"He is freezing in the cold water, dying, while Winslet is safely floating on a large piece of wood; aware that she is losing him, she cries: ‘I’ll never let you go!’, and, while saying this, she pushes him away with her hands - why? Beneath the story of a love couple, Titanic tells another story, the story of a spoiled high-society girl in an identity-crisis: she is confused, doesn’t know what to do with herself, and, much more than her love partner, di Caprio is a kind of ‘vanishing mediator’ whose function is to restore her sense of identity and purpose in life, her self-image (quite literally, also: he draws her image); once his job is done, he can disappear. This is why his last words, before he disappears in freezing North Atlantic, are not the words of a departing lover’s, but, rather, the last message of a preacher, telling her how to lead her life, to be honest and faithful to herself, etc. What this means is that Cameron’s superficial Hollywood-Marxism (his all too obvious privileging of the lower classes and caricatural depiction of the cruel egotism and opportunism of the rich) should not deceive us: beneath this sympathy for the poor, there is another narrative, the profoundly reactionary myth, first fully deployed by Kipling’s Captain Courageous, of a young rich person in crisis who gets his (or her) vitality restored by a brief intimate contact with the full-blooded life of the poor. What lurks behind the compassion for the poor is their vampiric exploitation."
"There are only 3 ways of increasing the riches of a state: the first is by war: that is robbery; the second is by commerce: this is cheating; and the third is by agriculture: this is the only honest way."