BORN AND BRED

Jack Mathews wrote a thoughtful commentary on Oliver Stone’s film “Natural Born Killers” (“Look Into the Mirror . . . ,” Aug. 21):

To the question: Are violent films only a reflection of society (as writers and producers claim), or is it the other way around--does the glamorizing of violence in films influence society’s behavior?

Perhaps Alexander Pope said it best:

Evil has a face

of such horrible mien,

that to be hated,

needs but to be seen

But seen too oft,

familiar with her face

We first abhor, then pity,

then embrace.

TRINI MARQUEZ

Sky Forest

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I am not concerned about white males, whom I consider to be “natural born killers” by virtue of their history both in America and Europe.

Any number of hangings, lynchings, executions of all sorts, wars and the many weapons of murder that have been created by white males support my opinion.

My concern is for the young black males who have been brainwashed into believing that Billy the Kid, Al Capone, John Dillinger, John Gotti, Freddy Krueger, Jason, etc., are figures to be admired--and to a young black male who feels otherwise powerless in this society, the bad guys often are their heroes.

Despite the efforts of this society (vis-a-vis the media, TV, movies) to make us believe it, black males are not natural born killers, and I hope they do not go to see this movie and come away admiring another American hero, Woody Harrelson’s Mickey.

ROSEMARY C. WATSON

Los Angeles

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It is with the deepest regret that I will likely not have the opportunity to enjoy Rodney Dangerfield as the “father from hell” (“Natural Born Actor,” Aug. 21). Nothing against Dangerfield (on the contrary), it’s simply a matter of not wanting to put another dollar of mine into director Oliver Stone’s pocket.

However, I take minor film history umbrage with Hilary de Vries’ assertion that Dangerfield’s participation in “Natural Born Killers” is his “first-ever dramatic role.”

I think back to those heady days of 1971 when, as a cineaste wanna-be, I went to see Chuck McCann and Dangerfield in Harry Hurwitz’s movie “The Projectionist.” It was a comedy of sorts, with Dangerfield appearing as both the unpleasant and very non-comedic manager of a movie theater as well as the fantasized silent film villain “The Bat.”

Not a highlight in moviegoing history, but Dangerfield was pretty menacing in both “real” life and on the silent screen.

KEVIN W. WHITAKER

South Pasadena