Money Heist is when an inept, lazy bunch of far-Left day-dreamers compose the Communist Manifesto 2.0 exactly 173 years after Karl Marx and Friedrich Engels
A still from the popular OTT series Money Heist, or La Casa De Papel in Spanish.
The police are not letting them peacefully rob a bank.
This is the central grouse of Money Heist, a very popular OTT series and a baroque Communist fantasy. If one were to borrow Greta Thunberg’s words, all that the filmmaker is telling the government throughout the five seasons: “How dare you?”
Money Heist, or La Casa De Papel in Spanish, ticks all the boxes of the far-Left toolkit. Sample this:
Claiming wealth that is not yours.
Using gratuitous violence to achieve your selfish goals and then playing the victim when stopped.
Trying to make your reckless greed for money but abiding reluctance to work for it looks cool. Triggering street anarchy in which the innocent and law-keepers are killed.
Getting laid by calling a bank robbery ‘resistance’ and ‘revolution’.
International comrades could have created the script just cut-pasting the wet dreams of JNU or Jamia anarchists. Budding Leftists in academia are already furiously writing ballads of the series. Make-up boxes containing Noam Chomsky’s concept of anarchy and manufacturing consent, Mikhail Bakhtin’s Carnivalesque, Spanish anarcho-syndicalist Miguel Igualada’s anti-capitalism, and Michael Foucault’s notion of power have been opened. Money Heist must be made to look intellectually formidable now.
The main protagonist of the series is the Professor, always a revered figure of the Left, usually the indoctrinator-in-chief on campuses, where the unelectable ideology usually exists in modern democracies. This bearded professor chap develops a manic determination to rob a bank after the police shot his father while he was…you guessed it right…robbing a bank.
How dare they?
He later justifies the robbery at one point, telling his team how big banks have been earning billions without sharing the booty with them.
How dare they?
So, skipping all cumbersome and unsexy legal and political avenues to battle the ‘evil’ of capitalism, he decides to form a team of ‘misfits’ to rob the Royal Mint of Spain of a couple of billion euros.
The team has mainly young and pretty men and women and a few east European Hell’s Angels types, all with criminally bent minds in common, victims of a society which has repeatedly denied them the pleasure to loot freely.
The Professor insists that the robbery is a peaceful mission, while his team walks into the mint carrying bombs, bazookas, and truckloads of the most advanced assault rifles. The killing spree begins soon.
After a successful mint robbery across the first two seasons — after which they disperse to chill with freshly minted partners to lush, far-off islands — they return to rescue team member Rio. Europol agents had caught Rio.
How dare they?
And how does the Professor plan to get Rio back? By another bank robbery. This time by stealing 900 kg of gold from the central bank of Spain.
Propaganda techniques for series have been pulled straight out of Communism’s playbook. The journalist-turned filmmaker Alex Pina have dragged to the buying cart all the anti-fascist tropes he could think of to win his audience’s heart.
Bella Ciao, sung by female mondina paddy workers in 19th century northern Italy to protest harsh working conditions, and then by Spanish rebels against Benito Mussolini’s fascism, is sung in this series repeatedly by millennial bank robbers while looting billions of euros. The irony.
Then there is Grandola Vila Morena, a Portuguese song by Jos? Afonso which was used in the Carnation Revolution, or the coup to overthrow the Estado Novo dictatorship. Again sang by self-styled bank robbers after declaring war against a democratically elected government.
And lastly, there is this insidious sub-plot so favourite of the Left, one that Islamists use too with a lot less subtlety.
Sex.
Only the robbers are good-looking people. Only the robbers get laid. Tokyo. Denver. Nairobi. Berlin…gorgeous robbers who take names of gorgeous cities. The Professor and Raquel, the woman cop he turns into a robber. All get sex.
The guys trying to stop the heist are shown as losers.
Raquel’s partner Angel Rubio is a brilliant cop but made to be an object of pity. Her estranged husband Alberto Vicuna is a sharp forensics expert, a victim of the Professor’s violence and manipulation. But he is still made a villain in the series with a vague charge of abusive behaviour towards his wife in the past. A ham-handed recourse to gender politics. And the mint boss, Arturo Roman, is portrayed as a perennially annoying man trying to scuttle the robbery. He is also impotent, mind you.
Money Heist is when an inept, lazy bunch of far-Left day-dreamers compose the Communist Manifesto 2.0 exactly 173 years after Karl Marx and Friedrich Engels. It is passing, unconvincing propaganda at best, unlike the enduring brainwashing genius of its predecessor.
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