In the movie Sin City (2005) the role of Nancy Callahan emerges in `That Yellow Bastard, Part One` in which she`s attacked as an eleven year old girl rescued by Bruce Willis in his role as a police officer, John Hartigan, who loses his genitals because the attacker, Roark Junior, severs them during the ensuing struggle. Hartigan, framed for Roark`s crimes, is imprisoned. Nancy writes a letter to John each week for eight years. In `That Yellow Bastard, Part Two` Hartigan confesses to the crimes after a yellow man` gets into his cell and leaves a severed finger,which John fears is Nancy`s and confesses to Roark`s crimes to get parole and see her. Roark is the `yellow man` and his yellowness is due to the reconstructive surgery he`s undergone since his struggle with John. Willis` character is tricked into leading Junior to Jessica Alba, in the role of Nancy, and a second attack in which John thwarts and kills Junior but Hartigan then commits suicide to prevent Nancy`s life being blighted by her being used as a tool against him.
As it`s virtually inconceivable that plastic surgery could make an individual entirely yellow, the yellowness of the `yellow man` revealed as `that yellow bastard` is almost entirely gratuitously racist. Directed usually at cowards, who`re invariably confused with `meek`, and the `yellow` Japanese, who`re most well known in the 20th century, after Hiroshima and Nagasaki, for non-aggression, the epithet is deployed as a repetition designed to repeat the mistakes of history; as Towering Inferno (1974), starring Steve McQueen as a fireman, and King Kong (1933), in which the giant ape climbs the Empire State building in New York, to where he`s attacked by planes, preprogramed the terrorist attack of 9/11, 2001, which was made into the feature film, World Trade Centre (2005), to celebrate a successful goading of what the United States` perceived as the indubitably `gay` and overly compensatory macho aggressivity of Arabian men publically divorcing themselves from being able to see women concealed beneath the black one-piece coverall of their burkhas that make them appear as weed wearing widows in the midst of so much obvious maleness.