! -his issue+ underly a concern #ith moral ,irtue+ #hich echoes

another structuralist methodology that #as put for#ard by the editors of Cahiers du Cinmain their analysis

of &ohn Ford&s Young Lincoln& (')0! -hus+ I #ill also dra# on this type of analysis in my conclusions+ in

order to e.pand on the more hidden codes of the narrati,e+ the &structuring absences& (a concept introduced by

"ar.ist philosopher Louis Althusser! o#e,er+ this di,ersion from %ritton&s method #ill be only embraced

in order to e.pand on the issue of neutrali/ation of codes and it #ill ser,e the purpose of carrying this

argument for#ard!

Est'1(isin3 te Co0es

In this section+ I am going to apply (transforming it as needed the analysis ofLa Grande Illusion toMiracle

at St. Anna.Although both narrati,es are set during the Second World War+they are indeed rather different

both in genre and structure! If the former is a prisoner of #ar mo,ie+ the latter is an actionf < not French (9f+ =a to class as in aristocrat (>a < non9aristocrat (9a and+ finally+ =m

meaning man (>m < not man (9m! ;ut of this classification+ she ascertains the follo#ing argument3 &the

problem of the narrati,e is to achie,e the neutralisation of the French


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Miracle at St. Annapresents us #ith similar codes3 nationality+ se.+ and race rather than class! -hese

categories are e.plained in the follo#ing diagram3

L' 4r'n0e I((%sion Mir'&(e 't St5 Ann'

&o0e 6: nationality nationality

o))ositions: French ,s 5erman American (:S ,s non9Americansym1o(: = f = u

&o0e 2: class race

o))ositions: aristocracy ,s #orking class blacks',s #hites

sym1o(: = a =b

&o0e : se. (gender se. (gender

o))ositions: male ,s female male ,s female

sym1o(: = m = m

"y argument is that the neutralisation of codes at play inMiracle at St. Anna can be e.pressed in the

formula3 =b % < 9 u

-hus+ adopting and transforming %ritton&s statement+ here the problem of the narrati,e is to achie,e the

neutralisation of the black


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29'EE3 Four soldiers of the 2ndInfantry Ci,ision+ %uffalo Soldiers+ Fo. $ompany crosses 6i,er Serchio

(-uscany+ Italy! ere they meet a local boy+ Angelo+ and arri,e at the ,illage ($olognora+ the main setting

for the story!

79'EE+ -uscany+ Italy3 the narrati,e s#itches bet#een the 5erman Army+ the :S Army+ the local resistance

fighters (artisans to unra,el the &hunt& and


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sections $ to 5 and ! -his code also intert#ines #ith issues of nationality in F and 5! o#e,er+ the sections

mainly focused on the code nationality are %+ + and H to "! Lastly+ sections 5 to are also focused on

issues of se.uality!

Te Domin'nt Co0es: R'&e 'n0 "'tion'(ity inMiracle at St. Anna

-he problem of race and nationality is clearly brought to light in a series of con,ersations and e,ents! First of

all+ the mo,ie begins in '87+ presenting an aged 4egron #ho+ #hile #atching a mo,ie set in the Second

World War+ in #hich all American soldiers are #hite+ comments3 &We fought for this country too&! -his is the

first spoken line of the mo,ie+ and it sets the main code3 race! After this section+ 4egron is portrayed #hile at

#ork in a post9office! When a coe,al #hite man sho#s up to buy a stamp+ 4egron reaches for his gun (a

5erman Lugar from the Second World War and shoots him! -his is follo#ed by the introduction of a young

reporter determined to find out 4egron&s story+ after the ,ery ,aluable head of a statue belonging to the onte

Santa -rinita in Florence (Italy and missing since 'EE+ is found in 4egron&s house! When 4egron begins

telling his story to the reporter+ #e are brought back in time to 'EE! -his is #hen the main story unfolds and

it is at this point that the issue of race becomes ,ery ob,ious! @oung 4egron is sho#n as part of the 2nd

di,ision+ composed at large by African Americans! -hey are sent by the (#hite $aptain 4okes on a ,ery

risky mission to cross 6i,er Serchio in order to penetrate the area controlled by the 5erman Army! -his

#hole section is filled by references to race+ establishing the opposition black


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and spits into his drink! -his passage thus implies that #ithin the :SA+ race difference confines >b in a class

structure #hich penalises them! -his kind of mechanism is called a dissimilation (of the code nationality+

#hich+ %ritton claims+ happens #hen &t#o elements #hich look the same turn out to be in opposition&!

(%ritton+ ')*+ p!78 -hus+ $aptain 4okes and all the :S Army officials stand for this dissimilation

throughout the mo,ie!8

At this point in the narrati,e the main characters are isolated and identified! -hese are the four African

American soldiers (4egron+ Stamps+ %ishop and -rain #ho are able to cross the ri,er! A fifth ma?or

character also ?oins them here 9 a young Italian boy (Angelo+ #ho #as sa,ed by -rain! -he group then

arri,es in a ,illage+ #here they find shelter in the house of local man Ludo,ico+ #here he li,es #ith his

daughter 6enata! ere another character+ 4atalina+ an older #oman+ is introduced!

In this conte.t+ I am going to analyse the main characters in this section of the mo,ie in terms of nationality

and race in the follo#ing diagram3

% 1

4egron = >

Stamps > >

%ishop > >

-rain > >

Lieutenant %irdsong > >

$aptain 4okes > 9

5erman soldiers 9 9

Angelo 9 9

6enata 9 9

5erman spokes#oman 9 94atalina 9 9

Ludo,ico 9 9

Looking at this diagram+ the main thing that is to be noted is the status of =u of 4egron+ the protagonist of

the mo,ie! Since he is uerto 6ican+ it is implied that+ although he is American+ he is different! -his

distinction is elaborated in a se1uence in #hich+ #hile Stamps complaints about %ishop&s beha,iour+ 4egron

points out ho# he is not a#are of the race conflict #ithin the African American conte.t! As such+ 4egron is

not completely >u+ but he is a hybrid+ at once American and non+ dissimilating the code &nationality&! It is also

remarkable that %ishop is considered &light9skinned& by Stamps and so not considered totally >b! -his implies

that Stamps (and perhaps -rain too are the only+ truly African Americans #ithin the mo,ie!

Stamps3 &4egroes like %ishop set the race back E00 years! e&d stick his limp+

light9skinned penis in a 88 if he could! e calls me a handkerchief head!&

4egron3 &WhatJ&

8 %ishop+ discussing #ith Stamps+ ackno#ledges this issue+ e.plaining #hy they ha,e been offered the opportunity of

feeling like accepted Americans #ith &e1ual rights (the right to fight for :SA3 &Shit+ nigga+ is you cra/yJ -he onlyreason #hite folks is thinkin& no# about bein& fair in this Army is Hrauts is cuttin& their toenails too short and they

runnin& outta #hites to die!

*


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Stamps3 &An :ncle -om!&

4egron3 &ey+ I don&t!!!&

Stamps3 &I kno#! uerto 6icans ain&t got nothing to do #ith it!&

-his complication of the code race+ sets the ground for the neutralisation of the code outside of the

nationality (>u code! Follo#ing this con,ersation about %ishop+ Stamps actually confides to 4egron #ho

agrees #ith him that he has ne,er felt freer in his life3

&5etting to lo,e Italy! I ain&t a nigger here! ( -hese Italians is catchin& holy hell+ but ain&t studying

ho# to keep a 4egro do#n! I ain&t ne,er felt so free in my life! "akes me feel ashamed to feel more

free in a foreign country than I do in my o#n! All my tomorro#s #as based on America gettin& better!

If it doesn&tJ&

-his statement actually links to the beginning of the mo,ie3 African American ha,e hardly been

ackno#ledged any in,ol,ement in the Second World War by '87+ #hich suggests that America has not

really got any better! -hus+ neutralisation of the code race is not possible #ithin the American society! -his is

reinforced by the fact the the code is neutralised in the relation bet#een Italians and African Americans and+

in particular+ it is enacted at the end of the mo,ie+ #hen Angelo helps 4egron! -his temporal delay in

completing the neutralisation confirms it and reinforce it as it is remo,ed from the confinements of history

and necessity (the #ar+ stressing that it is a &genuine& and complete neutralisation! -hus+ if neutralisation is

established in this final act+ it is to be noticed that it takes place bet#een a non9American and a &hybrid&3 the

American


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get killed! ere+ a #ounded 4egron is spared his life by a 5erman officer (#ho has already e.pressed his

disbelief in itler&s politics throughout the mo,ie! It is him #ho gi,es 4egron the gun that #ill be used to

kill 6odolfo!

Sym)tom'ti& Re'0in3 ofMiracle at St. Anna: Te Se8 Co0e 'n0 Mor'(ity

As I claimed at the beginning of this paper+ there is a third code se. implicit to the narrati,e! If #e take a

look at the final neutrali/ation of the code race+ as established in the pre,ious section+ #e can notice that it

takes place bet#een t#o male characters (>m! Although the main female character+ 6enata+ together #ith

other Italian female characters+ is actually an agent of the neutralisation+ it is my argument that there are

other structures that make the neutralisation possible only #ithin men! -hus+ the formula could also be

transformed in3 =b % < (9 u > (> m

o#e,er+ in order to fully grasp this process+ I ha,e to introduce another code3 morality! -his is intended

both as se.ual and moral ,irtue! -his code+ #hich is not as e.plicit as race+ nationality and se.(gender+ is

#hat Althusser defines as a structuring absence! -his concept refers to &elements #hich are hinted at then

erased from the film #ith the result that they function as absent principles #hich determine certain elements

of the filmKs o,erall meaning& (6ushton and %ettinson+ 20'0+ p!27! -he focus on &structuring absences& #as

famously employed by the editors of Cahiers du Cinmain their analysis of &ohn Ford&s Young Lincoln&

(')0!

Analysing the main binary oppositions that structure the dominant codes of Miracle at St Anna+ it is possible

to identify ho# the less ob,ious code morality (=mo+ actually contributes to the neutralisation of the code

race! -hus+ it is possible to dra# this diagram3

% 1 m mo

4egron = > > >

Stamps > > > =

%ishop > > > =

-rain > > > >

Angelo 9 9 > >

6odolfo 9 9 > 9

eppi 9 9 > =

6enata 9 9 9 =

5erman Spokes#oman 9 9 9 9

4atalina 9 9 9 =

ina 9 9 9 9

Bnrico > 9 > 9

La#yer > > 9 =

5erman Soldier 9 9 > =

5erman $olonnel 9 9 > =

8


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-his ne# code+ ho#e,er+ deser,es a close look as morality can be intended in terms of se.ual beha,iour+

moral ,irtue+ or both! As the diagram sho#s+ it is #omen #ho are the most fla#ed! I ha,e included all the

main characters+ although only 6enata is actually an important character for the de,elopment of the

narrati,e+ follo#ed by 4atalina! -he other t#o female characters+ the 5erman spokes#oman and ina are

minor characters! o#e,er+ the #ay they are portrayed really brings to light a big problem #ithin the binary

opposition menmo!'0

-he main female character+ 6enata+ despite helping the 2nddi,ision+ seems to fall pray of inappropriate

se.ual desire (thus she is =mo+ meaning morally ,irtuous but se.ually promiscuous! Although Stamps reach

out to her as a &gentleman&+ 6enata is dra#n to %ishop+ #ho is portrayed as se.ually immoral in his use of

&dirty& language #hen referring to #omen and se.! 6enata&s fall for carnal passion+ rather than more noble

feelings (as offered by Stamps represents a &treason&3 6enata+ although actually crossing racial boundaries+

falls for the &light9skinned penis& #ho &set the race back E00 years&! -hus+ it is to be noticed that %ishop&s main

fla# is being se.ually immoral (thus he is =mo and this is e.tended to 6enata too! "oreo,er+ because of his

irrational beha,iour #hen confronted #ith the se.ual implication bet#een the t#o+ Stamps seems to be

morally fla#ed too+ as if se.ual desire has blinded him (he assaults %ishop! I belie,e that this+ together #ith

his racial discriminations to#ards %ishop+ make Stamps a not fully moral character (=mo! o#e,er+ I #ill

e.pand on him later!

-he other female characters ha,e also dubious moral status! For e.ample+ 4atalina&s good heart is called into

1uestion by Ludo,ico and by her close relation #ith the morally troubled partisans! er di,inatory practices+

in particular+ seem to be an issue (she is not to be trusted according to Ludo,ico! -he other #hite female

character to ha,e more ,isibility in the film+ is the 5erman spokes#oman!

She is represented as a caricature of a se.ually charged+ manipulati,e #oman (9mo! er se.ual

promiscuousness 9 as symbolised by her smoking+ body language and appearance 9 seems to suggest a link

bet#een female se.uality and moral trouble! -his is reinforced by her speech3

&ey+ boys! I ha,e t#o big #hite biscuits right here for you! Co I ha,e something special for you! And

you can ha,e all you #ant! ( 5erman Frauleins like big strong bucks more than lollipops! And #e

lo,e lollipops!&

'0 lease note that I ha,e used =mo for those characters that ha,e sho#n both moral and immoral features!


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Another minor character #hich is portrayed as a se.ually charged and immoral character is ina+ the lo,er of

an American collector of 4a/i art in 6ome (Bnrico! -hese t#o characters briefly appears at the beginning of

the mo,ie (they thro# the ne#spaper that #ill land on Angelo&s table allo#ing him to rescue 4egron! ina is

se.ually ,oracious+ dra#ing on a stereotype of the "editerranean (and Italian in particular &fiery and se.ual&

female nature! "oreo,er+ she is in,ol,ed #ith another morally fla#ed character (#hite American+ collector

of 4a/i art and so she is 9mo+ since she is fla#ed both in terms of se.uality and ,irtue!''

-he only female African American character to appear in the film+ ana Wilder+ is the la#yer sent by Angelo

to bail 4egron (in '87! Although she acts as agent to the neutralisation (getting 4egron out of prison+ she

acts rather de,iously to#ards the ?udge+ literally blackmailing him into allo#ing cash bail! -his seems to

suggest some moral greyness+ in terms of &,irtue& rather than se.uality! o#e,er+ since she helps 4egron she

is =mo!

-hese considerations ha,e pointed out ho# all female characters are+ at least partially+ morally fla#ed! ;n

the other hand+ if #e take a look at the male characters+ #e are also faced #ith many morally fla#ed roles!

o#e,er+ it is to be noted that the only characters #ho are not in any #ay &immoral& are male! -hus+ I #ill

lastly focus my analysis on the three characters #ho are morally unfla#ed3 4egron+ -rain and Angelo!

As I ha,e already pointed out+ 4egron and Angelo are the &heroes& of the mo,ie+ the neutralisers of the code

race! -his+ ho#e,er+ does not apply to -rain+ e,en though he is one of the main agents of neutralisation as he

is the one #ho rescues Angelo in the first place! ere+ I belie,e that it is helpful to point out anotherstructuring absence+ #hich actually defines the code morality3 christian+ religious belief!

-he mo,ie is+ in fact+ populated by many references to religion+ starting form the animated titles+ #hich

feature christian crosses (form cemeteries and in the title itself+ as the #ord &miracle& implies religious

connotations! "oreo,er+ a rather long se1uence in the mo,ie cuts bet#een the Italian ,illagers+ :S soldiers

and the 5erman Soldier reciting the same christian prayer in three different languages! In addition+ during the

mass killing at St Anna di Sta//ema+ the priest is ready to sacrifice himself for the rest of the people!

-hus+ it is not a coincidence that 4egron and -rain are committed christians+ #hile %ishop does not belie,e

(this is ascertained in a con,ersation he has #ith -rain and Stamps does not seem to be in,ol,ed in any

ardent religious passion! -his+ ho#e,er+ raises the 1uestion3 #hy is -rain not a hero like 4egronJ

First of all+ for the neutralisation to happen outside of nationality+ it has to be e.ercised by 4egron (=u!

Secondly+ it is because of -rain&s child9like beha,iour and simple mindedness'2! -his does not make him a

'' er representation as a se.ual ob?ect is also represented by the fact that her face is ne,er clearly sho#n3 she is a

body+ to be consumed! A series of pictures illustrating this are a,ailable in AB4CID $'2 While crossing 6i,er Serchio+ %ishop calls him &dummy&

'0


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&proper&+ gro#n up man! 6ather+ as Angelo+ he is a boy (although in the body of a man! -his brings about

issues of se.uality3 -rain does not manifest any se.ual instincts (contrary to 4egron #ho gallantly dances

#ith a local Italian #oman and is presented as a married man in the &future&! As such+ -rain cannot be

considered a &real man&! -his links to the t#o issues dri,e both ,isual and ,erbal language in the moment f

neutralisation of the code+ #hen Angelo and 4egron are reunited in the future3 the signs of de,otion to

christian matrimony!

First of all+ 4egron states that all he asks is to be reunited to his #ife! Shortly after+ the mo,ie ends #ith the

act of kissing the cross of 4egron&s rosary (#hich is returned by Angelo to its original o#ner! It is in this

moment that the accomplishment of Angelo #ithin the christian la# is established3 a close9up on both

characters&s hands+ points out a #edding ring on Angelo&s finger! "oreo,er+ the choice of the name Angelo

(#hich translates as angel contributes to reinforce his inscription #ithin christian ethos! 4ot only this+ but

the #edding ring highlights his status of se.ually appropriate+ gro#n up man!

I belie,e this passage clarifies the ,ision of se.uality and the se. code in the film3 se. and se.ual desire are

positi,e #ithin matrimony and presumably religion! -his echoes the &sanctity of matrimony& professed by

christian religion and it suggests that to 1ualify as hero+ a character needs not to refuse se.ual desire+ but

needs to embrace it #ithin the La# of religion or state (#edding and presumably in a heterose.ual #ay!

-rain+ being so child9like+ is not able to accomplish this!

Con&(%sions

In dra#ing the conclusions to my analysis+ I #ant to e.pand on the morality and de,otion to the la#+ #hich

is intrinsic to 4egron! o#e,er+ as the la# of the #ar is o,er+ 4egron is re1uired to obey to the order of ci,ic

?ustice! ;b,iously+ by killing 6odolfo+ he is not complying to this order! ;n the other hand+ this act

represents 4egron&s heroic decision3 his sacrifice to the la#! is morality is pro,en in the killing of 6odolfo3

he has de,oted his life to a,enge himself and the Italian population (and Angelo in particular! e is ready to

sacrifice his freedom o,er finishing his duty!

;nce again+ I belie,e that this kind of moral ,irtue (and the neutralisation #hich arises from it can be

obtained only temporally3 the neutralisation of the race code can be accomplished in the future+ thus pro,ing

that 4egron&s re,enge is a genuine act+ not something forced by circumstances (#ar! -his+ in turn+ applies to

the neutralisation process too!

Finally+ I #ant to propose a more precise summary of the function of the narrati,e+ #hich takes in

consideration structural absences3 =b %m (>mo

''


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-his function reads as3 the problem of the narrati,e is to achie,e the neutralisation of the %lack


13/24

A##E"DI9 A

Tis is ' more 0et'i(e0 1re'* 0on of te n'rr'tive:

'! '873 Initial Situation'!' 4egron kills 6odolfo (4e# @ork

'!2 -he statues& head is found in 4egron&s apartment!

'!7 4egron tells his story to a ?ournalist

'!E Angelo finds out about 4egron and the killing (in 6ome

2! $rossing of 6i,er Serchio

2!' crossing of the ri,er3 -rain and %ishop make it across the ri,er lots of American casualties

2!2 In :SA+ Army officials discuss the position and status of %uffalo Soldiers and African Americansoldiers

7! "eeting Angelo

7!' -rain meets (and sa,es a young Italian boy called Angelo

7!2 %ishop is ?oined by Stamp and 4egron+ then they ?oin -rain and Angelo

E! -he ,illage

E!' intro to ,illagers! Bstablishing political beliefs3 Fascist old man (Ludo,ico+ antifascist #omen

E!29 5erman soldiers putting posters (ant9American propaganda and lea,ing the ,illage #hile

stealing cattle

E!79 arri,al of %uffalo Soldiers at the ,illage and meeting #ith local older #omen (4atalina+ Ida+

etc and young #oman 6enata and her father Ludo,ico

! ne# missions

!' 9 5erman officers meeting3 one escaped 5erman soldier has to be found

!2 artisans eppi (&Farfalla& and 6odolfo are reunited in the #oods

!7 9 Angelo &fi.es& the 2nddi,ision radio! -hey recei,e ne# orders3 to capture a german soldier

(flashback of ice parlour raid

*! Arguments and Fights (at the Gillage3

*!' Gillage celebration at the church3 Stamps talk to 6enata but he&s interrupted by %ishop! Stamps

complaints about %ishop to 4egron! 4egron is in,ited to dance by local girl!

*!2 arri,al of partisans and argument o,er the german soldier

'7


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*!7 %ishop and stamp argue o,er 6enata #hile negotiating #ith the partisans

*!E %ishop and -rain discuss about faith and christian religion

*! 6enata and bishop ha,e se.+ then Stamps and %ishop fight

*!* artisan eppi &Farfalla& talks to 4atalina3 flashback of massacre of St Anna da Sta//ema3

eppi and other partisans (including 6odolfo kill german soldiers in the #oods5erman retaliate by killing ci,ilians3 because of a deal #ith 6odolfo

5erman soldier sa,es Angelo+ a young boy by turning against his $aptain

*!) 4egron+ 6odolfo and the capti,e 5erman soldier go in the #oods3 6odolfo kill the 5erman

soldier and attack 4egron! -hen he kills eppi #ho confronts him about St! Anna da

Sta//ema

*!* :S army arri,es to collect 5erman soldier (dead3 argument bet#een $aptain 4okes and 2 nd

di,ision

) %attle :S Army ,s 5erman Army

)!' -rain tries to sa,e angelo and gets killed

)!2 %ishop dies to try and sa,e Angelo

)!7 Stamps tries to sa,e Ludo,ico e 6enata! -hey all get killed!

)!E 4egron is shot but not dead

)! Angelo finds 4egron! Angelo gi,es 4egron the statue&s head and 4egron gi,es him his rosary

)!* 4egron is rescued by :S Army

8 '873 4egron is rescued by Angelo

'E


15/24


16/24

5B6"A4 ;FFI$IALS3

Why don't they shut her u$"

What is she saying"

Berlin can afford to $i$e

that garbage all the way here

but can't give us $otato sou$.

ndividual guns only, on my

command.

We have enough ammo

for an hour, maybe two.

4ationality and

Se.

!ook around you.

Do you see any white soldiers

in the river net to you"

)re they sending any white

soldiers to die with you today"

* +f course not

6ace

2ndCIGISI;43

!yin' bastard thinks we

monkeys,

a$es, baboons, subhuman.

6ace

&hink of your $oor children,

your families suffering at

home.

&he )merican white man

is ra$ing your wives and

6ace and

4ationality

'*


17/24

daughters.

-ody is busy right now in your

bedroom, with your wife,

your daughters, even your sons.)nd who will sto$ him if you

die today"

Do you think the $rofitmongers

in Washington, D..

care about your children"

&hey're not thinking of your

children

&hey're home right now.

)slee$, in a nice warm bed.

&hink about the sacrifice

you're making,

/ust for the $rivilege of being

second*class citi0ens back

home.

Where can you vote"

ome to the winning side

and, $lease, teach me those

dances.

&hat !indy 1o$ and the Black

Bottom.

War is folly, boys.

Better to dro$ your guns,

give u$ and dance

5B6"A4 S;LCIB6S3

#ou got any more biscuits"

6ace

')


18/24

%o.

* +r anything else"

* %ot for you.

'll give you money

for a vitamin biscuit.

Go over and beg the Blacks.

ome on over.

eel the warmth of the German

$eo$le.

4ationality

5B6"A4 S;LCIB6S

can't hear a thing

over that damn whore's

$rattling.

Se.

We have hot food,

fried chicken,

greens, candied yams

and even delicious biscuits

straight from the oven,

/ust like your mama cooks.

1ey, boys.

have two big white biscuits

right here for you.

Buffalo soldiers. 1ey, cool

cats.

Do have something

s$ecial for you.

6ace and Se. and4ationality

'8


19/24

)nd you can have all you want.

$A-AI4 4;HBS

&hat goddamned bitch

is gonna start a race riot.

s that a white woman, officer"

What's your name, soldier"

* !ieutenant Birdsong, sir.

* Who is that"

* #ou heard of &okyo 3ose, sir"

* #eah.

&his is the 4raut version. )is

(ally.

(he visits us from time to

time.

* s she )merican"

* Don't know, sir.

6ace+ Se. and

4ationality

1ave you ever wondered

how it felt to be free"

&o be your own man"

&o stand tall"

6ace

German rauleins like big

strong bucks

more than lolli$o$s.

)nd we love lolli$o$s.

Se.

'


20/24

A##E"DI9 C

Im'3es of fem'(e se8%'(ity 's immor'(

#in':

20


21/24

4erm'n S)o*esom'n

Ren't' 'fter 'vin3 se8 it ;iso)/

2'


22/24

A##E"DI9 D

Im'3es of Cristi'n sym1o(ism

Te tit(es:

Te )r'yer:

22


23/24

Te )riest:

27


24/24

An3e(o 'n0 "e3ron: Te En0

2E

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