Neo-Fascist Consideration of the Haute-Left & Its Discontents(and PRISONERS by Denis Villeneuve & Aaron Guzikowski AND THE HUNT by Thomas Vinterberg)

http://ostrovletania.blogspot.com/2014/03/neo-fascist-consideration-of-haute-left.html

Topics Discussed: Germany, National Socialism, Marxism, 20th century, Adolf Hitler, Protestants,’Gay marriage’, Jewish power, mass media, French Revoluton,
American Revolution, Occupy Wall Street, elitism, psychological conservatism vs
political conservatism, neo-aristocratism, Martin Scorsese, Mean Streets,
Taxi Driver, Raging Bull, Prisoners(written by Aaron Guzikowski and directed by Denis Villeneuve), Aguirre the Wrath of God, Werner Herzog, The Conjuring, The Godfather, Apocalypse Now, The Hunt(Danish film), Robert Redford’s The Conspirator, David Mamet,
Rationality and Conscioiusness, Book of Job, Veit Harlan, Jew Suss.

As more and more people are beginning to notice, leftism today is associated essentially with the attitudes, values, biases, and taboos of the upper crust of society and its affluent circle of urban dwellers. Today’s ‘leftism’ has about as much to do with classical leftism as today’s ‘liberalism’ has to do with classical liberalism(of the 19th century). If classical liberalism was about expansion of free enterprise, individualism, and civil liberties, today’s Liberalism is statist, corporate/collective, and coercively dogmatic. Libertarianism, derived from the principles of classical liberalism, is generally associated with the ‘right’, at least in America. (To be sure, there are two strains of libertarianism: the ideological and the strategic. Ideological libertarians are sincerely and radically committed to the ideals of ultra-individualism, minimally regulated liberty, and cosmopolitanism, whereas strategic libertarianism is used by some white rightists as a proxy for white power. Principled libertarians are messianic and want the entire world to be converted to the primacy of the individual who is free to do anything and go/live/work anywhere — as long as his or her actions don’t cause direct harm to others. They oppose not only the big government that taxes and regulates but local communities that erect borders and social/moral norms. Ideological libertarians tend to overlook indirect harms and mal-effects caused by activities like gambling, narcotics, and open borders. Strategic libertarians fear the state — especially the federal/central government — that is perceived to be controlled by the ‘left’, so they wave the banner of libertarianism to stave off government intrusion. But, they are not libertarians of the heart but essentially conservative tribalists who are fearful of the impositions of ‘leftist’ government. At least up until the Clinton 90s, there was hope among strategic libertarians that the business class would be pro-rightist since the left had long been associated with Marxism, communism, anti-Americanism, and big government that was for raising taxes and enforcing more regulations. Therefore, the thinking was that if American conservatives support libertarian policies favored by Wall Street Journal and Milton Friedman, the powerful business class would triumph over federal government and side with the American Right. And such a hope was especially alive in the 80s, as many boomers and affluent urban people drifted toward Reaganism if not exactly to American conservatism. But the Clinton 90s witnessed a major shift whereby the boomers who made the most money in the 80s made a ‘leftward’ shift. Therefore, what today goes by libertarianism is a rather empty shell. Ideological libertarians keep attacking big government policy of high taxes and regulations in the name of defending free enterprise, but the biggest winners of economic pie in the US are Democrats and firmly Liberal or even ‘leftist’; furthermore, they fund organizations that attack libertarians of all stripes as childish, juvenile, stupid, unreal, and/or ‘racist’. As for strategic libertarianism, it was doomed for the simple reason that libertarianism is essentially an individualist ideology than a local or communal one. Strategic libertarians are not really anti-statist but anti-statist against the state that happens to be hostile toward them. So, if their local community/government enforces laws and regulations that trample on the rights of certain minorities, outsiders, or deviants, then strategic rightists either turn a blind eye or justify local controls as ‘freedom from big government’, even if big government is trying to ensure individual rights for everyone in that local community. So, the strategic local libertarian argument — as opposed to the ideological universal libertarian position — was bound to be exposed for its muddled hypocrisy, intellectual confusion, and moral pretensions when those in the Deep South invoked “states’ rights” to defend racial segregation that clearly violated individual rights. To be sure, most whites in the South didn’t have ‘libertarianism’ on their minds — or even knew what it meant — when they cast their votes for candidates like Barry Goldwater or George Wallace, but the libertarianism bug eventually wormed itself into Southern Neo-Confederate-ism, especially as libertarianism came to be associated with the image of the Texas cowboy grabbing his gun and riding his horse wild and free.) Given the heavily statist and regulatory character of Liberalism, why did it come to be embraced by the upper business class? There were several reasons. One was obviously due to the war of culture and court. While leftist types preferred to work in journalism, academia, arts, and think-tanks than enter into business, their control of key institutions and sectors gave them the means to control the minds of the children of the elites. If a rich conservative father sends his children to an elite college, they are going to turn into drones of political correctness. Since ideological leftists rely on the power of ideas than direct control of money, they’ve used political correctness to infiltrate and permeate every aspect of American business. So, advertising will feature images and sounds that disseminate certain ‘culture war’ tropes. And workplaces will be pressured to celebrate ‘diversity’ and ‘tolerance’ in not only policy but displays.. And even non-political institutions like Boy Scouts and Girl Scouts will be used to promote certain images, sounds, and ideas amenable to political correctness. Just as there are purist Christians and cultural Christians, there are true leftists and cultural leftists. Throughout most of Western history since the Middle Ages, most Europeans were Christians, but relatively few were purist Christians who were committed to Christ. Most people were Christian because they were culturally raised that way and because they had conform to the prevailing spiritual order to be respectable and allowed to do business and rise socially; some Jews converted to Christianity for such reasons. While most Cultural Christians were sincere in their faith, their religiosity was secondary to mercenary considerations of survival, competition, wealth, and/or power. Even so, as respectable members of society, they had to attend weekly services, pay lip-service to Christian values, and donate to the Church.
Similarly, the main focus of cultural leftists is to make money, gain power, out-compete others, and come out ahead. As they grew up with MLK worship and ‘white guilt’ tropes, they may sincerely believe in PC orthodoxy, but ideological purity or saving-the-world is far from their priority in life. A cultural leftist could be a cutthroat capitalist or an egomaniacal individualist — like so many Hollywood stars — , but he or she still needs to feel morally justified and approved by others, not least for status reasons. Similarly, a cultural Christian could be a millionaire enterpriser or an ardent militarist for whom no amount of national defense spending is enough. In contrast, purist leftists and purist Christians take their credos seriously, and in the past, there were even attempts by leftist radicals and religious fanatics to transform society according to, respectively, communism and theocraticism. But, we now live in a post-revolutionary age, and even purists of all stripes have found ways to compromise with the prized goose of capitalism, globalism, pluralism, and individualism that lay the eggs. When Deng Xiaoping said, “what does it matter if a cat is black or white as long as it catches mice?”, he didn’t mean he was okay with any ideology or any political party ruling China ‘as long as it catches mice’. He meant the Chinese Communist Party must retain control at all costs but make room for free enterprise to grow the economy: make capitalism serve the Chinese Communist Party than the CCP stepping aside to let other groups take power. Though leftists in America never gained the kind of power that Chinese communists did in 1949, they too came around to accepting a compromise that could be to their advantage. Why try to destroy capitalism when (1) it can’t be destroyed — if anything, it was communism that faded as the end of the 20th century drew near (2) it can well be made to serve forces on the left? If the Chinese Communist Party could make room for capitalists, American capitalists could make room for leftists. After all, nature abhors a vacuum, and paradoxically, the very success of capitalism was bound to produce disaffection with its ‘shallow and crass’ materialism. Therefore, capitalists and consumers will crave spiritual meaning, and it just so happened that the Old Time Religion and populist Evangelicalism were too crusty or dumb for modernized and urbanized people of the post-modern era. (In Italy and France, many people who would never have wanted to live under a communist system nevertheless espoused and spouted Marxist theory as a kind of substitute religion to add meaning to their lives that might otherwise have felt empty, shallow, and materialistic. Leftist tracts were like sacred texts with its own canon of prophets, saints, and martyrs. With the fading of religion, late modern man could be a total materialist or a materialist who lived the consumer life but found ‘spiritual’ meaning in radical messianic ideology. Indeed, one of the appeals of Marxism to intellectuals in the West was its very impossibility. Dreams are more alluring if one never has to deal with them as reality. The appeal of Marxism wasn’t different from the sentiments of Scarlett O’Hara at the end of GONE WITH THE WIND: “Tomorrow will be another day.” Marxist ideally lived in the state of Procrasti-Nation. Thus, when communists really came to power around the world, it was a mixed blessing. A victory to be sure, but one that dragged down the dream to the dreary necessity of having to make it work in the real world.) Therefore, the American and European leftists could fashion a kind of cultural leftism with ‘spiritual’ appeal for the new capitalists and consumers. That way, the privileged could be ‘greedy and crass’ as before, but since new capitalism has been christened with the ‘spiritual’ uplift of new ‘leftism’, they needn’t feel so ‘guilty’ and/or ‘trashy’ about their wantonness. (As long as Bill Gates and Hollywood moguls are good ‘leftists’, no one’s paying much attention to their hoggish lifestyles.) Of course, this was nothing new but just the latest manifestation and twist of a process that had defined the relationship between economics and moralism since the beginning of time. Through most of Christian history, for example, the rich could indulge in their privilege as long as their luxuries were gilded with a bit of spiritual correctness. So, while showing off golden jewelry might seem vain and haughty, it wasn’t so bad if the jewelry embodied religious themes. And while lavishing money on a painter might seem luxuriously outlandish, what if the painter threw some religious imagery onto the canvas? That way, one could show off one’s wealth and status while, at the same time, highlighting one’s sanctimony. And of course, if you were rich enough to provide the Church with generous donations, maybe your sins and transgressions could be washed away via special pleading by priests with the Lord. It’s like the ‘leftists’ at ThinkProgress never dare to speak truth to the power of George Soros since he generously pays their salaries and provides funds. And RT or Russia TV that bleats endlessly about abuses and violations of the US tends not to be muted about the abuses of Vladimir Putin.
After a century of bitter ideological warfare in the 20th century, it’s as if people of all stripes sort of wised up in the 21st century. Indeed, this development may signal a kind of cyclical return to the dynamics of an earlier time. In many ways, the socialist left and the privileged classes weren’t necessarily antagonistic through much of the 19th century, especially after the failure of the French Revolution. Though the defeat of Napoleon brought back the reactionaries, most elites of Europe were committed to change and progress in various fields. And in America, progress and elitism had been welded into the founding principles of the nation. Despite the defeat of the revolutions of 1848, Europe — even Russia — kept changing at an ever faster pace, and even authoritarian right-wingers like Otto von Bismarck found ways to compromise with the elements of the left. The symbiotic relationship between the elites and the left was destroyed with the catastrophe of WWI. At the eve of the war, most leftists chose nationalism over internationalism. German socialists sided with German elites, French socialists sided with French elites, Russian leftists — though not the radical Bolsheviks — sided with Russian elites. Italian socialists opposed the war, but Benito Mussolini, perhaps the most famous and popular leftist in Italy, took up the banner of nationalism, and many Italian leftists followed him to join the war on the side of the Allies. Thus, on the eve of WWI, when push came to shove, the leftists of most nations chose national unity(and allegiance to national elites) over ideological internationalism. But WWI bled Russia dry and led to the fall of the Tsar. The government fell into the hands of moderate nationalist leftists led by the socialist Kerensky, but as they couldn’t bring the war to closure either, Bolsheviks eventually took power in 1917, and the first communist nation was born. Unlike most leftist parties that had sought some kind of accommodation and compromise with the ruling elites of aristocrats and/or bourgeoisie, the Russian Revolution pushed radical socialism and sought to stamp out all class enemies, even if it meant the destruction of millions of lives and violent uprooting of tradition and culture. Meanwhile, in other parts of Europe, WWI brought down the traditional ruling castes and radicalized the leftists who regretted that they’d chosen fatherland over brotherhood. Therefore, a communist putsch was attempted in Germany soon after the war. Hungary was ruled by ruthless communists for a spell. Things got very tense as the game of politics turned into winner-takes-all than working-together. Thus, the radical policies of the Spanish Republic led to a bloody civil war. The Spanish Right, rightly or wrongly, sensed that the Spanish left was committed to socializing(even communizing) and secularizing the entire country. (The new Spain of today has been able to push a regimen of capitalism and ‘leftism’ since the cultural forces of the Right has been weakened and destroyed by the preponderance of popular culture and fashions that has no use for deep/sacred values, loyalties, or trusts. Though it’s often been said that consumerism and popular culture did much to undermine communism, conservatism was no less its victim. In some ways, communism and conservatism turned out to have something in common in their preference of ‘timeless’ and ‘static’ cultural values over fashions and trends in everything. The recent homo agenda is entirely the product of late capitalist decadence.) In Italy, the Fascists under Mussolini took over. In France, the leftist government under the Jewish Leon Blum was so reviled by French conservatives that France, as a house divided unto itself, was in no mood to fight Germany in WWII, and when Germans marched into Paris, many French rightists even welcomed the invasion as a kind of liberation from Jewish leftist occupation. In Germany, the Weimar Republic, in the spirit of compromise prior to the war, tried to work with conservative forces to plant the seeds of democracy and revive the economy, but the Versailles Treaty all but ensured the demise of the German economy, which was then made worse by worldwide Depression of 1929, after which, German politics increasingly became a tug-of-war between the National Socialists and the Communists. Given such a choice, it’s understandable that many rich Germans sided with the former as the Nazis were willing to compromise with property-owners whereas communists planned to wipe them out. The political ‘genius’ of Hitler was he figured out how to win over both the rich and the masses. He disassociated socialism from internationalism and branded it onto nationalism, and he offered security and prosperity for the German elites as long as they played ball with his regime.
As America lacked the deep roots of reactionary hierarchy that existed in Europe and as it had been founded on principles that combined elitism with populism, it was better able to weather the Great Depression. Also, as American culture had developed along pragmatic than ideological lines, political battles didn’t become as poisonous as in many European nations where political philosophy — increasingly radicalized — came to matter a lot more. Also, paradoxically enough, in some ways America was more united because it was more divided. On European soil, identities tended to be very particularist and tribalist — German, Polish, Hungarian, Russian, Jewish, Croatian, Italian, Spanish, and etc. — , and therefore, powerful ideologies were needed to overcome tribal loyalties. But such anti-tribalist radicalization had the effect of radicalizing tribalism, as every action causes a reaction. So, threat of universalist communist ideology was met with more radicalized version of reactionism and nationalism, and that, in turn, radicalized universalist ideologies even more, and so on, back and forth.. In America, the various ethnic groups had been Anglo-Americanized in a general way. In order to bring together various ethnic communities, the meaning of what it meant to be American couldn’t be too particularist and specific. And yet, there was a general narrative and trajectory of American culture and history that made ‘being American’ appealing to newcomers. Thus, nationalism became a kind of ersatz universalism in the US. Different people from all over the world could become ‘American’ in the way that they couldn’t easily become ‘German’, ‘Polish’, ‘Hungarian’, ‘Croatian’, ‘Greek’, and etc. Rising diversity necessitated the watering down American national identity into something more adaptable and ‘inclusive’, and that, in effect, led to a creation of a nationalism that could accommodate universalism to a degree while, at the same time, retaining its uniquely powerful narrative of Anglo-American founding, settlement, development, values, habits, and attitudes. The genius of the American formula was that nationalism need not be wiped out to make way for universalism; nationalism itself could be a kind of universalism.
In contrast, the Bolsheviks in Russia initially waged war on Russian culture and nationality to create a new Soviet identity and loyalty. Given that so many Bolshevik leaders were Jewish, Latvian, Polish, and non-Russian, the destruction of Russian identity and culture was deemed necessary to create a new Soviet identity. Trotsky was a Jew, and Stalin was a Georgian. Even so, Russian people were too many, Russian land was too vast, and Russian culture was too old to uproot, and so eventually Russian nationalism made a comeback with a vengeance, and it was what Stalin relied on — the defense of the Motherland — when the Nazis came invading. It was to defend the motherland than to serve a communist ideology that made Russians willing to make huge sacrifices to roll back the German tide. Soviet communism became a kind of Russian nationalism. In contrast, American history didn’t have deep roots. Look back into Russian history, and the people who eventually became ‘Russians’ had inhabited that territory even before recorded/conscious history. Thus, Russian history on Russian land has the element of myth, just like Japanese connection to their island nation. But America, like Athena born from the head of Zeus, was founded with fullness and completeness. Highly civilized Europeans — by far the most advanced peoples on Earth — arrived in North America with a ready blueprint and material knowledge for creating a new civilization. Though we’re all familiar with the narrative of ‘humble beginnings’ of America with the Pilgrims, Jamestown, and sharing turkey with the Indians, the rise of America was essentially an importation of fully developed European ideas, models, and investment in the New World. Also, America’s ersatz universalist nationalism was less threatening that the radical communism of the USSR. If communist ideology heralded a future in which communism would spread like wildfire and conquer every corner of the globe, Americanism was about waiting for people to come to America. “Come to us” than “We will come to you”. Even leftist Jews in Western/Eastern Europe preferred to emigrate to the US than to the USSR in the 20th century. Americans brilliantly welded elements of moderate universalism with elements of moderate nationalism — just like Americans balanced free enterprise with civil society and balanced tradition with progress — , whereas politics in Europe tended to pit one group/idea against the other in a zero sum game of ‘winner takes all’. Of course, this contrast owed to the fact that in the late 19th and early 20th century, there were many more Jews in Europe than in America. Whereas many European cities had a powerful Jewish presence in arts, culture, finance, and etc. — and Russia came under the rule of Jewish communists — , America, up to the first two thirds of the 20th century, was largely Wasp dominated in most elite fields. Massive immigration of the early 20th century and emigration of Jews after WWII had the effect of reversing the political dynamics of America and Europe. As Europe pretty much emptied of Jews after WWII, the ideological battles decreased there — notwithstanding the ruckus of the May 68 Movement — , whereas it heated up in the US as Jewish intellectuals radicalized American life and letters. Jewish leftists filled up the academia, and on the ‘right’, Ayn Rand and Milton Friedman pushed ultra-libertarian economics. Thus, political and ideological divisions in America would become more charged than in increasingly consensus-oriented Europe, the opposite of how things had been in the late 19th century and the first half of the 20th century. To be sure, Europe could have avoided the dangers of ideological extremes if Hitler had stuck to true proto-fascist principles of balancing the pluralist dimensions of society. After all, fascism developed in the spirit of compromise, co-existence, and coordination of leftism and rightism, traditionalism and modernism, ‘creative irrationalism’ and scientific rationalism, spiritualism and secularism, and etc. In a world where too many sides were drawing rigid ideological lines, fascists promised to find a common ground for everyone in the national community. Thus, Mussolini’s Italian Fascism initially appealed to lots of people: Catholics, atheists, Jews, workers, farmers, the bourgeoisie, the aristocracy, and etc. And prior to the disaster setting in with the looming defeat in WWII, Hitler won over many sectors of Germany, even German workers who’d once been members of the Communist Party. If Hitler had been more like Mussolini on the Jewish question and not invaded Russia, he could have done much good for Europe, but there was something sick and loathsome at the core of his being, and his degenerate gambling with history paved the way for the Fall of the West. Granted, proto-fascism had already been corrupted by Mussolini’s Italian Fascism that ranted against individualism. While individualism on its own is mindless libertarianism, social philosophy should balance common interests with individual freedom. Unfortunately, the corporate Fascism of Mussolini put too much stress on unity and obedience, thus robbing Italian Fascism of its vitality(except for Mussolini’s charisma and showmanship). Had Italian and German fascisms been tempered by individualism, they may have been spared the mass hysteria that unthinkingly went along with the grand designs of Il Duce and Der Fuhrer. Israel is a successful quasi-fascist society because a powerful sense of national unity and common purpose/destiny is balanced with individual freedom and dissent.
Anyway, World War II and the fall of Fascism and Nazism threatened to intensify ideological battles once again. There were plenty of Europeans who wanted revenge against former Fascist and Nazi rulers(and their collaborators), and there was a period of bloodbath all over Europe. But Europeans were too exhausted after two great world wars and too desperate to rebuild ruined Europe to squabble endlessly about ideology. (Therefore, it was the children of the WWII generation who caused some ruckus in the 60s when Europe had been rebuilt. Young people in the immediate after WWII had expended most of their energies in scrounging for enough to eat and finding shelter, but their children had time and money for other things, and radical politics went well with Rock music and youth rebellion for awhile.) But once the 60s waned, ideological battles became increasingly passe as Europe had lost its dominance, as most European nations were homogeneously stable, and as most Europeans had arrived at a consensus along the lines of ‘social democracy’.) Also, the looming threat of Soviet Union dampened the mood of the Western left and led to partial revival of the moderate Right under the umbrella of Americans. While defeat of Germany and Italy was a huge boon to the European Left, the Soviet Union was as much a liability as benefit. On the one hand, USSR was the great heroic nation that had defeated Nazi Germany. USSR also provided generous funds to European leftist organizations. Also, USSR was seen by some Europeans as the bulwark against American ‘neo-imperialist’ domination of Europe. But it became increasingly difficult to praise a totalitarian social system that forbade most freedoms, crushed all opposition — not least because Soviet Communism was generally harsher on leftist dissent/deviance than on rightist sentiments — , and when the USSR invaded Hungary and Czechoslovakia, European leftists had eggs on their faces. Just as WWII and the Holocaust fairly or unfairly smeared the entire spectrum of the Right, Soviet/communist totalitarianism and the Cold War smeared much of the Left(though owing to leftist domination of media and academia — and the right’s perpetual lack of talent in those fields as even the best anti-communist thinkers such as George Orwell, Arthur Koestler, Albert Camus, and Raymond Aron were on the left — , association with the far left wasn’t as damaging as association with the far right. Also, while the radical left had its share of first rank artists and intellectuals, the far right after WWII was almost entirely made up of cranks, morons, and psychopaths). In the long run, with the reversal of America’s misfortunes(from the hangover of the radical 60s and confused 70s) and the downward spiral of the Soviet system in the 80s, the radical left lost its luster. No one was talking about overthrowing the system anymore. The Right naturally stood for order and stability, and the Left, especially with the maturation of the boomer generation, sought to find their place within the existing system, which in time became dear to the Left as liberal boomers(especially Jews) far outshone conservative boomers(especially Wasps) in all elite fields of media, academia, culture, politics, intellectualism(even if not honest intellectualism), science, technology, and government. Why rock the boat when the likes of Clinton and Obama took the highest office in the land? The system was bad when controlled by ‘the Man’ but not-so-bad(or even great) when spearheaded by ‘the One’. And though there’s a rift between have-more elite boomers and have-less mass boomers and their Liberal children, they tend to stick together during election time since the alternative is the much loathed GOP that is culturally tainted with ‘war on women’, ‘racism’, ‘homophobia’, religious bigotry, and culture of ‘greed’ — while Liberals are no less ‘greedy’, they’ve perfected the art of compassion-exhibitionism. By the 21st century, the ideological battles of the 20th century seem so extreme, and fittingly enough, Eric Hobsbawm’s survey of the 20th century was called THE AGE OF EXTREMES when the diametrically opposed forces of traditionalism and modernity, of the West and non-West, of capitalism and socialism, of gentiles and Jews, of nationalism and nationalism, of old and young, and of religion and atheism clashed for high stakes. As the entire world has been modernized, the battle between tradition and transformation is far less extreme today(at least in the West as it’s still raging in places in Egypt, Pakistan, and India). And as the people who grew up with youth culture in the 50s and 60s are today’s old folks, the old vs young divide is almost passe; the Rolling Stones still carry on as if they’re 20 yr olds, and aging boomers still think they are groovy and hip. Globalism that MTV-ized, Hollywood-ized, and McDonaldized much of the non-West — and considering that the West has been influenced by Afro-Pop and Japanese anime — , there are fewer differences between the white world and non-white world. Massive non-white immigration into white worlds have also undermined the power of nationalism, at least for white nations. Victory of Pax Americana in WWII and in the Cold War ended the great ideological battles of the 20th century. With the elevation of Holocaust as a world religion and Jewish domination of US and EU — the most powerful and prosperous parts of the world — , most gentiles would rather obey and worship than question and oppose Jewish power. The professionalization of journalism that replaced apprenticed journalists of various backgrounds(often working class) with the carefully groomed and indoctrinated college graduates led to consensus-thinking in the media. (In the past, people with real-life experiences brought their world-views to journalism; today, privileged kids drummed with PC ideology in elite universities project and impose their dogmas onto the real world. So, if they want to see ‘teens’ and ‘white Hispanic’ than black thugs and mestizo, that’s what they’ll see and try to force us to see as well. Liberals are no longer interested only in action and behavior. So, even if you are a perfect worker at the job place, if you’re discovered to have politically incorrect views away from work, you can be fired and blacklisted. Even in the realm of thought, most Americans are no longer free. Someone who is reported to have a low opinion of homosexuality will be fired or banned from work even if he works well with homosexuals at work. Liberals aren’t content to control the deeds but also the creeds. Harvard University even praised the Stasi-like ratting of someone when a jealous Jewish girl outed Stephanie Grace as a ‘racist’ because the latter expressed belief in racial differences in a private email. Needless to say, bot the rat and the Harvard dean were Jews. And yet, these same Liberals say Joe McCarthy was wrong to remove Stalinists from US government, Hollywood, and mass media. Principle and consistency aren’t in the Liberal Jewish vocabulary. Many Jews are foul creatures indeed.) With the ebbing away of great ideological battles — in many ways a good thing — , the new ‘right’ and the new ‘left’, in order to say in business to rally the troops, have felt compelled to draw new ideological battle lines that are parodies of earlier ones. So, the ‘right’ tried to convince the world that Islamic terrorism is the new Axis of Evil. And neocons and Liberal Jews want a neo-cold-war with Russia as the Evil Empire because… it doesn’t allow ‘gay pride parades’ and homo propaganda in the classroom. In America, the main ideological battle seems to be about which side is more enthusiastic about an openly homosexual football player in the NFL. With Conservatives being so afraid of Jews(who are, after all, the main instigators and funders of the homo agenda), it’s only a matter of time before Conservatives will also bend over to ‘gay marriage’. If both sides are agreed on ideological principles, then the only political game left is a matter of which side is more hysterically ‘enthusiastic’ about something. Indeed, this was the case under communism under Stalin and Mao. As communism was the only game in town, good vs bad came to be determined by who which side was MORE hysterical about the Supreme Leader or the Great Helmsman. So, we seem to be moving away from ideological gaps towards enthusiasm gaps. Since both the ‘left’ and ‘right’ are crazy about idolizing Jews and MLK(and increasingly homos as well), the good guys will be determined by who happens to be more knee-jerkedly slobbering and enthusiastic in worshiping and hailing the sacred cows(promoted by Jews). All one needs to do is look at the political circus of AIPAC conferences where both Democrats and Republicans go out of their way to enthuse ever more hysterically about Israel and Jews. Due to the fading of ideological, national, and cultural battles of the past, one might assume, as did Francis Fukuyama, that we are approaching the End of History where most people are good and prosperous and agreed upon fundamental principles of what makes a good society. (Perhaps, Fukuyama’s theory was a projection of his Japanese personality and cultural ideal onto the world.
The Japanese ideal is harmony, trust, cooperation, consensus, and stability. Consider the long reign of the Tokugawa Dynasty and consider the new Japan since economic and political stabilization since the late 70s. Despite advances in technology and its flashy pop culture, Japan seem to be standing still. So, the Japanese mind believes that when the Big Questions have been resolved, an era of everlasting peace should prevail. But the Jewish mind and Protestant mind beg to differ. The Jewish mind seeks new questions and new problems, even if it has to create them out of the air. And the Northern European Protestant mind, still rooted in its puritanical reformation-ism even if in secular form, seeks new evils to exorcize and new vices to expurgate. Japanese can be censorious and repressive, but the purpose is to further social harmony than to morally purify the souls of a nation. Japanese are obsessed about behavior, whereas Northern European Protestant mentality is about the heart and mind as well as proper forms of behavior. Thus, while the Japanese mind longs for an ‘end of history’, the Jewish and the Northern European Protestant minds prefer the beginning of new historical-ideological-spiritual wars. Even so, many white Protestant communities prefer to be left alone and prefer modesty in their ambitions as well as moderation in their views, whereas lots of Jews just love to stir up new manufactured controversies, manias, and hysterias to morally bully gentiles and set one bunch of gentiles against another. If not for Jewish influence, I highly doubt if this ‘gay’ thing would have gotten so out of hand. While much of Northern European Protestant mentality has been won over to the homo agenda, it was because Jewish influence in the media and academia rammed the homo stuff up everyone’s else. Since Jews control the mass media, they control what is deemed to be the pressing moral issue of the day, and the Protestant mind-set is a sucker for such things. So, the mentality that once got behind Prohibition wasn’t all that different from the mentality that now jumps on the bandwagon of the homo agenda. Prohibition was ultra-moral whereas the homo agenda is ultra-immoral, but the mania of moralism is the same. Moralism isn’t the same as morality as even immorality can be moralized and even morality can be demoralized and demonized. Moralization is not about what is or isn’t moral but who has the power to frame and define, shape, and control the moral debate. Under Nazism, those who plotted against Hitler were seen as moral lechers because the Nazi state controlled the power of moralism and moralization. As most people are childlike sheeple incapable of or unwilling to engage in moral reasoning, their idea of right and wrong depends largely on how their moral buttons are pushed by the powers-that-be, and in America, it’s Jews who give us stuff like the mountain-sized Negro who luvs a little white mouse in GREEN MILE. It’s no wonder that so many dumb Americans now think, homos = angels. Immorality has been moralized and true morality has been demoralized.) But unanimity can be deceptive. After all, how stable and long-lasting were Stalinism and Maoism? To be sure, one could argue that unanimity in Stalin’s Russia and Red China was forced whereas it was achieved freely in the West; but a more careful inspection will reveal that what looks like the convergence of unanimity in the US and EU was slyly and deviously achieved through the strong-arm of elite institutions dominated by Jewish elites, their mini-me homo partners, and craven race-traitor Liberal Wasp collaborators. (Liberals say the spread of ‘gay marriage’ means victory in the Culture War, but who controls the culture, especially pop culture? Jewish elites do. Who controls the media that controls the flow of culture? Jews do. Who controls the government and courts that play referee in the Culture War? Jews do. Who controls the corrupted and decayed humanities and social sciences departments in universities? Jews do. So, the so-called Culture War was never fought fairly between masses of Liberals and masses of Conservatives. The powers-that-be that control the rules of the game favored the Liberals. Even when the great majority of people rose up and opposed ‘gay marriage’, the courts dominated by Jews, homos, and their lackeys forced ‘gay marriage’ on state after state. So, saying that Liberals won the Culture War is like saying White Sox fairly won the World Series back in the day when Jews fixed the game. Liberal Jews have done to American conservatives what Zionists did to Palestinians. With rules like that, American conservatives and Palestinians never had a chance. US pretends to be a fair broker between Jews and Palestinians and between Israel and Iran, but who’s kidding whom? The game has been rigged and fixed from day one.) What we call the Mass Media is not owned or controlled by the masses but by a small elite. Of course, it has always been so, but in the past, there was more of a balance among various ethnic groups in the ownership and running of the media. Today, it’s Jew all the way and across the board. Also, even though American media was more censorious when it came to ‘obscenity’ prior to the late 60s, it was less censorious in what topics could be discussed. One could be critical of black demands and Jewish power as well of Wasp privilege and white ‘racism’.
Today, while the notion of obscenity is quaint in the age of internet where even kids have access to images of homo Negro sticking their dongs into the asses of ‘faggoty ass white boys’, there are lots of political, social, cultural, and historical topics that cannot be mentioned. Helen Thomas, perhaps the most respected Washington journalist, was fired when she said European Jewish imperialists should go back home. Rick Sanchez was fired and has been blacklisted ever since he mentioned the topic of Jewish power in the media. Many people who work in the business self-censor themselves out of fear: like Winston Smith came to love Big Brother, they’ve learned to love the Big Jew. When it comes to Jews and MLK, we must speak in hushed tones. We must pretend that black thugs are ‘teens’ or ‘youths’. Anyone who mentions the obviously gross fact of homosexual fecal penetration will be tarred and feathered and destroyed more totally than any communist during the so-called McCarthy Era, which, by the way, lasted only a few yrs. By the way, why isn’t the period when Jewish communists infiltrated the US government and sent secret files to Stalin called the ‘Rosenberg & Sobell Era’? McCarthy erred on the side of patriotism whereas Jews like Julius Rosenberg, Morton Sobell, and their Jewish/leftist apologists conferred on the side of a mass terror ideology. (The left, owning the media and being more creative, always won the War of Metonym, and therefore, just about every bad thing in American history is associated with excesses of the Right. So, ‘Watergate’ is constantly referred to as standard-bearer of government abuse. ‘McCarthy’ is the measure of all things censorious though something like the Hollywood Blacklist was nothing compared to how German-Americans were treated during WWI, how Japanese-Americans were treated in WWII, and how people have been destroyed and/or silenced since the rise of political correctness. And though Emmett Till is used as the symbol of racial violence, there has been far more black-on-white violence in the US. But because of the prevailing references in the media to rare cases of southern white lynching of blacks in the past, even black-on-black violence is covered in the media within such context. So, if a black southerner kills a black homo, it is seen less in terms of black-on-black crime or black-on-homo crime but ‘redneck racist homophobic’ crime against a black homo.)
Much of today’s ideological consensus and political convergence isn’t organic or natural but orchestrated, manipulated, and deceptively coerced. How did so many Americans become duped by ‘gay marriage’? Because they sat down and really thought about it? No, because it was sold like Coca-Cola via mass education, mass media, Hollywood, MTV, and advertising. How did Americans and Europeans become so slavish to Jews? Was it because they really realized on their own that Jews are saints and angels? No, it was because Jews promoted the Holocaust cult to the point where the Jewish race came to be seen as the new Jesus who died for the sins of humanity. Why do so many people respect Abe Foxman? Because he’s a man of integrity? No, because the Jewish-controlled media have pampered and feted him as a heroic champion of justice, even though to anyone with a even a modicum of sense(rare these days), it’d be obvious that Foxman is dirty Jewish fox in the henhouse, indeed not much different from the Newman character in SEINFELD. Granted, such myth-making is nothing new — think of the time when children were taught about George Washington and the cherry tree — , but if popular myths served the majority in the past, today’s Jewish-promoted myths burden the majority with ‘original sin’ while sanctifying certain minorities as the ‘chosen ones’.

So, in a way, the current consensus is deceptive and unstable. Without the bogeyman of the Evil White (straight)Male to unite the ‘colored’ folks, homos, Jews, women(against whom endless wars seem to be waged), blacks, mestizos, and ‘white privilege’-fetishizing white Liberals(who get high off the narcissism of guilt), the ‘progressive’ center cannot hold. Without ruthlessly punishing all those who speak the truth on race, sex, Jews, MLK, black crime, Zionist duplicity, and etc., the entire edifice of 21st century ideology of convergence will crumble. Jews have had an easy time of fooling the masses of whites into building a new Tower of Babel, but it’s really built on sand, which is why the Jewish-controlled media get even more frenzied in whipping up slave mentalities to obey and enthuse about the New World Order — and damn Russia that won’t bend over to the globalist homo ramrod funded and exported by Jews. As recent revelations about Jewish Nuland’s interventions in Ukraine show, what often seems like democratic process is a puppet show pulled by Jewish masters and manipulators. It’s no different in America and EU where so many Nulands are all over the place gaming the system to make things go their way. Russians were able to spy on Nuland’s phone call because she was in Ukrainian territory next to Russia, but in the US and EU, Jews control most of the sources of intelligence and media, so they get to act like Nuland without getting caught, all the while catching anyone who may be plotting against them. This is why Jews hate Russia. Russians act in their own interests independent of the Jewish agenda.

Paradoxically, the end of macro-ideology conflicts that defined the 20th century seems to be paving the way of rise of micro-ideology conflicts, and in some ways, these are more contentious than the macro-ideological ones. During the Cold War, for example, there was a grand sense of us versus them. We were on the side of democracy, free enterprise, and individual liberty, and they were on the side of totalitarianism, command economy, and collective coercion. But with the great enemy or the ‘evil empire’ of the USSR gone and buried — and with China caring more about national power and wealth than ideological issues — , the Western World has no real enemy that threatens it from outside. There is massive immigration, but this is more an internal issue than an external one for it’s been enabled by fifth-columnists inside the West who opened the gates and dehumanized the patriots. (If the globalist elites were removed from power in the West, massive immigration could be ended overnight and unwanted migrants and illegals could be sent back home.) There was Islamic terrorism on 9/11 that some people saw as the end of ‘end of history’ and the beginning of a new civilizational and ideological struggle with the rising tide of Islam, but it turned out to be a fluke, and besides, it was a response to Western intervention in the Middle East/Muslim World. Today, Muslim nations are so deeply embroiled in internecine conflicts that they pose no credible threat to the non-Muslim world. No matter how much the GOP, neo-conservatives, and European neo-right parties tried to drum up fear of the ‘Muzzie’, it proved difficult to persuade most people that the Muslim world posed a threat comparable to Germans and Japanese during WWII and the Soviet Union and Red China during the Cold War. So, 9/11 faded out of memory — especially as the mess that became Iraq that destroyed the illusion of turning the region into a democratic paradise — , and the West was back to bickering about micro-ideologies which may not even be ideologies but more like radical sentimentalities. A true ideology offers a world-view, a set of theories and values, and a vision of the proper life for the larger population. What does the homo agenda have to do with any ideology? One could include ‘gay rights’ under the libertarian principle of freedom to pursue one’s own happiness and liberalism’s principle of tolerance, but what does the homo agenda, in and of itself, offer to the 98% of the population that is NOT homo? Can a ‘gay’ lifestyle be the basis for an ideology? Though there were great homosexual thinkers throughout history(especially in Ancient Greece), they talked about something other than guys humping each other in the ass. (Libertarianism is also problematic as an ideology for it’s an anti-ideological ideology that says everyone should do his own thing. Thus, if ideologies are supposed to unify a people with a shared world-view, vision of the future, and agreed-upon values, no such can be found in libertarianism that just says own guns if you want to, use drugs if you want to, prostitute yourself if you want to, gamble away your savings if it makes you happy, and etc. One reason libertarianism cannot win is it’s defensively atomizing than offensively unifying. If Liberals tend to come together into a unified force to push their agenda, Conservatives and libertarians tend to retreat and insist on doing their own thing. In general, the left has been more aggressive in trying to conquer and convert the right. Leftists in the 60s went on the attack and called for bringing the system down. In contrast, Rightists tend to retreat into their bunkers or resign themselves to waiting for the ‘collapse’. Leftists actively wanted to force the future, whereas rights passively wait for the roof to finally collapse in Spenglerian fashion. In this regard, rightists ironically have something in common with Karl Marx who said the logic of history will eventually take care of itself. Just like yeasts keep multiplying until they die in their own waste material or alcohol, bourgeoisie will create the new world that will bring upon their demise. In this, Marx was deviating from most leftist views that called for active participation in the NOW to create a better society. Marx tended to see such endeavors as foolhardy and misguided for he was convinced that nothing happened or could happen without the necessary conditions. As Marx saw it, communist revolution was pointless in a society without the bourgeoisie to overthrow and without a proletariat to inherit the wealth that had been hogged by the upper classes. Thus, Marxism provided the left with wings and chained it to an anchor. It soared with a vision of a future when conditions would make revolution unavoidable and the dictatorship of the proletariat would be assured. But to get to that point, leftists needed to be patient and wait for the right conditions to develop under capitalism; they had to resign themselves to being anchored to the unchangeable logic of history. It called for patience even though the activist left was, by its very nature, impatient. And the tension between the need for patience and call for action was plain to see in the Russian Revolution and Chinese Revolution, not least because both came under communist rules without the conditions that were supposed to precede communist victory according to the gospel of Marx. If Marx had merely been a worldly figure, he might have emphasized action in the here-and-now. But he considered himself a prophet of sorts — despite his insistence on deferring to scientific materialism — , and for the words of a prophet to have resonance and lasting value, it had to be about something more than expedience and pragmatism in the here and now. This was difference between Genghis Khan and Muhammad. Genghis conquered much — indeed more than Muhammad before him — , but he was lacking in ideas and future vision. In contrast, Muhammad was not only for victory in the here-and-now but was also a Prophet with a vision of holy life for all places and times. Thus, even as Muhammad won great political victories in his lifetime, he assured his followers that the true triumph of worldwide Islam would be in the future when Islam shall convert and save the entire world. Similarly, even though Marx urged leftists to be active and prepare for the final class war, he also urged them to be patient and allow the bourgeoisie to keep developing capitalism until the time would finally be ripe for revolution. While conditions are not everything, they are important. After all, why did Anglo power remain resilient in Australia, New Zealand, and North America but eventually became hopeless in India, Africa, and Asia? Because the demographic conditions crowded out the British colonialists in places in Zimbabwe and Malaysia. And why are Jews pushing for more immigration to the West? Because ideas and arguments are not enough to guarantee Jewish dominance forever. Conditions must be created via increased diversity and demographic minoritization of the white population in order to ensure permanent Jewish elite control in a socio-political order where the gentiles will be too divided racially and culturally to form into a united bloc. Indeed, the National Socialists would never have come to power in the diverse Austro-Hungarian Empire. However ‘antisemitic’ the Austro-Hungarian Empire may have been, Jews needed not fear the possibility of all the goyim ganging up on Jews, especially as Jews were prized for their skills and talent by the Austrian and Hungarian elites. To the extent that Jews want to safeguard their wealth and power, Jewish anxieties are indeed understandable — and the evils of Nazism cannot be written off as just some accident of history — , but the Jewish power-agenda has to be regarded as an evil when Jews push policies that will destroy the cultural and historical integrity of entire nations just to guarantee their supremacy. Indeed, it’s now more about Jewish supremacy than Jewish survival. There’s almost no one in the West who wants to round up Jews and kill them. There’s almost no one who wants Jews to be treated as second-class citizens. So, Jews no longer worry about survival or equal rights. They have amassed supremacist domination over goy society, and that’s what they want to ensure permanently. Foul Jews know that they cannot help abusing the vast amount of power, money, and influence they have. It’s in their nature to be pushy, devious, cunning, hideous, arrogant, contemptuous, and nasty. So, Jewish power will not be likable and will rub a lot of people the wrong way, and that may lead to rise of genuine and justifiable anti-Jewish sentiments, and those are what Jews dread most. Besides, as evil as Nazism was, it didn’t triumph in Germany simply because a lot of Germans decided to go cuckoo-bananas. Jews, as finance capitalists, communists, and cultural degenerates, had done things that justifiably angered and exasperated many gentiles all across Europe. Just because the Holocaust was vile doesn’t mean that every anti-Jewish sentiment was vile, no more than just because the bombing of Hiroshima and the massive rape of German women were extreme, every anti-Japanese or anti-German feeling was extreme. The lesson of the Holocaust isn’t that it’s wrong to be anti-Jewish. It’s that feelings of anti-ness can go well beyond justifiable rage, action, and payback. It’s like the Columbine killers did something horrible, but that doesn’t mean they were entirely wrong to hate a lot of students who’d either bullied them or tolerated a culture of bullying. The Holocaust teaches not to overreact, but we’ve learned the wrong lesson that would have us not react to Jewish foulness at all. But if we can’t speak truth to Jewish foulness, it just grow more and more foul, and then the foulness will stink so much that it may finally lead to overreaction yet again. But with the rise of diversity that divides the goy community, Jews are banking on the hope that no matter how foul they act in the future, the goyim will never unite to do anything about Jewish power. Jews will be able to always bribe and buy off one side to fight the other side. Jews use mulattos to keep the Negroes calm. Jews fund the homos to undermine majority morality. Jews fund Hispanics to hate whites. Jews fund Muslims to hate Christians, but Jews also fund Christians to hate Muslims. Jews teach Asian students to hate ‘white privilege’ but teach white Americans to fear ‘yellow peril’. Jews teach Americans to hate Russia as the neo-evil empire, and Jews encourage white Europeans to hate American conservatives as neo-Nazi redneck scumbags. This is how Jews play the game.)

Anyway, the so-called the so-called ‘end’ of macro-history has opened up the beginning of micro-histories, often internecine in nature. Though the Liberal Narrative accuses fascists — and communists to a lesser extent — of having fueled the hatred/paranoia toward the Other in order to solidify internal unity, every nation and group have done this. So, American Conservatives used the bogeyman of the communist threat to rally the nation behind Republican leaders. Even as the Cold War was coming to an end, there were people on the American Right who insisted that the Evil Empire was still going strong. And today, it’s the Liberal Jews, their homo allies, and neo-conservative Zionists who are making Russia out to be the Evil Empire again because… it doesn’t allow ‘gay pride’ parades and respects the Orthodox Church as a source of spiritual and moral guidance; of course, those are mere ruses masking the real reason, which is Jews want total control of Russia with its vast resources. Today, the American media are busy with their homogrom(homo-pogrom) against Russia. And American Conservatives still keep yammering about the Islamic threat as if Sharia Law is going to sweep America any time soon. In a nation where ‘gay marriage’ is sweeping the nation, you’d think conservatives would have more sense than to focus on the threat of Sharia and the Koran, but Conservatives haven’t been known for courage, honesty, or sense for some time. To an extent, propping up an external enemy for internal cohesion makes for good political strategy, and indeed, the lack of such an enemy can be as problematic as over-hyping such an enemy. Too much paranoid frenzy about the Other can lead to xenophobia, delirium, and hysteria, and then ultimately weariness and cynicism, as in the Never Cry Wolf story. Indeed, the terrorism threat alerts during the Bush II era increasingly came to be dismissed as a cynical ploy by Dick Cheney and gang. And the pathological lies about Hussein’s WMD led Americans to support an invasion that turned out to be a mess for America and even a bigger one for the Middle East. But lack of an external enemy can lead to either complacency and stasis(followed by stagnation) or, worse, internecine fighting. The great advantage of the Persian invasion was it brought much of Greece together, with Athens and Sparta coordinating their military strategy on land and water to drive back the Persian advances. But once the Persian threat was gone, Athens and Sparta got to fighting one another and led to the decline and ruination of both and other Greek city-states between them. Though Sparta won the war, the costs were high. Also, victory made Spartans both over-ambitious and over-complacent(a deadly mix) in regards to their own affairs and non-Spartan Greeks. As a result, Spartan power dissipated soon after the defeat of Athens. Some alliances are naturally unstable and therefore forged by circumstances, such as the alliance of US and USSR in WWII. Even shared ideology may not be enough if nationalities and/or personalities(of political leadership) are too much at odds. In the case of the Nazi-Soviet Pact from 1939 to 1941, the problem lay in differences in ideology(ultra-right and ultra-left), nationality(Germanic and Slavic), and personality(Hitler and Stalin, though Hitler was, by far, the more problematic personality, just like Mao, much more than Khrushchev, was the main reason for the rift between Soviet Union and Red China). But even in cases where there’s natural unity, divisions can be sowed by cunning and devious manipulators of politics, academia, media, and finance. In America, there really shouldn’t be any kind of poisonous divide between white liberals and white conservatives, and indeed, both sides had much in common in the past, which is why FDR, Eisenhower, Johnson, Nixon, and Reagan had been able to win landslides. Large numbers of whites(even conservatives)could be persuaded to vote for FDR and Johnson, and large numbers of white liberals could be persuaded to vote for Nixon and Reagan, who won huge landslides in 1972 and 1984. Jews didn’t like this and went about sowing the white liberal mind with all sorts of silly PC nonsense so that a whole bunch of white Liberals came to hate huge numbers of other whites because…. the latter aren’t for ‘gay marriage’. (Also, Neocons cynically emboldened and empowered the Christian Right for its fanatical support of Israel, thereby turning social conservatism into a form of religious zealotry that drove out moderate and secular conservatives from the movement. Today, Neocons continue to encourage the Christian Right to rabidly support Israel while, at the same time, excoriating it for its rejection of ‘gay marriage’. So, Christian zealotry is great as long as it serves Israel, but it’s bad if it stands in the way of something like ‘gay marriage’ — favored by both Liberal and Neocon Jews. But then, even as Neocon Jews lament the Christian Right’s rejection of ‘gay marriage’, they find comfort in the fact that whites shall remain divided on that issue.)
And after the Cold War, white Americans and white Russians should have felt much in common. Jews, of course, wouldn’t have liked that, so they’re making crazy Hollywood movies about Russian Christian Orthodox terrorists and vilifying Russia over the homo issue to persuade Americans that Russia today is worse than under Stalin — and American white folks are so dumb that they are falling for the New Cold War line. (In some ways, this is why it’s only right that Jews should rule over white folks. If whites are really this dumb and easily duped, they deserved to be ruled as sheeple by a smarter, more cunning, and more ruthless people. Dumb idiots don’t deserve to control their own destiny. If you want to be sheep, follow the shepherd, even if he’s leading you to slaughter for that is the purpose of sheep: to be eaten either by wolves or by man.) In A HARD DAY’S NIGHT, Paul McCartney refers to his ‘grandfather’ as a ‘king mixer’ who manipulates even close friends to distrust and hate one another. Jews are the cunning ‘king mixers’ who’ve drummed up stuff like ‘gay rights’ and ‘war against women’ to drive a wedge among various groups of white Americans and between white Americans and white Russians. Jews are a hideous and foul bunch, but maybe we can’t blame them because so many whites are dumb enough for fall for nasty Jewish shticks. It’s like nothing could be done about American Indians who were ‘dumb’ enough to trust the white man, to whom they sold entire territories for blankets, beads, and alcohol. (At the very least, the Chinese resisted the aggressions of the British. Even as they lost the Opium Wars, they knew how shameful it was for the Chinese nation. They knew they had to eventually come together to overthrow the Manchu order and then drive out the imperialists. But white Americans seem to be going out of their way to become addicted to the opiate offered by Jews and to bow down before the new religion of Jew-and-homo worship concocted by hideous Jews. The fall of Anglo-Americans is especially sad, but we’d be fooling ourselves to call it tragic. At least tragic fall — like Japan’s defeat in WWII — has some poetic intensity. The fall of white Americans to Jews is a total farce, a clown show. It is the craven and cowardly surrender of the greatest people in the last 500 yrs to a bunch of people whose weasel-like nature is so plain to see. And the primary blame must go to the East Coast Wasp elites as whites in the South and the West showed some grit against the rise of Jewish power. Though many good things can be said about the Northeast Wasps who were known for their propriety, sobriety, diligence, and manners, their excessive emphasis on dignity meant they didn’t have the kind of guts to push back the pushy Jews. They’d rather lay down their weapons and surrender than get down and dirty to fight the dirty Jew.)

Anyway, a seismic shift has taken place in the underlying premise of what it means to be ‘leftist’, and to better understand this, we need to understand the essence the French Revolution, English Evolution, and the American Revolution(that maybe should be called the American Resolution). (I wonder if the evolutionary nature of change in English politics had a temperamental, albeit unconscious, influence on Charles Darwin’s development of the theory of evolution by natural selection.) All three transformations were about one elite replacing another even if they, especially the French and the American, made a big fuss about the Rights of the People. To be sure, all three had the radical wing that wanted to totally smash the power structure as it then existed, but even the radicals of the French Revolution held power for only a brief stint. The revolutionaries and ‘evolutionaries’ were essentially alternative aristocratic and/or bourgeois challengers to power. The Founding Fathers were quasi-aristocratic landed gentry or Anglo-bourgeoisie. French Revolutionary leaders were mostly from bourgeoisie or even aristocratic backgrounds. The English transformation experienced a more gradual shift of power from the aristocracy to the haute-bourgeoisie, and with so much intermarrying between the two, it wasn’t easy to tell which was which after awhile; the bourgeoisie might even buy aristocratic titles, as in the film TESS by Roman Polanski. In a way, the challengers to the existing power structure were similar to American Jews who eyed the established Wasp elites and sought to take over as the new elites. Notice that one of the biggest gripes among (rich, successful, and privileged)Jews was that they weren’t admitted into certain Wasp golf clubs. But then, such exclusion turned out to be a great blessing as things turned out. If Jews had been happily and immediately admitted into all sectors of Wasp power, they’d have less of a ‘victim’ narrative in America as they would have been collaborators of Wasp-Jewish privilege. Also, the exclusion of Jews from certain Wasp clubs became comical as the basis of exclusion went from economically snobby to culturally defensive. Initially, the richer and more powerful Wasps thought Jews were not rich and successful enough to join their club. But as Jews gained ever greater wealth and became richer than even most Wasps, excluding Jews became an ever more desperate means to cling to a dwindling vestige of Wasp identity and power. Since Wasps could no longer rely on economic superiority, they sought to maintain some degree of superiority through cultural symbolism. It’s like aristocrats in the 19th century who found themselves on the decline relative to the rise of the bourgeoisie clung to their titles ever more dearly as those were the only remaining proof of their superiority. Some bourgeois person could be a 1000x richer than an impoverished aristocrat, but if the latter was an Earl, Count, Duke, or some such, it meant he was something special. And as long as such titles meant something(especially to the status-insecure bourgeoisie who sought to emulate the styles of the aristocrats), an aristocrat could whore himself or herself out to the rising bourgeoisie who sought respectability. So, desperate noblemen might sell their titles to rising families, or they might hope to marry their children to the children of bourgeoisie. We see some of this in the US today, with declining Wasp families relying on their once much-prized pedigree to essentially offer up their not-too-bright children for marriage to elite Jews and mulattos. (Craven scumbags.)
Anyway, the three great transformations of the late 18th century and early 19th century were about one elite replacing another; they were not about the People replacing the elites. In the end, none of them were about People Power even though, at times, enough people were suckered into believing in their own empowerment. To be sure, something like increased People Power came to the US with the rise of Andrew Jackson(a much loathed figure among American Jews). Most Jews I’ve met much prefer Thomas Jefferson over Andrew Jackson. While they have little use for Jefferson’s ideas of states’ rights or agro-romanticism, they like his idea of the natural aristocracy, the notion that the ‘best and the brightest’ should rule. When Jews think of Andrew Jackson, they think of pitchforks and populist passions. While both Jefferson and Jackson were race-ists and slave-owners, Jefferson relegated his views on such matter to thought and discourse(and feigned some remorseful conscience about slavery), whereas Jackson was very much a blatant man of action who took blunt actions without much thought to gentlemanly propriety and never felt apologetic about ‘keeping Negroes in their place’ and kicking out American Indians westward on the Trail of Tears. Jefferson was a mind-person, and minds can always change(or be molded by others), whereas Jackson was a balls person, and balls prefer to act out of gut instinct and push back when pushed. Jews don’t want white folks to have gut instincts since the gut instinct of most people is ‘my family, myself, and my people’. While minds can hold ideas ranging from the far right to the far left, they can at least be shaped and controlled by those who control the discourse. Of course, control of the mind can also lead to control of the balls, at least to some extent. With the ‘gay rainbow’ as the new Red, White, and Blue, a lot of Americans now have an instinctive gut-hatred of Russia because… it doesn’t allow ‘gay pride’ parades and homo propaganda in schools. Such Americans are like Rambomosexuals. And even though the main enemy of white Americans is Jews, Jewish control of media and entertainment have convinced a lot of Americans — even red-blooded right-wing Americans — that Jews are their best friends while their biggest enemies are ‘Muzzies’, ‘Chicoms’, ‘Russkies’, and of course, those damned ‘Eye-ranians’.

Anyway, in the long run, even Andrew Jackson came to adopt the way of power and became an insider — he brooked no rebellion from the masses — , and his underlings and associates who rode on his coattails became fellow insiders. Besides, there was something a bit odd about Southern populism since southern society was essentially hierarchical, indeed much more so than the North. While Jackson came from a humble background, he rose to become one of the neo-aristocratic southern gentry with lots of land and slaves. And the Southern elites, even as they increasingly came to see themselves as outsiders from the power structure dominated by the more populous and prosperous North, modeled themselves on European aristocrats. Their ideal was to keep the Negroes and poorer whites in their place, and indeed this kind of odd combination of authoritarianism and rebelliousness still marks certain aspects of American conservatism even today. As with General Patton, right-wing rebellion wasn’t to expand greater freedom and/or equality but to protect privileges and exclusionary powers within the local community from central government that seeks to ensure equal freedom and rights to each and every citizen. In this sense, both the American Revolution and the Confederate Rebellion were contradictory in their ideological designs. The Founding Fathers rebelled because they wanted to rule as the dominant elites of the American colonies(than to share equal power and rights with the people), and the South rebelled because it wanted to maintain its system of hierarchy over black slaves and poor white folks; poor white folks sided with rich whites mainly because they feared the muscled and big-donged Negroes. It was about the freedom to dominate or freedom to enslave than equal rights for all individuals.
Of course, the idea of equal freedom and equal power for all is an unworkable utopian/anarchist pipe dream, and societies will always be ruled by dominant elites. The American experiment would have failed if the Founders had been radical egalitarians, and Southern whites had good reasons to want to keep the Negro down for the simple reason that blacks are biologically stronger and more aggressive than whites(even though white males were back then, as now, loathe to admit the truth as it might hurt their white male pride and sense of superiority). Indeed, the Founders, even as they appealed to ideals of equality and People Power, always maintained their conviction in elitism as not only an ideal but the only proper way to govern society. (Though Jews often point out this ‘flaw’ about the Founders, they are no different. Anyone who thinks Jews want to be equal with the rest of us is crazy. In many ways, Jewish rule is more problematic than that of the Founders because the latter at least shared identity with and felt affinity for the white majority. While the Founders were class snobs, they were not racial snobs over the white majority. In contrast, for all the Jewish sermons about the need for greater racial equality, Jews feel superior to non-Jews as a race and look down on goyim as either dangerous thugs or brainless beasts.) And once Andrew Jackson and others like him were admitted into the halls of power, they did everything to limit the expansion of the political franchise. Besides, the elites — even if relatively new to power — soon learned that most people are suckers and that populist tropes could easily be appropriated by the elites to fool the masses, and so, there’s been a long tradition of ‘born in a log cabin’ and its variants in American politics. Also, elites built political machines, gained control of the media, and made campaigning so expensive that only the rich elites and those amenable to elite interests could run for higher office. While everyone has only one vote in America, a handful of people have the money and the means to control the minds of millions of voters, which means that while US is an electoral democracy, it is a ‘selectoral’ aristocracy where a handful of insiders get to select who gets to run and manipulate how most people will think. People are so easily duped. As the Jewish master of mind-control Edward Bernays said: “The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.” It’s like sheep think they’re moving in a certain direction out of their own volition, but they are being led by shepherds and their goon dogs who will eventually lead the sheep to slaughter.

Anyway, even though the American Revolution, French Revolution, and the English evolution did pit class against class, they were not opposed to the very idea of class itself. Rather, the ruling class would be replaced by a new ruling class. The existence of class was seen as natural, permanent, and ineradicable. Class dynamics was more fluid in America than in Britain, but Americans were always aware of class realities and differences.
The real shift in political philosophy came with the rise of communist ideas that sought to abolish classes altogether. Marx differed from most other communist thinkers before him in that his view of class tended to be historical and ‘logical’ than prescriptive and ‘utopian’. Communism prior to Marx emphasized the formulaic blueprint for the best way to organize and manage a communist society. Communism was, first and foremost, an manual that could be implemented upon human society through a combination of persuasion, coercion, and social engineering. While Marx agreed with general principles of what would make a good communist society, he didn’t believe communism could simply be implemented as an idea on any society. Rather, communism was less an intellectual product of inspiration and reason than the inevitable product of historical processes that brought Western society to the point where the final class struggle would ensure the victory of the proletariat.
Most of human history was about a small number of elites ruling over the toiling masses. The stability of such systems relied on the slowness of change and the ignorance of the masses. But the rise of capitalism made society unstable, with the innovative bourgeoisie competing with one another with fiercer intensity and for higher stakes than existed among kings who fought kings and aristocrats who fought aristocrats in the past. And if the old wars among kings or among aristocrats could be settled with agreements on new borders and alliances, capitalism defied and overturned all fixed borders and stabilities. Thus, even though the capitalist bourgeois amassed fortunes inconceivable to previous elites, their power was far less secure since capitalism was the very enemy of stability and continuity, creating new big winners and new big losers within in a span of a few years. Also, capitalism uprooted the masses from their farms and brought them together in huge cities where they could unite and organize and come under the influence of mass media and politics. Even as they were impoverished under capitalism, they would be radicalized in a way that localized rural masses couldn’t even imagine. So, communism was part of a historical process than the product of someone’s thought. Material conditions determined thoughts and ideas than vice versa. People didn’t make their own ideas out of the blue but were determined by history to become conscious of an idea such as communism since capitalism exponentially multiplied social and economic contradictions that could only be resolved by communism.
To an extent, Marx preferred this view of communism(and this view of communism became appealing to many intellectuals) because he loved modernity and preferred the bohemian lifestyle. He understood(and even appreciated) that no historical force was as revolutionary, dynamic, and productive as capitalism. Indeed, the appeal of a communist future was its restoration of peace but with the goodies created by capitalism to be shared and enjoyed by all.
If anything, communism would be a blessing because it ‘ended’ history and restored stability. Communism would be revolutionary but a communist society must be conservatively stable and maintain its perfect order for the rest of history. Communism could never be as bold and transformative as capitalism could be since it had to take care of everyone instead of violate all humanist principles and values for more innovation, more growth, more production. It’s like bohemian-ish grasshoppers who want a good time cannot create wealth, whereas the toiling ants could. One wants the goodies produced by ants but one also wants to be ‘free’ like the grasshopper. Marx loved the bohemian grasshopper-ish life, but he couldn’t make any money that way, and his family suffered. But under future communism, maybe the grasshopper could inherit the wealth created by ants. Theoretically, the ants will side with the ants since they toiled under the super-ants who hogged all the wealth created by ants. So, grasshoppers would lead the toiling worker ants to overthrow the super-ants, and then, the grasshoppers and toiling ants would share the spoils. (If backward Third World nations are smart, they will call back the Western imperialists to serve this ‘bourgeois’ role in their own nations. They should say, “come to our nation, conquer us, and ‘exploit’ us, and in the process, build vast new infrastructures, cities, institutions, schools, hospitals, and roads. After you’ve done all that, we’ll kick you out and inherit what only you guys could have created.” Why is South African economy bigger than those of other African nations? Because whites built up the economy. Funny how Afrikaners are blamed for apartheid but never given any credit for creating a rich economy that blacks came to inherit. And consider what the British did with Singapore and Hong Kong, which used to be muddy villages and banks. The British turned them into world-class trading ports and cities. Guess who inherited them? Whites conquered, ‘exploited’, and built, but non-whites inherited the riches.) Ideally and theoretically at least, communism couldn’t be ruthless as capitalism since communism prioritized the well-being of the people whereas capitalism favored innovation, production, and profits above all. Thus, Marx wanted the fruits of capitalism without the capitalism, but for the fruits to be there, capitalism had to precede communism. This was one reason why Marx scoffed at the idea of a backward society becoming communist. Not only did such an idea violate his theory of class struggle but a society that turned communist prior to capitalist transformation couldn’t enjoy the fruits that could only have been produced by capitalism. Just as many Jews secretly feel that goyim exist to serve the interests of Jews, Marx felt that capitalists existed to ensure good times for communists in the future. Capitalists would produce the fruits to enjoy for themselves, but the communist revolution would take the fruits from the capitalist gods and share it among the people who could then take it easy, work maybe 4 hrs a day 4 days a week, read books, enjoy music, create art, and be bohemian-like. As far as Marx was concerned, he was morally justified in not wanting to work since work was demeaning under the current exploitative system of capitalism. Those who had to work had to toil drearily for long hours and had no time for anything else and therefore were lacking in finer tastes in life. But under humanitarian communism, work would be made humane and dreamy with short hours and safe conditions, and so, even bohemians like Marx wouldn’t mind working a few hrs a day to become a fellow workers, and furthermore, the previously exploited workers would finally have time to learn about art, literature, and the finer stuff in life and become bohemian-ish.

Such socio-economic philosophy still lingers in some form, especially in social-democratic Europe. Some yrs ago, France decreased working hours and expanded benefits in the idea of expanding humane employment for Frenchmen and increasing joy of life(with shorter hours) for French workers. There was always an element of café society about Marx and his heirs. Though Marxism was ostensibly about serving the People, it had a self-serving bohemian element in hoping for a future where bohemians could get by with minimum amount of work — instead of having to rely on the fickle patronage of the rich — and where workers could be turned into fellow bohemians by dabbling in arts and letters in their spare time.

Even though most Western intellectuals and politicos weren’t adherents to communism, Marxism’s anti-class ideology had a profound impact on Western political thought and sensibilities in the 20th century. The element of class came to be seen as questionable if not evil. Though the liberal revolutionaries of the 18th and 19th century mostly opposed slavery, they didn’t see anything wrong with the existence of classes as long as there were sufficient guarantees of individual freedom and rights, with which the better elements of the lower classes might socially elevate themselves. But Marxism targeted the reality of class itself as an evil — even if a necessary evil through most of human history — , as something that must be eradicated like slavery. (Nevertheless, classes couldn’t be abolished without the proper conditions that would ensure a communist future. Abolishing classes prior to capitalism would leave everyone poor and ignorant. Capitalism had to create the wealth first before classes could be abolished and everyone could share the wealth equally.) According to communist ideology, it didn’t matter how fluid the classes were and how mobile the people in them. As long as different classes existed, the upper ones exploited the lower ones, and that was a kind of neo-slavery.
Though radical class theories were rejected by America and Western Europe, the notion that class differences are inherently wrong(even evil) seeped into the thinking of most liberal and even conservative intellectuals. Even the ultra-rightist ideology of Adolf Hitler appropriated the ideal of socialism in National Socialism. Thinkers like John Kenneth Galbraith envisioned a society of such abundant affluence that virtually all Americans would be lifted up and provided with the good life via higher taxes and more public programs/projects. The rhetoric of Lyndon B. Johnson’s Great Society would not merely try alleviate poverty but wage ‘war’ on it and ‘end’ it. ‘Equality’ — later to be joined by ‘diversity’ — became the mantra of even the uppermost elites. Social-Democrats in Europe pushed the fiction that democracy and expanded government spending would gradually lead to a classless society as envisioned by Marx. Of course, most Social-Democrats came to see it as fiction — just like no ruling elite member in China really believes that China is currently undergoing a capitalist phase to produce conditions for a true communist revolution in the future — , but it sounded just good enough in theory to maintain the facade of commitment to the Revolution.
As Marx had made class struggle such a primary focus of political/moral discourse, leftist movements in the late 19th century and the first 3/4 of the 20th century tended to focus on the interests and needs of the People. No longer could progressives be as elite-minded as throughout most of the 18th and 19th centuries. No longer was it considered sufficient to guarantee the masses with basic political rights and liberties. As long as classes existed, it meant society was fundamentally unfair and possibly even evil. Before ‘racist’ became the worst epithet on the left — as soon on the copycat right — , the worst thing a person could be called in the leftosphere was ‘bourgeoisie’. Even after the end of WWII, there were many on the European Left who defended imperialism and colonialism as civilizing missions. Ho Chi Minh complained of how he’d been rebuffed by French leftists who believed Indochina had much to gain by remaining in the French Empire. And before Algeria became an obsession of the French Right, even many on the French Left thought Algeria should remain as part of empire. Even as late as the 80s, the American Left griped about ‘yuppies’, or young urban(or upwardly mobile) professionals, the aspiring members of the new elite class. Today, the notion of affluent urbanites being the object of ridicule and resentment on the ‘left’ is rather quaint as most affluent and hip downtown areas of most cities are so convinced of their ‘leftist’ credentials because… they support ‘gay marriage’ and voted for a fancy mulatto who bends over to Jewish billionaires and homo millionaires — and also because they try to send their kids to elite kindergartens on the path toward admission to Ivy League schools. We still hear of the problems of inequality — rising ever higher — , but given that inequality had exploded under Obama, hipster-hopesters cannot make too much of a fuss about it. Besides, the main beneficiaries of rising inequality have been urban Liberal cosmopolitan classes of Jewish-homo-wasp-Asian-mulatto-Conquistador-Hispanics, so why would they want to kill the goose that lays the golden eggs for them?
And as long as the neocon-manipulated and libertarian-addled GOP refuses to go into national socialist mode and instead pushes for even lower taxes for the super-rich, the Liberal elite community will happily spread the fiction that they are for equality but is opposed by Republicans who are only for the rich. Imagine a scenario with a very rich guy who keeps getting richer, a not-so-rich guy who wants to get richer(but fails at it) and wants to be accepted by the very rich guy, and a bunch of down-and-out guys who are pissed off at rising inequality. Naturally, the down-and-out guys should be angriest with the very rich guy, but suppose the very rich guy makes the right noises about the need for more equality while the not-so-rich guy says equality is a lot of crock in the hope that such rhetoric will make him richer and gain the approval of the very rich guy. But suppose the very rich guy, instead of reciprocating the dog-like admiration of the not-so-rich guy, scapegoats him as the problem for the inequality, and so, the down-and-out guys fix their anger on the not-so-rich guy. That is the problem of the Republican Party in a nutshell. It’s a party that is more slavish to Jews even though Jews kick them in the teeth. It is the party that is more servile to the super-rich even though the super-rich favor Liberalism and the Democrats. Therefore, the not-so-rich American Conservatives handily serve as useful scapegoats for the problem of inequality in the US. The super-rich Jew get richer but yammers about the need for ‘equality’, and the not-so-rich white Conservative struggles but rails against equality. So, the super-rich Jew blames the not-so-rich white Conservative.

Anyway, especially with the end of the Cold War and the rise of New Democrats in the US and New Labour Party in the UK, class simply isn’t much of an issue, and if it is an issue, it’s just a cynical ploy by super-rich Liberals(often Jews)to invoke INEQUALITY to scapegoat the hapless Conservatives as the cause of it despite the fact that the main beneficiaries of Free Trade and market liberalization have been social Liberals of the Democratic Party that have always dominated most of the cities. In the end, the talented and the well-connected make it to the top, and it just so happens that the cronyism of Jews, homos and Liberals is protected from charges of ‘racism’ and ‘favoritism’ that are almost entirely aimed at white conservatives. If Jews, whether Liberal or neo-Conservative, stick together in business and networking, no problemo, but if white conservatives try to do likewise, they are attacked for using the “old boys’ network”. Apparently, the New Boys’ Network of Jews and homos is perfectly fine. As no business that is deemed to be ‘racist’(at least in the interests of whites) or ‘homophobic’ is provided with funds or left alone by the law, it cannot succeed no matter how much talent it attracts, but then it won’t attract any talent to begin with since the most intelligent people in America have been raised with Liberal indoctrination that burdens all the historical guilt on white folks. PC is the new JC. There was a time when everyone had to profess faith in Jesus Christ to make it in Europe, which is why some Jews converted to Christianity to access full rights and opportunities. Today, everyone has to profess faith in Holocaustianity and MLK cult… as well as in homo-worship to be accepted into the economic and governmental power elite fold. Today’s smartest kids have been brainwashed into believing that any group or person who doesn’t bend over to the homo agenda is ‘evil’ and ‘less evolved’. Of course, it applies more to whites than to others. There isn’t much fuss about Chinese Communist suppression of the homo agenda but lots of fury about Russian policy that limits homosexual expression. As Jews see it, white Americans and white Europeans will never much identify with yellow Chinese, but they might do so with white Russians, and if white Russians are perceived to be proudly and courageously standing up for their values, identity, tradition, and history, non-Russian whites might be emboldened to do the same. So, Jews have been using their control of the media to make Russia out to be evil, and given the declining US opinion of Putin and Russia, it appears most Americans are easy to dupe.

Even though there was the Occupy Wall Street movement two years ago, it was less about the 1% vs the 99% than about the 1% vs the top 10% as most of the protesters in big cities were children of affluent class who came to realization that $100,000 in college loans to major in photography wasn’t exactly gonna pay off. Occupy Wall Street movement attracted very few blacks, white working class/poor, and Hispanics. It was mostly an internecine battle among the super-upper-class and upper class and upper-middle class. In a way, it was similar to the French protests during the Chirac years when, supposedly, the workers rose up to oppose the proposal to make it easier for businesses to hire and fire people. The vast majority of protesters were affluent white Frenchmen who wanted businesses to favor their own white kids over immigrants and non-whites. (As firing workers was difficult under French law, most businesses tended to hire young whites than young non-whites who were less of a known quality.) Most of the Occupy Wall Street protesters were white kids from affluent families who want the good life in urban centers but anxious and resentful over the fact that maybe they won’t be able to afford rent in Manhattan and San Francisco. Most of the real ‘99%’ understood this, which is why most of them dismissed Occupy Wall Street as a urban boho-bourgeois thing and refused to take part. Not because they liked or trusted Wall Street but because they instinctively sensed that most of those protesters were pampered and spoiled brats from affluent families who were either making radical motions(as fashion statements) out of moral self-aggrandizement or were resentful of the fact that they, with their useless diplomas in esoteric fields, might have to wait tables for the super-privileged and super-cool classes than be one of them. It wasn’t about the 99% at all. Besides, with Wall Street having hoisted the ‘gay flag’, it’s officially on the side of the most beloved ‘victims’ who are now the darlings of super-rich Jews who run this country. So, how evil can Wall Street be in ‘progressive’ opinion when it was ‘bailed out’ by mulatto hopester Obama and when its financial dick is deep inside the anus of the homo agenda? Indeed, an industry so Jew-heavy and pro-homo could easily weather the storm, and if anyone thinks the new ‘populist’ mayor of NY is going to stand up for the ‘99%’ against the ‘1%’, he’s a bigger fool that those who believed in the ‘hope’ of Obama as a ‘socialist’.

In a way, the current ideological-demographic configuration is, in some ways, more logical than the one that prevailed through much of the 20th century. Though there had been popular revolts all throughout history, they were almost never ‘progressive’. Instead, they were about enraged mobs running amok out of anger and desperation. They might shake or overthrow the system, but they were without ideas and talent, and so, order was restored by new strongmen. So it was usually the case of ‘meet the new boss, same as the old boss’. Real progress had always been an elite-led thing. The great Greek philosophers appealed to the children of the affluent class, not to the mobs. The movie SPARTACUS with Kirk Douglas would have us believe that a popular revolt was about progressive values of equality, but Spartacus and his fellow slaves rebelled for their own freedom, not for the higher ideal of freedom. Had they prevailed, they would have had slaves of their own and ruled with an iron fist. The three great transformations — American Revolution, the French Revolution, and the English evolution — were all elite-led. Even when the establishment elites were challenged, the threat came from other elites, and the new order was also elite-dominated. And even though there was much talk about the People, it was understood that classes were natural and some classes had the right to rule and govern, to write and enforce the laws, and to lead the masses like so many sheep. Thus, progressivism was closely linked with elitism and cyclo-aristocratism(with one aristocratic order replaced by another and presumably better one). The thrust of leftism really changed when Marxism and communism sought to do away with classes altogether to the point where society would leveled into a single class — in Marx’s ideal, the bohemian-intellectual-prole who worked few hrs few days a week, studied science in the afternoons, and enjoyed art in the evenings. Of course, most communist leaders were intellectuals from privileged backgrounds, and every communist state had its hierarchies(which were quite rigid in most cases), but Marxism redefined the core ideal of leftism from being led by enlightened elites to being an equal sharing of wealth and power for all. Of course, such a outcome was impossible — it was as much an opiate as was the dream of anarchism — , but when fiction becomes truth, believe the fiction. So, even though leftist intellectuals and elites continued to control and lead the movement throughout the late 19th century and 20th century, they believed(or pretended to do so)that an egalitarian society would one day be possible because, after all, leftist ideology(especially in the post-‘racist’ age) was committed to the blank slate theory that said most people could be made equal through good education and proper environment. Therefore, if inequality existed, it had to be the product of history of ‘disenfranchisement’ or poverty of under-privilege. So, leftist intellectuals with high IQs who graduated from the best schools carried on with the fiction that they were dutifully working to level the socio-economic field so that, one day, highschool dropout Negroes with low IQs will be on the same plane with them. And of course, this fiction isn’t dead in the discourse of progressive leftism. But it sounds more and more hollow, tired, robotic, and without conviction. In a way, signs of desperation in pushing this narrative betrays its bankruptcy and tiredness. If you have to work so hard at keeping it up, it means you’re repressing your own crisis of faith. And if you have to generate outlandish scapegoats — like ‘white Hispanic’ George Zimmerman, the mythical uniKKKorn at Oberlin, and white-folks-not-liking-Diana-Ross as the reason for Detroit’s economic downfall according to anal-wart-face Andrew O’Hehir — , it means you’re hunting witches to keep the PC faith alive.
Indeed, despite the endless droning about ‘equality’ from the noise machine of the ‘left’, acceptance(and even furtherance) of inequality is the default position of the current elite of ‘progressives’, and in a way, it’s a restoration to the original practice of leftism prior to the rise of Marxism with its emphasis on class struggle.
Intuition and faith are closer to prejudice, and most people ‘think’ and feel through intuition and faith. Thus, most people are ‘conservative’ even if their political positions happen to be ‘liberal’. For example, consider the instant ‘conservatization’ of the passions around the homo-agenda. Most people have been converted to homo-cult-worship as a form of religion; therefore, without an ounce of genuine thought on the issue, many Americans now promote and defend the homo cult out of prejudice. (Maybe it should be called ‘pro-judice’, i.e. if prejudice is a knee-jerk hostility toward something, ‘projudice’ is a mindless passion for something.) They feel holier-than-thou for worshiping the homo. They feel that those who won’t bend over to ‘gay marriage’ as ‘less evolved’ and even eeeeeeeeeeevil! They believe homosexuality and transvestitism are holy and sacred, beautiful like the rainbow. They enforce taboos and rhetorically shame and stone those who think it’s not normal or natural for a guy to be fecal-penetrating another guy. Indeed, just like it’s taboo for hardline Christians to question the miraculous birth of Jesus and it’s taboo for Muslims to discuss the details of Muhammad’s sex life, it’s taboo to even discuss the gross nature of homosexuality where the penis goes into a poop hole or the way of transvestitism where a man goes to a doctor and says, “slice off my penis and fit me with an artificial vagina.” No, as homos and trannies are now considered holy, we must turn our eyes away from the details of their ‘sexual’ habits and just worship them as saints and angels with halos over their heads.

Indeed, elite Jews and homos have been bragging of how they won the culture war not through reasoned debates or logical persuasion but through corporate advertising, symbolism, pageantry, and other irrational methods that not only normalized but sanctified homosexuality. What the Catholic Church once did with the images of Jesus and Madonna, the Jew-homo elites did with the image of homos and trannies. They went transformed from objects of profanity to objects of purity(or poo-rity). Thus, most people who are into the homo-agenda tend to be sanctimonious and judgmental, even as they believe themselves to be non-judgmental and pro-tolerance. But in fact, they become angry and unhinged when confronted with someone who won’t bend over to the homo agenda, indeed no less than a radical Muslim upon hearing someone demean the holy name of Muhammad. Indeed, as the homo agenda becomes accepted by American Conservatives as well, it will be clear as day that (1) most people are psychologically conservative and (2) smarter elites can easily control their simple-hearted emotions. Even most political Liberals are psychologically conservative, which is why they are so slavishly servile to dictates and dogmas from their superiors and so mindlessly conformist toward whatever the orthodoxy happens to be. Even though political conservatives may be more resistant to new items of ‘change’, once they are won over(through coercion, persuasion, brainwashing, or intimidation), they are ‘intuitively’ and dogmatically conservative in defending the new item as if it’s a timeless truth. In this, most Liberal masses and most Conservative masses are both psychologically conservative. Liberal masses may adopt the new item of change before Conservative masses do, but this doesn’t mean that they are psychologically any less conservative. It means that since they obey their Liberal elite superiors, they are the first ones to obey the ‘progressive’ elites. Such mindless obedience is psychologically conservative for its defers to authority. And once Conservative elites follow the lead of Liberal elites, politically conservative masses will follow the lead of Conservative elites. As most people are thus easily manipulated, they aren’t capable of independent or individual thought or the courage of conviction. Even as most political Liberals brag of how they distrust and defy authority, they really only defer to the Liberal authority that flatters their vanity of delusional freedom and rebellion. Indeed, just look at the dutifully conformist and monkey-see-monkey-do Liberals all across America who roboticly spout the official line fed to them by Jon Stewart and Stephen Colbert, establishment types in cahoots with the Jewish-homo elite political machine. All these Liberal masses defer to establishment ‘satirists’ — who are really little more than court jesters — but believe themselves to be thinking for themselves because they laugh along ‘sophisticatedly’ to ‘cutting edge satire’ that is really nothing more than partisan pro-Jewish-homo-elite politicking.

Given what we all know about the nature of most people — dumb and unthinking — , there’s no way that the current Liberal elites really believe that most people are equal or can be made equal. So, Steven Pinker’s BETTER ANGELS OF OUR NATURE reassesses the 1960s in a negative light as the neo-dark-ages of youth-centered barbarism. And his earlier book THE BLANK SLATE challenged the once prevalent notion — even a dogma in some circles — that most people were naturally the same and could be molded by proper environments to attain equality in intelligence and skills. But, Pinker isn’t a proponent of reactionary-ism or conservatism in his wish to restore the pre-Marxist conception of progress driven by elites who are more intelligent and know better than the masses do. Cass the Ass Sunstein believes people should be manipulated or ‘nudged’ like guinea pigs — techniques that are far more effective with dummies than rational persuasion or logical arguments could ever be. Tyler Cowen the Jew wants us to get used to the inequalities as natural and develop a taste for beans as, presumably, our inferior bean-brains can get by perfectly well with bean-proteins. Why waste beef proteins on inferior bean-brains when they can be put to much better use with superior filet-mignon-brains? Of course, this neo-progressivism is bound to cause rifts and problems since leftism has long sold itself as a leveling ideology where class differences and inequalities would gradually be eased if not entirely erased. But with the experience of the past century and with growing scientific data on the genetic roots of human differences — even among racial and ethnic groups — , it’s getting ever more difficult to sell the notion that the fates of all individuals and groups will one day converge through socio-political programs — though genetic engineering may well change everything, but then, that would prove the primacy of genes over environmental factors.
The problem is becoming ever more acute as those who have reaped the biggest social, economic, political, and cultural rewards are not the pro-rich American Conservatives but the supposedly ‘socialist’ urban Liberals and Progressives. So, neo-progressives try to balance two contradictory factors. On the one hand, they still make a lot of noise about the need for greater equality and blame the odious and noxious Republicans for the ‘rich getting richer and poor getting poorer’. On the other hand, they keep sending signals, subtle and not-so-subtle, that maybe equality as once envisioned by the left isn’t possible and maybe differences will linger due not only to historical and economic circumstances but genetic ones as well. There is, of course, the third way of kicking the can into the future by claiming to be devising some superman project that may fix the problems in decades to come(until when we should all be patient and allow the ‘best and the brightest’ to formulate the best program to ensure greater equality; it’s the emperor-has-no-genius-Negro malady).

Despite the history of leftist challenge to elitist aristocratic power, leftism and aristocratism are psycho-socially related. Aristocrats were relatively few and far between and culturally considered themselves to be superior to the unwashed masses. Even though leftists claimed to be for the People, leftist intellectuals tended to be men of higher intelligence, greater knowledge, and infinite lust for power. Therefore, just like the aristocrats, they could only be members of a tiny group, and if once they came to power, they constituted the new privileged elite, a kind of neo-aristocracy. While traditional aristocrats stood for maintaining the status quo whereas leftist intellectuals were committed to radical change, they were both defined by a sense of superiority over the hoi polloi. Aristocrats felt they were superior in manners, courage, honor, and sophistication. Leftist intellectuals felt themselves to be superior in knowledge, commitment, truth, and values. They both believed in their right to rule. And even if aristocrats were generally conservative, they were less so than the masses of people who, while wanting better material conditions, had little or no idea of progress at all. After all, the people that the Bolsheviks came to hate and loathe even more than the bourgeoisie and the aristocracy were the stubborn Russian and Ukrainian farmers who had no use for the Revolution; they’d only supported it in the early stages because of promises of land, bread, and peace; they thought the Bolsheviks would give them land and leave them alone. The most habitually and psychologically conservative people in society are the masses, and this is true regardless of their ideology. So, a political communist member of the masses was no less psychologically conservative than a political conservative member of the masses. Paradoxically, psychological conservatives are both hardest to convert and easiest to convert. Because they are people of prejudice, instinct, and righteousness, they are resistant to intellectual and ‘rational’ appeal to new ideas and fashions. But once they are converted — often through irrational means of propaganda, pageantry, intimidation, deference to authority, addictive orgasmic popular culture, and etc. — to the new idea or way, they cling to it as mindlessly and ‘instinctively’ as they’d clung to the old idea. (Consider the change of attitude among ‘white trash’ to the black threat. For a long time, the ‘white trash’ elements were most prejudicial against and fearful of black power and black violence. ‘White trash’ maintained their own identity and culture and rejected black culture and relations with blacks. But with the breakdown of the ‘white trash’ family, the forced integration of poor white communities, the pussification of ‘white trash’ males by black muscle, the promotion of MLK worship in public schools, and the rise of rap/hip-hop culture, we see so many ‘white trash’ guys trying to imitate Eminem who imitates Jay-Z, and we see so many white girls ‘twerking’ their asses over Negro dicks. It’s like dogs. A dog will bark loudly at a stranger, but once the stranger takes control of the dog’s emotions, the dog will be most loyal to the very figure it had once barked loudly at.)
Also, as psychological conservatives of the mass population cannot think for themselves, they are far more likely to play follow-the-leader. So, if the elite of a certain group changes its views, so will most people within the group. Just consider the spread of Christianity throughout Europe. It didn’t happen through individual persuasion and conversion. Rather, the kings and princes were converted first(most often in consideration of political advantages), and then all the subjects just followed the kings and princes. And look at Japan and Germany during and after the war. During the war, the psychologically conservative Japanese and German masses dutifully obeyed the regimes, but immediately upon defeat, they dutifully followed the Allied Occupation forces. So, Jews know how the mind game is played and how it really works. To turn Europe Christian, the Catholic Church needed not persuade and convert each and every person. Rather, it only needed to convert the kings and princes with a combination of carrots and sticks: prizes if they convert, punishment(attack and invasion by Christian forces) if they refuse to convert. Similarly, Jews know that all they have to do is win over the Conservative elites and the rest of Conservative masses will follow due to either deference to authority, cowardice, or lack of will to fight. (Indeed, we can hear the resignation among Conservatives already: “Well, ‘gay marriage’ is gonna happen anyway, so, oh well, what can we do?” Shrug. Pussy boy conservatives no different from the inmates in ONE FLEW OVER THE CUCKOO’S NEST.) And even though Conservative masses are grumbling about ‘gay marriage’ now, they will be among its most fervent supporters in years to come, just as American Conservatives have become totally crazy about Israel and MLK. We are seeing the same pattern all over again. In the 1980s, while the National Review credited MLK with some contributions to America, it was also critical in tone and criticized the personality cult growing up around him. Today, National Review writers say just hearing one of MLK’s speeches makes them all teary-eyed and wee-wee in their pants. Of course, given the power of the mass media, sometimes the Conservative masses can be converted even before the Conservative elites are, but then, who controls the media? The masses or the Jewish elites and their mini-me homo allies? In a way, the rise of sensory-overloading and attention-deficit-disorder-inducing pop culture and videogames have made it ever easier to manipulate mass minds. When American culture was more mature, adult, cerebral, moral, restrained, literary, and sober, the power of all-out-sensory assault would have been met with suspicion and resistance. The downside of this was that some critics failed to appreciate a film like Stanley Kubrick’s 2001: A SPACE ODYSSEY with its famous ‘stargate’ sequence. They distrusted the idea of letting go and ‘surrendering to the void’. But the upside was that Americans were less likely to be duped and carried away with emotional manipulation. But the rise of Rock music, Spielbergian blockbusters, shameless mega-mall churches that turned Jesus worship into pop concerts, crazy video-games, hyper music videos, raunchy porn, loony talk radio, and the like led to the critical/sober/suspicious mind and heart abandoning their guard and shamelessly being flooded by the power of sensory assault. So, we see the endless waving of the ‘gay rainbow’ flag, the quasi-fascist pageantry of the ‘gay’ victory parades, and the promotion of certain political views through LOL TV humor. When a supposedly free-thinking and independent culture critic Camille Paglia says REVENGE OF THE SITH is the greatest work of art in the past 30 yrs, what does it say about the current cultural state of affairs?

In a world where hype and sensory-overload are king, Jeff Koons and Damien Hirst can be sold as ‘artists’, two fecal penetrators walking down the aisle can be sold as ‘marriage’, and a mulatto hustler like Obama can be sold as ‘the One’. And the Iraq War can be sold to 80% of Americans who thought, at least initially, that Shock and Awe was so cool like a rock concert.

While some prejudices are natural — self-preservation, self-interest, family loyalty, tribalism, fear/fascination with strange things, etc. — , prejudices with little or no bearing on natural norms can also be instilled by society. For much of Chinese history, both men and women of all classes felt prejudice against women with natural and normal feet that were culturally looked down upon as ‘ugly’ and ‘ungainly’. Chinese society imposed the cultural ideal where women with crippled feet from ‘foot-binding’ were looked upon as attractive and beautiful. So, for over a 1000 yrs, many Chinese shared the instilled prejudice against natural feet in favor of crippled feet. Since most people are psychologically conservative and defer to authority(even Liberal authority is a form of authority), prefer to conform, and want to win approval, they mindlessly go along with the prevailing orthodoxy and repress their doubts if they feel any.

Ugly Chinese Woman with Uglier Feet

Now, you may wonder, how could a civilization as great and wise as China hold as precious something so obviously ugly, vile, hideous, disgusting, and putrid as foot-binding? And how could something that began among the decadent Chinese elites become the idealized norm among even dirt-poor peasants? It was because most people are psychologically conservative. And when China came under ultra-leftist communist rule, they were no less psychologically conservative, mindlessly going along with Maoism. The new order didn’t eradicate prejudices but replaced old ones with new ones. Though Edmund Burke and other conservative thinkers believed that prejudices(in the positive sense of the term)were deeply rooted, new prejudices can be implanted almost overnight though, of course, the new elites don’t call it ‘prejudice’ but ‘consciousness raising’. But what really happens is that ‘progressive’ prejudices replace pre-existing prejudices. So, MLK cult has is a new prejudice with its own taboos and coercive demands. And if you even slightly question MLK’s greatness, you are attacked and blacklisted by both Liberals and Conservatives(who are so desperate to be morally respected by Liberals on the issue of race). So, the cult of Mandela became so obnoxious that it became defacto taboo for anyone in the Western government or media to discuss the dark side of Mandela-ism. Prejudices are impervious to reason, skepticism, and free thought. They are emotional, automatic, aggressive, and insistent. If you were to visit Old China in a time machine and tried to reason with the Chinese that their practice of binding women’s feet is ugly, vile, putrid, sick, and demented, they would have looked down on you as if YOU are lacking in appreciation for beauty, as if you’re culturally barbaric and coarse. (And if you tried to argue with the Chinese that their Confucian ‘eight-legged essay’ exam was a form of brain-binding or mind-binding that restricted the mind from thinking freely, they would have laughed at you as retarded, uncivilized, and crazy. Of course, during the Cultural Revolution, if you tried to reason with the Red Guards that they were acting like moronic lunatics by reciting from the Little Red Book over and over, they would have attacked you as evil, reactionary, capitalist-roader, punkass, and deserving to beaten to death. How fast prejudices can change, but then, even as human history is thousands of years old, every person’s history is counted in several decades, and everyone, no matter how old the history of his people, is born with blank slate knowledge if not blank slate abilities. As Mao said of young people, they are wonderful because they are like a blank paper on which beautiful calligraphy could be written. So, what did Mao do? He wrote ugly calligraphy of radical prejudices in blood on the minds of impressionable Chinese youth.) If Chinese, for 1000s of yrs, maintained the cultural prejudice that ‘bound feet’ were lovely(and natural normal feet were ugly) — and if Ancient Spartans thought it noble and heroic for young boys to be apprenticed by older male warriors who rammed them in the ass — , Americans today have been sold on the neo-prejudice that butt-banging between homo men is the biological and moral equivalent of real sex between man and woman involving proper sex organs that produce the miracle of life. The majority of young Americans now associate the beautiful rainbow with men who smear their penises with feces of other men, with women whose idea of sex is making a hole have ‘sex’ with a hole, and with men and women who request doctors to chop off their healthy bodily organs to be transformed into members of the opposite sex. (We are living in a narcissistic age where the humanist ideal of accepting people for what they are has become passe. So, if you don’t like what you are, it’s perfectly okay to undergo radical surgeries. A proper humanist understanding would remind us that no one is ‘perfect’. Some are born unintelligent, some are born ugly, some are born short, some are born with birth defects, some are born homo. But there is a common humanness among all of us that argues in favor of recognizing human value and tolerating the imperfections in all of us. So, even unintelligent people have value. Even short people have value. Even ugly people have value. Even fruiters have value. But the narcissism of self-esteem mentality and self-aggrandizing diva-cult promoted by popular culture would have dumb people believe they are intelligent, ugly people believe they are sexy(as with Lena Dunham) — or can be made beautiful through surgery — , and homos believe that their ‘sexual’ behavior has equal biological and moral value with real sexuality. It would even have illegal aliens believe that they are merely ‘undocumented immigrants’ who deserve amnesty and other prizes from America. Humanism is so dead in our neo-aristocratic decadent order that inflates everyone with BS self-love and self-righteousness.) The Chinese sickness about foot-binding and Spartan grossness about male-mentors-buggering-young-apprentices could be explained in terms of the lack of freedom in what were extremely authoritarian or even totalitarian societies. But how could a free and democratic nation like the US — or EU countries for that matter — convince itself that fecal penetration and organ-chopping by homos and trannies are the biological and moral equivalent of real sex? Ironically, maybe Jewish paranoia about crypto-Nazis isn’t unjustified. If Americans can so easily and so mindlessly be instilled with the neo-prejudice of homomania, then indeed IT CAN HAPPEN HERE. Depending on who controls the elite institutions and media/entertainment, Americans can almost overnight be turned onto anything ranging from the far right to the far left. And indeed, Jews pushed the homo agenda — via methods extracted and appropriated from Nazi propaganda and pageantry — to prevent the rise of the New Right founded on natural and normal tendencies of a nation. As US is majority gentile, the natural and normal wish of most Americans should be a gentile-ruled-and-dominated society. So, Jewish elite control is unnatural and abnormal, and of course, clever Jews know this, which is why they are trying to normalize abnormality as the ‘new normal’. The proof that homomania is a merely a neo-prejudice can be proved by the sheer illogic of the concept of ‘marriage equality’. If proponents of ‘gay marriage’ supposedly rationally argue their point on the basis that marriage should be determined by love among consenting adults regardless of the nature of their sexual behavior, then how come the fervent supporters of ‘same-sex marriage’ will not support ‘same family marriage’ or ‘multi-partner marriage’? Why do they favor homos over other sexual deviants? It’s because they’ve been emotionally, ‘spiritually’, and iconographically instilled with unthinking adulation of all things homo, tranny, and queer. Most so-called ‘liberal’ minds are not genuinely liberal — open-minded, skeptical, and rational — at all but prejudice-instilled with Liberal pieties, taboos, and dogmas. We can see this is their selective defense of free speech, i.e. ‘hate speech is not free speech’. And notice how all those Liberals who revere Mandela had such a low opinion of Arafat who was no less a ‘freedom fighter’ than Mandela. So-called ‘blue state’ Liberals are really bluenecks, or Liberal rednecks. Or maybe they should be called ‘bluefaces’ since they get blue in the face with rage and hate against anyone who doesn’t see any value in ‘gay marriage’. And today’s young are the biggest bluefaces of them all, but we can’t blame them, anymore than we can blame the Hitler Youth or the Red Guards. Germans prior to the Nazi seizure of power and Chinese prior to triumph of Maoism lived in a pluralistic world of many voices, views, and interests. But once new regimes gained total power of the government, media, education, and culture, the young generation with no knowledge of the past were ideological blank slates waiting to be filled with the new faith and only the new faith(with no or little knowledge of what had been before). And the threat of state violence against any kind of dissent had the effect of discouraging grownups — who had come to know the world under pluralistic circumstances — from warning their children not to swallow the garbage instilled in them in schools, rallies, and meetings. (It is the natural/instinctive wish of all parents to protect their kids and promote their future success, and if the success of their children is incumbent on joining the communist/Nazi party or sucking up to Jews/homos, most parents will comply and urge their children to be successful & approved mental-slaves than unsuccessful & reviled free men.) Besides, the children were encourage to denounce and inform on their parents, grandparents, and relatives. Though US is not a totalitarian state, pluralism is effectively dead in America. The Golden Age of truth, complexity, and debate in America was from the mid-60s to the late 70s. The youth rebellion, the Kennedy assassination, the Vietnam War, the Civil Rights Movement, the Silent Majority backlash, rise of Nixon, Watergate, and other factors made for a lively society with so many voices and countervailing viewpoints. Wasp establishment was challenged by Jews, conservatives rose up against liberals who made a mess of America by 1968, reporters did their work against Nixon, America questioned its role in the world with the debacle of the Vietnam War, and etc. And Big Labor was still a force against Big Business. Catholics and various white ethnic groups held great power. Since then, we’ve seen the collapse of Wasp power, precipitous decline of Catholic power, the cultural wasteland of conservatism, and aging and death of the Silent Majority generation, and etc. In the academia, the balance of moderate conservatives and traditional liberals on one side and boomer radicals and their drones on the other side have shifted totally in the favor of the latter. Not only is conservatism dead in the academia but so is traditional liberalism. Instead, we have PC galore all over the place. Though genuine liberals and some conservatives still exist in the academia, they hunker down and choose not to fight the culture war since the boomer radicals and drones are rabid like the Red Guards. And a few who do, such as Mary Lefkowicz(who called foul on Martin Bernal’s BLACK ATHENA), have been mostly excoriated by the Left and abandoned by cowardly liberals and conservatives. At least when Peter denied Jesus three times, he had reason to fear for his life. Most liberals and conservatives will betray others just to maintain their living standards and academic privileges.
In the economic competition, Big Labor is gone, and it’s all Big Business(in collusion with Big Government), and ever since Bill Clinton embraced Big Business as the new main ally of the Democrats, there isn’t even much of an economic struggle anymore since billionaires who’ve gotten fat from globalism and ‘free trade’ now control the ‘progressive’ movement. And with Wasp and Catholic power gone, there’s only Jewish power. Black power is pretty much a spent force too, with what passes for black power being the face of Obama, the pet monkey hustler who sold out to Jews and homos. And within the American Right, all the ‘Arabists’ and Paleo-cons have effectively been purged, and New Conservatism is mostly about sucking up to billionaire Zionist Neocons and ‘gay Republicans’. So, US is effectively a non-pluralistic soft-totalitarian state. Jews effectively control all the institutions that matter, and they have effectively purged all elements who might pose a challenge to Jewish supremacist power, all the while protecting and promoting their allies — illegal alien lobby and homo lobby — to serve Jewish interests as well. So, the GOP is on the precipice of signing Amnesty for illegals, worshiping at the altar of MLK, and bending over to have its ass pummeled by the fecal-smeared-and-smelling penis of homomania. Yep, I guess this is the way it ends, this is the way the white race ends. There was a ‘yellow peril’ TV ad(by a ‘conservative’ organization) about the future Chinese laughing at the decline of America resulting from high taxes and government spending, but if indeed the Chinese do get the last laugh, it won’t be because of taxes — after all, Chinese economy is still far more government-controlled than America’s — but because, whereas the Chinese kept control of China in their own hands, white Americans allowed Jews to take on soft-totalitarian powers over the white population. But then, the fact that conservatives fought and lost this battle so badly — despite their electoral victories from the late 60s to the 80s — shows that most conservatives have shit for brains and no imagination. Also, what passes for conservative cleverness and guile is so crude and blatant that Jews never bought it for a second. Bill Buckley’s wooing of the Jews was seen for what it was by the Jews. Buckley knew that American conservatism was lacking in intellectual, media, and cultural firepower, so he hoped to bring talented Jews onboard. But Jews saw right through this. Most Jews remained on the Democratic side, and those who went over to the GOP did so not to serve white conservatism but to make white conservatism serve Zionism by having all the Paleo-cons and ‘Arabists’ purged. If you think you can fool Jews, think again, as Jews are too smart and clever to fall for your shit. Worse, if you think Jews are worth trusting, you need to have your head examined. Anyway, in an America where most elite institutions are now totally controlled by Jews — with even Conservatism Inc. bending over backwards and forwards to Jewish power — , young Americans come under the influence of only one power: Jewish. Of course, Jews fear people noticing the immensity of Jewish power, wealth, influence, and control over people’s lives, and so Jews use buffers like homos, mulattos, and yellows. And when their privilege becomes an issue, they morph into ‘whites’ so that Jewish privilege in places like Hollywood and Silicon Valley become ‘white privileges’, giving the impression that elite institutions are run by people like Pat Robertson and Peter Brimelow. One should never a worship a people, and conservatives made a huge mistake when they decided to worship Jews. Once a people are worshiped like a god, they cannot be attacked, countered, or criticized. So, Conservatives rarely ever call out on the Jewish character of much of American Liberalism, even though Liberal Jews and even neocon Jews never stop to identify ‘white male’ gentiles as the source of all evil. A smart conservatism would have rejected the mindless antisemitism of Old Right and would have critiqued the nature of Jewish power on the ascendancy. Instead, it threw out the baby with the bathwater by not only abandoning mindless antisemitism but any possibility of examining and critiquing the nature of Jewish power that was gaining dominance in America. Also, admiration and respect for Jewish greatness is one thing. Worship and adulation are quite another. To worship means to take things on faith, and once Jews came to be treated as a holy people, their power could not effectively be criticized and countered. It got to the point that even when Conservatives noticed that Jews were the main driving force of Liberalism, they made sympathetic and admiring excuses for Jews. “Gee, Jews happen to be misguided because they are so naively well-intentioned and well-meaning, and even if we disagree with them, we should honor and praise their nobility of heart.” Anyone who thinks Jews — at least smart and powerful ones — act in the service of anything other than Jewish supremacism simply doesn’t know the Way of the Jew. (One difference between Jews and white gentiles is Jews think in terms of ‘winning’ whereas white gentiles think in terms of ‘win/won’. To win something means to play the game to win the game. But once the game is won, it’s over and done with, and dissipation sets in. No matter how exciting a game might have been, once it’s been won, it’s in the past tense. But the idea of ‘winning’ means the game never ends, and that means you have to keep playing harder and harder to keep winning, because if you slack off and rest on your laurels, the other side will begin to catch up and score more points. So, if white gentiles approach history as a game to win, Jews approach it as a game where you must be keep winning forever and ever without taking anything for granted. Jews feel they’re in a marathon without end. In contrast, at some point, Wasps felt they won the race and stopped running once they held the victory trophy. But as it turned out, the game of history never ends, and Jews not only ran past the Wasps but fitted them with the burden of ‘white guilt’ to slow them down even more. Wasps, weighed with such burden, rely on neocon Jews to push them from behind, but neocon Jews are only piggy-back-riding on the Wasps, which only adds extra weight, what with American Conservatism more invested in serving Israel and praising Jews than serving and protecting white folks. It’s like the film EUREKA by Nicolas Roeg where the Wasp adventurer loses his fire once he hits the jackpot and falls into dissipation whereas the rat-like Jewish gangster is always focused on destroying his enemies and winning.)
Religiousness is a part of human sub/consciousness, and if humans have a naturally sacramental sense, they must also have a naturally taboo-sense that seeks out witches to shun and/or burn. All religions, even the most universal, are as much about who doesn’t belong as about who does.
So, if the Old Church was about “homos don’t belong”, the new church is about, “homophobes don’t belong”. That the sacramental and ‘excremental’ are two sides of the same coin can be seen in movie like PRISONERS(written by Aaron Guzikowski and directed by Denis Villeneuve). Though not overtly religious, the film is a visual feast in the manner of a richly adorned Catholic Cathedral. There is a powerful visual sense/presence of Evil that not only drives bad people to do horrible things but tempts good people with evil deeds in the name of the good. Also, some good people, though ostensibly law-abiding and conventionally decent, seem to repressing their darker instincts and drives. Indeed, the film begins with a prayer, a killing of a deer, and the camaraderie between a brusque father and a sensitive son.

The movie’s Catholic sensibility and aesthetics are evinced in its over-the-top blend of sanctimony and sleaziness. Consider the scene in Federico Fellini’s LA DOLCE VITA where two children drive the gathered mob into a frenzy with their alleged vision of the Madonna. There has been much in Catholic tradition and culture that was fraught with fraud and deception, and I always found Catholic aesthetics to be overly ornate, too rich for digestion, and too overbearingly ostentatious, especially for a religion founded by a Man who wore simple clothes, ate simple food, and embraced the wretched of the earth. (Thus, a horror movie like THE CONJURING can be said to be slyly anti-Catholic in its disassociation of spirituality from relics. Supernatural relics in the movie are almost entirely sinister and must be removed from homes and stored away like toxic radioactive material. In contrast, Catholicism is filled with objects deemed to be holy and sacred. Idols can be filled with the angelic power of God. But then, if God can manipulate the spirituality of objects, so can Satan, and the battle of relics makes the Catholic tradition rich in horror possibilities. Indeed, even as THE CONJURING is anti-relic — and by extension, anti-Catholic — , its presumption that relics can be possessed by spirits suggests a kind of Catholicist view.)

Cellar of the fallen priest

Even so, who can deny the power, beauty, and glory — overwhelming at times — of Catholic ritualism, pageantry, and vision? And certain forms of Catholicist aesthetics — THE GODFATHER, parts of APOCALYPSE NOW, CARRIE, 8 ½, THE EXORCIST, BLADE RUNNER, parts of THE DEER HUNTER, ROCCO AND HIS BROTHERS, CASINO, VERTIGO, the works of Salvador Dali, etc. — pack great power. Of course, by ‘Catholicist’, I don’t mean being religiously or thematically pro-Catholic in the strictly religious or spiritual sense. DRESSED TO KILL by Brian De Palma has nothing to do with religion but owes something to the Catholic aesthetic tradition in its over-ripeness and tension between sensuality and repression. Luis Buñuel mocked the Church, but his films cannot be understood or appreciated apart from the Catholicist aesthetic. And though Orson Welles, Michael Powell, Carol Reed, and David Lean were not Catholics(not to my knowledge anyway), they all owed something to the Catholicist aesthetics, especially as it was the Catholicist tradition that had retained, revived, and rejuvenated the Classical Greco-Roman pagan tradition steeped in homo sensibility — and of course, many of the great Renaissance artists were homosexuals. Even Spielberg copped key elements of the Catholicist aesthetic. Perhaps the excessive aestheticism of the Nazis also owed something to so many Nazi leaders having Catholic backgrounds in a nation that was overwhelmingly Protestant. The Protestant sensibility wasn’t as comfortable with overt displays of color and pageantry, which may have been why the British were especially turned off by Nazi aesthetics. It seemed ‘too much’. And of course, Mussolini gained power in a Catholic nation, as did Franco of Spain. Fascism also gained power in Catholic Argentina, and even though Castro turned communist, his ideological origins were fascist-nationalist.
Catholicist aesthetics is heavy on the gravy, big on flavors, large in serving sizes, grandiloquent in scale, and richly textured. It posits a visionary world of sacred objects, symbols, archetypes, relics, totems, and larger-than-life gestures. It can be impressive, overpowering, and/or awesome, but it can also be grating and fraudulent in its phoniness, pomposity, narcissism, self-promotion, and inflated-ness, all the flaws that apply to some of Fellini’s films as well as those of Coppola. Scorsese’s MEAN STREETS is interesting — as are TAXI DRIVER and RAGING BULL — because it’s Catholicist and anti-Catholicist at the same time. On the one hand, Scorsese wants to believe in the myth and sacredness of the Church. But what the Church professes about the world is unlike the real world that is so lurid, ugly, haphazard, crazy, and chaotic. The world looks less like a operatic world of Good vs Evil — as in THE EXORCIST — than a world filled with louts and punks who aren’t worth God’s time. They aren’t good but also fail as exemplars of great evil. MEAN STREET is cinema verite meets Catholicist aesthetics, and the result is at once exasperating and hilarious.

Yet, even more problematic than the world being so different from the Church’s grandiloquent Manichean vision of it is the disturbing observation that the most sinful aspects of the world have parallels in the Church itself. Take the luridly colorful nightlife in TAXI DRIVER with its neon, blinking lights, and colorful signs, and one can’t help noticing that it’s like a sinful parody of the Catholic expression — the whore to the Madonna.
If sensuality is inherently sinful, isn’t the Catholic Church sinful in its ‘excessive idolatry’ of the oversized cult of beauty wrapped in narcissistic sanctimony? In some ways, is the porny world more honest than the Catholic Church because it exults in sensuality whereas the Church tends to denounce sensuality, hedonism, and pleasure, all the while indulging in the most brazenly ripe kind of idolatry with forms, shapes, and colors? Just as the Negro Gospel couldn’t resolve the tension between the orgasmic rapture of boogie-wooging and the humble reverence before God, the Catholic tradition couldn’t resolve the tension between its divine iconography and its idolatry rooted in Greco-Roman-homo-paganism. So, even as black church elders denounced black folks who secularized the Negro Gospel for entertainment purposes, there was a sneaking suspicion that maybe the boogie-woogie secularists better understood the true essence of the Negro Gospel. It was more about ‘my ding-a-ling, your ding-a-ling’ than bowing humbly before God. Similarly, Scorsese had a sneaking suspicion all his life that maybe the porny world of prostitutes, gangsters, gamblers, playboys, and millionaire hedonists understood and practiced the Catholicist aesthetics better and more honestly than the Church did. When a spiritual institution is into so much ripeness, richness, colorfulness, and ecstatic-ness, maybe it has something on its mind that transcendental spirituality. So, Camille Paglia, the homo-lesbian paganist in love with Catholicist aesthetics, adores madonna as the whore incarnate. Maybe if the pretensions and facades of the Church were stripped away, it’s really about something like the haute orgy in EYES WIDE SHUT, based on a novel by a Jew(Arthur Schnitzler)who lived in the Catholic world of Vienna. Maybe it’s no accident that the Catholic Church is, at once, the most anti-homosexual Christian Church and the one that tends to attract the greatest fascination among homos, not least from pedo-homosexual priests. More than any Protestant Church, homos wanna convert the Catholic Church to open homosexualism as so much of the Catholicist aesthetics owes to the tradition of Greco-Roman-homo-paganism. Homos see the Catholic Church as a homo-designed world where homo-ness is still locked in the basement. Fruitkins are funny that way…. but not exactly wrong.
RAGING BULL is an interesting film for its stark black-and-white cinematography drains and saps the colorful world of the Italian-Americans, and yet, Scorsese also finds much in the lurid ritualism of the blood-sport of boxing that has parallels in the Church. Of course, the Church teachings are about peace and humility whereas boxing is about violence and ego, and yet, the Church ruthlessly competed for power, riches, and glory throughout its history; it cut deals with Fascists, National Socialist, Communists, Zionists, and Americans just like Jake LaMotta and the Mafia cut a deal. So, hasn’t the Church been corrupt and devious not unlike the mafia bosses who rigged the boxing world? So, while it may be upsetting that the real world doesn’t confirm the vision of the Church, the greater shock may be that the indulgence of the material world and the excesses of the spiritual order may have too much in common. If Scorsese at least tried to balance the Catholicist aesthetic with the counter-Catholicist aesthetic — playing a kind of contrarian Martin Luther role with his grimy cinema verite style in MEAN STREETS and THE LAST TEMPTATION OF CHRIST and with the stark b/w abrasiveness of RAGING BULL — , Francis Ford Coppola, though a secular liberal, was unabashedly Catholicist in films like THE GODFATHER, (some of)APOCALYPSE NOW, ONE FROM THE HEART, THE OUTSIDERS, PEGGY SUE GOT MARRIED, and DRACULA — though, to be sure, he also made smaller ‘personal films’ like YOU’RE A BIG BOY NOW and THE RAIN PEOPLE.
THE CONVERSATION is a small personal film and yet ripe in Catholicist imagery, which probably influenced Brian De Palma’s BLOW OUT. The problem of the Catholicist aesthetic becomes apparent in the ‘moralistics’ of THE GODFATHER saga. While THE GODFATHER parts I and II are irresistibly among the greatest films ever made in terms of entertainment, artistry, tragedy, and family drama, it’s an entirely bogus vision of organized crime presented in the manner of holy ‘relickry’, ritual & pageantry, and dark prayer. Though not about religion, it is steeped, indeed soaked, in Catholic aesthetic sensibility. If Scorsese couldn’t help seeing the discrepancy between the Church’s vision of the world and the actual world as it is, THE GODFATHER has no such qualms and offers a Catholicist vision of the world as a grand theater of sin. The Catholic Church was never G-rated in its teachings about the world. It wasn’t Disneyland, and if anything, it taught Catholics to be fearful of a world beset with the Seven Deadly Sins. The problem is that the world, even at its foulest, is a lot more mundane that the Church would have us believe. The Church offered a blockbuster movie vision of the world where, not unlike a Spielberg movie, everything — Good and Evil, holy and profane, saintly and wicked — were writ large. (Consider William Blatty’s THE EXORCIST III that pits the Force of Good vs the Forces of Evil. Being set in Washington D.C., you’d think that the main object of fear in most people would be black thugs who roam the streets and invade homes. But that is so mundane and not very politically correct to point out. Instead, the movie presents some mythical battle between Good and Evil whereby Satan revived an executed serial killer to possess the body of Father Karras who then controls the minds of old white lades in a retirement home — ROTFL — in Dr. Mabuse fashion to go on killing sprees against people such as an angelic black child. And in a dream sequence, there’s even Patrick Ewing as an angel as if Heaven above have a thing for the NBA. Thus, the Catholic world-view can be escapist than dealing with real problems of the world. Because the Church prefers dramatics and operatics, it tends to ignore the truly mundane and ‘banal’ nature of evil.) So, in THE GODFATHER, we see the clash of great families, big egos, grand conspiracies & strategies, inspired brilliance, and etc. They may be in the service of evil, but it’s a grand vision of evil, just like APOCALYPSE NOW is a grand vision of war. But what if real-life gangsters are more like the two-bit players in MEAN STREETS and the loathsome thugs in GOODFELLAS? What if Evil isn’t a grand villain but just a dirty hustler whose power rests less on grand gestures than cunning cleverness? Maybe we live in a mondo mondano(mundane) than a mondo magnifico. But the Catholicist aesthetics and sensibility have no use for such a hard-nosed and clear-eyed view of the world. So, Sergio Leone’s Westerns and his gangster movie are writ large as if they’re about the battle of gods and dark angels.
PRISONERS is one of the most Catholicist movies I’ve seen, but therein lies its fatal flaw as well as its strength. THE GODFATHER and ONCE UPON A TIME IN THE WEST(or AMERICA) are not plausible stories and have little to do with actual gangsters or gunslingers, but they are all of a piece, self-contained in its sacramental myths. They are serious enough and believable enough(within their own universes) to engage our interest and emotions but more in the manner of tragedy and opera than realism or naturalism. PRISONERS is genre material, a suspense-thriller-mystery, and it need be no more serious than necessary. Just as one would have to be a fool to mistake THE GODFATHER as a glimpse into the real gangster world, one would have to be deluded to believe the plot of PRISONERS is even semi-plausible. Now, genre entertainment has a right to be outlandish, which is why REAR WINDOW and VERTIGO don’t have to be plausible to be effective and moving.
There are many definitions of art, and one definition calls for at to probe into the nature of truth with honesty, integrity, speculative intelligence/empathy, and appropriate imagination. PRINCE OF THE CITY, HUSBANDS, and MEAN STREETS would be such works of art. THE GODFATHER and VERTIGO don’t qualify, though one can argue that despite their indifference to social truth(or plausibility), they get something right about psychological truth of power and passion. The problem of PRISONERS is it aims for social and psychological realism — and moral gravitas — with a material that is essentially outlandish bordering on preposterous and sleazy. Rarely has such sincere earnestness been invested in something so tawdry and sensationalistic. If PRISONERS really aimed for social truth, it should have invested more in plausibility and less in lurid plot twists. If its aim were sensationalism and good time for the audience, it should have dropped the tone of sincerity that is rendered meaningless by the unfolding of events. It’s a powerful piece of film-making — and gripping for its entire 2 ½ hrs — but for all the wrong reasons. So, even as we can’t take our eyes off the screen, we feel cheated both morally and aesthetically. But this is what makes it so Catholicist, like Michael Cimino’s THE DEER HUNTER, another film with a powerful dose of earnestness that is incompatible with the ludicrous plot and cliched formulations of epic grandeur.

The Vision

Also, there is realism as a style and realism as a statement. THE WILD BUNCH has an element of realism in the rough-and-tumble way people talk and act, but we know it’s not a realistic vision of how the real West had been. Same goes for TO LIVE AND DIE IN L.A. But in some films, realism is used as a statement of fact, of a sincere commitment to tell it like it is. PRISONERS goes for both intense realism and haloed sacramentalism, and it suffers for the same reason that mars films like BABEL and BIUTIFUL, unholy mixes of ripened Catholicist-ism and bare-knuckle realism. Thus, a kind of sacramental pictorialism has a way of imbuing raw ugliness of the world with saturated beauty, which, on occasion, can approach sublimity but, more often than not, turn out to be cheesy and kitschy. The gut-kicking intensity of PRISONERS may owe something to David Fincher’s ZODIAC, a genuine work of art where expression suits the material and which accepts the strangeness of reality instead of tying all the loose ends into a perfect knot. But then, ZODIAC was a total flop whereas PRISONERS was a hit, which goes to show what people prefer. One might argue PRISONERS might have been a bigger hit if it had dispensed with the overly serious realistic/moral tone but then, maybe not. It seems a lot of people want to have the cake and eat it too in typical middlebrow fashion. They want to see(or feel as if seeing) something morally serious and socially truthful but also something thrilling, exciting, and suspenseful in accordance with genre formulations, and PRISONERS is that kind of unholy blend of the two modes. Rarely have I seen so much talent, skill, and artistry go into something so tawdry, ridiculous, and manipulative, but it works even if, by any moral and aesthetic measure, it shouldn’t.

The Prisoners

There are too many scenes in PRISONERS that are overly arty, even precious in their photogenic narcissism, thus unwittingly(or maybe not-so-unwittingly) hallowing and consecrating a world that is supposed to be ordinary, rough, small-town, and working class. It’s like THE DEER HUNTER turns a grubby steel town into the stuff of Russianesque Epic on the scale of WAR AND PEACE. David Lean’s magnification of a small Irish town in RYAN’S DAUGHTER had similar problems. It monumentalizes the vision of ordinary life(even if beset with tragic circumstances) and aggrandizes the nature of evil into something like a Passion Play.
There was an element of too-much-ness that marred the films of Terrence Malick beginning with DAYS OF HEAVEN(which nevertheless transcended its problems) to the utterly stupefying THE TREE OF LIFE. (There seems to be two kinds of Catholicist aesthetics in cinema. One derives from artists with Catholic or Catholic-esque backgrounds — like certain sects of Buddhism and Hinduism that are heavy on ornamentalism and an uneasy blend of the sensual with the spiritual — , and the other was developed by artists from non-Catholicist backgrounds who rebelled against the ‘drab’ and ‘bland’ cultural traditions of their own folks. George Lucas came from a very conservative Protestant family, and he seems to have gravitated toward a kind of Catholicist futurism as a rebellion against his own cultural roots. I don’t know about Terry Gilliam’s background, but he has a very Catholicist style. Ken Russell, another heavy Catholicist of style, went whole hog and converted to Catholicism. If some Protestant and Jewish artists rebelled against the ‘drabness’ and ‘sparseness’ of their own culture and took baptism in Catholicist aesthetics, some Catholic artists, even as they kept their faith, adopted un- or anti-Catholicist aesthetics. If one didn’t know Robert Bresson and Eric Rohmer were Catholics, one could easily mistake their aesthetics as ‘Protestantist’. And under communism, both Russia and China waged war on their own ‘Catholicist-like’ cultural traditions of arcane ornamentality and copious extravagance.) Even so, a few scenes in PRISONERS are among the most memorable in cinema. Especially the desperate drive through the rain near the end comes to mind, what with the impaired vision and faltering consciousness of the cop, along with streaks of rain on the window, transforming the out-of-focus world of night lights into a cinematic equivalent of stained glass windows. The reflection of traffic and street lights on the wet roads create a similar effect. Too heavy on style, maybe, but it has the power to convert even those who’ve lost faith in cinema to believe once again. It’s a kind of miracle only possible in movies.

Catholicist aesthetics isn’t only about ornamentalism, monumentalism, sensualism, colorfulness, and richness. If that were the case, any mega-discoteque might be characterized as Catholicist. Rather, there’s an element of innocence, sanctimony, purity, holiness, and/or earnestness to counterbalance and permeate the extravagance and exuberance. The famous Hindu sculptures of gods having sex may be somewhat Catholicist in form but not in spirit.

Kama Sutra stuff

It is too unabashedly and uninhibitedly into the joys of sensuality. Genuinely Catholicist aesthetics — religious or secular — offers feasting for the eyes but fasting for the soul. It cannot be an all-out bacchanalia, which may be with the Catholicist antics of madonna, Ken Russell, and Terry Gilliam often collapse into stupid farce.
In contrast, consider the films of Francis Ford Coppla and Steven Spielberg. THE GODFATHER and APOCALYPSE NOW are about ‘bad’ men in an ‘evil’ world, but there’s also a powerful sense of the Fall(tragedy) and the search for Redemption/Salvation(as the hero of APOCALYPSE NOW, while on a mission to kill a fallen angel, comes to a realization that the crazy colonel, in his own crazy way, is a seeker of the holy truth of the warrior than just a bloodthirsty madman). And the triumph of Michael Corleone isn’t just a victory of human evil but of Evil, and where Devil exists, God must also exist — and there is a sense of punishment(and thereby, need for atonement) for Michael at the end of THE GODFATHER II where he has gained the world but lost his soul. As for Spielberg, his movie are heavy on action, thrills, and spectacle that shamelessly overfeed and satisfy the sensory-gluttonous beast in us, but they also offer a communion of purity and faith that make us feel baptized and raptured. Though Spielberg the Jew could never convert to another religion, he is one of the most fervently Catholicist film-makers in the history of cinema, an aspect most clearly evident in the cathedral-space ship extravaganza at the end of THE CLOSE ENCOUNTERS OF THE THIRD KIND. Thus, Spielberg’s conversion has been audio-visual than spiritual. In HANNAH AND HER SISTERS, Woody Allen mocks the Catholic Church for its kitschy iconography and relics. Being more dryly wit-centered, Allen simply lacked the sensibility that could be as awed by spectacle and rapture. Unsurprisingly, Allen’s idea of the greatest film-maker of all time is Ingmar Bergman. (To be sure, Allen was as much attracted to Bergman as a contrast as well as a compatriot. While both tended to be cerebral than sensory-driven, Bergman was often humorlessly serious — though he did make comedies and could work in the light mode — whereas Allen was naturally a funny man. Opposites sometimes attract in art, and perhaps Bergman thought Tarkovsky to be the ‘greatest’ because they were so different. Also, Bergman’s FANNY AND ALEXANDER contrasts an exuberantly Catholicist view of life with the severe Spartanist mode of Lutheranism that Bergman identified with his stern father. And Allen wasn’t entirely devoid of Catholicist impulses either. His other great inspiration was Federico Fellini, and the Fellini touch can be seen in films like MANHATTAN, STARDUST MEMORIES, BROADWAY DANNY ROSE, PURPLE ROSE OF CAIRO, RADIO DAYS, and CELEBRATION. The beginning of MANHATTAN suggests New York is for Allen a giant cathedral of not only corruption and neurosis but of beauty, art, and philosophy. And the look and feel of RADIO DAYS, in its blend of nostalgia/innocence and irreverence/craziness, has an undeniable Catholicist element drawn from films like AMARCORD. And Allen seems to have been as fond as fearful of Italian goombas all his life. The Italian characters in his films are often dumb and brutish but also colorful, flamboyant, and ballsy. Jews are brainy, but there’s something about Italians that is both more animal-like and child-like — like the Zampano character in LA STRADA. And maybe there’s more possibility of truth and salvation in such ‘innocence’ than in the overly intellectual life of Jews. It’s like, at the end of BLUE JASMINE, the goomba guy, as stupid as he is, finds a measure of happiness and ‘salvation’ that forever eludes the neuroticists who can never be true with their emotions and status. Brutes can be thug-like and unpleasant, but animality is close to childlikeness, and childlikeness is closer to faith, and faith in closer to salvation. So, there’s greater chance of a dim-witted brute being ‘saved’ — or at least believing himself to be saved — than for a witted person who ‘thinks too much’ to have faith in anything. What Woody Allen sees in Italian-Americans, James Toback sees in Negroes like Mike Tyson, the Negro Zampano. Even so, it may be a conceit among intellectuals to believe that the brutish may find a kind of salvation that forever slips through the fingers of cerebral personalities. Indeed, one of the appeals of communism(at least when it happened to other people in other countries and didn’t interfere with the lives of free intellectuals in the West) to the Western progressive elites was that all those salt-of-the-earth folks in poor backward nations were working with such childlike innocence and honest toil to create heaven on earth. Maybe some intellectuals just want to believe in the salvation of thugs because it makes the thugs seem less threatening… or useful as icons to guilt-bait white gentiles. If indeed we are to believe that Mike Tyson is essentially a pure childlike soul who was trapped in and scarred by horrible circumstances that turned him into a bully, a monster, and a thug, then the fault can be said to lay with whites who brought blacks in chains to America.)

Allen directs goombas in BLUE JASMINE

At the core of the Catholicist aesthetics is the eternally unresolvable tension between opulence and purity, between narcissism and humility, between showmanship and sanctity, between luxuriousness and simplicity. At its best, it’s hypocrisy made sublime and holy, therefore even more unholy in some ways. Indeed, someone like Martin Luther was bound to arrive on the scene and make trouble for the Church as the contradictions within Catholicism were too much, in some ways greater than the contradictions within Judaism that drove Jesus to conceive of a new way. Obviously, all those rich glories inside and outside the Catholic Church didn’t pay for themselves. The Church needed a close alliance with rich and powerful — often ruthless and corrupt — patrons and donors. And as homosexual sensualists tended to possess certain aesthetic inclinations and skills, the Catholic Church hired and protected many homosexual artists even as it remained resolutely anti-homosexual itself, as sodomy was deemed a mortal sin in the Bible. The Catholic Church even forbade masturbation and divorce, and yet, the sensory-stimulating opulence and magnificence of Catholic art and culture had a powerful undercurrent of sexuality. It was as if the Church tried to compensate for sexual repression with feasts to the eyes and ears for the glory of God. A similar kind of hat trick can be found in Spielberg’s movies that are restrained in sexuality and nudity but overwhelmingly rapturous and even orgasmic in their audio-visual orgy of lights and spectacle. It’s like a porno-purification rite. In a way, JURASSIC PARK can be seen as a satire of the tension within Catholicist world-view. On the one hand, there is the high-minded entrepreneur who invites a scientist and philosopher to approve his plan to create a dinosaur paradise. And yet, his venture would be impossible without lots of money earned through crass commercialism? Like the Catholic Church, the theme park tries to harmonize purity of idealism, profit-centered commercialism, innocence of nature, and the brutality of the animal instinct into a perfectly integrated system to impress and win over the entire world. Dinosaurs have been brought back from the dead like Lazarus. They shall be controlled in such a way that their brutal animal instinct will be perfectly regulated and rendered harmless by the priestly managers of the park. Also, as the dinosaurs are essentially sexless, they cannot breed outside the power vested in the Laboratory. And yet, the whole thing falls apart, and its pope is forced into exile from his quasi-Edenic order that he’d thought was perfectly conceived and controlled. Granted, the movie was based on a Michael Crichton who came up with the story and idea, but ‘auteur’ directors like Spielberg, no less than Kubrick and Kurosawa, tend to stamp the original concept with obsessions of their own. This isn’t to say that Spielberg had the Catholic Church in mind when he made JURASSIC PARK but rather to suggest that a part of him may have been anxious about his own Catholicist enterprise of joining heaven and hell, holiness and beastliness, childlike faith and cynical calculation, and compassion and commercialism to create dream-works that captivated so many people all around the world with near-religious fervor. When I was young, I took to CLOSE ENCOUNTERS and E.T. almost like religious faith.

Another mode of expression need to be considered in order for us to better understand the Catholicist principle in art. It might be called the ‘Byzantinist’ aesthetic, and some works that we might consider to be Catholicist may be closer to the Byzantinist mode, though, to be sure, it’s not always make a clear distinction between the two. While both tend toward scale and ostentatiousness, Byzantinist expression lacks the intimacy, focus, and the emotional content of the Catholicist; it tends toward flatness and two-dimensionality than the Catholicist vision with its powerful sense of three-dimensional perspective that allows individual figures and objects to loom forth from the receding background. One could argue that Kubrick’s sensibility is partly Byzantinist — as well as that of Masaki Kobayashi in films such as HARAKIRI and KWAIDAN(which are also Zen-ist) — in contrast to the Catholicist spirit of Spielberg and Coppola’s. The worst Byzantinist is surely Theo Angelopoulos, whereas its greatest practitioner may have been Andrei Tarkovsky. There is a certain dispassion and sense of wider spectrum of time in Byzantinist expression. One feels this inside a Greek Orthodox or Russian Orthodox Church. Time seems suspended and nothing comes into clear focus or take center stage. Consider the ending of ANDREI RUBLEV where we are shown the various works of the great Russian artist. They have to be taken as a whole and lack the kind of individuality of details found in Catholicist art. When one walks into the Sistine Chapel, countless details come into focus as one gazes at the paintings. In contrast, it is the larger vision and formal pattern that are the central concerns of Byzantinist art.

Thus, there is less central focus in character, theme, or emotion in the works of Theo Angelopoulos whose films bore to me tears, but the Byzantinist approach can have a cumulatively hypnotic effect when handled by a master. ANDREI RUBLEV had me gasping for air the first time I saw it. I couldn’t get a grasp of which character to focus on or where the story was going. No central theme or message seemed to leap out. And yet, the images and sounds from the film lingered, and when I revisited it again, I found myself appreciating a style of expression at odds with the Western style that tends toward greater individuality and dynamicism. Kubrick has been criticized by some for making films without powerfully realized characters — on the humanist/emotional level — , but it was a deliberate means to render the characters as part of the larger pattern or maze of power, history, and cosmos. Thus, from a Catholicist point of view, Stephen King is right to say Kubrick’s THE SHINING is a bad horror movie. It lacks conventional central characters, personal emotionality, and suspense with precise payoffs. Instead, the horror is dispersed and embedded throughout the fabric and texture of the entire work. Everything is part of a larger mosaic. Steven Spielberg might have made a version of THE SHINING more to King’s liking.
On the other hand, it was the fusion of Spielberg’s Catholicist vision and Kubrick’s Byzantinist vision that made A.I. all the stranger and more special. Spielberg focused on David as a holy child(albeit one created through unholy science) — like Jesus, he is created by a godlike father figure and given to a ‘virgin mother’ figure to the extent that she didn’t produce the child with her husband’s seed. David, throughout the film, is like the last flickering flame in a candlelight vigil, and our emotions bask in its glow and feel the frost of a hostile world that seeks to blow it out. And yet, A.I. offers a vaster scope, a kind of dispassionate and distended Byzantinist vision of the past and future that nullifies the miracle of the present. Even as the Catholicist expression is aware of the grandness of time and space, it tends to focus our attention on some dazzling or overwhelming detail, thus accentuating the miracle of the present. One gets this impression when staring at Madonna statue inside a Cathedral bathed in the glow of candlelight. In contrast, the sense of the present is extinguished in the Byzantinist spectrum that reminds us that the present is but a drop in the vast ocean of time. Thus, despite all the hellishness that overcomes Jack Torrance in THE SHINING in the present, the film is framed by a sense of space and time that suggests that the present is merely a replay of the same old thing(and individual free will is but an illusion): drama is a mere detail in the panorama. Catholicism is the glow of candlelight that captivates one’s eyes even in vast darkness. Byzantinism is the scent of incense that lingers everywhere but can’t be pinpointed where. The ending of A.I. is one of the most sublime blend of the Catholicist and Byzantinist principles. We focus on David as the holy child who has survived through all these years and whose prayers have been finally answered. A miracle. And yet, we also realize that this magic moment is but an inconsequential flicker in the vastness of time and space; furthermore, his reunion with the ‘mother’ may have been a dream projected into his ‘mind’ by future beings, therefore of no consequence.

Catholicist and Byzantinist principles can be better understood by contrasting Alfonso Cuaron’s GRAVITY with Kubrick’s 2001: A SPACE ODYSSEY. Despite it’s overwhelming scale, the central focus of GRAVITY is the female character, a miraculous candlelight of hope and redemption remaining alive in the vastness of space. In contrast, the human characters in 2001 are merely pawns of the larger pattern of life, society(history, science, technology, politics), and the cosmos. To be sure, it’s too simplistic to characterize the cinema of someone as complex as Kubrick as Byzantinist. Kubrick possessed a quality that might be called ‘Rabbinicst’ that closely and restlessly engages with meanings and possibilities. Unlike Tarkovsky, Kubrick had no use for faith in his vision of life and the world. Though both artists delved into the nature of mystery, Tarkovsky, at some point in his search, was willing to surrender to the grand design as intended by God. In the end, what did it matter what anything meant? What mattered was the great mystery of God, the great tradition of holy Russia. Kubrick’s one film with anything like faith was 2001: A SPACE ODYSSEY, but Kubrick had to create his own god, and thus he was really worshiping his own power of imagination. Kubrick’s approach to mystery was to keep probing, keep questioning, keep engaging, and keep penetrating, and in this sense, his Rabbinicism was like that of Franz Kafka who also could never leave the mystery(of power, psychology, God, etc.) alone or have faith in its ultimate goodness. At the end of STALKER, there is a moment when even the skeptics feel something holy, a sense that the sacredness of the world should just be taken on faith.
In contrast, even in the rapturous ending of 2001: A SPACE ODYSSEY, there’s a sense of a new vision, of a new beginning of a great cycle in the revolution of mankind. There is a restless and restive quality in Rabbinicism that is generally missing in the resigned and receptive mode of Byzantinism, and this was one reason why Jews and Russians never saw eye to eye. Jews, like Germans, always must be doing something. Russians like to take things in stride, except when guzzling vodka, wrestling with bears, and dancing on tables, for which they have boundless energy. The difference between Jews and Germans is Jews are more individualistic and curvy-creative whereas Germans prefer teamwork and the straight rule-book. Jews have long harbored anti-Russianism and anti-Germanism, seeing Russians are intrinsically lazy & sloppy and seeing Germans as overly brusque & regimental. Of course, such Jewish stereotypes of gentiles are acceptable, but it’s not okay to see Jews as cunning, devious, and manipulative. Though the early stages of Bolshevist-Communism tried to energize Russia for world revolution, the Russian people reverted to their cultural mode of Byzantinism, and the Kremlin fell into the mode of ‘deep state’, and order/stability took precedence over radical initiative and fiery aggression. Byzantinism in religion, culture, and politics inculcated people to obey the system, accept the status quo as part of the holy patrimony. It prefers the meaning of ‘is’ than ‘should be’. The world is as it is(and as it is is as it was and will be), and people should make peace with the world as it is than try to remake the world as it ‘should be’. Thus, the Orthodox Churches of the East didn’t try to convert the world whereas the Western Church of Catholicism did and still does transform the world. Most of us don’t know who is the patriarch of the Greek Orthodox Church, Russian Orthodox Church, and Ukrainian Orthodox Church, but everyone knows the Pope of the Catholic Church. Protestantism also tries to convert the world, but it’s important to remember that it began as a reform Catholicism and not as reform Orthodox-ism. Indeed, the Orthodox Church didn’t produce a rebellion on the scale brought forth by Martin Luther who, upon realizing that the Catholic Church would not reform itself, set about forming a new Church altogether. Even so, the urge to shape the world as it ‘should be’ informed the way of the Protestant Church — just like independent cinema tries to challenge Hollywood in defining film culture all around the world — , which is why the two Churches competed neck and neck to convert the heathens around the world whereas the Orthodox Church, in its Byzantine resignation, wanted no such trouble. Of course, this has brought the Catholic Church under greater scrutiny since it’s so engaged with the world. Therefore, we hear of Catholic Church scandals but hear nothing of what’s happening inside the Orthodox Church — unless Western-funded Pussy Riot bitches are mocking Church services to the delight of decadent scumbags in the West whose idea of morality today is ‘marriage’ between men who stick their sexual organs into fecal holes — as the Orthodox Church only wants to be left alone in their own nations and communities to carry on with their holy traditions. And in time, Russian communism took on a Byzantinist-Orthodox quality, less and less interested in converting the world and most unwilling to take in defectors from other nations(but then few dissidents in the West actually wanted to go live in the communist east.) It’s interesting to compare the different modes of imperialism as practiced by the Byzantinist Russians, Catholicist Hispanics, and Protestantist Anglo-Americans. Russians came to occupy huge tracts of land in Siberia and Central Asia but never thought to convert the population to the Russian Church or the Russian way. Also, despite the Russian settlements and industrialization of parts of Siberia, the Russian view of nature was as an infinite mystery that one must revere than conquer and tame. In contrast, Anglo-Americans sought to convert the American Indians, conquer and settle the entire territory of America into a City on a Hill or some such. The Catholic Spanish were also into conquering and converting the heathens. Russians conquered territory but mostly left the natives alone to do their own thing. Communist policy reversed the traditional Russian approach for awhile, but in time, most of the non-Russian territories were left to manage their affairs autonomously as long as they took orders from the Kremlin, which was more like a city behind a wall than a city on a hill. The good side of Byzantinism is the patience and larger perspective it garners in the human soul, but the bad side is the collective obedience to power and detached indifference to problems such as corruption. If one’s main cultural outlook is that the larger reality cannot be altered, and if the larger reality is know as corrupt, then the only solution is to be corrupt yourself to get by(since it’s the way of things), and such a dire attitude marks much of Russian society.

An example that illustrates the contrasts and commonalities between the Catholicist and Byzantinist modes of expression is Oliver Stone’s pair of political films JFK and NIXON. JFK is like gonzo-psychedelic-paranoid version of the Catholicist approach. It presents a world infected by the grand conspiracy of Evil that runs through the dark corridors of government and corners society, indeed so far as to assassinate a young idealistic president. Evil lurks like the demon-beast that possessed the child in THE EXORCIST. But there is goodness in America still, and it is embodied by the Capraesque character of Jim Garrison as played by Kevin Costner who is often hallowed in golden sunlight. Evil lurks and hides everywhere but also manifests itself in the gargoyle-like faces of the plotters. It’s hidden but also prominent as dark idols. Thus, even though JFK is a sprawling movie with epic scope, it is also an intimate portrait of larger-than-life forces of Good and Evil circling around one another. NIXON is not without Catholicist elements, but it is a more of Byzantinist vision of power. It’s not so much about radiant Good vs dark Evil but about power upon power upon power upon power. There is a buried idealism in the character of Nixon, but he cannot resist the temptation that sinks him deeper and deeper into the abyss of power. If JFK is about a holy crusader trying to expose a conspiracy, NIXON is about the deep bowels of power that are a never-ending conspiracy without end. It is a dark Byzantinism that ultimately leads to the world darkness within darkness, but as the character of Mao says, “History is a symptom of our disease.” Even though Mao spent his entire life fighting to create a new China of revolutionary principles, it’s as if he’s come to the private realization — shared with his arch ideological enemy but spiritual ‘friend’ Nixon — that it was really about power, and every man who seeks power, whatever the cause or ideal, is consumed by its logic. History is not about health vs disease. It was, is, and always be a disease of men who seek the power, and the nature of power is always a cancer. JFK tries to remove the cancer, but NIXON implies that it can never be removed. History will produce new leaders and young leaders, but they too will sink into the logic of power, and history will continue to be a symptom of the disease of power. But how could it be otherwise? Boomers were filled with ideals, but America under the control of boomers is still governed by that cancer of power. We need only to look at the likes of Clinton, Gingrich, Bush II, Hillary, Obama, homo elites, and hideous Jews who ply their dirty tricks to expand their power. JFK is hopefully optimistic whereas NIXON is morbidly fatalistic. True, Nixon is removed from power, but after having been privy to the nature of power from the inside(even if imagined), one would have to be a fool to believe in clean government. Jewish Liberals would like for us to believe that the dark/deep state in American politics was owned by the likes of Nixon and Dick Cheney — Bush II is too laughable to vilify on a grand scale — , but in truth, Democrats have been just as dirty, and in a way, may be more dangerous because they’re so completely ruled by a hostile minority(Jews) & nasty perverts(homo elites) and supported by crazy Negroes, illegal invaders, and naive(or craven) white Liberals. Worse, the Democrats are now closer than ever to big business and all too often given a pass by the media and academia that are controlled essentially by the same crowd. So, the Democrats practice a form of demagoguery that would have made Joe McCarthy blush, but it’s all justified in the name of ‘progress’. I mean ‘war against women’ and ‘xenophobia’ against illegals perpetrated by the ‘right’ are bad, right? It’s like Lyndon B. Johnson was a completely sleazy politician, but the media gave him a pass — at least before the Vietnam debacle got out-of-control — because he waged a ‘war on poverty’ and pushed Civil Rights legislation that exposed whites to the racial predation of bigger, stronger, and more aggressive blacks.

Another illustration of the commonalities/contrasts between the Catholicist and Byzantinist modes is found in THE GODFATHER and APOCALYPSE NOW by Coppola. THE GODFATHER saga is one of the most Catholicist movies ever made — as are FLATLINERS, JACOB’S LADDER, and THE LAST EXIT TO BROOKLYN(bad movie despite its undeniable power) — , and indeed the Catholicist mode exerted a huge influence on American cinema since the 70s with the rise of Italian-American directors who added new flavors to American cinema. In contrast, APOCALYPSE NOW begins in the Catholicist mode but then winds into Byzantinist mode, perhaps influenced by Werner Herzog’s own Byzantinist AGUIRRE THE WRATH OF GOD. Herzog’s film might have been done in the Romanticist mode in an earlier time, but after Germany’s defeat in WWII and the shame of the Holocaust, Germany lost the pride of passion. Though Germanic mythology was fatalistic, it was also brazen and heroic, i.e. even as the gods faced certain doom, they drank mead, celebrated, and gathered fallen soldiers into Valhalla for the final battle. Even against certain death, there was the will to fight and die grandiosely. The music of Wagner’s GOTTERDAMMERUNG as the world falls to ruin is an outpouring of such romantic passion. But after WWII, in which the real-life gotterdammerung that befell Germany had the most sobering scared-straight effect — as well as leaving Germans with guilt and shame — , German passion became dulled with a heavy dose of futility. Thus, AGUIRRE THE WRATH OF GOD is both very much within and against the German tradition. It has elements of romantic awe of nature and the will to take on the odds, but it also has a detached mood that suggests that human ego and will are futile against the vast expanse of nature and cosmos. It’s an anti-romanticism that nevertheless feeds on romanticist elements.(Perhaps, Herzog was partly inspired by the story of Elizabeth Nietzsche who sought to create a new Germania in South America with fellow exile-adventurers but was swallowed up by the elements. Another film in this vein is THE FLIGHT OF THE EAGLE by Jan Troell.) Most of the characters barely materialize into discernible characters, and Aguirre himself, though memorably and strikingly played(or postured) by Klaus Kinski, is like the Tin Man(of THE WIZARD OF OZ) whose vain will amounts to nothing in the vastness of the indifferent jungle-river world. Thus, AGUIRRE THE WRATH OF GOD isn’t an exciting film; it moves at the pace of THE RUSSIAN ARK by Aleksandr Sokurov, a Byzantinist film if there ever was one.

Aguirre the Wrath of God / Klaus Kinski

Though APOCALYPSE NOW has a powerful first act — up to the raid on a village by colonel Kilgore’s air cavalry — with a sense of focus and direction, two factors render much of the rest more Byzantinist than Catholicist. After Kilgore’s raid, rest of the film is one long anti-climax and loses all sense of urgency. It’s as if there’s nothing for anyone to do but just stay on the boat and float downstream to the eventual destination in Cambodia. Though the journey is interrupted periodically by incidents(some of them violent), the momentum is that of a slowly moving python that takes forever to digest whatever it swallowed. The other factor is the character of Willard as played by Martin Sheen, whose performance has the same kind of detachment as his character in BADLANDS. In some ways, one might say Al Pacino’s role as Michael Corleone and Martin Sheen’s role as Willard are similar. Both are cat-like personalities. They don’t bark like dogs or get all excited. They are cautious and calculating, careful in what they say. And yet, Michael Corleone is the center of THE GODFATHER saga, and his smoldering intensity is palpable in every scene. Though mostly a subdued performance, we feel the heat of his brooding will; we know everything that happens is intimately connected to his personality and decisions. Thus, THE GODFATHER is very much about the soul of Michael as he gambles with satanic temptations to, ironically enough, redeem and elevate his family. In contrast, almost nothing that happens in APOCALYPSE NOW has anything to do with Willard. While it begins with Willard as a disturbed officer in a hotel room waiting for a mission — and we are led to believe that the story will be about Willard’s transformation as a man, soldier, and soul — , he quickly recedes from the foreground and becomes one of the crew, a mere plot device that guides us through the story. He doesn’t exist as a heart and mind but only as a pair of eyes. Though Martin Sheen did an excellent job, his role wasn’t developed into anything compelling or meaningful by John Milius, who was more interested in big themes, and Coppola, who was more involved in logistics of film-making. Thus, Willard only comes across as a hanger-on; he’s more like a member of the film crew who happens to stand in front of the camera than an actor playing a role.
Even though the legendary tales of the making of APOCALYPSE NOW are mostly associated with nearly insurmountable production values of location shooting, Coppola actually overcame most of them; what he failed to overcome was infinitely both simpler and more complex. The real problem was the script, something that could only be resolved with a typewriter and some paper. For the last two thirds of the film, Coppola mostly only typed, “All work and no play make Francis a dull boy.” There are so many compelling and thrilling things happening in the first third of the film that character development doesn’t really matter up to Kilgore’s helicopter attack on the Viet Cong village. But after the attack on the village, it’s mostly one long river ride, and Willard is just a passenger on the boat, and others on the boat are mere secondary players, good as they are. Even so, had the conclusion of the film paid off, the languorous journey might have all seemed worth it. It’s like a long grueling hike can seem worth the trouble if the destination turns out to be quite a sight. If not, the entire journey seems wasted. Because the ending of APOCALYPSE NOW is so disastrous, much of the last two-third of the film just goes down the sinkhole along with it. If Milius saw Kilgore as a darkly prophetic figure illuminated with the higher wisdom of a true warrior, Coppola decided to end the film on a note of pessimism, futility, and resignation, modes closer to the Byzantinist view of history.

Though the Catholicist and Byzantinist modes are equally valid as artistic expressions, APOCALYPSE NOW suffers from trying to have it both ways. It tries to be both an exciting war adventure about the final confrontation of Good vs Evil and a meditative ritual about the futility of man’s action in the vastness of time and space. Thus, the violence in the final scene, ghastly as it is, is inert and zombie-like. We simply don’t care.
Because we are social beings and because our minds prefer to focus on single details, the Catholicist mode is the more familiar and more pleasing to most audiences. Scene after scene in a movie, we want the establishing shot, a sense of who is who and what is what, where we were, where we are, and where we are going. THE GODFATHER saga, especially the first film, is one of the most masterful examples of this. Though three hours long, it doesn’t flag for a second. Though the plot points aren’t always lucid and clear — especially in part II and the god-awful part III — , we know who the main characters are and the nature of the conflict ranging from the familial to the political to the spiritual. We know there’s much that is good in Vito and Michael Corleone, and we know they are trying to become legitimate and respectable. They must make a pact with the devil to wash away their sins, but Faust is quite a loan shark when people deal with him to grow closer to the angels; the debts can almost never be repaid. Such big themes of Good and Evil, redemption, corruption, and pieties like “what does it profiteth a man to gain the world but lose his soul”(that closes THE GODFATHER Part II with a lone shot of the victorious yet muted Michael) makes THE GODFATHER a Catholicist masterpiece. It’s designed, orchestrated, and executed so well that its too-much-ness doesn’t grate, as such did in THE COTTON CLUB and THE OUTSIDERS. It’s like a cheese-maker has to be extra-mindful in preparing and handling his cheese because it can easily become cheesy-wheesy. Something as inherently rich and strong like cheese can spoil easily, and Coppola ruined many of his movies into ham-and-cheesiness, but THE GODFATHER Part I and Part II turned out to be masterworks of near-perfection.

One interesting facet of PRISONERS is how it challenges certain deeply held notions of Liberal piety. Generally, Liberal Jewish-run Hollywood would like for us to think that irrationality, aggression, hatred, and pigheaded meanness are the owned by ‘redneck’ white males, especially of the South or small towns. And the white father in PRISONERS possesses many such characteristics. In many films, his type would have been presented as a simple monster — like the repressed homo-conservative gun-loving, wife-beating, child-whupping, and Reagan-admiring father in AMERICAN BEAUTY(that might as well have been made by Piers Morgan). He’s into guns, has a survivalist mentality, is into the cult of manhood, and etc. He’s also abrasive and headstrong, stubborn in his vigilante disregard for the law. And yet, his best friends happen to be a Negro couple, and his two kids — son and daughter — are good friends with the two daughters of the Negro folks. So, the charge of ‘racism’ that would normally stick to such a character is missing in the movie. Initially, the Negro couple is presented in a somewhat idealized manner typical of Hollywood movies, and indeed, they seem a bit nicer and kinder than the white couple. Not surprisingly, it is the white father who takes matters into his own hands in nabbing a suspect vigilante style and using torture to force a confession. Even so, the Negro couple are dragged into the plot, and despite their moral doubts, they decide to allow the white guy continue with the brutal inquiry/inquisition. As parents wracked with fear and anxiety over their abducted children, both the white guy and the Negro couple are willing to do anything.

Even though the white guy is a rather unpleasant character and what he does is cruel(and even inhuman), we understand where he’s coming from because, after all, what can be more horrible than finding out that your child has been abducted and may be the victim of rape, torture, and murder? We understand his anger just like we understand the rage of Ethan(John Wayne) in THE SEARCHERS. And even though the white father becomes unhinged, we can’t help but be moved by the love he feels for his girl. Anyway, what’s interesting is that even though the white guy is sufficiently ‘liberal-ish’ and PC-acceptable on racial matters, he still maintains a kind of barbarian-warrior and vengeful Old Testament mentality. He’s not willing to forgive and will go to any length to battle Evil and recover his girl from hell — even if he has to enter the bowels of hell and act hellish himself. Perhaps, the movie was saying that what we call ‘liberal values’ is a thin veneer. When push comes to shove, it’s all about jeremiad and brimstone and hellfire. The rules and taboos of the social game may change, but the mind-set remains the same. After all, secular-atheist communists were among the most fanatical crusaders in history. And we can see in the countless ‘hate hoaxes’ and deranged Liberal media coverage of racial issues that there is precious little rationalism and skepticism in the Progressive community. They want to find witches and if they have to create them — by false accusations, fake vandalism, and calling George Zimmerman a ‘white male’ — , they will do so. When the Duke Lacrosse case make the spotlight, the entire community of Duke was up in arms, foaming at the mouth, acting just like a lynch mob, so totally convinced were they of the young men’s guilt. Notions of ‘white guilt’ and ‘white privilege’ have made some ‘progressive’ whites act even crazier to hunt down the ‘bad whites’. Since all whites are said to be tainted with the ‘original sin’ of history, good whites must prove that they are extra-good by purging and burning the wicked whites: the ‘racists’, ‘anti-Semites’, ‘homophobes’, ‘sexists’, and ‘xenophobes’. It’s like, under communism, those tainted with the ‘class enemy’ label went the extra mile to call out and denounce OTHER class enemies, the ones who were supposedly unrepentant. So, to prove and show-off their own redemption in the classless paradise, the half-reformed class enemies would howl the loudest at class enemies yet to be punished and reformed.

Be that as it may, PRISONERS is really too calculating, manipulative, and preposterous to qualify as real art. It’s not on the level of the original version of THE VANISHING(by George Sluizer). In contrast, the Danish film THE HUNT is a genuine work of art, and it touches on some of the same themes but without the sensationalism, symbolism, grandiloquence, operatics, and sanctimony. And its ironies are not cast in iron. (PRISONERS doesn’t so much reject cultural stereotypes — especially Liberal ones — as give them a pseudo-thoughtful twist that is somewhere between provocative and faux-ambiguous. Of course, even though Liberals take pride in their stance against stereotypes, they have their own stereotypes of redneck white southerners, Magic Negroes, noble illegal immigrants, saintly homos, wise Jews, brutish Russians, etc. And their stereotypical view of themselves is as the most wonderful people on earth, as a progressive privileged people who are all too aware of their undeserved privilege and doing everything to undercut in the name of equality, even though, for some reason or the other, their fortunes and privileges as urban white/Jewish/homo Liberals seem to be ever-increasing at the expense of everyone else. Stereotypes are a problem, but many of them carry a certain general truths about various social, ethnic, national, and religious groups. Only an idiot would deny that southern Italians and Greeks tend to be more temperamental than Germans and Swedes. Also, certain stereotypes are not only tolerated but even encouraged, especially if they negative portray white southern conservatives, Russians, and Iranians, three peoples that Jews hate the most. And there are positive as well as negative stereotypes, and indeed, positive stereotypes about Jews, blacks, and homos abound in our popular culture. Some stereotypes are based on actual life-experience — having dealt with blacks in decrepit cities, with Mexicans along the border, or with Jews in Israel or NY —, and such might be called ‘experitypes’. But some widely and strongly held stereotypes are really the product of media and propaganda, and they might be called ‘propatypes’. Many white people in mostly white communities who know little about the black race got their main impression of blacks from stuff like THE GREEN MILE that would have gullible whites go weepy-weep over a mountain-sized Negro whoe loves a little white mouse. In the real world, such gigantic Negroes are going around pushing people around and raping white boys in the ass in prison, but THE GREEN MILE would have white audiences idolize a giant noble Negro as angelic. It has NOTHING to do with reality, but it has a great hold on popular imagination because propaganda and media have the power to warp mass minds. During the 1930s, many American leftists who were bombarded with leftist propaganda thought Russia/Ukraine under Stalinist rule was a paradise with rose-cheeked farmers happily harvesting bountiful crops from the land. And in the 1960s, many Americans had this idea of the Viet Cong as noble ‘freedom fighters’, and in the 1980s, Americans had similar delusions about Afghan ‘freedom fighters’. Granted, there was something admirable about Vietnamese and Afghan warriors who were willing to lay down their lives for what they believed to be ‘national liberation’, but the truth was far more complicated, something many Americans were willing to overlook to either end the war in Vietnam or to roll back the Evil Empire. Similarly, the real MLK was a rather twisted figure, but the endless propagandizing about him have turned him into not only the noblest of all Negroes but of all humans.) The plot and theme of THE HUNT sounds like something set in the Middle Ages or at least when Denmark was a far more conservative, ‘judgmental’, and ‘reactionary’ society. It’s about how a community feels so sure of a man’s guilt that it drives him to agony and despair. It’s the sort of film that, in most cases, would flatter Liberals for their ‘enlightened’ views — like PHILADELPHIA or BROKEBACK MOUNTAIN, which should be called Backdoor Mountin’ — and wonderful tolerance. But THE HUNT is set in the present, not in the ‘bad old past’. Also, even though the setting is a small town, there are many signs that the townsfolk are reasonably ‘progressive’ by modern EU standards. At the daycare center, we see non-white kids(even a ‘pickaninny’), and Danish men and women mingle with non-white immigrants(and they seem to have no problem with marriage with foreigners). So, like the small-town white family in PRISONERS who are chummy with a family of Negroes, the white folks in THE HUNT are not the stereotypical small-town provincial types. They too have been culturally and politically globalized. And yet, when a little girl suggests a sexual incident with one of the male workers at the daycare center, it triggers off a chain-reaction of responses that leads to the persecution of the man by nearly the entire community. Even though no one can know for sure what really happened, some folks even go into the hysterical mode of the faculty and students at Duke University who were so sure that the ‘privileged white male’ Lacrosse players raped a powerless and ‘hepless’ black woman. Though liberals are supposed to be open-minded, skeptical, questioning, rational(as opposed to rabid), patient, and respectful of legal process, many ‘progressive’ professors and students at Duke just went crazy and were so convinced of the guilt of the Lacrosse players since they fit the stereotype of evil white males as depicted in so many Jewish-Hollywood-made TV shows/movies and Jewish-promoted college courses, lectures, and forums. The very people who bitch and whine about how black men had been falsely accused of rape in the South have no qualms about jumping to conclusion even before the facts are in when the accused are ‘privileged white males’ — though even poor ‘white trash’ will do, as happened with the Jena 6 case. Consider the herd-hysteria(or herdsteria) over the George Zimmerman case. (And consider the case where some white mudshark mother and her mulatto son defamed an entire community by vandalizing their own property with racial slurs about ‘niggers’ and then blaming the mostly white community. Piers Morgan, the haughty British journalist working for CNN, jumped to conclusions without an ounce of skepticism and smeared the entire community because he, like so many of his Liberal privileged white ilk, felt a need to believe in the superstitions about an America where white folks are filled with an animus toward blacks. I only wish! Anyway, Morgan refused to apologize, but then Liberalism means never having to say you’re sorry. As Liberalism hogs the moral high-ground in American political and cultural life, most Liberals tend to be more self-absorbed and self-righteously closed-minded than most Conservatives are — not because Conservatives are intrinsically better but because, being on the moral defensive, they need to prove their own innocence unlike Liberals who are only in grand-standing accusatory mode. This was certainly the case of Paula Deen who profusely apologized for having said ‘nigger’ some 30 yrs ago after being robbed by a black guy. Interesting that she was judged harshly by vile self-righteous Jews who never look back on their own participation in the slave trade, their role in communism, and their ongoing oppression of Palestinians. While most Conservatives are willing to tolerate homos even as they reject the homo agenda, most Liberals will not even tolerate any view that doesn’t welcome and accept the crazy notion that fecal penetration between men is the biological and moral equivalent of real sex between men and women.)

Vile Negress elevated to black Anne Frank  Status by Liberal Media

In both the Duke Lacrosse and Zimmerman cases, the hysteria was less the result of Liberal mobs losing their minds than the elite Jewish media’s carefully shaping of the news to push a certain Jew-centric narrative that is invested in vilifying white gentiles. And the hysteria at Oberlin College over the mythical KKK was even more ridiculous. And we saw what Harvard University did to Stephanie Grace for sending a private email about possible racial differences in IQ. We saw how a Jewish hag ratted on Grace about the email — like a informer to the NKVD, Gestapo, or Stasi. And we saw how the entire Liberal community sided with the Jewish informant hag and the censorious college administration than with the free speech and privacy rights of Stephanie Grace. And yet, these are the very people who never stop whining about the bad ole days of McCarthyism. And if liberals in the past stood up for the right of homos to do their homo stuff, today they are in witch-hunt mode against anyone who won’t bend over to ‘gay marriage’ and don’t find fecal penetration between men to be healthy. They believe that people who oppose the radical homo agenda are ‘anti-gay’ — though even most conservatives are okay with homos doing their homo thing in private — , ‘less evolved’, and mentally diseased with a phobia. So, all these examples show that, even as ideologies and fashions often change and become more tolerant, the religious-taboo mind-set remains the same.

In THE HUNT, it’s all the more hurtful because it’s a story of a close-knit town where most people know one another. The accused man was once a good friend to just about everyone in the community. Unlike MR. SMITH GOES TO WASHINGTON(Frank Capra movie), the main character is not an outsider who is persecuted by corrupt insiders. The situation is closer to the one in AN ENEMY OF THE PEOPLE(Henrik Ibsen play) where a much respected doctor of a town is made out to be a bad guy because he dares to speak the truth that might hurt the local economy. But if the doctor at least has righteousness on his side, the main character in THE HUNT does not. He’s just a loathed person that the town comes to see as a child-molester even though there is no clear evidence of the crime. And yet, there’s something even more troubling to consider. Even though the doctor in AN ENEMY OF THE PEOPLE is principled, courageous, and honest, there’s something darkly self-aggrandizing about his righteousness. Factually, he may well be correct about the danger of the town’s spa(that attracts tourists), but he’s blind and oblivious to the needs of the town. Instead of trying to find a pragmatic solution that may alleviate and eventually fix the problem, he goes into the mode of a jeremiad where it has to be his way or the highway — he’s like Al Gore with Global Warming, which is even loonier since climate science is still far from well-understood. Even if the doctor is 100% correct, he fails to take into account the nature of people, politics, and economics. Like a libertarian who’s willing to sacrifice everything for principle — like that Jewish nut Bryan Caplan — , the doctor says the spa must be closed down immediately even if it means economic ruin for the town. So, while the enemies of the doctor are unscrupulous, small-minded, self-interested, and contemptible, the doctor isn’t a pleasant character either as he’s driven not only by science but by righteous contemptuousness and egotistical vanity, a mind-set closer to religiosity than reason. It’s like Richard Dawkins is correct in most of his atheist arguments against religion, but his cause has all the hallmarks of a crusade as his personality is so similar to that of religious zealots. So, even people who are right can be driven by impulses and emotions that are far from reasonable, balanced, and tolerant. (The drastic and sudden application of a morally necessary or righteous action may cause excessive harm. It’s like if a car is moving in a direction that will eventually lead to a cliff, it must slow down and make a turn in another direction. However, if the car suddenly swerved without slowing down, it will just roll over and people will get hurt. While individuals might overcome a cold turkey approach, such a drastic method may do great harm to society as a whole. Consider the hogocaust, the mass killing of hogs that are no less intelligent than dogs and cats. Obviously, the right and just thing to do is to end it as it’s evil, wicked, and cruel, but consider all the people who work in the hog industry. A sudden shutting down of all the hog farms will be very disruptive, and many people will suffer as a result. Or consider the American Civil War. True, slavery needed to be ended, but the abolitionist movement demanded ending it right away. And the American South overreacted in its own sense of righteousness about states’ rights. So, northern righteousness and southern righteousness led to drastic measures on both sides. Lincoln tried his best to negotiate between the South and North, but when the South seceded, he felt there was no option but war to preserve the Union. Thus, whether a cause is just [ending the hogocaust] or unjust [promoting ‘gay marriage’] , the gradualist approach is going to be more effective and less disruptive. Though homo gains have been tremendous in the past decade, actually the grounds had been prepared over several decades through an alliance between homos and Jews and with the homo infiltration into and connections across elite institutions. Homos entered mainstream institutions before using the Alinskyite method of normalizing radical policies. This reveals the dark side of gradualism. If gradualism can be most effective in eradicating evil, it is also the most effective way of spreading evil. Ending the hogocaust overnight will be economically too disruptive, so we should implement the plan over a decade or two so that those working in the hog industry can move onto other things. The drastic nature of Prohibition did more damage than good, after all. But the gradualist spreading of evil can be dangerously effective because people are slowly made comfortable with evil step by step. So, if the homo lobby had tried to push ‘gay marriage’ overnight 20 yrs ago, they would have been stopped by most of America. So, the homos decided to go step-by-step, making movies and TV shows that ‘normalized’ homo-America, forming alliances with Jews, funding and working for politicians who gladly too homo money. And once the Americans have been gradually won over to the ‘new normal’, the homos and Jews could push the ‘gay’ agenda with full force. So, while gradualism need to be used to further the good, we need to be vigilant against the use of gradualism to further the bad. Gradualism can acclimatize us to evil without us realizing what is going on.) The accused in THE HUNT is like the doctor in AN ENEMY OF THE PEOPLE in that he’s a lone figure against the entire town(though, to be sure, his son of a divorced marriage and a small group of friends stick by his side). And yet, in another way, the townsfolk are like that doctor in feeling so sure that the man is a foul molester of children and nothing more needs to be said. Moralistically, it’s the doctor of AN ENEMY OF THE PEOPLE and the townsfolk in THE HUNT who are aggressive, righteous, accusatory, and judgmental. And what really hurts in THE HUNT is that the townsfolk are not wrong to feel that way, as many of us would feel likewise against a man suspected of child molestation. Even without the smoking gun, if we heard that a child at a daycare center said a man touched him or her inappropriately and showed his dingdong to him/her, we are liable to believe the kid and look upon the man as a pervert. Besides, the idea of a full-grown man working at a daycare center sounds loser-like. In the recent Woody Allen case, I’m more likely to believe in Dylan than in Woody. I accept the ruling of the law(though had Mel Gibson had been accused of the same thing, Jewish-controlled legal system would surely have conspired to prosecute and imprison him), but there’s always been something fishy about Allen. But the thing is we don’t know what really happened, and yet, so many people discussed the issue as if they knew what really happened. Not declaring Allen’s guilt doesn’t mean that he isn’t guilty. It just means we really don’t know. But many people abhor such a vacuum of justice, and their minds feel a need to fill it an element of certainty.

What happens in THE HUNT is not a simple case of a hysteria that grips a town. When the elderly woman at the daycare center hears what the young girl has to say, she doesn’t jump to conclusions but initiates the proper procedure as she’s ought to. And it’s not as if the man is mobbed and burned at the stake. Rather, he has to wait out the legal process, and most of the townsfolk leave it up to the law to handle the matter than go into any vigilante mode. So, there are legal procedures and protections for both the ‘accuser’ and the accused.
Even so, despite the legalism and enlightened values of modern society, people tend to fill in the vacuum of the unknown with their biases that take on a logic of their own and harden into certainties. The elderly woman at the daycare center seems like a nice lady, and she obviously meant well when she reported the incident to the authorities, but there’s another side of her that gradually dispenses with skepticism and lurches toward judgmental certainty. When the accused confronts her, she says that children don’t lie about certain things as if it’s scientific fact. Why does she feel this way? Was she molested as a child long ago at a time where adults were less likely to pay attention to such problems? Is she limited in her empathy/imagination and prefers a more black/white view of the world? Does she have some buried hostile feelings toward men in general? Does she take it personally when he confronts her? Does she want to feel morally righteous and justified in life? Whatever the reason, she goes from carefully proceeding with the matter to encouraging other children at the daycare center toward making their own ‘confessions’ of having been molested by the man, leading to his arrest. And yet, ironically, the outpouring of more ‘evidence’ from more kids leads to the man’s release as the authorities come to realize that the kids have been encouraged to let their imaginations run wild: a bunch of kids said he molested them in the basement of his house, but his house has no basement.
And yet, even after being released, the suspicions linger and most townsfolk either ignore him or treat him — and even his son — with derision and contempt. And yet, can we really blame them? Via dramatic irony, we are allowed to see things that the townsfolk did not and cannot. So, we are made to know more than the townsfolk and even the accused. So, even though we may wince at the ‘small-mindedness’ of the townsfolk, we can’t help feeling that we could be them and they could be us if our positions had been reversed, i.e. they were privileged with the dramatic irony and we weren’t. Based on what we’ve seen, we can connect dots that the townsfolk cannot. We know that the young girl was shown a picture of a stiff penis by two boys. So, her imagination may have used the stiffy in a made-up story of the man she felt a momentary gripe against.
So, we know the key missing pieces of the puzzle that the townsfolk do not. We know what ‘rosebud’ is, they do not. On the other hand, we haven’t been shown everything, so who knows what OTHER things may have happened between them? (Indeed, the ambiguous ending of the film raises further questions. The man has been re-embraced by the community and goes on a hunting expedition with them. Everything seems normal again, but someone takes a shot at him, and he falls to the ground. Looking across the ridge, he sees a man taking an aim at him and expects to die. But then, the shooter is gone as if he was never there. Was there really a shooter? Or, did the man imagine him? If he can hallucinate something that didn’t happen, could he have blanked out something that did happen? Is he suffering from something akin to whatever afflicted the woman in Steven Soderbergh’s BUBBLE who killed someone but sincerely crossed it out of her mind?)

Nevertheless, the community in THE HUNT is one that is fully up-to-date with the post-modern-Liberal standards of the New World Order as represented by EU. It’s the sort of Scandinavian life that is much praised by American ‘progressives’. And it’s a community committed to the rule of law and all the necessary legal procedures. Even so, in the face of uncertainty, many people of the community leans on side of certainty that assumes the man did molest the girl. But there are others who stick by him, and we are struck their loyalty and friendship. They feel a sense of camaraderie and know him well enough to know he’s not the sort to molest girls. And yet, how could they know? If some townsfolk err by jumping to negative conclusions, might one argue that the fellows who stick by him are being simplistic in their own way despite their goodwill and trust? After all, what if he did molest the girl? As they weren’t there when it did or didn’t happen, their loyalty is a matter of faith to some degree — an emotion associated with religiosity. (If one factor distinguishes European cinema from Hollywood, it’s the element of doubt. A film like THE HIJACKING is rarely made in American that prefers feel-good sermonizing, uplifting emotionalism, and good-over-evil triumphalism. Strangely enough, though Europeans have been more ideological than Americans in the 20th century, their artistic/dramatic expressions have been more adult, complex, ambiguous, multi-faceted, and infused with doubt. This is why even films made by communist European directors tend not to be so black-and-white in their world-view and morality. The films of Alain Resnais are something much more than leftist diatribes. The Catholic films of Robert Bresson and Eric Rohmer aren’t holier-than-thou religious sermons. Though Elio Petri was an Italian communist, his THE INVESTIGATION OF A CITIZEN ABOVE SUSPICION is one of the most thoughtful films about the psychology of power. Whatever one’s ideology, faith, or creed may be, a thoughtful person is always filled with doubt. After all, if one’s ideology, faith, or creed is perfect, why not believe everything in the Bible, the Daily Worker, or National Review as the full and final truth and ignore and denounce all else? Therefore, a thoughtful Christian is a man of doubt as well as of faith. A thoughtful leftist, despite his loyalty to the cause, can’t help but notice some of the dubious propositions and conceits of his side. A thoughtful conservative finds himself admitting that there’s much to be learned from liberalism, if not PC Liberalism which is simply stupid. Even though many Europeans were/are ideologically hardline in the communal sense, as individuals they were raised culturally and intellectually to make a friend of doubt, which is why European cinema tends to be more thoughtful and probing than the American counterpart that has been marked by willful innocence/arrogance of American exceptionalism — as if the real history of progress began with the US — and the condescension of Jewish supremacism — that prefers to treat the masses like children than as thinking adults as children are easier to manipulate and brainwash.)
Perhaps, one could surmise that the town’s hostility toward the man is a toxic release of their repressed doubts about social and cultural changes beyond their powers to halt or slow down. Europeans have been inculcated in the cult-ideology of multi-culturalism, anti-‘racism’, ‘diversity’, and ‘tolerance’. And yet, beneath the surfeit of calm, the fact is many Europeans — even ‘progressive’ and ‘leftist’ ones — are worried about rapid changes of demography, culture, and values that are overwhelming many parts of Europe, especially as many Europeans have deep roots in homogeneity and community. But their fears and anxieties cannot be voiced or expounded since such would be deemed expressions of new ‘deadly sins’ of ‘racism’, ‘xenophobia’, ‘homophobia’, and etc. Since such hostility cannot be directed outward at outsiders, immigrants, non-whites, and freaks, the emotions may find release in cases like the one featured in THE HUNT. Pedophilia is still an approved target of moral, social, and political outrage. Since Danes are not allowed to be ‘bigoted’ and ‘judgmental’ in so many areas, their repressed fears, anxieties, and hatred about rapid social change may find an outlet in the one remaining traditionally proscribed vice of pedophilia. Also, since it’s not allowed for good white Europeans to hate non-whites, homosexuals, foreigners, and Jews — not even the ghastly Gypsies or Roma — , they can only hate other whites. Thus, even conservative and right-wing whites must repress all their negative emotions about non-whites, Jews, homos, and foreigners and direct their feelings at ‘bad whites’ — this is certainly true of white Conservatives and Libertarians in America who attack white Liberals as the ‘real racists’ because places like Detroit were ruined supposedly by Big Government ‘socialist’ policies; and American Conservatives also attack Liberals as the ‘real anti-Semites’ since, supposedly, the Democratic Party wants to ‘throw Israel under the bus’(despite the fact that the Democratic Party is totally owned by Jews). So, the idiot Swede behind GIRL WITH A DRAGON TATTOO fantasizes about some neo-Nazi conspiracy even though the main danger to Sweden’s survival comes from globalist-elitist Jews and massive African/Muslim immigration. And everywhere, we see white conservatives directing their repressed rage at ‘bad whites’. So, even white American conservatives are screaming about white Russians because Russia doesn’t bend over to homosexuals and doesn’t honor the Pussy Riot. The so-called ‘conservative’ National Review magazine supports the Pussy Riot and excoriates Vladimir Putin and the Russian Orthodox Church. Mitt Romney and Sarah Palin sounded alarm bells about Putin as the ‘new Hitler’ in 2012. Since they were laughed at and mocked by Jews, you’d think they’d realize that Jews are their enemies. But now that there’s trouble in Ukraine, they are groveling before Jews and yapping, “Master, didn’t we tell you so? Putin is Hitler, Putin is Hitler, and we will serve you more loyally to bite his ass than Obama is doing.” Never mind that Obama is acting calm because his attack dogs are busy ripping Ukraine apart. Anyway, even though white Liberals in places like Boston, New York, and Philadelphia have most to fear from criminal Negro thugs, they repress their anxieties and direct them at imaginary KKK at Oberlin College or phantom redneck lynch mobs who presumably still roam the South to kill innocent Negroes who are pure as snow. That Liberal whites indulge in such attitudes is easily understandable, but it’s bizarre when white Conservatives do likewise, as with Glenn Beck’s vitriol against Russia for its refusal to bend over to the homo agenda. Surely, many white Conservatives are frustrated with Jewish power, but it’s a taboo to discuss Jewish power, so even Republicans like Ted Cruz, Lindsey Graham, and John McCain tore into Chuck Hagel the white gentile for his allegedly ‘antisemitic’ views. It’s like how so many frustrated men who couldn’t stand up to their boss went home and beat up his own wife and kids. Today, white folks in Europe and America are not only afraid of Jewish power and Political Correctness but have been conditioned to believe it’s shameful to harbor any negative thoughts about Jews, homos, Negroes, and etc. And yet, deep down inside, they must know that lots of Jews, homos, and Negroes are up to no good. But for them to even feel such suspicions would make them feel ‘sinful’ with ‘racism’, ‘antisemitism’, and ‘homophobia’. So, their repressed emotions have to find an outlet, and it comes down to hating other whites. So, white Liberals accuse white Conservatives of ‘racism’, and white Conservatives accuse white Liberals of being the ‘real racists’ and also rail against Russia as ‘reactionary’ at odds with the PC Conservatism that Americans have. The most pathetic spectacle of American politics is Conservatives pandering to Jews and Negroes(and increasingly homos) with such reverent servility despite the fact that most Jews despise white Conservatives and so many blacks beat up and pussify ‘white boys’. But because whites are not allowed to judge and dislike non-whites — though exceptions can be made for Iranians, Palestinians, Chinese, and sometimes Asian-Indians — , whites must vent their spleen against ‘bad whites’. And in THE HUNT, the ‘bad white’ is the guy accused of being a child molester. Ironically, he’s treated by other whites as non-whites had sometimes been treated by bigoted whites in the past. His son is told not to shop at a certain store. When the father later goes to buy things, he is beaten up and thrown out the by personnel. One could argue that the violence is morally driven than a case of bigotry, but moral righteousness can take on aspects of bigotry and may even serve to mask emotions that are bigoted at the root, as with some Christian Right loons who go around saying “God hates fags”; such people aren’t so much being moral as glibly feeling superior by using moralism as a crutch. This is what Jesus understood about the men who were trying to stone Mary Magdalene. They were using morality as a kind of sadistic sport. In the faces of the store personnel in THE HUNT, we sense not only hatred for the man but a kind of satisfaction in their hostility. They feel good feeling superior to the heretic. One even tosses a can at the man’s head that becomes bloodied.

The basic material and the fine execution of THE HUNT would make it an excellent film but not necessarily a singular work of art. What makes it a possibly great film is the treatment of the relation between the accused man and his best friend, the very father of the daughter whose loose lip led to suspicions of child molestation and enmity between the men. The scenes with them are especially unbearable because of their history of affection and trust. Therefore, a sense of mutual betrayal intrudes between them. The father feels that his best friend did something unconscionable to his daughter. Thus, the accused comes to be regarded as not only a pervert but a wretch who would even betray a friend. But the accused also feels betrayed because, despite their long bond since childhood, his friend believes him to be guilty of the accusation. As a father, he feels obligated to trust and protect his girl.

And yet, a cloud of doubt hovers above them all because children often say what they think adults want to hear than what they really know to be true. Children are naturally fearful and naturally willing-to-please. Paradoxically, such feelings can make a child remain silent or deny what really happened OR make the child make up something that is patently false. In either case, the child is afraid of saying the ‘wrong’ thing — ‘wrongness’ being determined by perception of approval/disapproval than by facts. If the child feels that adults will disapprove of him/her for speaking the truth of having been molested, he/she will clam up about it even if it happened. If the child feels that he or she will win the approval of adults for saying he or she was molested even if he or she was not, the child may do just that. Of course, lots of adults are like this too, which is so many white folks are such liars who say whatever to please their Jewish masters. Indeed, the relationship between Jews and white gentiles is like that of cunning adults and anxious children so eager to win approval. But if at least white gentile adults — some of them anyway — know the nature of behavioral psychology that affects them, children don’t understand why they doing what they’re doing. So, in THE HUNT, the little girl senses that adults want her to stick to her original ‘statement’. If she reverses herself, she’ll be called a liar, and kids fear the loss of approval/affection more than any betrayal of truth. If the daughter reverses herself, adults might look upon her with cold disdain. Also, children are acutely alert to certain ‘vibes’ around adults. Like a dog attuned to the feelings of its master and ever shifting its behavior to lighten the mood, kids are sensitive to adult emotions and unconsciously self-regulating what they do and say to keep adults happy and/or friendly. So, the daughter may have sensed that her account of what the man did to her(but actually didn’t do) made some adults ‘feel good’ and, picking up on these signals, may have stuck with the story to keep the adults ‘feeling good’. Not ‘feeling good’ in the sense of happy-go-lucky feeling(as no sane adult could feel good about child molestation) but ‘feeling good’ in the sense of feeling righteous, justified, moralistic, sanctimonious, and holier-than-thou. Even as the adults flinch at her story of molestation, she will have noticed that adults are ‘feeling good’ about their goodness that stands against wickedness. Indeed, consider the kind of people who watch TV talk shows that specialize in horrible people. The guests and their stories are terrible and upsetting, and yet, the TV audience feel self-satisfied and self-justified in feeling smugly superior to such scum. The audience take sick pleasure in passing easy judgment on the obvious rottenness of others. It’s like gladiator-morality or gladiamorality.

The mind abhors a vacuum as uncertainty leads to insecurity, anxiety, and doubt. Therefore, in THE HUNT, we want a surefire evidence that will clear the man’s name in the eyes of the community. We want closure that will determine if the man is guilty or not guilty. THE HUNT could have gone the way of RASHOMON or L’AVVENTURA and left us in the dark as to what really happened. But like CITIZEN KANE that finally reveals the identity of ‘Rosebud’, we the audience are essentially made to believe in the man’s innocence. And yet, this more-or-less certainty on our part, in making us feel easily superior to the judgmental and hostile members of the community, also tests and challenges us. After all, we were shown what they(the people of the community) were not shown. If it had been vice versa, would they be more understanding and us more judgmental? Maybe. Probably. Thus, our sense of certainty paradoxically calls into the question the meaning of certainty. As certainty is truth, we would like to believe in its universal veracity. And when it comes to scientific laws, this is true enough. The law of gravity is same everywhere and be tested over and over. But when it comes to individual incidents of man and nature, absolute certainty is the privilege of only those who witnessed it. Suppose I witnessed a man kill another man and then run away. Suppose I am the only witness. For certain, I saw what I saw and know what happened. But for everyone else, the truth is a matter of what I tell them, and they may choose to believe me, not believe me, or even suspect me as the killer. While certain criminal cases leave sufficient evidence and traces that can, more or less, ascertain the perpetrator and what he did, there are cases where the ‘truth’ is a matter of witnesses or lack of witnesses. We can never know for certain what really happened.
Also, the fact that we the audience know the truth in THE HUNT makes us impatiently hopeful for the moment when the community will come around to share the truth we are privy to. In Alfred Hitchcock’s STRANGERS ON A TRAIN(written by Patricia Highsmith and Raymond Chandler), we know what the world doesn’t know. We know who is guilty and who is innocent, and we want the world to share our knowledge(though, in typical Hitchcockian fashion, the ‘bad guy’ represents the repressed id of the ‘good guy’ in Dr. Jekyll and Mr. Hyde manner). And as a genre thriller, STRANGERS ON A TRAIN eventually ties all the knots at the end, and the whole world shares our knowledge of what really happened. Things a bit stranger in LADY FROM SHAHGHAI by Orson Welles as the world may never find out what happened among the three main characters. Even so, the romantically charged ending is not without catharsis.
But in THE HUNT, the key evidence that will finally absolve the man remains elusive(and will always be so) for the community. (If in CITIZEN KANE, the evidence of ‘Rosebud’ existed in the physical form of the sled — even if it was destroyed before anyone found out — , there is no physical evidence to prove or disprove the molestation in THE HUNT. Even we, who trust the accused man, believe in his innocence only by mentally piecing together bits and pieces of reality that, on their own, has no bearing on the case. For instance, the little girl was shown a picture of a penis on a smart-phone, and such porny pictures bound on the internet. In and of itself, it has no relation to the accused man, the girl, or the community. It is us who psychologically link it with the girl’s imagination and assume that it may have inspired her fanciful account. THAT is our evidence.) The world will never know what really happened in THE HUNT, just like the world will never know what really happened to the couple in THE VANISHING. In the end, the estranged friend decides to trust him, the community re-embrace him, and things return to normal. If the father of the girl trusts his friend, there’s less reason for the town to feel hostile toward him, and at the end, everything seems hunky dory again, as if the troubled episode had never happened. But we are denied the satisfaction of seeing the man’s name cleared absolutely. And because we have no power to affect events in the film, our sense of power and privilege paradoxically feels all the more powerless. We were ‘privileged’ and ‘empowered’ in having been shown something that was denied to the townsfolk. And yet, like the paralyzed man in DIVING BELL AND THE BUTTERFLY, we are powerless to convey our knowledge to the people of the community. Thus, our power is rendered frustrating and powerless. We can’t do anything but watch an innocent man be treated horribly by the folks of the community. And yet, because of the nature of the accusal, we know that, but for our special knowledge, we could easily be like the townsfolk.

The situation is all the more fragile and troubling in THE HUNT because a child’s mind — especially that of an eccentric child — is an unstable entity. An normal adult’s mind is clear. He or she may lie about something, but he or she knows for certain if something happened or didn’t. So, at the very least, he or she know the truth; even if he or she were to lie about it, he or she still privately knows the truth, and there’s the chance that he or she will one day have the courage and decency to reveal it. But a child’s mind is unstable about reality. So, even though the girl initially knew she was making up a story, all the pressures from the adult world carry the danger of turning her fantasy into reality in her own mind. Since the only two people who knows what really happened(or didn’t happen) are the girl and the man — and since the man, as the accused, is viewed with suspicion and hostility — , the only person who can clear the man’s name for sure is the girl. And yet, she’s just a child whose memory has been clouded by the adults’ urging upon her to say what they think she really wants to say. Many adults have a preconceived notion of what really happened and unconsciously prod the girl to keep talking until she says what they want to hear, which is what they think she really meant to say. As a result, the girl could really come to believe in her own lies or fantasies for the mind of a child is fragile.
The fragility of the mind was the theme of Chris Nolan’s MEMENTO and INCEPTION. In MEMENTO, everything about the man’s mind works perfectly fine except the ability to store his short term memory into long-term memory. That one little problem traps him forever in the past prior to his injury and in the ever-vanishing-and-forgotten present. In INCEPTION, minds can be penetrated and implanted with thoughts, moods, or memories of things that never happened.
In THE HUNT, a kind of inception takes place in the child’s cloudy mind as the adults around her are so certain that they know what’s in her mind better than she does, in effect planting suggestions in her mind. As THE HUNT isn’t sci-fi, we don’t observe the mind-process from the inside(as in INCEPTION or TRON LEGACY), but it’s palpable what is happening. The boundary between real and unreal is already tenuous in a child’s mind — that always seeks approval from adults — , so what happens when a child’s mind comes under intense pressure from adults who don’t want her to be afraid in telling the truth but the truth they want to hear has more to do with their own preconceptions than with the girl’s actual knowledge? Paradoxically, the girl may become afraid of the adults’ effort to make her not be afraid. If adults go to a child and say, “don’t be afraid and tell us the truth”, and if the ‘truth’ happens to be false, then the actual truth has been associated with ‘being afraid’, whereas the false ‘truth’ has been pegged with ‘not being afraid’. So, for the child to show the adults that he or she isn’t afraid to speak the truth, he or she must stick with the ‘truth’(that adults want to hear)that is really a lie.

Though adults have a much clear view of reality than children do, they aren’t immune from confusing reality and unreality. If you witnessed a crime, you may clearly remember the face of the perpetrator. But as time passes, the face begins to fade and merge with other faces, and when you’ve finally at the police station for a lineup of suspects, your memory is hardly trustworthy. A part of you tells you that you must point to the person you think committed the crime in order to protect society from a dangerous thug(and possibly to win the approval of the police), but another side of you doesn’t want to send an innocent man to jail. What is to be done when one’s memory isn’t so clear? And we might remember a movie or book in a certain way — and be absolutely sure of it — , only to discover the details to be quite different from how we remembered it. But such matters that fleetingly pass through our sensory-filters are easily forgotten or confused by most people and thus are the norm. It’s natural to forget or confuse faces or details of a song, movie, or book.
But what about more fundamental things that should be clear in one way or another? In LAST YEAR AT MARIENBAD, it’s not possible that both the man and woman are telling the truth. One has to be lying. Or both could be lying — the woman really wasn’t there and the man wasn’t there either, but then, it’d be absurd for him to even bring up the issue. I may forget faces of strangers and details of a book or movie, but if I killed someone, how could I forget that? If someone I know well poured boiling water on me, how could I confuse that person with anyone else or not know that what actually happened. And yet, even when things seem totally certain, social pressures and/or psychological duress can lead to doubt. Though most inmates on death-row insist on their innocence to save their skin, there could be some who really come to believe in their innocence out of a pathologically driven need to feel justified. And consider the hallucinatory fever-dream that becomes the reality for the Naomi Watts character in MULHOLLAND DR.

Even so, adults have stronger sense of individuality, therefore their sense of reality is better able to resist social pressure and/or manipulation. Even if adults lie, they know they are lying. So, truth remains buried beneath falsehood. What is alarming about the scenario in THE HUNT is that the truth beneath the lie may also dissolve and vanish in the child’s mind under adult pressure. That the father surmises as to the truth when his girl is half-dazed in a dream suggests something about the child-psychology of reality. Because the conscious mind of a child is so geared to saying what adults want her to say, she may be more likely to speak the truth when her conscious defenses have been lowered by the narcosis of sleep. And yet, sleepiness is the region between waking life and dream fantasy, so how trustworthy can that be? Thus, the scene where the friend access the truth is, at once, tender and terrifying: the real glimpsed in the world of the unreal. Finding a needle is a haystack is difficult enough, but at the very least, there’s a certainty of an actual needle somewhere in the haystack. But what about finding grains of salt in a swimming pool? At some point, the salt will dissolve and vanish. The salt of evidence cannot be found in the girl’s mind pool, but a faint taste of it stirs the father into sense.

The conscious mind is most clear and precise, but it is also most survivalist, warlike, and partisan, thus potentially most biased. Thus, the conscious mind is both the greatest friend and greatest enemy of truth. A scientist can objectively use his mind to reveal a truth about nature. But as so much of the world is ‘political’ — struggle for power, privilege, fame, reputation, status, etc. — , the conscious mind is often at work to spin, obfuscate, manipulate, or distort the truth. We see this among lawyers in courtrooms.

Also, there is the matter of personal ego. Consider Robert Redford’s THE CONSPIRATOR(written by James Solomon) where a Union lawyer is appointed to defend the mother of one of the men who conspired to assassinate Abraham Lincoln. Because of his Union loyalties, reverence for Lincoln, and contempt for the plotters, he not only wants to refuse the case but feels emotionally ill-equipped to represent his would-be client. And yet, once he takes the job and comes under attack from the prosecution, he begins to take the attacks personally and becomes emotionally committed to the case. It’s like even Archie Bunker finds himself emotionally siding with Negroes and Jews sometimes when other whites attack him as a race traitor. It’s like something Robert Novak said: Having started out as a moderate Democratic admirer of John F. Kennedy, Novak wasn’t conservative on many issues, but once he was labeled as a ‘conservative’ and found himself having to defend certain conservative issues he didn’t care about, he found himself becoming passionate simply because of the sheer heat of the invective. In a game of politics where things tend to be defined in ‘us vs. them’ manner, it’s difficult to be moderate or indifferent on a host of issues. Even if you may not care about them, you might feel obligated to defend them because they’re associated with your allies/friends. (Even when the ‘game’ is just for play, once the play begins, the competitive win-all-or-lose-all mentality takes hold unawares, which is why, even when friends play chess, volleyball, video-games, or racquetball just for fun, the emotions begin to run high. It’s like the Walter Matthau character in THE BAD NEWS BEARS initially had no interest in winning and just wanted to hang with the kids. But once the team improves and becomes competitive, he begins to push the kids to win, win, win. And the slovenly club owner in CBGB initially just wants to get by, but once some of the acts begin to gain notice, he has dreams of being a successful manager of a band. A part of us wants to take things easy, be cool, and just have fun. But once we get into the game, we find ourselves playing to win and not just playing for fun; indeed, we realize that trying to win is what the fun is about. Thus, fun and fury are closely linked inside the mind. The value of sports, if done right, is that they teach children the relationship between fun and fury. It also teaches them not only the importance of competitiveness in life but the necessity of playing by the rules, respecting the other side — even as they’re filled with competitive fury against them — , and to lose with grace than be sore losers — and to win with honor than be showboating jerks like them awful Negroes. Indeed, one of the worst consequences of black victory in sports is that winning came to be associated with savage obnoxious lack of sportsmanship & gentlemanly virtues. Negroes love to showboat, act wild and crazy, and rub in it like African hunter-warriors who be killing they’s enemies and then be wiggling they’s asses and acting gorilla-like. Though plenty of white athletes were boorish creeps, they still paid lip-service to the code of sportsmanship, and thus male warrior prowess came to be associated with Western Civilizational virtues. But once Negroes began to win and dropped the Nice Negro Joe Louis/Jackie Robinson act and began to act like Muhammad Ali and Jack Johnson of old, the ideal of male prowess came to be associated with jigger-jiver-ish punkass Afro-ape antics. Thus, victory in sports was disassociated from honor or grace and began to reek of savage vanity and howling ape-like lust, the sort of emotions that undermine the values of civilization.) Or consider a scenario where some alternative rightist person is commenting on the topic of Negroes or Jews and is attacked by whole bunch of nitwit white nationalist tards who see no redeeming qualities in Jews and Negroes. Suppose the alternative rightist says that despite the nastiness of Jews and craziness of Negroes, there are certain admirable qualities and achievements of the two peoples that should be recognized. Suppose the white nationalist nitwits start dumping on the person as a ‘race traitor nigger lover sucker of Jewish cock’. The person is liable to take it personally and begin to enjoy defending Negroes and Jews against the KKK-tards. Thus, the ‘politics’ of morality sometimes works according to a weird dynamics. It’s not always about right vs wrong but ‘my pride vs your profanity’.
And something like this happens in THE HUNT. When the accused man’s son goes to the girl’s house and accuses her of lying, her wounded ego insists that she was indeed molested, which, of course, makes things worse. (And if we didn’t know any better, the sight of a teenager ripping into a little girl does him no favors. And even though we are apt to sympathize with his frustration, his conviction of his father’s innocence isn’t any different from his father’s friend’s conviction that his daughter is telling the truth. It’s faith vs faith.) Consider David Mamet’s OLEANNA where a woman’s moral inquisition against a professor is driven more by her wounded ego — as a failing third-rate student — than anything he may have done to her. He instinctively senses this and tries to put her at ease with profuse apologies about his misunderstanding. He knows that if he calls her crazy, she will dig in her heels. So, he uses the soft approach and almost makes her come around… but then a phone call upsets the hypnotic-nice-guy spell he finally cast upon her and reawakens her determination to ruin him once again. Morality is about right and wrong, but the ‘politics’ of morality is often used by ‘losers’ to get back at the ‘winners’ — as with the goy guy townie who loses the girl in STATE AND MAIN and as with the Ed Harris character in GLENGARRY GLEN ROSS who rants about the dignity of the ‘working man’ but is really bitter because he’s not one of the ‘winners’. Or it is used by winners to intimidate the losers — as with Jews who use Holocaustianity and ‘white guilt’ to browbeat whites into obedience.

Anyway, rational consciousness can paradoxically be most irrational, deceptive, and/or mendacious. Though some people can become very aggressive/paranoid under the influence of certain kinds of drugs, there are also lots of drugs that pacify people and dissolve their rigid barriers of ego and pride. Consider a film where someone flips out in a movie and gets out-of-control, whereupon a doctor appears and gives him/her a shot of something to restore calm and control. Even Thor got peaceable after a shot in the butt in Kenneth Branagh’s movie. Or consider the scene in the hospital following the fight in ROCKY II. Apollo Creed has a big mouth, but when half-asleep and lying weary on the bed, he replies in a friendly manner to Rocky’s query about the fight: “Did you give me your best?” “Yeah.” This is one reason why friends get together and drink or smoke stuff. Certain substances take the edge off, so they put aside the competitiveness, mellow out, and think more calmly. And in Freudian therapy, the psychoanalyst tells the patient to lie on the couch, relax, lower his/her guard, and enter into a zone that is somewhere between consciousness and dream-state. While the conscious mind is most adept at dealing with reality, it is also most tightly wound up with ego, pride, & status, and those factors tend to urge the conscious mind to favor the interests of one’s reputation than the cold facts of hard truth if such may undermine one’s standing among peers.
When we are fully conscious, we often use our rational faculty not to be factually rational but to serve our ego that is ambitious and/or vulnerable. This is why there’s so little agreement in public discussions even though everyone’s thinking and speaking consciously. Debates are almost always more about pride and prejudice than truth and honesty. Maybe talk shows should offer drinks and smokes to all the guests so that the discussion will less ego-drive, though, to be sure, some people’s egos tend to become inflated under the influence of intoxicants.

Anyway, prior to the father’s quiet chat with his dream-dazed daughter, something happened at the Church that made him revisit and reconsider his feelings about the scandal. After all, the accused isn’t just any man but someone he’d considered his best friend all his life. This brings up another issue, that of the relation between the moral and the personal. After all, if the accused man had not been a friend, the girl’s father would have felt no pity for his plight and probably wouldn’t have revised his thoughts about the case — and the accused man wouldn’t have felt a sense of betrayal by a friend. It’s because the accused man was his friend that he feels a powerful sense of both betrayal and guilt: betrayal because his daughter was allegedly molested by his best friend and guilt because there’s a lingering doubt in his mind that his friend could have done such a thing. And if they hadn’t been best friends, the accused man would not have confronted the father the way he did in the Church.
The scene in the Church is the very antithesis of the Catholicist mode of iconography. According to Catholicist expression, there is a link between the sacred truth and sacred image — as well as between profane falsehood and profane image. In THE EXORCIST, there’s a link between the image of purity and spiritual purity; there’s a link between the image of putrefaction and spiritual foulness. THE GODFATHER inverts this by presenting figures of organized crime as ‘sacralized’ icons, but it is still in the Catholicist tradition where the image holds and conveys much truth about the characters. Vito Corleone looks the part of the wise patriarch and is exactly that. Michael is a fallen angel and looks the part with his reptilian eyes — the satanic can be ‘sacralized’ too.
But in THE HUNT, the rules of traditional iconography breaks down. An angelic-looking girl triggers a terrible chain of events. ‘Good’ people are seen doing terrible things. Bad things are done in the name of the good, the ‘bad person’ could be a good person. Nothing and no one in THE HUNT ha a clear iconographic meaning as good, bad, holy, evil, tragic, or even absurd. Thus, if PRISONERS is Catholicist in its powerful sense of iconography — the angry father, the dedicated cop, the good Negro neighbors, the disturbed men, the innocent children, the demented villain, etc. — , THE HUNT owes more to the Protestantist aesthetic of humanist realism. Catholicist aesthetics tended to turn figures into larger-than-life idols, representative of certain moral, social, or spiritual archetypes, whereas the northern Protestant painters tended to present people simply as people. Catholicist mode is about the capital-‘I’ Individuality whereas the Protestantist mode is about the little-‘i’ individuality. It’s easier to tell who represents what in a Catholicist story than in a Protestantist story where characters don’t radiate with holiness or lurk with unholiness. Everything in the Catholicist mode of expression tends to be either symbolic or representative of larger meaning, whereas much in the Protestantist mode simply depicts reality as reality. Sometimes, this aspect of the Protestantist mode can render people and objects as dull, bland, and banal in contrast to the flowery, luminous, and darkly mysterious expression of the Catholicist mode, yet in other cases, the Protestantist mode can delve deeper into the multi-faceted-ness of reality by rejecting the temptation to turn real-life elements into symbols or icons that, however powerful and mysterious in representation, can too easily be decoded into meanings of good, evil, purity, profanity, and etc. Also, the Catholicist mode often confuses the cult of mystery with real mystery. Anything can be shrouded with the cult of mystery — as with the dumb stories of the image of the Madonna on toasts, cracked walls, backs of turtles, and etc. — , and this is the problem of PRISONERS. For all its conceit of seriousness and complexity, it is a pretty cheesy and brazenly shameless piece of genre manipulation. Even its silences are too loud with ‘meaning’, and even its darkness is too ‘radiantly’ arty. It even has snakes for symbolism.

Snakes!

The Catholicist mode is certainly pleasing because it simplifies the struggles of the world — between good and evil, between good guys and bad guys, between one gangster family and another gangster family — into easily identifiable images. It’s like all those Olympic ceremonies where the supposed ‘essence’ or ‘soul’ of the nation is put on grand display, as if such can really convey something substantive. But reality is something quite else. The Greeks put on one hell of an Olympics in 2004, but what did it have to do with the real state of modern Greece? (The problem of societies with Catholicist mentalities is that they tend to favor image and style for substance. So, Italians put on a good show, but there’s often much less than meets the eye. Mussolini initially fooled the world that new Italy was a major power, when in fact, Italy was woefully unprepared for any kind of war. Argentinians, mostly Spanish or Italian, have the same problem. They love to dress well and look stylish, but despite the appearance of affluence and riches, Argentina is a basket-case nation. And Argentinians grossly overestimated their power when they provoked the Falkland Islands War with displays of macho might that proved to be hollow. To this day, many Argentinians revere that worthless glamour-tramp Evita Peron. Che Guevara, despite his spartanist rejection of glitz, rediscovered a new kind of glamour as a revolutionary; despite his simple clothes and commitment to hardship, he was no less deluded than Mussolini and the Argentinian generals who would stupidly started the Falkland Islands War with exaggerated sense of power. Che thought looking like a cool revolutionary and running around the jungles of Latin America like the flamboyant Lawrence of Arabia would incite the revolution to end all revolutions. In THE GODFATHER, both Vito Corleone and Michael Corleone look and sound like men of power, lending the false impression that power is a matter of style. Hyman Roth is actually more threatening in THE GODFATHER PART II because he looks like a street peddler but has more brains than all the goombas put together; on the other hand, he very much looks the part of the old-man-who-looks-weak-and-powerless-but-is-hard-as-steel(something that applied to Deng Xiaoping as well). He even outplayed Michael, clawing deep into the Corleone family — Fredo and Pantengeli — but eventually lost because of the ‘Sicilian thing’ that goes beyond rational schemes of power and because Michael simply had more firepower. (Indeed, culture is one thing that often upsets the usual rules of the power game. By all rights, Hyman Roth should have won in THE GODFATHER PART II since he outplayed and outmaneuvered Michael. He also has more friends in government than the Corleone family does. As Tom Hagen says, “Roth, he played this one beautifully.” Pantengeli has more to gain by making a deal with the government as Roth wishes. But the Roth plan falls apart because the ‘Sicilian thing’ is outside the purview and sphere of the universal rules of the game of power. It’s something ‘between the brothers’. It’s a matter of cultural honor, the emotional underpinnings of which are meaningful only to those within the national clan. This is what most whites never understood about Jews. Whites are apt to see the rise of the Jews and Jewish power simply as games of power played according to universal principles of competition, but there is a cultural element to Jewish power. Just like there was a ‘Sicilian thing’ that Roth couldn’t access, there’s a ‘Jewish thing’ that whites simply don’t understand. Jews share certain feelings and sentiments among themselves that play by different set of rules than applies to the rest of us.

The Godfather Part II: Hyman Roth,the Deadly Jew

In most respects, the Catholic Church is a mere shell of former self but still maintains the appearance of power with monuments, pageantry, ritualism, and grandeur. Given the idolatrous nature of the human mind, we tend to associate power with the appearance of power, just like we tend to associate holiness with the semblance of holiness. But in truth, one university could look rather humdrum but be the center of great research while another university could look grand but be second-rate. The Latin rich were more show-offish with their riches than the Northern European rich were — even though the latter were often richer than the former — , and such deceptive dependence on appearances — that fallaciously equated the appearance of power with real power — may have grown out of man’s superstitiously idolatrous nature. One of the profound contributions of Judaism and Protestantism is that they clarified the distinction between the look of power and real power, between the look of truth and the real truth. Of course, given the fact that rich and powerful people have the means to build bigger monuments to themselves, there has been a real connection between the look of power and the real power. However, within the halls of grandeur, the elites can become corrupt, decadent, and degenerate — and gradually lose their grasp of power — , but the monumental shell that encases them can continue to give off the deceptive impression of power even as the power is ebbing away. It’s like some noblemen maintained the appearance of wealth even after their actual wealth had been squandered.)

BABETTE’S FEAST gives us a glimpse of the Catholicist mode vs the Protestantist mode. Even though the former dazzles with its flavors and colors, it does nothing to change the real world.
And in the Church scene in THE HUNT, there are no visual cues to signal what is true, what is false, what is redemptive, what is befallen(as would be case with the Catholicist mode). We must feel the truth for ourselves within our own souls. There is no crutch of idolatry for us to lean on, no tapestry to clothe our eyes with the cloak of truth. All we see is a man confronting another man. A soul and a soul, the truth of which remain invisible to our naked eyes. There are no revelations to illuminate what is true and what is not true. The world is made of men, not of symbols, and good and bad are invisible matters of the heart that cannot be presented in pictures. The world isn’t filled with relics, holy or profane, that can serve as our spiritual compass. The Protestantist mode, in its emphasis on matters of the heart and mind, can be less superstitious and childish than the Catholicist mode. But the downside is it can also can be more fanatical and paranoid. Since the truth of the heart and mind matter above all, even the fanciful muttering of an ‘innocent’ girl can take on a life of its own regardless of physical evidence. Truth may be limited in Catholicism to its idolatrous manifestations, but then, so is its fanaticism. Truth can be boundless and deeper in Protestantism, but then, so can its puritanical urges.

THE HUNT reaches its climax in the Church where the accused man confronts his estranged friend, the father of the girl. And yet, it’s a climax unlike most that offer a sense of catharsis, resolution, or revelation. Though a highly charged breaking point in the film, the aftermath is just as unsettling as what precedes it. Despite his outburst, there’s still no way the accused man can prove his innocence. And yet, ironically, it’s this very out-of-control rage that has a pacifying effect on the girl’s father even though he is the object of its fury. More than any physical evidence or logic, the soulful rage suggests at the man’s innocence. If the accused man is really guilty, would he break down like this? And yet, of course, guilty people can be defiantly angry against their accusers. (The difference, however, is that while guilty people who angrily deny their guilt are trying to save what they have, the man in THE HUNT acts defiant after he has lost everything and has nothing more to lose. Thus, there’s an element of sincerity in his anger that might have been less convincing if he’d blown his top at the outset of the case. The rage seems to flow from the heart than from any mercenary need to protect his material interests.) But more than anything in that scene, it appears that the accused man is fixated on what his ex-friend thinks, not what the community thinks. It’s a moment fraught with so many tangled emotions, all of them legitimate in their own way, all of them confused and desperate, all of them righteous within their own contexts.
After being shunned and rejected by the entire community, the accused man, on Christmas day, goes to Church where the community is assembled. Given the nature of Christianity and its emphasis on forgiving the sinner — and emphasis on decorum — , even people of the community who despise the man tolerate his presence. It sort of reminds us of the Church scene in HIGH NOON.

The man sits up in front and constantly turns his head to stare at his ex-friend with a mix of anger, despair, desperation, and self-pity. He sees his ex-friend whispering into the wife’s ear and feels suspicious and paranoid — rather like the husband in Luis Bunuel’s in the Church scene in EL. What could the ex-friend be saying about him to his wife? He finally reaches a breaking point, walks over to his ex-friend, and begins to berate and even strike him. He’s convinced that his ex-friend was badmouthing him to his wife. Of course, we don’t know what the man was saying to his wife. He could have been saying something sympathetic about the accused man. He could have been expressing pangs of doubt. But the accused man, driven by desperation and paranoia, attacks his ex-friend as someone who’s defaming him. The accused man doesn’t know what we know: that the ex-friend watched him stagger out of the store after a physical confrontation and felt a mixture of pity, self-doubt, and even guilt. As far as the accused man is concerned, his ex-friend is just a heartless, cruel, and blindly judgmental son of bitch like most others in the community. He didn’t see what we were privileged to see of the man in his car with his wife in the parking lot of the grocery store. So, even as we share the accused man’s fury at the ex-friend and the community, the sad irony is that he’s fallen into the same kind of paranoid mind-set in relation to his ex-friend. Just as the community, without knowing all the facts, jumped to the conclusion that the man must have molested the child, the man jumps to the paranoid conclusion that his ex-friend is a pitiless son of a bitch who’s badmouthing him even after all he’s been through. And just as the accused man was hit with an object in the head at the grocery store, he hurls an object at his ex-friend, who also bleeds from the head. And yet, in his fury, there’s a certain purity of emotions that the ex-friend comes to realize. At the moment, the ex-friend, who is really a decent man, would rather be right by his soul than safe in his skin. If physical pain is the price for the truth, he will bear the cross.
Even though his family was the object of sympathy from the community whereas the accused man was the object of hate and derision, he’d been suffering too all along because the last thing he wanted to believe was that the accusation was true. And even when he believed the allegations, he found no pleasure in his ex-friend’s torment. As he explains to his daughter when she dreamily admits she’d said ‘stupid things’, it isn’t easy to wipe away the entire history of friendship that traces back to childhood. It’s like the scene in Andrei Konchalovsky’s SIBERIADE when the son of a commissar asks his father why one particular member of the class enemy(who’s incorrigibly resistant to the Revolution)isn’t just taken out and shot. The father explains that despite the bad blood and political differences, he and the man — who turns out to be the boy’s uncle — grew up together as children and share many precious memories.
Though a much lesser film, the friendship between the landlord’s son and peasant’s son in Bernardo Bertolucci’s 1900 is similarly fraught with the love/hate element. In THE HUNT, the two men grew up together and became like brothers. The sexual allegation pulled them apart, and yet, neither could renounce the entire meaning of their friendship, and each, in his own way, even if unconsciously, was looking for a way to reconnect and reignite the friendship that was as precious as family.
There is a resolution of sorts between the two men near the end, an understanding that may restore their friendship. After the Church service and talk with his sleepy and contrite(in her own innocent way)daughter, the father decides to take some Christmas left-overs to the accused man’s house and rekindle what had been snuffed out between them. His decision is based on some degree of ‘evidence’ but also on an article of faith. As no one has the power of God to turn back time and see everything as it actually happened everywhere, there’s no way the father can know for sure that his friend is innocent. Thus, even in our age of rationalism and modernity, so much relies on a degree of faith and sentiment. We fill the gaps in truth with trust. The scene between the reunited two men reminds us of the scene in Robert Altman’s SHORT CUTS where the couple confront the baker who’d been making nasty phone calls without the knowledge their child was hospitalized by a car accident: a touching scene in an otherwise insipid film.

(Though the Coen Brothers’ A SERIOUS MAN was touted as a modern-day retelling of the Book of Job story, THE HUNT is actually a more interesting and honest film in that regard. As with Job, an innocent man is condemned and robbed of just about everything, notwithstanding the loyalty of his son and a few friends. Just as the reason for Job’s degradation seems arbitrary — a chance conversation between God and Satan — , the man in THE HUNT is put through hell because of a little girl’s ‘innocent’ chatter with an elderly daycare worker. Like Job, he doesn’t understand why the girl did this to him, why he is so suddenly the object of everyone’s distrust and hate. Hadn’t they known him for so long? Some of them knew him all their lives. Does their sudden hostility mean that, despite the outwardly friendly demeanor through the years, they’d always seen him as a freak capable of hurting a child? And as with Job, just when all seem lost and hopeless, the man’s place in the community is restored, and everyone acts as if nothing happened. It’s like Europeans after WWII mingled as if they hadn’t been bitter enemies in the most destructive war in human history. The defacto mode of humanity is amnesia, which is why films like 12 YEARS A SLAVE must be made over and over to remind a people of their sinfulness. Without such reminders, most Americans would forget the ‘guilt’ of slavery. After all, there isn’t much guilt over the ‘genocide’ of the American Indians because that issue has been off the radar for some time. In a way, all this milking of ‘white guilt’ is Jewish payback against not just the white race — especially for the Holocaust — but against Christians for the cult of the Crucifixion. Christianity was indeed unique among religions in its annual vilification of a people as being eternally guilty for the murder of the Son of God. The celebration of Islam reminded people that Muhammad was a great man. It didn’t vilify a particular people, especially as Muhammad died a victorious man in world affairs, a warrior-prophet who vanquished his worldly enemies. But the celebration of Christianity reminded its followers and the Jews year after year that Jesus, the Son of God, didn’t merely die for our sins but was murdered by Jews. Thus, Jews were reminded of and burdened with guilt year after year for nearly 1500 yrs. No matter how much time passed, the yearly story of the Crucifixion of Christ reminded Christians that Jews killed Jesus and reminded Jews that they had blood on their hands. Therefore, it’s not hard to understand why Google will not honor Easter. What bothers Jews is not the story of Jesus’s Resurrection but what had preceded it: the killing of Jesus by the Jews. Today, Jews keep promoting stuff like MLK cult and 12 YEARS A SLAVE to shame and guilt-ize white folks forever and ever. To be sure, there may be another element to Jewish animus against whites — as well as other gentiles. It could be that, privately in their hearts, Jews were always angry with God Himself. If God had chosen the Jews, why did God make other races handsomer, stronger, and more numerous? Why were Jews given so little land where the gentiles ruled entire empires? If God especially chose the Jews, why were Jews disadvantaged in so many areas and advantaged only in intelligence? But since God could not be criticized or attacked — as He is said to be perfect — , Jews could only take out their frustration on the world that didn’t conform to the expectations of Jews as the Chosen Race. If Jews are the chosen, they should be the strongest and the handsomest as well as the most intelligent. So, Jews wanna destroy or gain control of the gentiles who are prettier, stronger, and/or more numerous & occupy more territory. It’s the only way to correct God’s mistake. This explains Jewish hatred of Russia.)

Anyway, we were saying something about the fusion of neo-aristocraticism and the new brand of leftism. Leftism, at least in the West, no longer tries to win over and rally the People against the elites. Rather, it is far more interested and invested in the winning over the elites — or elites controlling the discourse of the ‘left’. One reason for this is that most ‘leftist’ organizations are funded by rich elites. But even those that are not tend to emulate those that are. So, even a ‘leftist’ blogger/activist working from his/her basement will pretty much follow the dictates handed down by organizations like ThinkProgress, Salon.com, Slate.com, Huffington Post, and etc. Indeed, the degree of ideological conformity and sameness across the entire spectrum of the neo-‘leftism’ is astounding. We don’t see the kind of pluralism and contentiousness that defined much of 60s radicalism and leftism. Rather, it’s everyone from Ariana Huffington and George Soros to everyone from the Young Turks and Chris Crocker bleating the same thing: mostly about how we must all bend over to the elite globo-homo agenda and never ever notice/criticize Jewish power. In our world shamelessly defined by excessive glamour, celebrity, fashion, trendiness, and superficiality, the notion of the People seem so drab and dull. Also, having been fattened up by the welfare state and corrupted by popular culture, the People — once represented by the working class and lower middle class — no longer even have any dignity. And with erosion of family and religion — or the vulgarization of religion into mall church shenanigans — , popular culture has become the new cathedral for many Americans. There used to be a time when one found morality and meaning in tradition, family, customs, community, & church apart from the pleasures found in arts and popular entertainment. Today, with the traditional institutions of family, church, and community having eroded away, popular culture has become the primary source of the majority of Americans’ values and morals. Since most of popular culture is controlled by Jews, homos, white Liberals, and rapping Negroes, the new American values are about worshiping Jews, bending over to homos, putting on superficial SWPL manners, or grinding one’s ass like an ape to rap music or interracist porn.
And of course, there’s the eternal ‘white guilt’ constructed out of selective reading of history that focuses only on cruelties committed by white gentile males. But then, a morality that is purely accusatory and lacking in self-criticism and self-reflection isn’t morality at all. This is why so much of Jewish, homo, Negro, and feminist morality is really without genuine moral content. Their idea of right and wrong is to be self-aggrandizing and self-righteous in focusing only on wrongs done to them by white gentile males who, by the way, did the most to create the modern world that availed freedom and liberty to the greatest number of people. A morality that is wholly self-serving is hardly moral, but that is the kind of morality that defines the Jewish and homo communities that would have us worship them as demi-gods. And if we refuse, we are condemned as immoral for daring to criticize their power instead of worshiping them.
So, it’s not enough that a bakery is open to homos and even hires homos. For a bakery to be ‘good’, it must bake ‘gay wedding’ cakes for socio-sexual degenerates. Of course, Liberals are totally selective about this in their boundless hypocrisy. For instance, the KKK and Neo-Nazis are legal organizations in the US despite being maligned by the most of American society(for good reasons). Now, suppose a KKK guy goes to a black baker and orders a cake to be decorated with a picture of a fat-lipped sambo munching on a watermelon. Or suppose a Neo-Nazi guy goes to a Jewish baker and orders a cake with a Swastika and ‘Heil Hitler’ sign. If the black baker and Jewish baker rejects those orders, would Liberals attack and revile them for discriminating against certain legal organizations? If anything, the bakers will likely sue the individuals who placed the orders for ‘hate crimes’, and the Liberal media will side with the black and Jewish bakers. It might be more tricky if a communist ordered a cake praising Stalin at an Ukrainian-owned bakery or if a Muslim ordered a pro-PLO cake at a bakery owned by Orthodox Jews. Liberals might sit on the fence on those cases, but in general, there’s nothing consistent about Liberal morality — though Conservatives are full of shit too; consider how American Conservatives who condemn abortion in America are completely silent about Israel’s highly pro-abortion policies. If a bakery refused to serve homos at all, I would sympathize with the homos. But a bakery’s refusal to bake a ‘gay wedding cake’ should be within the rights of an organization or business. After all, newspapers and TV stations oftentimes reject certain ads and opinion pieces even if the contents are perfectly legal because of they don’t conform with the values of the paper. Dildos are legal, but that doesn’t mean that New York Times has to splash its pages with dildo ads. If New York Times has the right to reject a request to advertise something that is legal, why shouldn’t a baker reject an order to make a cake that celebrates the abomination of ‘gay marriage’ that equalizes fecal penetration among men with the union of a man and a woman that produces the gift of life? Marriage is about being fruitful, not fruity, especially tutti-fruity. But according to the Jewish-homo or Jomo Cabal, it’s ‘bigotry’ and ‘discrimination’ if a baker refuses to make a cake for a ‘gay wedding’. Of course, if a homo baker refused to bake a anti-homo-agenda cake for a perfectly legal organization that stands for real marriage, Liberals would praise the decision as a courageous stand against ‘hate’.
And if the Jomo Cabal cannot win over the majority in some states, they use ‘judgepacking’ — judicial fudgepacking — to force their foul degenerate and decadent laws up people’s ass. But then, homo power would have been nothing without Jewish power. It’s just Jews using the homo agenda as a battering ram to push through Jewish power that is premised on minoritarian elitism. If the great overwhelming majority can be fooled and manipulated into bowing down to homos who make up only 2% of the population, then they will likewise continue to suck up to Jews who also make up only 2% of the population in the US.

In a way, the neo-aristocratization of ‘leftism’ makes sense(especially in the US) because leftism, aristocracy, homos, and Jews have one thing in common: they are all minoritarian at the core. Jews and homos are each only 2% of the US population. The aristocracy was only a small percentage of any society: at most 10% and more usually 5% or less. And super-aristocrats were only 1-2% of the population or even less. As for leftism, even though it was originally about leading and serving the people, leftist radicals tended to be well-educated people of privilege — and even considerable or great wealth — whose social views weren’t only at odds with the traditional elites but the vast majority of the unwashed masses. If anything, a leftist intellectual had more in common with a rich conservative on a cultural level than with the People. Even in his impoverished state and even while railing against the rich, Karl Marx put on bourgeois airs and never socialized with the common man. Despite his humble roots, once John Kenneth Galbraith became well-educated, rich, and famous, he was good friends with William F. Buckley and would have felt out of place among coal miners, factory workers, bus drivers(like Ralph Kramden of THE HONEYMOONERS), or dock workers(like Archie Bunker of ALL IN THE FAMILY). In SWEPT AWAY(by Lina Wertmuller), even a working class Italian communist has very retrograde views about family and women. In BARTON FINK, a Jewish leftist writer talks about the People in theory, but he obviously knows few if any real workers. Though he’s an anti-capitalist who loathes everything that the rich Hollywood Jewish mogul stands for, he has more in common with the rich Jew than with the People, most of whom are ‘boorish’ dimwit goyim like the John Goodman character. Indeed, most common people distrusted and even loathed the intellectual types who seem to be all talk and no action.

According to early Soviet cinema, the people are boiling with unarticulated revolutionary energy that simply needs to be tapped and released by intellectual radicals. The People may be unschooled and ignorant, but they have an instinctive sense of ‘social justice’ and are merely waiting for the right conditions and right leaders to bring about the revolution. Thereafter, the energy of the masses will power the revolution along to its destiny.
But in reality, the People tended to be ‘conservative’(especially socially and culturally) and clueless & disinterested(when it came to ideas). While the masses can be motivated to support a radical movement during hardships — like the French Revolution, Russian Revolution, the Nazi seizure of power, the New Deal, the Chinese Revolution, the Iranian Islamic Revolution, and etc. — , they mostly wanna be left alone to either pursue their own interests and/or stick when order and stability have been restored. And even when persuaded to jump on the radical bandwagon, it isn’t long before the burnout factor comes into play, which is why the Great Purge, the Great Leap Forward, May 68, the Cultural Revolution, the Anti-War Movement, the Civil Rights Movement, the Arab Spring, and etc. all ran out of steam. We wonder when the homo movement will run out of steam too. But maybe it won’t because it’s really about neo-aristocratic privilege than about mass upheaval and rebellion. After all, aristocratic orders lasted for centuries because they were about maintaining order from the top, which is far less disruptive than causing disorder from the bottom. So, while the Tea Party and Occupy Wall Street movements have run out of steam, the yearly homo parade of neo-aristocrats is going strong. The homo movement doesn’t rebel against the elites; if anything, elites use the homo movement to appropriate the mantle of victim-hood in places like Wall Street, Silicon Valley, and Washington D.C.

There are many ways to define conservatism. There are intellectual forms of conservatism that are committed to preserving and appreciating the very best of the past, but there’s also mass conservatism — what Pat Buchanan called the ‘conservatism of the heart’ in his 1992 GOP convention speech — that has little interest in ideas and agendas. It wants to be left alone unless the social order is gripped with crisis, which is why conservative masses are slow to respond to social dangers until it’s too late. Much of mass mentality falls into mass conservatism, and ‘conservatism’ in this sense doesn’t necessarily mean political conservatism as characterized by the Republican Party in the American setting. Even mass Liberal mentality is essentially a form of mass conservatism since most Liberals are herd-mentality sheep who just follow along and dutifully obey the master elites on their side. The fact that nearly all mass Liberals became batty about ‘gay marriage’ doesn’t mean they are liberal in the classical sense of the term of being rational, skeptical, open-minded, and principled. Rather, they’ve been sold on ‘gay marriage’ for the same reason that southern white conservatives have been sold on something like Evangelicalism. They prefer to turn off the mind and just obey the master narrative as set forth by the elites.
That said, even most political Liberals have a limit beyond which they began to grow suspicious of radicalism and decadence. The black crime wave of the 1960s drove many political Liberals to the ‘right’. Even as they voted for Democratic Congressmen, they began to vote for Republican presidential candidates. And the reason why ‘gay marriage’ made such a headway was because it was, in Saul-Alinsky-style, sold as the ‘new normal’, packaged in red-white-and-blue, and made to appear mainstream and patriotic. This tomfoolery has been so effective that many Americans, even conservatives, are willing to start a new cold war with Russia over something as inane as the ‘gay right’ to march in cities and spread homo propaganda in classrooms. In other words, the success of the ‘gay’ agenda owed to ‘conservatizing’ its image, indeed to the point where the clean-cut and white-bread homos became almost indistinguishable from clean-cut Mormons.

Mormon or Fruitkin?

What this shows is that the masses or the People are stupider than a doorknob. Whether politically Conservative or Liberal, they can be swayed like children this way or that way. The manipulation is most easily pulled off on the level of childishness, a quality that is both naturally rigid/‘conservative’ and naturally malleable/‘liberal’. Indeed, children are both the most ‘conservative’ and most ‘liberal’ of people. Instinctively, children feel close to home, to parents, to routine, to familiar stuff, and to simple things they like and understand. So, children stick to sweet juice or sodapop and find wine or beer to be bitter and yucky. So, children wanna watch the same cartoons and don’t care for ‘art films’. They don’t wanna try strange tasting foods and just wanna stick to hot dogs & ice cream. If they are taken from their parents and placed in summer camp, some of them freak out and feel homesick.

And yet, because children lack conviction grounded in knowledge and experience, they see the world with wide-eyed wonderment and can easily be duped into believing and accepting just about. (This is true of adults to some extent. If you know something about art and history, you may challenge new information on the subject with your own knowledge that has hardened into ‘prejudice’ over the years. But if you’re faced with knowledge of something you know absolutely nothing about, you could easily believe whatever you’re told. This is one reason why some academics prefer the use of academic jargon. The opaque difficulty of the terminology renders even simple ideas into complex systems that only experts can decode. Therefore, ideas that might be understood and challenged by students if presented in plain language are, instead, treated with respect and reverence by students who dutifully approach them as something ‘radically’ new and complex.) So, children can easily be made to believe in Santa Claus, fairies, elves, scary monsters, vampires, and etc. Children also want to be please adults, so they can be made to like or dislike something in accordance to adult wishes. So, if an adult hints at displeasure if the child doesn’t like homosexuals, the child will say he or she likes homosexuals even though he or she hardly knows what a homo is. So, children are instinctively ‘conservative’ but mentally ‘liberal’. They instinctively wanna stick to familiar things and stuff that gives them immediate comfort and pleasure, but they can be ‘intellectually’ made to believe anything. A child can easily be made to agree with Liberalism, Conservatism, communism, Nazism, Christianity, Judaism, Islam, Buddhism, Hinduism, and etc.
We like to think that adults are different, and of course, adults are more complicated than children. But a lot of adults — possibly the majority — are like children: instinctively ‘conservative’ and intellectually ‘liberal’. They prefer familiar things, and this goes for political Liberals too, who wanna hang around their own kind in their comfort zone and be flattered for their moral sanctimony with the same cliches about ‘racism’ and ‘homophobia’ and etc. And ‘intellectually’, they are molded by the elites than self-molding. Most political Liberals have been suckered, browbeaten, or conditioned to believe in certain things by school propaganda, media distortion, late night talk shows, and pop culture. Few Liberals really thought about the meaning of ‘gay marriage’ since no honest person can see any value in it. They’ve been made to believe in fairies just like children. Their impression and ‘thoughts’ about homos have been shaped by Jewish-controlled news, academia, media, entertainment, and the like.

For this reason, only a fool invests too much trust and faith in the People. (William Bennett defended conservative values as being the bread and butter of the masses who know right and wrong almost by instinct against the intellectually driven agenda of Liberals who conceitedly believe their fashionably ‘progressive agenda to be the best. But if the masses really do know right and wrong in their hearts, how was it that so many became converted to ‘gay marriage’ in a matter of a decade? It’s a fallacy to think that just because the masses happen to espouse Conservative values in the now, mass values = conservative values.) People are like children. Both impossibly difficult and impossibly easy. Sometimes, a child will want something and insist and cry like crazy if he or she can’t get it. No matter how much you explain to the child, he or she demands it and cries like a loon. Grownups can be like this. If they’re stuck with a certain set of values, superstitions, sacred ‘truths’, or taboos, they will stick with them against all sense and evidence. And they will feel great hostility toward those who offer something new and different in its stead. In this sense, people can be impossibly ‘conservative’ and intransigent.
However, there are ways to butter them up and make them lower their guard. It can be done through laughter, comedy, bread-and-circuses, thrills, and such. And while the guard has been lowered, a new set of values can be slipped into them, and then, the People will be adamantly committed to supporting and defending those new values, indeed as if those values had been theirs since the beginning of time. It’s like a child will cry and go nuts if he can’t have a certain candy he wants. If you reprimand him or her for being stupid and stubborn, the child will cry even louder and dig in his or her heels. But if you make a smiley face and distract the child from his/her displeasure and delight him/her with funny stuff and then associate the funny stuff with a new kind of candy — that the child was initially unwilling to try — , the child might try the candy, associate it with the funny pleasures, and come around to feeling that this new candy is the stuff he or she really likes and has always liked. (It’s like the waiter in THE SHINING easily tricks Jack Torrance into believing that Jack had always been the caretaker of the Overlook Hotel.) So, next time the child throws a fit of demanding candy, it will about the new candy than the old one that has been entirely forgotten. Of course, there’s also the tactic of the scary monsters. If a child is crying and you can’ t make him or her stop, you tell him or her that a scary monster will come and eat him or her, and he or she will clam up. Or if you want the child to get angry at something, you tell him or her that the object of hated isn’t merely bad but this ungodly hideous thing. So, children are introduced to ‘racism’ with burning crosses on the front lawn and scary KKK in movies. (Granted, Hollywood movies tend to treat the audience more like children than European films do. Maybe because most European films are made by Europeans for Europeans, the artists tend to see the audience as fellow adults. In contrast, since Jews see gentiles as dumb children to manipulate and control, Hollywood films tend to push buttons on our psyche.) So, on a Japanese TV show, children were made to believe that zombies were coming to eat them, thus goading them to get ready to hate and kill the evil zombies. Not surprisingly, the kids acted just like the childish PC-addled morons at Oberlin College who see KKK everywhere.

With advances in psychology, advertising, and the art/science of propaganda, the elites now control all sorts of ways to shape, warp, manipulate, and control the minds of the masses. Brutal force, as used by communists, is less necessary since there are so many forms of control via entertainment, education, culture, advertising, social networking, and new forms via the internet. Indeed, even though the internet allows a free exchange of ideas all over the world, there’s only two kinds of real power: elite power and mass power. Elite power is owned by the super-rich and inner members of the most powerful institutions. It is held by individuals and networks/cabals of like-minded groups. Mass power, in contrast, is faceless and has worth only when accumulated into great volume. It’s like gravity: faint and weak unless exerted through concentration of huge mass. While every object exerts some gravitational pull, a small object has virtually none. Gravity makes itself felt only in great mass, as in the planets and the stars. While someone like George Soros, Sheldon Adelson, Paul Krugman, Mark Zuckerberg, the Google guys, Steven Spielberg, and others have individual power(of elite power), most individuals don’t have any since they can only rely on mass power. But mass power isn’t decided by the masses just like sheep behavior isn’t decided by the sheep but by their ‘elite’ manipulators composed of shepherds and their running dogs. Even if individuals set up and run their own websites, each will be just one of the hundreds of millions all over the globe. Indeed, with literally 100s of millions of webzines, forums, social network sites, blogs, podcasts, and web pages all over the world on just about every topic, most of them just drown and neutralize one another out.
Besides, most political websites and blogs parrot the decrees of the elites who command the Narrative. So, if the Liberal elite say such-and-such, those views will trickle down to the Liberal mass sheeple who just bleat along on their own websites. Most of the American ‘right’ is no different, with Rush Limbaugh getting his orders from Neocon Jews and with most American conservatives saying spouting Talk Radio cliches. So, the notion of individual empowerment via the internet is a myth. Though there are some influential bloggers, they’re but a handful and tend to be associated with and approved/promoted by the big media powers that be. Indeed, despite all the talk of the demise of traditional journalism, bloggers and websites without ‘mainstream’ media endorsement tend to be a sideshow of a sideshow. Taki’s Mag publishes more interesting, original, and contrarian articles than most Liberal or Conservative news/opinion sites, but its number of fans on Facebook is just a few thousand. In contrast, Salon, Slate, and Huffington Post have millions of fans. Among Conservative sites, it’s ones endorsed by neocon money-men that have the most number of fans. Weekly Standard is more popular than American Conservative magazine, American Renaissance, and Taki’s Mag who are perennial losers. So, even though there’s a wide variety of voices on the net available to the masses, they fail to gain mass attention that may shape into mass power. It’s like each of us have a single vote and can vote for whomever we like — even for some unknown independent candidate — , but one’s vote is only meaningful as a part of a mass of votes for a certain candidate. So, if two candidates are running neck and neck with about 50 million votes each, what does it matter if you cast your vote for an independent candidate who mustered merely 1000 votes? So, if you are one of the People, your freedom/power means nothing unless it’s part of a mass movement, mass voting, mass whatever — a drop in the bucket filled with water. And yet, does mass power form of its own accord? Do we, as a people, naturally come together for our interests, or are we manipulated by higher forces to come together for or against certain agendas? Do the masses control what is reported through the mass media? Do the masses control what is taught through mass education? Do the masses decide what is promoted through mass entertainment?
We like to believe that the American Revolution happened because the People came together under the leadership of the great Founding Fathers. According to this narrative, the leaders of the American Revolution were merely channeling and serving the swelling anger of the American People. But in fact, only a third of colonialists wanted independence. Another third was loyal to the British, and another third didn’t wanna be bothered one way or another. So, even as the American Revolution depended on the support of the masses — or at least a third of them, which is still sizable — , it wasn’t the case that the masses came together out of the blue and called for a Revolution that was answered and led by the Founding Fathers. Rather, the leaders of the revolt were members of the colonial elite who spread all kinds of false propaganda to steer public opinion against the King of England. And it’s not the case that the Russian masses all came together out of the blue to bring about the Bolshevik seizure of power. Rather, the masses were simply angry with the war and called for land and bread, and it just so happened that the Bolsheviks played and manipulated these mass emotions most cleverly and ruthlessly. In the end, the Bolsheviks seized power, set up a massive police state, and imposed their version of ‘social justice’ on the people. In Red China, it wasn’t the masses who just came together to carry out the Great Leap Forward and the Cultural Revolution. In both cases, the mass movements were guided, directed, and controlled by Mao and his elite collaborators.

Given the true nature of the People — the incapacity to do anything on their own — , does any ‘leftist’ intellectual really believe in the instinctive nobility and wisdom of the masses anymore? There was a time when leftists genuinely believed that the toiling and suffering masses were filled with latent revolutionary passion and could be led to overthrow the elite-aristocratic-bourgeois order and pave the way for a new system where all people would be, more or less, equally intelligent, capable, knowledgeable, dignified, liberated, and empowered. But in places where the existing elites were overthrown, the new radical elites soon discovered that most people are just dummies who are no good for anything but taking orders and doing as they are told. To further illustrate this, suppose an idealistic artist believes that everyone can become an artist with proper training and encouragement. He believes that the famous and popular artists are greedily and unjustly hogging all the fame and glory. So, he kills them all and prohibits the idea of artistic genius that implies only a handful people have the necessary inspiration and innate talent to be great. He wants to create a new order where everyone can become a great artist. So, what happens? In time, he discovers that it’s true enough that only a handful of people have the goods to become a great writer, composer, film-maker, actor, singer, performer, painter, and etc. As for the masses, they are better off as consumers of junk entertainment so that they will spend their money that will end up in the coffers of the elites who run the industries and get to decide what kind of art should be patronized.
There’s really no need to worry about mass power since mass mentality, especially in the age of the mega-media(owned by few conglomerates) and of the mass-education(controlled by the federal government), the masses are stupid asses whose values and ‘thoughts’ will be shaped by the elites. Indeed, the homo-agenda business was like an experiment that proved to the elites that the masses are asses that can indeed be made to swallow anything if manipulated like children. Of course, there will be free-thinking and independent-minded folks who won’t be hoodwinked by elite manipulation, but they won’t have the power to get their views across. (To be sure, anti-elitism is something of a cliche on both the ‘right’ and the ‘left’. After all, even the elites don’t claim to be pro-elite and indeed go out of their way to show that they’re against elite privilege. If anything, the elites even control the narrative of ‘anti-elitism’, which is why both the Tea Party and Occupy Wall Street failed miserably. As both were controlled or ‘led from behind’ by elite-manipulators, neither dared to touch on the topic most crucial to a true understanding of power: Jewish power. Tea Party came to be led by idiots like Sarah Palin, who is nothing but a strip-tease pole-dancer for the neocon war-porn-kings, and Occupy Wall Street, by focusing on the abstract notion of 1% failed to address the ethnic nature of the power that grips this country. Wall Street got away with massive crimes in 2009 because the globo-Zionist Matrix of Power also control the media, the courts, and the government, thereby providing cover for their financial kin on Wall Street. Also, with the Tea Party and Occupy Wall Street accusing one another of the same thing — antisemitism — , they were both little more than unwitting servants of Jewish power. Anti-elitists on the ‘left’ tend to yammer half the time about ‘gay marriage’ without realizing that elites pushed the homo agenda to de-economize leftism. With new ‘leftism’ serving gay asses than the working classes, the homo agenda is a neo-aristocratic tool of the elites. When what passes for ‘anti-elitism’ among the ‘leftists’ amounts to rich college girls yelling about ‘vagina’, it’s downright pathetic. Urban hipsterism is supposed to be anti-elitist, but it hangs around rich elites in places like NY, Seattle, and San Francisco. As for the ‘right’, their idea of ‘anti-elitism’ is defending tax cuts for Wall Street moguls, calling for more aid to Israel, and shaking its fist at Russia for not respecting the Pussy Riot, a group funded and supported by globalist elitist Jews. The issue of elitism is further confused because most people who claim to be anti-elitist are really only anti-elite-of-the-other-side. So, alternative rightist types who rail against the elites call for a neo-aristocratic order governed by followers of Carl Schmitt or Julius Evola. And you rarely ever hear any criticism of the likes of George Soros from the ‘left’. And most ‘progressives’ seem to be mum about Obama and his use of the NSA to spy on everyone.)
Most people who come across unorthodox views will deride them as heretical and wicked since their minds have been warped by political correctness disseminated by mass media controlled by the Jewish elites. Besides, it’s difficult to gain power on the basis of truth because truth tends to be abrasive and unpleasant. To gain power, you have to peddle stuff like Oprah, Obama, ‘hope and change’, ‘morning in America’, ‘compassionate conservatism’, and Hollywood movies. You have to master the art of hype, hysteria, and mania. On occasion, a thing of genuine value is commensurate to its fame and popularity — as with the Beatles and THE GODFATHER movies — , but, more often than not, what is popular is a product of the elites giving the masses what they want — formulaic cliche-addled gunk like FORREST GUMP — , with PC dosage slipped into the mix. For example, the masses love big dumb blockbuster movies. But they don’t want to watch a homo-promo film. But suppose a big dumb exciting blockbuster has an idealized homo character? People like loud and brash vulgar comedies, but they may not want to see some interracist sermon film. But suppose a film is chock full of vulgar laughter but also features a happy interracist couple. It’s really so easy to fool the masses. They are just like children. The technique of ‘slippaging’ works.

There’s a good chance of leftism deviating into a form of neo-aristocratism, especially if its leading figures are of a minority. While Jews resented the gentile aristocracy of Europe, they knew that the aristocrats, being educated and cultured, could be manipulated intellectually whereas the superstitious and unwashed masses had less interest in ideas. Indeed, education and intellectualism can lead to further emancipation or further enslavement for those who receive them. A smart and independent-minded person will use knowledge and ideas to expand his own power and freedom, but the dimwits who gain education and knowledge simply become mind-drones of people who are smarter and more powerful than them. It’s like the expansion of reading can liberate or further enslave people. The literate who read and think freely will gain in power, freedom, and independence, but those who are made literate but offered only propaganda as reading material will become even bigger mental slaves of those who provide the books.
In today’s colleges, someone who can’t read might be mentally freer than those who’ve read volumes of PC nonsense. (An idiot conservative might fallaciously deduce the wrong lesson from such observation, i.e. being illiterate is better than being literate. The correct lesson is that conservatives should offer better and more truthful reading materials. Unfortunately, American Conservatism decided that since most intellectuals and academia are Liberal, intellectualism and academics themselves are suspect, which is why Conservatism is now associated with the likes of Rush Limbaugh, Ted Nugent, Sarah Palin, and other nimrods. William F. Buckley’s words to the effect that people randomly picked out of a phone book would make better leaders than the college professors encouraged conservatives to be even more yahoo-ish than they already were. Does anyone really think Sarah Palin, a hillbilly Bubba, or run-of-the-mill Detroit Negro would make a better leader?) The modern university is not a center for free thought in many social sciences and humanities departments. Rather, students gain knowledge and ideas to become more malleable and docile to the academic/ideological powers-that-be controlled by Jews, homos, and Liberal white race-traitors. Since Jews don’t wanna be overly visible as the elites, they’ve pushed this homo-promo stuff to fool us into thinking that the elites are homo, when, in fact, homos are merely mini-me of the Jews.
Education and knowledge are like roads and bridges from people to people. So, if you and I share the same set of knowledge, references, allusions, symbols, narratives, legends, myths, and etc. — and of course, language — , we can better understand one another. Consider how the knowledge of the Bible united both the East Coast Brahmins with dirt poor farmers in America in the 19th century. Ideally, the roads and bridges of knowledge and ideas should be a two-way street: others enter our minds with their views, and we enter their minds with our views. Thus, we agree on some things, we disagree on some things, and we try to come to a better understanding of one another. But more often than not, the road/bridge of knowledge is a one-way street whereby the elites come to us with their ideas and images(that we are obligated to open our mental gates to) but shut off the passage of our ideas and images to them or the larger public. So, Jews who control the media fill our minds with ideas and images about poor Negroes who were enslaved by Southern whites, but they close the roads and bridges that would allow stories of black violence, rape, and murder of white folks to reach the larger public. So, we hear so much about the Holocaust but almost nothing of the Jewish role in the mass killing of Christian Slavs under Soviet communism. So, Jews can enter our mental territory through the roads/bridges of knowledge, but we are forbidden to travel to their territory or even to the public territory that should be open to all views and news but is, in fact, controlled by Jewish landlords. Thus, most people who become educated only become ever more brainwashed, more mentally and emotionally enslaved. Some gain fame and fortune — just like extra-docile ‘house negroes’ done get special favors from the massuh — by acting as toadies of Jews; Ken Burns is a good example of a pussy-ass ‘house white boy’ and so is James Carney. And Bill Clinton is the biggest ‘house white boy’ of them all, and Obama is the biggest ‘House Negro’. They’ve done fantastically well by serving Jews and homos. But despite their titles and wealth, they’ll never be anything more than toybots of Jews and homos. To be sure, Clinton and Obama are smart and savvy enough to know what they did and why. If you can be a ‘house white boy’ or ‘house negro’ flying around in Air Force One and with people calling you “Mr. President”, that is a fabulous deal. Politicians are whores, so if you’re gonna be a whore, why not be the biggest whore of them all and make it to the presidency by sucking up to Jews. Indeed, the presidential race has become a contest of who-pleases-and-appeases-the-Jews-more?

Anyway, even though the gentile aristocracy in Old Europe were not educated to think favorably of Jews or to obey Jews, the fact that they were educated and cultured meant that they could be intellectually and ideologically played by Jews. People like Marx and Freud won over the gentile intellectuals, not the Archie Bunkers of the world. It’s the educated folks who can be fooled into appreciating something as atrocious as JEANNE DIELMAN. While the unwashed rubes can be awful brutish, stupid, and incapable of appreciating finer things in life, they can sometimes see BS for what it is than someone with a mind cluttered with fancy ideas and images. While a rube might not appreciate Picasso, he’s not gonna fall for Andy Warhol’s “Campbell Soup Cans” either. While a Bunker or Kramden isn’t gonna appreciate 2001: A SPACE ODYSSEY or ANDREI RUBLEV, he isn’t gonna fall for some crap made by Lars von Trier, Guy Maddin, or Derek Jarman. An educated person can be encouraged to appreciate different and finer things, but he or she can also be suckered into appreciating something because it’s supposed to be so ‘intellectual’, ‘radical’, ‘subversive’, ‘progressive’, ‘bold and daring’, ‘original and innovative’, and yabba dabba doo. Indeed, notice it was the educated/indoctrinated who fell for ‘gay marriage’ first, and it’s the rubes who are resisting it for reasons that are sound(homosexuality can never be the biological or moral equivalent of real sexuality involving men and women) or unsound(“God hates fags”). However, the funny thing about rubes is that, even though they are knee-jerkedly the most resistant to radical ideas, once they’ve been made to swallow such, they become the most stubborn defenders. So pagan rubes were most resistant to Christianity, but once they were forced to be Christians, they became most resistant to anything that challenged Christianity.
Anyway, since Jews have been a mind-people, they favored other mind-peoples, at least to the extent their minds could be molded by the presumably superior Jewish mind. So, even if a gentile people were anti-Jewish in their values and attitudes, as long as they were a people of ideas, their ideas could be changed by Jews. Therefore, even though Jews had to challenge Wasp power in America to get to the top, Jews were better able to remold wasp minds than Negro minds. Negroes are not a mind-people but a dong-and-butt people. Negro men like to flex their muscles and fling their dongs all over, and Negresses like to shake their booties and holler like wild gorillas. Most Negroes ain’t into reading and writing and stuff and prefer to be jiving and acting crazy. So, even though Jews and Negroes are political allies in the Democratic Party, Jews haven’t been able to remold black minds as easily as wasp minds. Today, wasps are total mental servants of Jews whereas lots of Negroes still have an attitude that goes, “Jew mothafuc*a, I’s gonna kick yo’ kike ass!” And notice how the yellow drones — Asian-American academic grinds — are among the biggest mental running dogs of Jews. By nature and culture, the Asian mind obeys authority and wants to go along, so we don’t have yellow folks challenging Jewish power in the way that Jews once challenged Wasp power. To be sure, we are speaking of generalities here as there are dumb Jewish drones, and there are yellow folks, like Amy Chua, who happen to be gutsier than most. And there are Negroes who are well-behaved and civil instead of funky-jive-ass.

Though the Jewish mind can be countered by gentile minds, Jews figure that in a mind-vs-mind contest, they will win because they got higher IQ. It’s like a Negro knows that if he goes against non-Negroes in fist-vs-fist contest, he is gonna win because Negroes be badasser and tougher than other races. Jews also know that the mind doesn’t exist alone but in relation to sight & sound that govern emotions of the heart. While the mind is ideally rational, skeptical, logical, empirical, and critical, human thought is often governed and shaped by emotions drawn from sights & sounds. So, the power of the mind can be distorted and shaped by emotions that color the mind. Due to the power of Holocaustianity as the result of TV shows like THE HOLOCAUST, endless PBS documentaries on the subject, and movies like SCHINDLER’S LIST, we cannot approach the issue of Jews with a critical and objective mind. We are colored by emotions derived from powerful images and sounds made holy and sacred, and so, whenever our minds contemplate the power of the Jews, the rational/critical/skeptical/logical/empirical faculties break down. The images from something like SCHINDLER’S LIST makes us feel ashamed to have negative thoughts of Jews since, gee whiz, it must mean we are crypto-Nazis or closet-anti-Semites. Same goes for MLK. Because of the excessive cult surrounding him in image and sound, we can’t discuss him rationally as a historical figure. We must worship him more than even God and Jesus. We must go from whipping Negroes to worshiping Negroes.

So, not only are Jews more adept at mind-tricks and intellectualism, but, with all the money they’ve accumulated, they’ve bought up nearly all the media outlets and entertainment industries that enable them to control the images and sounds that color our mental/intellectual faculties. It’s no wonder that even college professors get all mushy about certain topics because of how their emotions have been manipulated.
Jews are especially powerful in the media and entertainment because they are so shameless and fashion-minded when it comes to culture. While some peoples might reject certain expressions and genres for moral or cultural reasons, Jews will appropriate and market anything — even things they despise — to rake in more cash. So, Jews have even made inroads into American Conservatism. Jews also control the image and sound of Sarah Palin. Jews run much of Talk Radio. Though Hollywood is Jewish Liberal, it will also make the kind of movies that appeal to American Conservatives who dole out the cash. Thus, Jews make money from all sides. Of course, Jews will not go so far as to promote white nationalism, but notice how they’ve appropriated the fascist aesthetics in making all these new kinds of wham-bam pop-fascist blockbusters. Jews approach arts and culture like pawnbrokers: buy and sell anything, even stuff they don’t like, if it makes them more money. Jews also know that if something cannot be sold as an idea, it can be sold as candy or eye candy. In this, Jews are excellent students of the history of Christian power. Though there was an emotionally appealing element to Christianity, its strange story of a God who came as Man and was crucified wasn’t an easy sell, especially to pagan folks who were steeped in warrior virtues. Thus, Christians often spread their Faith not so much through the ideas and teachings of the New Testament but through gifts, song-and-music, medicine, pageantry, and etc. Many pagan princes were won over to Christianity simply because Christians put on an awesome display of power with big Cathedrals, jeweled robes, magnificent art, and etc. And Western missionaries all over the world brought medicine and food to the heathens who were then converted to Christianity not so much because they agreed with the teachings but because the food and medicine were nice. Maybe homos will try to spread their agenda in Africa by doing good works like providing food and medicine for hungry Africans. Of course, Jews have mastered this game. They don’t just try to win over gentiles with ideas and persuasion but by putting on extravagant displays of power. Take AIPAC conferences that are with glitter and glamour. It’s a fancy dog-show for the running dogs. So, even though gentiles are paraded around as little more than dogs, they get all excited and feel flattered because the festivities are so lavish and impressive. They feel like they are being handed Oscars in Hollywood. And even though they are serving Jews at the conference, the thematic vibes of the evening is that helpless and saintly Jews need the support of brave, decent, and caring goyim to protect them from evil Russian, Iranian, Palestinian, and Muslim ‘anti-Semites’ who are maybe cooking up another holocaust. And American Conservatives are made to feel that they’re saving wonderful Jews from American Liberals, and American Liberals are made to feel they’re saving wonderful Jews from American Conservatives. It’s like master with two dogs praising each dog for its greater loyalty — and both dogs falling for the obvious trick. And since Jews know that elites control the power, AIPAC is only concerned with gentiles who go to elite schools and have elite contacts. If Jews control the gentile head, the gentile body will follow. So, gentile elites serve Jewish elites than serve their own people, the gentile masses. The radical leftist notion of molding the masses to be equally smart and equally empowered with the best-and-the-brightest is long dead. Jews — ‘leftists’ and ‘rightists’ — now believe the power is with the elites, and it will always be so. So, the new ‘leftism’ is all about winning over the elites, pressuring the elites, and shaping the elites.
Of course, not all elites are equal in power. While there are white elites, black elites, yellow elites, brown elites, and other elites, it’s Jewish elites who are the real kings of America. And they’ve chosen homo elites as their princes. The other elites serve as Counts, Dukes, Barons, and Earls who do the bidding of the Jewish kings. Just as noblemen served the kings than the people, the neo-noblemen of the goyim serve the Jewish kings than their own people. Just look at the GOP doing nothing to resist the homo agenda. If Jewish kings insist that homo elites are the princes, what are Republican noblemen to do? Disobey the kings? Jewish elites control the gentile elites financially, politically, intellectually, and morally — and even sexually, as the presidency of Obama sent a message that the ‘new normal’ is for white women to become race traitors and mix their own race out of existence in the name of ‘diversity’ and Negro-Jew worship. If Jewish elites tell white elites to love Israel and hate Iran, then white elites will instruct the white masses to do likewise, and most white fools will follow. The gentile news readers in the media just follow the script handed to them by Jews. Brian Williams has the look of a solid Wasp, but he’s just a toy-boy puppet of the Jews. And his daughter is owned by ugly Jew hags like Lena Dunham, which is why she masturbated on TV to show what a ‘liberated’ and ‘empowered’ woman she is. (Now, why would Jews empower gentiles when more gentile power means challenge to Jewish power? What Jews peddle as ‘empowerment’ is the breakdown of gentile power of unity. Jewish power isn’t just individualistic but collective. While individual Jews have lots of talent, Jewish power is the product of all Jews working together. Thus, there is a dualistic nature to Jewish power. It’s both individualistic and collective. But Jews want gentile power to be divided. So, gentile women are ‘empowered’ to hate gentile men. Gentile children are ‘empowered’ to hate gentile parents. Gentile Liberals and gentile Conservatives are ‘empowered’ to hate one another — even though Neocons and Liberal Jews get along just fine. Jews push libertarianism because it atomizes gentile power. Power isn’t a matter of individualism vs collectivism. It’s a combination of both. When a people are overly collectivist or conformist, they tend to lack individualistic power, which is true enough for Asian societies. But when a people are only into individualistic or sub-group power — youth, female, Liberal, Conservative, religious, atheist, and etc. — , they are unable to unite for a greater collective interest. As David Duke said in the “How Zionists Divide and Conquer” video, if one team works together while the other team is divided into individuals, each of whom are into his own ‘empowerment’, the other team will lose. An army is effective because it works as a team. If privates, sergeants, captains, lieutenants, colonels, and generals are all ‘empowered’ separately and against one another, they will lose to the army that is united and focused on working together to defeat the enemy. So, paradoxically, Jews seek to ‘empower’ many gentile sub-groups in order to dis-empower them as a group.) And notice how even the Negro community is beginning to bend over the homo agenda. Blacks are no longer so uppity as they’re ‘bendity’, bending over to the homo agenda since black elites have come under the power of Jews. With pro-homo-agenda-ist Obama as the new face of black leadership, even black masses are bending over to expose their asses to be buggered by the homo elites.

The Jewish concept of power be better understood by considering Veit Harlan’s JEW SUSS. Though made for Nazi Germany — and offensive and simple-minded in some ways that should be obvious to any decent folks — , it does unveil something about the Way of the Jew. To dismiss it entirely is to throw out the baby with the bath-water than to flush the turd with the toilet water. Harlan wasn’t a mere hack.
Notice how the common people in the movie are instinctively less trustworthy of the Jew than the ruling aristocrat of the community is. To them, Suss is obviously a snide and sniveling Jew. The corpulent goy nobleman doesn’t trust the Jew either, but being vain and greedy, he comes to value the Jew’s cunning advice on matters of finance, taxes, and laws. The Jew is careful not to attack the entire goy community at once because that will only bring the goy elites and goy masses together. So, he works on the goy elites, winning them over with loans, useful advice, and clever charm. He tries to make himself indispensable to the goy elites. Since goy leaders like to lead a lavish lifestyle that cannot be supported by taxes, they have to borrow from Jews, and that means Jews slowly slither around them like a python. Of course, if they so wished, the goy elites in JEW SUSS could crush and banish the Jews, but then, they’d no longer have a ready source of loans. Also, as aristocrats are bound by a sense of honor, it’s not so simple for them to welch on what they owe to others. And even when goy elites want to spit into the eye of the Jew, their fetish for manners restrain them from acting boorish, crude, and coarse. Jews exploit all these qualities of goy elites. This was why Hitler, a kind of coarse and vulgar Jewishy anti-Semite, could do things that the German elites weren’t able to do. Though German elites were worried about the rise of Jewish power, they didn’t want to come across as boorish and uncouth by speaking out loudly against Jewish power. So, their power ebbed away day by day. Hitler was willing to take on the Jews in a fight-fire-with-fire way. It’s the reason why Rush Limbaugh, Camille Paglia, and Howard Stern gained prominence in the 90s as enemies of political correctness; they were willing to be loud and lewd, something that more traditional conservatives like William F. Buckley weren’t willing to do. (Incidentally, the sly and cunning character of Salieri in AMADEUS is sort of like the Jew Suss character. He too is very clever in playing court politics to gain prominence as the favorite composer of the Emperor. Thus, there’s a duality to his cultural significance. On the one hand, he could be seen as the inferior gentile who is envious of Mozart as the signifier of Jewish genius. On the other hand, he could be seen as the Jew who, in favoring the game of power over purity of vision, can never really touch the stars. This is the paradox of Jewish power, i.e. that the people who were chosen by God fret that they are not the most beloved by God. It’s like the story of the Prodigal Son where the father shows more affection to the ‘bad’ fun-loving son than to the ‘good’ dutiful son. Jews, in being the chosen of God, had to understand God more deeply than any other people did. Thus, Jews became so deeply intellectual that they could never be pure in their emotions like some pagan folks were. Greeks, Romans, and Germanic Barbarians could have great fun with wine and beer and idolatry and bacchanalia. They could even imagine themselves partying with the gods. So, there’s something childlike and animallike about Mozart despite his high intelligence and genius. In contrast, Salieri is always thinking, always fretting, always calculating like Jew Suss. Even though Stanley Kubrick and Bob Dylan were among the greatest artists of the 20th century, something stands between their emotions and their minds. And though Dylan used a lot of drugs in the mid-60s, something pulled him back from the Rock scene and sobered him up. And his music was famous for having a lot to think about. He couldn’t break on through the other side all the way like Jim Morrison, Jimi Hendrix, and Janis Joplin who unleashed all their emotions. Even with Spielberg, there’s an element of calculation despite all the magic and uplift; we know he is playing us like a violin. And even at their goofiest, we know people like Woody Allen, Larry David, and Seinfeld are thinking about their comedy. Even when Jews are most passionate and uninhibited, their mind stands between themselves and their emotions, which is why the orgy scene in EYES WIDE SHUT feels so strange. Even when Jews are most devout before God, their minds stand before themselves and God. But there is no such barrier between Mozart and his music — at least in the movie as I know nothing of the real Mozart. His commitment to music is absolute and total. He may be excessive and irresponsible, but there’s a purity about him. Such kind of total commitment tend to be absent from most Jews. Jews are always looking for angles. For this reason, despite having been chosen by God, Jews could never be totally close to God since they worshiped more with their minds than with their hearts. Thus, the appeal of Christianity was that its followers could surrender their minds and worship God with the purity of their souls. And since the compassionate Jesus showed Himself as the face of God, Christians could accept God as love & peace and worry less about the moral/spiritual contradictions in the Torah, in which God tended to be psychologically unfathomable and manic-depressive. God, being serious, chose the serious Jews to be His chosen. But being so serious, Jews became less fun than many pagan folks in the ancient world. Jews could never abandon their inhibitions and be wild like Greeks who were into nude dancing and Romans were into orgies and piggery. So, pagan folks made more fun and pleasurable stuff, and the hidden heart of the Jew wondered if their God really preferred the fun-loving pagans than the ‘drably’ pious Jews. Even so, Jews felt justified in believing that no matter how pure-hearted the pagans may be, it was in the service of wanton wickedness and sin. In contrast, even if Jews weren’t so pure-hearted, they had God on their side. But then, Christianity came along that fused pagan pure-heartedness with Jewish solemnity. The genius of Christianity was that it made the worship of God ‘fun’ with simple faith and childlike devotion. It fused pagan sensualism with the worship of the Jewish God. It’s no wonder Jews hated Christianity with such passion. Of course, today’s Jews are very different from ancient/traditional Jews as modern Jews at the forefront of spreading homo-stuff, porny stuff, and other hedonistic excesses. Even so, what remains the same is that Jews push all those things not out of pure-hearted belief in their worth but because of their usefulness in controlling the goyim.) So, Jews know that they must gain power step by step. The gradual seizure of power in the US turned out to be a lot more fruitful than the sudden seizure of power in Russia in 1917. Though Jewish Bolsheviks prevailed, the new order led to all the goy communists ganging up on Jewish communists in the end. As communism was anti-elitist, Jewish communists couldn’t rely on elite privileges for long; communism also opened the door to the rise of goy proletariat to the ranks of the elites, and such people tended to be boorish and uncouth.
But prior to WWI and all the disaster it brought, Jews were quietly but fitfully gaining power by working with the goy elites. Jews showed to the goy elites that the latter could get richer and more privileged by doing business with Jews and/or by letting Jews handle their affairs. While the leftist Jews tried to overthrow the old order in the name of the People, most privileged and ambitious Jews find it more advantageous to form close alliances with goy elites. Of course, Jews didn’t intend to serve the goy elites forever. It was the first step toward gaining power over the goy elites. Though Jews were out-competing and destroying many goy enterprises and businesses, they also formed partnerships with many goy elite clients who relied on Jewish expertise and cunning to make them richer. If Jews had sought to suddenly disenfranchise the entire goy elite, the latter would surely have sided with the gentile masses against the Jews.
Of course, since Jews came to control much of the media and education, the masses were also being turned into philo-Semites step by step, and the agenda surely succeeded in the US, where your average unwashed rube is just as pro-Jewish and pro-Israel as any member of the race traitor wasp elite. Nevertheless, even if the unwashed rube is pro-Zionist and pro-Jewish in America, his mind-set is still instinctive and ‘conservative’ than open-minded and tolerant. He is pro-Jewish because the mass media have brainwashed him into believing that pro-Jewish is what American patriotism is all about. One can be pro-Jewish and even pro-communist out of conservative instincts. During the latter days of the USSR, communism became synonymous with Russian nationalism, and many rubes were rabidly pro-communist as a form of patriotism. Same goes for Castro’s Cuba. Because the masses live by instinct and rough passion, their loyalties can shift easily, as when Mark Anthony manipulated a mob from being rabidly anti-Caesar to rabidly pro-Caesar. There was a time when American Liberals tried to paint Hitler as some degenerate closet-homosexual. Today, the ‘gay rainbow’ flag is sold as the new red, white, and blue, and some Americans are even eager to start a new Cold War or even WWIII because Russia doesn’t allow ‘gay pride’ parades. Given such passions, one has to wonder if Liberalism is truly liberal, i.e. open-minded, judicious, thoughtful, rational, critical, skeptical, etc. So many American Liberals have been won over to simpleminded agendas as the result of manipulation of crude passions than due to anything associated with thought or reason.
But even highly educated liberals can slowly become less liberal because, paradoxically, being liberal leads to the pride of being liberal, and the pride of being liberal leads to the conceit of being liberal, and the conceit of being a liberal leads to the moral and intellectual narcissism of being a liberal, and the moral/intellectual narcissism of being a liberal makes a liberal feel he or she must always be so right. Just like the fast hare took its speed for granted and took a nap while the tortoise passed by, it appears many liberals have given up on being truly liberal because their conceit of being liberal no longer requires them to even try. They don’t have to try to be liberal because they are so sure that open-minded liberality comes to them so naturally and effortlessly. But something similar can be said of conservatives. Some conservatives are so sure of their conservative credentials that they don’t even try to study, preserve, and honor the tradition, the heritage, and the past. As a result, so much of conservatism is so lazy and tired.

We must always be mindful of the Way of the Jew. In JEW SUSS, notice how the Jew tries to persuade the nobleman that any attack on himself is also an attack on the nobleman. Jews do the same thing with American gentiles. So, Jews would have us believe that any hostility toward Israel or Jews is an attack on ALL Americans. So, even though Israel has no real importance to US geo-politics — and even though Jews spit in our faces — , we are made to feel that any nation that offends Israel also offends us. What other people have pulled this kind of shit on Americans? Not even the British pulled off something this crazy, i.e. what is bad for Britain is bad for the US, what is good for Britain is good for the US. While US-UK ties have been close(though the only thing both have in common these days is slavishness toward Jews), Americans never believed that anything that offended the Brits also offended us. If anything, US often acted contrary to British interests — as Winston Churchill could well have attested during and after WWII. Consider US stance during the Suez Canal Crisis. Consider America’s refusal to aid and abet British imperialism after the war. And we cannot imagine Iranian-Americans fooling us that any offense to Iran is an offense to Americans. The idea of Russian-Americans or Chinese-Americans convincing us that any offense to Russia or China is an offense to us is laughable. And it’s downright surreal to even ponder the possibility of Palestinian-Americans fooling us that whatever offends the Palestinian people must also offend us. But Jews, with their media, academic, cultural, and financial power, have pushed the notion that whatever offends Jews/Israel must offend us also(even as they never relent from insulting us, mocking us, and reviling us). This is crazy since the so many Jews go out of their way to offend Americans, especially white Americans and extra-especially against conservative white Americans. But all Americans, from the ‘bluest’ state to the ‘reddest’ state, from elites to unwashed rubes, carry on with the crazy fiction that anyone or anything that offends Jews must also offend us. It’s crazy since Jews denounce white conservative rejection of open borders, ‘gay marriage’, and anti-white agenda to be offensive, ‘racist’, ‘neo-Nazis’, ‘ugly’, ‘hateful’, and etc. If we follow the Jewish logic, then white Americans — and especially white conservative Americans — should hate themselves since so many of them offend Jews. If whatever offends Jews should also offend us, that means we should find ourselves offensive since we give offense to Jews. But then, whoever said white Americans — especially white conservative Americans — had much sense?
Whatever sense they once had seems to have evaporated into the thin air.
The traditional white elites of the past, instead of trying to help and uplift the white masses, decided to join secret clubs at fancy colleges and play golf and put on airs. Jews, though resentful of the wasp elites, gradually gained control over the minds of the children of wasp elites who came to despise their own parents. And the new generation of wasp elites came to serve and suck up to Jews and turn up their noses at the white masses. As for white conservative leaders, they opened their gates to neocons(who reconfigured conservatism inside out), went on playing golf, and snubbed the masses of dumb white folks who were only exploited — often with cynical pandering to social conservative issues, such as the bogus ‘prayer in school’ or ‘pledge of allegiance’ nonsense — to cast their votes for Republican whores-weasels whose only real objective was to cut taxes on the super-rich and promote globalism to increase the profits of the rich donor class.

Paradoxically, the rise of secularism made the class divisions even more pronounced. Even though secularism is associated with progress and egalitarianism, its emphasis on intellectualism and education favors the intelligent and cerebral-oriented over everyone else. And even ‘progressive’ secularists, in their pride of greater intellect and knowledge, tend to look down on the unwashed masses who may still believe in God. At least when America was mostly religious, there was shared spirituality and common faith to bind people together. Rich man or poor man, literate or illiterate, east coast or west coast, northern or southern, most Americans worshiped the same God. So, there was a cultural and emotional link among all peoples. Today, as the vast welfare state provides lots of poor folks with material needs, there is no spiritual or emotional link between the mostly secular rich and the poor, no need for Christian charity by the rich for the poor — let the secular bureaucrats take care of the poor. And if the elites do dabble with religion, it’s to manipulate dumb Americans into fighting wars for Israel or believing that Jesus died on the Cross so that homo fecal-penetrators can marry. If Obama is a Christian, then Donald Trump is a communist. Indeed, look at the diverse groups in the Democratic Party, and there’s so little cultural unity and commonality among them: the Jews, Negroes, white working class, Hispanics, homos, Liberal Wasps, feminists, Hindu-Americans, Chinese-Americans, Muslim-Americans, Scandinavian-Americans, etc. Can something like homo-worship and ranting about ‘racism’ hold such a disparate group together indefinitely? Do such opinions have long-term spiritual value as unifying symbols or emotions? One is based on the idolatry of perversion and the other is premised on mindless hatred against white folks who are scapegoated for all historical ills. If the GOP were to vanish overnight, I believe the Liberal coalition will break apart almost overnight even if Jews and their mini-me homos try their best to hold it together. The Cold War lasted as long as it did — and brought so many Americans together — because most Americans instinctively saw something wrong and even evil about a totalitarian system that had destroyed millions of lives, created a prison state, forbade freedom of speech and worship, and etc. But can any kind of long-term hatred against Russia(or conservative America for that matter) be sustained by smearing it with the ‘evil’ label of not allowing ‘gay marriage’? Who knows? Maybe if Americans are dumb enough to swallow ‘gay marriage’ from coast to coast and worship homos as the children of god, maybe a new cold war is in the offing. And Jews, with their vast wealth and media power, can sometimes do incredible things, especially as so many Americans are such pathetic sheeple addicted to junk pop culture and PC education. But maybe Jews will overreach in America as they did in Russia in the 1930s and in Iraq in the 2000s. At some point, some Americans are bound to ask, “what the hell is this Jew shit?” Or maybe not. Americans have become so corrupt, childish, and stupid.

Anyway, Jews play the game of power very cleverly. They approach it like a game of chess(favored by Kubrick) or like a con-game(favored by David Mamet). Communist Jews tried to use the masses to overthrow the gentile elites, and capitalist Jews tried to use the gentile elites to keep the masses under the control so that Jews can further extend their tentacles. Since Jews honed their skills through business and Talmudic studies, they got very clever at the game of power. In contrast, since gentile aristocrats were born into privilege and were matched-and-married according to status than ability, their ranks ranged from very smart to very dumb.While smart and capable gentile elites were better able to fend off the Jews than the dumb and lazy gentile elites were — consider how easily Jews ran circles around the likes of Dan Quayle — , even smart and capable gentile elites often fell under the sway of Jews. As smart people tend to be intellectually vain, they like to hang around and win the approval of other smart people. Since Jews are smart and knowledgeable, smart and capable gentiles tended to gravitate toward the Jewish way of seeing the world. It’s like a very smart Polish friend of mine — who actually outperformed most Jews in high school — is slavish to everything Jewish. Even though he calls himself a ‘liberal’, he admits he doesn’t care even the slightest about the Palestinians because he’s so admiring of Jews. His vanity gets its jollies by hanging with smart Jews.

In the past, the risk for Jews working with gentile elites was, when things got bad, the gentile elites might panic and save themselves by scapegoating the Jews for all the problems to pacify the rage of the masses who’d had enough of taxes and economic troubles. But the cult of Holocaustianity has made it impossible in the US and the West to be critical of Jews even when Jews act like scum of the earth. So, nowadays, it’s Jews who scapegoat the gentile elites for everything that goes wrong. So, even though George W. Bush followed the advice of Jewish neocons in invading Iraq, he(and fellow gentiles Cheney and Rumseld)got most of the blame for the misadventure by the Jew-controlled media. And even though Boris Yeltsin in the 1990s handed over Russia to Jews who did much to loot the country, almost no one in the media and academia talks about the Jewish role in the mass robbery of Russia. Instead, Jews place all the blame on Yeltsin for the disaster. Jews would have us believe that Jews are so clean, wonderful, and noble, and always working for the higher good of all humanity, but sadly, their wonderful agendas and policies are messed up stupid goyim like Bush and Yeltsin. Unfortunately, most American goyim are dumb enough to swallow this BS as they are addicted to mass media owned by Jews. When you own a TV, Jews own your mind for it is Jews who control what comes through the TV set. The mass media are one-way roads and bridges where Jews get to load images and sounds into your eyes and ears, and you are nothing but a passive participant of a mass brainwashing campaign coordinated by Jews and their mini-me homos who promote the radical homo agenda, normalize Jewish supremacism, and vilify any idea, feeling, or sentiment associated with white survival, white interests, white heritage, white defense, and white power. Jews seek to upset the sexual norm. The sexual norm for any race is racial survival, and that means the men and women of the race have children together. Thus, Jews don’t like any notion of sexual norms since it will encourage white men to have white children with white women. Jews seek to turn sexuality into some kind of a game of alternative lifestyles where anything goes. If a male anus is a man’s vagina, then sex/sexuality is anything Jews say it is. Anything goes, and that means white people no longer think in meaningful terms. They are decadent dupes of the Jews who seek to control them. Notice how ‘gay marriage’ has been promoted in reference and deference to interracist marriage laws. While one can make a valid argument that the US Constitution guarantees the right of individuals to marry anyone of any race, race and culture have meaning above and beyond the law. Whatever the Constitution says, white people are free to value their own identity, history, heritage, and uniqueness. And those are guaranteed not by the law but by racial consciousness, racial unity, and racial loyalty. Otherwise, the white race will become mulatto-ized, mestizo-ized, and/or mongolized out of existence. While many whites have been brainwashed not to care — indeed even to welcome and celebrate their own demise — , there is still a minority of whites in the West who do care, and the future of the white race depends on them. And the first step toward reclaiming the destiny of the white race must be to name its primary enemy, which are Jews.

Jews, in their shameless Zelig-ish cleverness, will appropriate and extract ideas and images from all cultures to push their agenda. Notice how Jews have extracted certain elements from even Nazi Germany and Soviet Union to formulate ever more effective means of propaganda that manipulate and cajole the irrational part of mass psyche. So, homos parade around as if ‘gayday’ is the new Mayday. And the new antisepticism of the homo image partly draws from the Nazi cult of purity and health. Jews and homos would have us believe that men who indulge in fecal penetration are the new face of purity, health, cleanliness, mental balance, and middle-class values.
If one thing is certain in today’s world and perhaps for the foreseeable future, it’s that ‘leftism’ is now an elitist ideology that mainly caters to Jews and their minions. Whatever one may think about Negroes — I certainly am no fan of the jivers — , one cannot deny that there was something compelling about the sight of black men marching holding placards, “I AM A MAN”. Or even though MLK was a fraud, one cannot deny the power of his speeches and the nobility of the sentiments(despite their cynical and willful naivete of hope). In contrast, for the current crop of ‘progressives’ to associate the demand for ‘gay marriage’ with the Civil Rights Movement is the height of decadence, chutzpah, and homoxiousness. But today, we are led to believe that denying homos the right to marry is like homo Jim Crow(or Him Blow). But this is to be expected when Jews speak of ethnic discrimination in wasp golf clubs as having been on par with segregation in the South. So, some millionaire Jew who wasn’t welcome to hit a golf ball around with millionaire wasps is equally worthy of our sympathy as some Negro who had to sit in the back of the bus. When the ‘gay flag’ is hoisted outside Wall Street and when the homo nonsense agenda is the defining ‘progressive’ issue of our age, it should be obvious with anyone with sense that ‘leftism’ is just a brand toy of the elites.

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Neo-Fascist Consideration of an INCONVENIENT TRUTH: The Slave Rebellion Narrative in National Socialism(with some thoughts on EYES WIDE SHUT and THE GODFATHER PART 2)

Roy Batty – Blade Runner

What distinguishes the political narrative(and self-justification) of National Socialism or Nazism apart from other narratives of political struggle defined in terms of the rights of either the master class/race or slave class/race? The Liberal, Leftist, and even conventional Conservative argument prefer to see National Socialism as an extreme(if not the most extreme) realization of the ultra-master race/class ideology and mind-set. According to this view, Hitler and his cohorts were driven by a racial-national political philosophy positing that the ‘Aryans’, as the superior race, should have dominion over the lesser races, turning certain groups into slaves — and even going so far as exterminating certain undesirable races or peoples. Thus, the argument follows that National Socialism was an extreme version(or logical conclusion) of what other white gentile imperialists had done or were doing all over the world. Anglo-Americans took land from the American Indians and drove them — at least those who survived the ‘democidal’ diseases and attacks by US cavalries — into Indian Reservations. Anglo-Americans also brought over blacks from West Africa and placed them in hereditary bondage, instilling them with feelings of inborn inferiority vis-a-vis white folks. And Anglo settlers in Australia killed a lot of natives, and various European imperialists in Africa, Asia, and the Middle East treated the native peoples as less-than-equal. White Europeans, especially the British, were filled with preening pride as members of the superior race.
Paradoxically, the Anglos are seen by others — and seen by themselves — as both the best and the worst of the imperialists. The best because they developed into the most progressive, most liberal, and most committed to the advancement of higher values. They led the way in ending the Atlantic Slave Trade, and they, more than other European imperialist powers, administered their imperial possessions with professionalism and introduced social reforms that even anti-imperialists came to admit did much good for the natives. Indeed, parts of the world that had been most deeply affected by British rule generally fared better than those that came under other imperial domination or remained untouched/independent by foreign domination. Kenya, one of the African nations most affected by British rule, generally fared better than other African nations. And the success of Hong Kong and Singapore owed considerably to British influence.

On the other hand, the British were more race-conscious than most other imperialist powers were, especially the Spanish, Portuguese, and the French. Some may wonder how such lack of racial tolerance could have accompanied such a commitment to social reform, moral advancement, rule of law, principle of fairness, and progress. Was the relationship between intolerance of race-mixing and intolerance of moral failing one of co-existence or coincidence? Paradoxically, could the racially intolerant mind-set have fostered an attitude that was also more intolerant of moral failings? It may well be that certain mental habits tend to affect other mental habits. A person who is more fastidious and orderly in personal life may also be more mindful of keeping promises and honoring contracts in professional life. A person who happens to be sloppy and slovenly in life may be likewise in moral values and social relations. This isn’t an iron but only a malleable general law since plenty of people who are neat in physical ways could be messy in mental habits. And people who are obsessive about higher professional standards could be low in moral standards. Adolf Eichmann was one hell of a dedicated bureaucrat but not much of a human being, and the same could be said of many committed communist bureaucrats who did their jobs well but hardly bothered themselves with the moral consequences of their actions.
Also, everything has a useful limit, and someone who is hyper-disciplined/principled may only end up undermining his or her own agenda or mission, like the characters played by Tom Courtney in DOCTOR ZHIVAGO and KING RAT. Worse, a hyper-disciplined person may come to confuse his orderliness of habit/authority with morality itself, as happens to the Alec Guinness character in THE BRIDGE ON THE RIVER KWAI. To be truly moral, one has to be accepting of the failures of others. As Jesus said, “Let him who is without sin cast the first stone.” To expect everyone to be perfect, presumably like oneself, is a case of arrogance. Even so, morality cannot simply be non-judgmental, unconditionally tolerant, permissive, and forgiving without end. Some Italian mothers raised their sons this way, and the guys never grew into full adulthood, as they could always run to mama and weep, and she would protect them and do them more favors. In the name of atoning for ‘white guilt’, blacks are ‘forgiven’ for so much rotten behavior, and, as a result, a lot of blacks have turned into human cockroaches. Blacks now feel that even when they do wrong, they are right, and even when whites do right, they are wrong. For morality to have spine and meaning, it must judge and enforce its rules. And one’s commitment to morality may have a link — though tenuous than absolute — with one’s commitment to things that outwardly seem unrelated to morality. Morality, after all, is a kind of discipline and a cleansing of the soul. To be moral, one must purge oneself of wicked thoughts and filthy tendencies. Thus, morality requires a certain habitual discipline of mind if it is to be effective. Though a lazy and messy person can have a good soul, he won’t be effective with his goodness because of his ineffective habits. What good can a lazy and messy moral person do for the world when he can’t even get his house in order? Also, one can even argue that laziness and messiness are themselves forms of immorality, though not on the scale of killing, raping, or robbing someone. But times of crisis or duress, even laziness can be near-criminal. In THE SANDS OF IWO JIMA, a soldier takes an extra rest for himself while others are under heavy fire. He didn’t mean to hurt others, but his laxness cost the lives of comrades.

Another thing about morality is it works best among a people of shared culture, values, customs, and outlooks. Morality isn’t simply about written rules but a way of life, way of working and living with others who ‘instinctively’ share your sense of right and wrong. Thus, a society that is ‘cleanly’ homogenous is likely to have more moral cohesion that one that is ‘messily’ diverse. Thus, the advancement of British morality may have owed something to the racial homogeneity where the British could understand one another better as a common people, and the British elites in their overseas colonies may have maintained a higher sense of morality because they preserved and practiced their racial and cultural unity, i.e. they didn’t ‘go native’ and become culturally confused and ‘sloppy’.
Such moral/cultural unity was true enough in the home country, but even in their imperial domains, the British maintained clear social barriers between themselves and the natives. Thus, even though the British worked with and did business with the natives on the political and economic level, it was understood that British socially and sexually remained in their own world and the natives did the same in their own. (Though insularity can breed indifference and corruption, it can also allow more honest discussion and the devising of more effective action. People are more likely to speak candidly and forthrightly among their own kind than with others around. Anglos among themselves could freely discuss what was wrong with the Indians, Chinese, or Africans, but if non-Anglos were around, they had to be polite and restrain their honest opinions. Chinese among Chinese and Russians among Russians can speak freely about what’s wrong with other nations — in relation to the interests of their own — and devise courses of action that are thought to be good for their national interests. But American whites in government are always around Jews, blacks, Asians, Mexicans, and others, and that means they cannot speak freely lest they offend other groups, and they must come up with policies that satisfy international Jewish interests than just that of America itself.) Of course, these rules were never perfectly adhered to, but they still mattered more in the British Empire than in the empires of other European nations. While some might laud the Spanish and the French for their greater racial tolerance when it came to social mingling and sex — though, to be sure, it was usually white Europeans bedding the native women — , such behavior may have fostered confusion and slovenliness of mental habits.
Also, maybe the color of the skin does affect how people see things. Though a white person is biologically no cleaner than a dark-skinned person, light skin just looks cleaner and purer. Many cultures around the world equate white with cleanliness and purity while equating darkness with danger, contamination, and/or filth. An image of light-skinned and blonde Swedes looks more orderly than the sight of oily and swarthy southern Italians. Peter O’Toole, with light skin and straight blonde hair, looks more dignified — though he was a drunken fool for most of his life — than Joe Pesci with swarthy skin and oily hair. For that reason, maybe a society made up of light-skinned folks is more likely to feel cleaner than one of dark-skinned folks does, and maybe this has a way of affecting their moral outlook as well. Of course, a light-skinned person can be a vile creature just like Miley Cyrus or any number of creeps of Northern Europe. But taken as a whole, maybe lighter skin does affect one’s sense of self, which, in turn, affects one’s moral view as well. A woman who looks like Olivia Newton-John in GREASE(before she turns slutty) is likely to feel purer than one that looks like some browny-stained gypsy whore.
In the film THE BOUNTY, Anthony Hopkins is socially more uptight but also morally more exacting and more committed to his obligations as an officer. He’s a righteous pain in the ass, but his word is as good as gold. He gave his word to his motherland, and he can be trusted to the end. In contrast, the character played by Mel Gibson is more easygoing and is more likable. He comes to freely mix with the natives, and in that sense, he could be seen as more moral by the yardstick of tolerance. But, his abandonment of discipline and a clear sense of identity also leave him confused and stranded in the no man’s land of right and wrong. Morality may find harmony with more freedom and equality, but morality is always about hierarchy of values and behaviors. Even under greater freedom and equality, morality demands that people act in certain ways, respect certain rules, uphold the rule of law, and unite against those who violate the core principles of society. Thus, while morality can improve with tolerance, it cannot be overly permissive. Freedom in a modern society means one must be able to control oneself as he’s no longer under the thumb of an autocratic government or repressive community that is always forcing him to do the ‘right thing’. Morality in a democracy means control of self, not freedom from control. And for self-control to be instilled into individuals, we need families and schools fulfilling their duties of raising children properly and teaching them skills and knowledge. Otherwise, youths will turn out like Tupac Shakur or Miley Cyrus; and a society where most kids act like that will crumble overnight.
Tolerance is necessary in any healthy moral system since strict moralism implies the hope of attaining ‘virtutopia’, but such would be possible only if every person is born saint. Just like teachers have to be tolerant of mistakes made by students and gradually guide the students toward correct answers and higher knowledge through trial and error — after all, it is faulty practice that makes ‘perfect’ — , a society has to make room for the moral lapses and failures of people. Also, as essential as social form and manners are to morality, society should not confuse proper form per se with morality and/or higher knowledge, or else, the end result could be something like feudal Japan or Confucian China. In Japan, the proper conduct and social forms became so synonymous with virtue that it had the effect of creating an overly neurotic and anxious social system, not least because someone without proper manners could be killed on the spot by a samurai. In the end, ancient Sparta with its impossible ideals of perfection didn’t turn out so well either. Also, the obsession with proper forms could mean that an unscrupulous bureaucrat or authority figure could always find some trivial issue and exploit it to harass and/or persecute social inferiors. (The corrupt bureaucrat in the story of THE LOYAL 47 RONIN looks for excuses to squeeze bribes out of a minor feudal lord.) While the positive side of the Japanese way was punctuality, thoroughness, and expertise in many facets of life and profession, the negative side was the creation of a society more concerned with appearance and presentation than heart and soul. It also led to a culture of cowardice where people were so anxious/afraid of being caught doing something wrong — or doing it the wrong way — that many Japanese preferred to lie than deal with the truth. There was too much shame and too steep a price to pay for having done something wrong or in the wrong way. According to Japanese ideals, such a person should confess his wrongs and stoically face punishment(which, in feudal times, often meant painful death), but human nature being what it is, most Japanese preferred to lie for the sake of self-preservation. Too often, facing the truth meant shame and death(in order to restore one’s honor), so it was better to lie, live, and keep one’s wealth. In a healthy moral society, those who admit the truth should face punishment but also be praised for their courage to confess and right their wrongs. But in a severe social order like Japan, facing the truth often meant harsh punishment and near-certain death, so the only option was to lie if one wanted to live. Though Japanese military men have been admired for their courage in their wars — even in WWII where they were the ‘bad guys’ — , much of this courage was really borne of cowardice of ultra-shame and harsh punishment meted out to those who didn’t live up to standards. And although some junior officers did sacrifice their lives — for punishment for having assassinated ‘corrupt’ politicians — in the name of serving the Emperor, they were driven by a slave mentality that demonstrated its worth through thoughtless servility than thinking individuality. (Oddly enough, such a mentality was romanticized by a Jewish Liberal Edward Zwick in THE LAST SAMURAI starring Tom Cruise. I guess even ultra-reactionary passions are okay as long as a white guy joins with the non-whites against forces — modernizing Japan — aided and abetted by the white powers.) In the case of China, the ideal of higher knowledge and wisdom became so closely intertwined with manners, grace, and proper calligraphy that pomposity and conceit came to trump genuine substance in truth and meaning.
So, while truth and morality need to be presented or practiced through proper forms, the latter, in and of themselves, should not be made synonymous with the former. On the other hand, it generally helps the cause of truth and morality for people to practice the proper ways of doing things. Even the way we speak has a way of affecting how our minds work. Though science can be practiced and communicated through Ebonics, its very character as a dialect tends to degrade and mock rational thought. The essential message of the Declaration of Independence can be conveyed through Ebonics, but the result makes clear that style, while not the same as substance and meaning, can add to or subtract from the substance and meaning. It’s like a movie isn’t just about characters and plot-line but about camera angles, mood, music, pacing, and the like. While a movie that’s all style and no substance ain’t much, a movie lacking in any discernible style isn’t fully realized. It’s like how people dress or cut their hair does say something about them, how others see them, and how they see themselves, and those factors do affect behavior.

Anyway, on the matter of National Socialism’s peculiar political character in the modern world, it continues to fascinate as well as disturb because, despite the official historiography, it cannot simply be pigeonholed into a master-rule narrative or slave-rebellion narrative. In the Western empires around the world, there was clearly the case of the powerful, modern, advanced, and wealthy Europeans/whites ruling as the ‘master race/class’ over the relatively backward, weaker, poorer, and/or even primitive folks who eventually rose up in ‘slave rebellion’. There was no question as to who were the ‘masters’ and who were the ‘slaves’. Even when and where European powers ended the practice of slavery — their own, that of other imperialists, or that of the natives — in their overseas empires, they were the masters who presided, alternately benignly and brutally depending on the ‘necessity’, over the native masses who, as time passed, began to feel as ‘slaves’ of foreign domination. Even if the white man spread many blessings of social progress and technological innovation to their colonies or imperial outposts, it became increasingly humiliating for the natives(especially the native elites with their pride of right to rule)to have to take orders from a foreign master race/class who put on airs of superiority.

It’s become conventional to associate the racial/national attitudes of Hitler and the Nazis with those of European imperialists of all stripes(but especially the Anglos as they were most committed to enforcing the strict color line on the rationalization that whites would best manage their own affairs in their own sphere and non-whites would do likewise in their own as well; today, it’s like Zionists saying Jews are best off among themselves and Palestinians are likewise best off minding their own business among themselves, but, of course, when Jews do it, it’s not a problem as the Jewish-dominated media in the US, Canada, and EU make an exception for Jews no matter what they do; anyway, as far as the Anglo imperialists were concerned, mixing the races also mixed and/or contaminated the values, customs, and ways of doing things, and such was seen to be negative for both sides. And in their defense, it could be argued that the racially divided Anglo Empires ran things more efficiently than the racially mixed empires of France and Spain; in other words, the less ‘fair’ and more discriminatory system worked more fairly in bureaucratic and legal terms; it’s like for the science of biology to work properly, it must discriminate against non-science such as Intelligent Design and Creationism; early Christians, Chinese, and Muslims didn’t maintain a clear dividing line between reason/logic/facts and mysticism/spirituality/orthodoxy, and so their ‘science’ tended to be muddled and ‘contaminated’), and this owes to the fact that Hitler was a great admirer of British Imperialism — as well as the Manifest Destiny westward expansion in America at the expense of the Indians who were driven into segregated Reservations — and was convinced of the superiority of the ‘Aryan’ and Nordic ‘races’ over all others. Hitler not only shared the racial attitudes of European Imperialists but pushed them to ruthless extremes that came to even justify mass enslavement and mass extermination, indeed even of fellow Europeans who were seen to be tainted by mixtures of non-white blood; the Slavs, for example, became the main targets of Hitler’s imperialist plans. This side of National Socialism was indeed a form of Master Race/Class ideology, indeed one so extreme that it gave pause even to British, French, and other European imperialists who’d taken possession of much of the world. Just like Spartans offended many Greeks by enslaving fellow Greeks — whereas most Greek city-states enslaved foreign ‘barbarians’ — , Nazi Germany was especially frightful to many Europeans because it waged war of conquest, enslavement, and even extermination on fellow Europeans. (WWII was different from WWI in that, even though the earlier conflagration was about whites killing whites, it was not a war of conquest, enslavement, and extermination. Despite all the ugly war propaganda, no side saw the other side as less than human or deserving to be conquered and enslaved forever; it was rather a war of gaining advantages that went out of control.) This may be why the Third World doesn’t see Hitler as such a bad guy. Many non-white folks see him as having given the West a taste of its medicine, and it must be said that it’s rather amusing for France and UK to take pride in their resistance to imperialist Hitler when they had imperial holdings all over the world and even used extreme violence to quell rebellions well into the 60s.

However, there was another side of National Socialism that can only be understood through the Slave Rebellion narrative. This duality becomes readily apparent when we consider the status of Jews in modern Germany. Despite all the Nazi rhetoric about ‘Aryan’ supremacy and Jewish inferiority, many Jews had de facto become the master race/class in modern Germany, especially following WWI when a bunch of Marxist Jews nearly toppled the German government to set up a Soviet system. When they failed, the German banks & stock markets, media, medicine, culture, and legal system largely fell into the hands of finance capitalist Jews. While one can justify Jewish wealth, influence, and power in Germany along meritocratic grounds, it still doesn’t negate the fact that Jews were, prior to the victory of National Socialism, among the most powerful groups in Germany and, in terms of proportionality, by far the most powerful group. Therefore, if the Master Class/Race ideology of the British and other European imperialists were imposed on non-white peoples all over the world who were indeed less advanced, less powerful, less influential, and less wealthy than the Europeans, the National Socialist movement in Germany was, in large measure, about Germans(who were socially, economically, and politically under the power of Jews) uniting and struggling to depose the master race/class of Jewish power that had its tentacles twirled into nearly every important facet of German culture, economics, and politics. To be sure, many German Jews were patriotic and loved German culture and history — and were grateful for the social reforms that greatly expanded their liberties and opportunities — , and it’s even truer that most Jews were not super-rich finance capitalists exploiting the stock markets while the German middle classes were losing their life-savings. Even so, there’s no getting around the fact that Jews in Germany were greatly over-represented among the tycoons and the elite institutions of law, academia, and media, all of which were enabled by those providing the funds. Also, Jews in the UK and US worked in tandem with Jews in Germany to increase the Jewish share of power, influence, and wealth. It’s like American Jewish capitalist tycoons even funded the Russian Revolution and Bolshevism — not out of any love for communism but because their tribal loyalties favored Jewish Reds over the ‘antisemitic’ Whites. A Jewish capitalist will favor a Jewish capitalist over a Jewish communist, but he will favor a Jewish communist over a gentile capitalist or rightist. Indeed, notice how tolerant even the Jewish Left is of Ultra-Orthodox Jews in Israel; Jewish Liberals prefer to side with ‘extreme’ Jewish rightists than with Palestinian Liberals who call for an end to Zionist Occupation and goodwill compromise at a two-state solution.

Anyway, while National Socialism was a Master Race ideology, it gained power in part as a Slave Rebellion supported by masses made destitute during the new peace following World War I. Even during the darkest years of the Great Depression, some Jewish financiers amassed immense fortunes while German middle classes saw their savings wiped out in a matter of days. Though many decent middle class Jews were similarly affected, German Jewish tycoons and their international brethren made off like thieves in the night via insider trading and currency manipulation — just like George Soros is doing all over the world without any criticism from the ‘progressive’ community, not least because he funds so many of them and because he’s Jewish like most leaders of the ‘progressive’ movement. Just as troubling was the fact that many Jews with control of German media and arts/culture spread decadence, ugliness, and moral rot just when what the German national community needed most was a sense of unity and values. If the Jazz Age in America was at its height during the boom years but then gave way to a more somber national culture during the Depression years, Weimar Germany was a place where the rich and privileged were having the time of their lives in decadent cabarets and spreading such decadent rot all around just when so many Germans were destitute and had to surrender their entire savings to buy a few loaves of bread. And Jews in entertainment and culture were spreading porn and using German women as pieces of meat as American Jews do today with their control of porn, pop music industry, and mass entertainment. (Disney under Jewish control might as well be Jizzney for it produces the likes of Britney Spears, Miley Cyrus, Christina Aguilera, and other quasi-prostitutes.) And in social and cultural critique, the Jewish elites mocked and subverted every value or tradition held dear by many Germans, and of course, we see the same tendency among the Jewish master race/class elites in America in our world. (Though Jews rail against ‘antisemitic’ propaganda as a ‘canard’ about the Jewish globalist agenda, they go out of their way to validate the accusations. National Socialists and ‘anti-Semites’ charged that Jews had an agenda to turn white women into shikse whores, to racially mix the white race out of existence, to spread porn and other filth, to promote homosexuality and other perversions as healthy and normal, to take over the finance of nations, to weaken national borders and overwhelm whites with the tidal wave of color, to make gentiles worship Jews as gods, to mock and subvert the identities and cultures of gentile majorities, to use Christian morality to fill whites with paralyzing guilt, to turn white women against white men, to turn white children against white parents, and gain control over all forms of information. Look around the world today, especially in the US-Canada-and-EU, and these charges by ‘anti-Semites’ all ring true. Since WWII, Jews have been telling us how ridiculous and outrageous those fears and accusations were, but they carried out them out to the letter, and lately, the likes of Tim Wise and Frank Rick are gloating that the Jewish mission has been accomplished in breaking the backbone of the white race. So, isn’t it funny how Jews tell us that ‘anti-Semites’ just told a lot of nasty ‘canards’ but then fulfill every one of those ‘canards’ and even have the temerity to lecture to white people that the demise of white power and unity is a good thing? Now, that’s some chutzpah along with the
chutz-putsch. It’s like how blacks bitch about how ‘racist’ white folks once used to see them as wild lascivious ape-like savages but then go out of their way to act in ways that only demonstrate that blacks love to act like ape-like savages via rap culture and the like. “Don’t call me a savage but worship me for acting like the biggest savage the world has ever seen.” It’s like a drunkard saying, “Don’t call me a ‘drunk’ while I drink and puke all over.” Of course, National Socialism was a disaster and turned out to be a great evil once Hitler decided on war. And Hitler and his cohorts were no less nasty and vicious than the Jews, and ironically, they ended up doing what they accused the Jews of doing: they lied through their teeth, their wars divided and pitted whites against whites, and when the smoke cleared and dust settled, the Jews, despite immense losses in the Holocaust, were positioned to gain the most, especially in America that became the undisputed power center of the world — though the USSR did post a challenge for a few decades. So, I do not say Hitler and ‘anti-Semites’ were forces of goodness because they were essentially correct about the Jewish agenda. One can be right about something and still go about the wrong to way to fix the problem, thereby making the problem even worse. WWII not only destroyed the hope for white unity in Europe and America, but the Holocaust gave Jews a great arsenal in neutralizing their enemies/rivals with charge of ‘antisemitism’ that, henceforth, became associated with mass killings and other outrages. It’s like a doctor can be right in diagnosing the disease but very wrong in treating it, thereby making it much worse than before. And Hitler was the worst doctor in history. Though his diagnosis of Jewish power and threat was on the extreme and hysterical side, he was essentially right about the nature of the Jewish agenda. But when it came to dealing with the Jewish problem, he administered the radical Teutonic surgery on Europe that made things much worse for everyone. Similarly, while Marx was insightful and correct in many of his critique of capitalism, his proposed cure — communism — made things even worse where it was tried.)

The issue of National Socialism is especially confusing in relation to the idea of Friedrich Nietzsche. While anyone who knows anything knows that National Socialism twisted the ideas of Nietzsche, some believe that Nazism and Nietzscheanism had much in common in the concepts of the Will to Power, the force of charisma, the aura of the irrational and the creative(over rationality and clarity), and the notion of the ‘superior man’. Others believe that there is no real philosophical link between Nietzsche and Hitler at all and that Nietzsche’s ideas came to be entirely misconstrued because of the textual manipulations of Nietzsche’s wicked anti-Jewish sister and the cynical propagandizing of Nazi ideologues. The way I see it, such argument is rather pointless since there wasn’t and never could be any correct way of interpreting and implementing the ideas of Nietzsche. They were too multi-faceted, imaginative, visionary, contradictory, and even satirical(and even self-mocking) to constitute any kind of logical system of thought like Marxism — though, to be sure, every -ism has been reinterpreted(even rardically) by every new power that adopted it.. Marxist theory, true or false, was what it was from morning to night; it was premised on a consistent and stable world view, at least in theory. In contrast, Nietzsche’s ‘truth’ was dependent on the time of the day, on the feeling of the moment, on sudden bursts of insight or vision, etc. Thus, what might seem totally true in the morning could seem utterly false at night. What might seem glorious at one moment might seem merely gory in the next. For Nietzsche, thinking was a kind of performance art through words. Like music and dance, one could never be sure where the ideas or visions might lead. Thus, Nietzsche emphasized the ‘creative’ and the ‘charismatic’ over the certain and sure. While Marxism wasn’t without passion, it was more about zeal than inspiration. Marxists accepted the ideas of their master-philosopher to be utterly true, and their passions were devoted to serving those iron truths. In contrast, the emotions of Nietzscheanism weren’t welded to a set of ideas but to the promise of another high with yet fresher ideas, insights, and visions; it was meant as heroin for the elites than opium for the masses. Marxist passion provided fuel to the locomotive of history as Marx saw it. Nietzschean fire, like the gift of Prometheus, could set the world aflame with no clear direction. There was no set rules to Nietzscheanism. Therefore, it could not be followed like a manual or guidebook but as an exhortation for others to be as wildly imaginative in their own right as Nietzsche was. So, paradoxically, the only way to be true to Nietzscheanism was to be untrue to it and follow one’s own muse or bliss(as Joseph Campbell put it) and find one’s own truth or be one’s own Zarathustra(and anti-Zarathustra at the same time). Thus, Freud, Jung, Hitler, Sartre, Foucault, Rand, and others could be said to be true Nietzscheans in their own way since they, inspired by creativity and vision, arrived at their own visionary truths. Indeed, it could even be applied to communist rulers like Stalin and Mao who, despite their ideological orthodoxy, gained great power as living gods and made the people serve them than vice versa. All these quasi-Nietzscheans were ‘right’ because they were ‘wrong’ if we follow that the point of Nietzcheanism is to encourage different individuals to fight for different visions, ideas, and imaginations — which accounts for the fever-dream quality of so much of his writing. In other words, Nietzsche wasn’t teaching people WHAT to think and feel but showing people HOW to think and feel. A good teacher doesn’t try to make his students agree with everything he teaches them; rather, he tries to guide his students on HOW they should think, solve problems, and seek out new problems to solve.

Hitler – Nietzsche

In a way, this is the crucial difference between traditionalism and modernism, between the West and the ‘Rest’ — as Niall Ferguson the neocon whore puts it. In the East, for example, the ideals mandated the pupils to memorize and replicate the forms and techniques(as taught by the masters) in the most exact manner possible. Thus, pupils weren’t expected to be creative but to be imitative. The master knew everything, the pupils knew nothing, and they could only be masters themselves by learning to exactly follow their masters. And such a method also prevailed in the West before the dawn of modernism, though, to be sure, the Western spirit tended to be more individualistic, especially with the coming of the Renaissance. It was tentatively with Romanticism and then fully with Modernism that mastering the traditional craft wasn’t sufficient for one to be considered a worthy artist in his own right. (And in science and philosophy, it wasn’t enough to absorb — no matter how fully and thoroughly — accumulated knowledge. Instead, one was expected to be bold & brilliant enough to think new thoughts, make fresh observations, and discover new truths in the spirit of the ocean voyagers who’d explored and mapped unknown worlds. Eventually, this passion for new knowledge and insights would turn into a cultural and academic fetish, whereby untalented and dreary hacks with nothing to say or filled with cliches would dress up their tiresome nonsense with jargons that lent the impression of something ‘radical’, and of course, the biggest dupes were often the ‘artists’ and ‘intellectuals’ themselves. How else can one explain the career of Chantal Akerman or the conceit of Natalia Cecire? Notice how her tiresome and orthodox politically correct cliches are dressed and made-up to sound daring and revolutionary: “I study economies of knowledge in American literature and culture from the nineteenth century to the present. Topics of particular interest to me include history of science, gender, childhood, media studies, and digital humanities. My current book project, ‘Experimental: American Literature and the Aesthetics of Knowledge, 1880-1950,’ argues that we must understand the concept of ‘experiment’—taken from the sciences—historically in order to speak rigorously about what makes literature experimental. Examining the places where notions of experiment are most under stress, I read works by Stephen Crane, Gertrude Stein, Marianne Moore, and William Carlos Williams in relation to epistemological limina like popular science [e.g. the overwhelmingly female Audubon Societies], the natural history museum, and ‘scientific’ public spectacles like the magic lantern show, in addition to the biological and social sciences. Literary experimentalism, I argue, is not a hermetic formalism, but rather a historically specific aesthetics of knowledge that thrives best where the boundaries of epistemic authority are contested, often by the performance of gender, sexuality, race, and ‘popular’ modes.” ‘Economies of knowledge’, ‘aesthetics of knowledge’, ‘notions of experiment are most under stress’, ‘epistemological limina’, ‘hermetic formalism’, ‘historically specific aesthetics of knowledge that thrives best where boundaries of epistemic authority are contested’, etc. One can see how some impressionable incoming freshman student might be awed such ‘intellectual’ showboating, but what do those phrases really mean? I’ll wager that Cecire herself entered college as a wide-eyed freshman and was bowled over by such formidable ‘intellectual’ and ‘radical’ formulations, and instead of thinking through them — which would require real thinking — , she just swallowed them whole hog, learned how to spout the same cliches, and find herself a gig in some elite institution. Of course, it never occurs to her ilk that they are just running dogs who only think inside the box. If her thoughts — and those of her peers in colleges all across America — are indeed truly ‘radical’ and dangerous, then how come it’s advantageous to ‘think’ and write like her to move up the ladder in the most elitist, more privileged, and most well-established institutions? She is obviously disconnected from the real world and real people and instead lives in an academic bubble with its ‘radical’ truisms that foster conformity while, at the same time, fooling everyone that he or she is at the ‘cutting-edge’ of an intellectual and moral revolution. Contrary to empowering herself, Cecire has ceded her individual authority to groupthink that would have ‘intellectuals’ spout the same gobbledygook in fancy jargon with a pinch of ‘radical will’. When Sontag was into the ‘radical will’ thing, at least she was breaking new ground and, right or wrong, thinking her own thoughts. The likes of Cecire, on the other hand, all sound the same. They are Stepford Academics and professors’ pets who’ve been trained to produce more professors’ pets who gush through ideas with the same zealous mind-set.) Rather, the new ideal was for students to learn HOW to think than WHAT to think. So, even though teachers taught students basic knowledge, students were expected to use the ideas and data to derive new ideas and truths from them. And the German University led in setting forth this new intellectual ideal, and of course, Nietzsche was one of the beneficiaries and practitioners of such a method. Instead of merely regurgitating what was taught, one had to digest it fully and shit out something new. Thus, Nietzsche loved the word ‘culture’ for it connoted history, ideas, and art as something organic, alive, mutating, fecund, and growing than something static and sterile that is handed down like a heirloom from one generation to the next. Accordingly, just as life is unpredictable — unlike billiard balls that obey the simple laws of physics — , ideas and art should also be unpredictable, inspired, unstable, and ever changing. With the certain and stable, there is only one truth and one possibility, but with the uncertain and unstable, there are countless truths and possibilities waiting to be discovered or envisioned.
So, in this sense, the proto-fascists were more in tune with Nietzsche, not because they agreed with what Nietzsche’s personal views on politics or society nor because they agreed amongst themselves, but because their sense of truth/destiny tended to be creative, mythic, inspired, and ‘irrational’ than the sene of truth espoused by the rationalist left that zealously upheld a set of enlightened ‘rational’ principles. And if communist leaders pledged their allegiance to the unalterable truths as revealed by Marx and Engels, fascist leaders such as Mussolini and Hitler defined truth as whatever erupted from within their inspired and visionary souls to further the power and glory of their nations, races, and histories. Thus, Mussolini and Hitler were more exciting and charismatic leaders than were the communist bosses, but they could also be more volatile and unpredictable, treating history as a grand opera or a blockbuster movie where anything is possible. Though Fidel Castro later became a communist, his formative emotional experiences were fascist-nationalist, and that may account for his theatrics and charisma.
Of course, reality being reality, even the rationalist and materialist ideologues were forced to be ‘creative’ by circumstances. Thus, Lenin revised Marxism, and Stalin revised Marxism-Leninism, and Mao revised Marxism-Leninism-Stalinism, and the Sandero Luminoso movement in Peru revised Marxism-Leninism-Stalinism-Maoism to fit their own egos and circumstances. Indeed, every ideology in practice is — and had to be — a ‘perversion’ or corruption of the original ideology that was, itself, a corruption of previous ideologies. No practiced form of Christianity conforms to the Christianity as preached by Jesus. And the New Testament is surely a corruption by its authors of what Jesus might really have said. And whatever Jesus actually may have said was surely a ‘corruption’ of the Torah and Jewish tradition. It’s like the US Constitution in practice has been, at best, only half-faithful to the original intent of the Founders because every interpretation ‘corrupted’ its meanings and intents. .

Though Nietzsche is said to have changed, directly or indirectly, the way people see and think about the world, he was himself a product of the ‘Zeitgeist’. He saw all around him the artists, poets, and musicians doing things more startling and invigorating than merely passing the torch of tradition. Rather, they were ‘radically’ transforming what they observed, mastered, and experienced into new visions. Though Richard Wagner was very much a part of a long-standing musical tradition, he expanded the range and scope of music far beyond what all previous composers had not even dared to imagine. There were great changes happening all around, and the world was waiting for someone to put the essence/spirit of those changes into words, and Nietzsche turned out to be that man. Because Nietzsche and his ideas were very much the product of the times, there would have been something like Nietzscheanism even without Nietzsche — just as something like Kafkaesqueness would have existed without Kafka — , but no one could or did put it better into words than he did. Though WWII made Nietzsche rather unfashionable for a time due to the association of his ideas with Hitler and the ideology of the ‘master race’, the 1960s Rock music was a variation of Nietzscheanism in practice with artists like Bob Dylan, Mick Jagger-Keith Richards, John Lennon-Paul McCartney, Neil Young, Pete Townshend, Roger Waters, Jimi Hendrix, and many others who weren’t content to pass down the musical tradition they’d practiced and mastered. Dylan took everything he loved — folk, blues, country, Rock n Roll, ethnic music, pop music, etc. — and transformed it into something astoundingly new. And the Beatles and the Rolling Stones composed songs that sounded familiar in some ways but also unlike anything that had been heard before. Though popular music had always been evolving, the 1960s made a real difference with the triumph of the Will to Personality, as if the quest of every musical artist was open up entirely new frontiers and even chance upon wholly new dimensions. Thus, songs like “Satisfaction” and “Purple Haze” are something much more than a blues song or Rock n Roll. More than examples of a genre of music, they are stellar achievements borne of a force of will committed to breaking through the other side. If important changes in popular music had happened by the decades, it changed within years or even months in the 1960s when what was ‘right’ was the thing that felt right at the moment of inspiration within the personal will. Dylan, for one, broke through the sound barrier of folk musical culture and got heckled and even demonized for it, but it had to his way or the highway.
More than any other people, Jews were the masters of Nietzscheanism for, as a wandering rootless people, they’ve become adept at taking something of another culture and transforming it with their formidable creativity, wit, and imagination. But Jews were also the most anti-Nietzschean of groups in that Nietzscheanism, as a cult of nihilistic Romanticism, called for total emotional investment in the vision or destiny, come what may. A full-blown Nietzschean, no matter how shrewd or cunning in his means, must at some point be willing to risk everything to gain or lose his chosen end. In this sense, Hitler was Nietzschean to the end for he fulfilled the drama his chosen destiny from his spectacular rise to the top to his even more spectacular fall with the destruction of his world. It had to be triumph or tragedy, and either way, it had to be grand and operatic. In contrast, Jews, due to their mental habit shaped by thousands of years of survival as calculating middlemen and moralistic religionists, could never give themselves so passionately or romantically to such a grand either/or proposition. Jews can be very creative and innovative, but deep down inside, their hearts are Nibelungen-Alberich-ish than heroic-Siegfriedian. Jews would rather remain in the shadows and pull strings from the above than put themselves forward, and this is true in war as in peace. (Just look at the Iraq War where Neocons pulled the strings while goyim such as George W. Bush, Dick Cheney, and Donald Rumsfeld — and gullible gentile soldiers sold on mindless gungho-ism — did the bidding of the Zionists and paid the ultimate price for failure, whereas Jews continued to ‘eat like effendi’. Though there are powerful Jews in government, they prefer to remain low-key and let goy politicians and generals to serve as the ‘face of power’, thereby fooling Americans that Jews only play a subservient role in government, but that would be believing that the puppet-master serves the puppet than the other way around.) Jews tend to be like the devious general in PATHS OF GLORY than a much publicized officer or soldier making all the noise — and usually getting all the blame. Thus, Jews feel divided about the prospect of having a Jewish president in America. With their money and media power, Jews could easily promote and put a Jewish man or woman in the White House, but Jews worry that Americans will see their nation as totally Jewish-run-and-owned. Jews wanna own everything but still prefer using a lot of ‘buffers’ like the Corleone family in THE GODFATHER. Clinton, Bush II, and Obama were all buffers. Another reason why Jews don’t wanna put themselves forward is most of them ain’t too pretty. Therefore, when a Jew like Bob Dylan, Lenny Bruce, Barbra Streisand, or Woody Allen does put himself or herself forward, he or she tends to be in the mocking comic-nasty-witty mode than in the heroic mode. Jews are like the Loki character in THOR. Never to be trusted. Though Hitler was a liar and a dirty son of a bitch, he was totally — and in his own estimation, heroically — committed to the sacred destiny of creating the 1000 Yr Reich, and as such, he saw himself and his vision of history as legends of a grand spectacle. Though Jews have their own great plan of world domination, they prefer to remain secretive of everything they do. Jews want to pry into everything about us — and if we resist, we are called ‘antisemitic’ and ‘paranoid’ — , and Jews want to hide everything about themselves — and if we pry into their affairs, we are called ‘antisemitic’ and ‘intrusive’.
Hitler had an openly stated mission and then lied and cheated to realize it, but the Jewish mission isn’t even open. If Hitler was honest about his vision and then lied to achieve it, Jews are not even honest about their agenda — which is Jewish global supremacism — and would have us believe that Jews have always been suffering saints all throughout history, and therefore, all gentiles must go out of their way to help, hug, and save Jews, which is why America is a land of dumb Christian conservatives living paycheck to paycheck donating funds to Jews who are worth trillions.

Anyway, even though Nietzsche denounced ‘slave morality’, his concept of the Will to Power has most meaning to gain in relation to a slave rebellion. Conan the Barbarian is a superior man because he rose from slavery to mastery. He proved his mettle, courage, and daring by climbing from the bottom to the top of ‘badassery’. It’s like boxing champions are admired because they paid their dues and fought their way to the top. If championship in boxing were hereditary, then how could one be sure if the current champion is really made of championship material? There was special dramatics to the rise of Jack Johnson and Muhammad Ali because the lowly ‘black slave’ had risen and totally whupped, beaten, cremated, humiliated the ‘white master’ and even sexually conquered the wife, daughter, sister, and mother of the utterly ass-whupped ‘white boy’.

Napoleon, Stalin, Mao, and Hitler were supreme examples of Will to Power in action because they rose from the gutter to the top of the world. They proved their worth as masters of power. Hitler daringly led a slave rebellion of the German masses against the Jewish elites and then shrewdly led another slave rebellion against the German conservative elites who’d backed him; they thought they would control him and put him on leash, but once he became Chancellor, day after day, week after week, month after month, Hitler took power from the German gentry class that saw power and authority slip from their hands. They thought he would be their houseboy and political servant, but he made them his servants. (To be sure, Hitler easily gained power over them because the conservative German elites, for all their power and privilege, had something of a slave mentality themselves. With much of their power and privilege being hereditary or derived from a culture of hierarchy and obedience, many of them felt unmoored and lost in a modern Republic without the traditional center and means of authority. They were used to taking and following orders, not scrambling in a free and open society for power. Hitler, in contrast, had to struggle for every ounce of power as he began at the bottom of social trash-heap. Thus, paradoxically, Hitler, who rose from ‘slave-hood’, had the instincts of a master, whereas the conservative German elites, who were born into the master class, had the instincts of slaves. Hitler was dreaming of taking power and giving orders, whereas the conservative German elites were looking for someone to lead them and give them orders. So, even though German elites initially saw Hitler as a useful puppet, they were also spellbound by his charismatic authority and surrendered their authority to him without a struggle because they wanted to serve somebody. There was a vacuum of Will to Power in the conservative German elite class, and so, they surrendered totally to someone who had it in spades. This may explain why the American Wasps — both Liberal and Conservative — came to fold so fast before the rise of Jewish power. Wasps may have been bold and done great things in the past, but most Wasps want to get along, be liked, and not stir up too much trouble; they have a country club mentality than cage-fight mentality. They also like to be considered moderate and be ‘good’ people. So, once their moral authority was undermined by the cult of ‘white guilt’, they didn’t know what to do. They lost confidence and sought some new authority to obey and surrender to, and it happened to be the pushy and nasty Jews with the Will to Powericz. Though Jews bitched about the exclusive Wasp country clubs, it was paradoxically the easygoing country club mentality that made it so easy for Jews to take power. Jews manipulated the Wasp country club mentality to just go along with the new order than ‘make a scene’ by resisting the rise of the Jews. The total cowardice, lack of confidence, and subservience of Wasps of all stripes before the rise of pushy Jewish power cannot be explained in any other way. They’ve folded before Jewish supremacism in the way that conservative German conservative elites bowed down to Hitler. Whatever pushy Jews order them to do, Wasps obey and do. If Jews say, ‘gay marriage’ is the new ‘respectability’, Wasps all go along because they don’t want to ‘make a scene’. Wasps might as well be honoary fruitkins. When push comes to shove, neither the ‘respectable’ conservative German elites or American wasp elites have any guts to fight it out and give as good as they get.) Stalin pulled off something similar. He led Jewish communists to believe that he was just a crude-humble colorless bureaucrat who would do their bidding, but as time went on, he got more aggressive and daring and wiped out all his potential rivals. Thus, the rise of Bolshevism saw two slave rebellions: (1) the masses led by communists against the traditional Russian elites and moderate nationalist-socialists(like Kerensky) and (2) Stalin and his cohorts’ putsch against the Jewish communists around Lenin and Trotksy who thought they had the Russian empire in the palms of their hands.

At any rate, it could be argued that the slave rebellion — led by actual or virtual slaves — narrative is crucial to the true fulfilment of Nietzscheanism for the genuine greatness of a man can only be proven if a slave fights, struggles, and maneuvers his way to the throne. Whatever one thinks of Genghis Khan, Napoleon, Stalin, Hitler, or Mao, there’s no question that they were masterful players in the game of power who went from the bottom to the top. They were political or military Conan the Barbarians. And the story of Western Civilization is astounding in the way that the Europeans, who’d been ravaged by the Barbarian Invasions and the long so-called Dark Ages, came to surpass even the greatest civilizations and empires of the world — Persian, Moghul, Chinese, Ottoman, and etc. — to become masters of the world. And the Germanic peoples surprised the world time and time again. Though conquered and enslaved by the mighty Romans, they eventually rose from slavery to gain mastery as the conquerors and plunderers of the Roman Empire. And though Prussia and other German states were relatively weak, divided, and lackluster compared to other great European powers, they united to form the most powerful political, economic, and military — and in some ways cultural and intellectual — bloc in the West, easily defeating France in 1870 and shaking the entire world in WWI and WWII despite being vastly outnumbered. To truly prove your worth, it helps to show that you started at the bottom and fought yourself to the top. (One thing that holds back the Western Right is the legacy of the cult of white superiority. Whether or not whites are generally smarter and more creative/dynamic than most other races, power grows stale without the element of struggle, and slaves have more to gain and less — or nothing — to lose than the masters do in the fight. Thus, slaves have the offensive position while the masters have the defensive position; slaves want to climb higher or at least vengefully pull the masters down, whereas the masters feel they have no place to climber higher and should either enjoy their superiority or guard it from those below. Though it feels better to be above looking down than below looking up, it’s looking up that animates one’s Will to Power, whereas those above looking down feel either complacent or anxious. It’s like the king and the knights in PARSIFAL have grown weak and weary, and it takes an outsider to infuse the holy order with new vitality. Just like the Eternals in ZARDOZ come to feed on the power of Zed — Sean Connery — the outsider, the German elites came to embrace Hitler and his Nazi gangsters because the latter had the vitality and fighting spirit that the overly ‘dignified’ and privileged establishment elites lacked. Though the German elites were willing to fight and die nobly, they were afraid to fight down-and-dirty in the new disorder of things, but Hitler was willing to fight rat-for-rat as well as tit-for-tat. And the psycho-political appeal of Obama to the Liberal elites was similar. After so many politically ‘inbred’ same old same old from within the same circle of establishment power, Obama seemed exotic, fresh, and vital enough to make a difference and regenerate a feeling of ‘progress’ and ‘change’ in American Liberalism, which was really something of a joke since, more than any other candidate, Obama is the total creation and pet monkey of Jewish-and-homo elites who control the Democratic Party. Anyway, as long as the Western Right thinks in terms of “we white masters should maintain or regain control of the slaves by divine or biological right”, they won’t have the true revolutionary spirit to fight and win. Even if they want to remain masters or regain mastery, they must adopt the cult of slave rebellion and strike out with full fury against the current globalist elites dominated by Jewish supremacists, homo neo-aristocrats, and Liberal Wasp collaborators or ‘house whites’ who look down on ‘field whites’. This is why Jews still peddle the victim narrative for themselves; it isn’t merely guilt-bait white gentiles but to fire up future generations of Jews with vicious and vengeful fighting spirit. ‘Never Again’ is conjoined to ‘Again and Again Kick the Whitey with Righteous Rage’. Though Colonel Kurtz in the original screenplay of APOCALYPSE NOW by John Milius went too far — in Coppola’s film version, he was crazy beyond crazy — , he had a point in understanding that the ONLY way the Americans could win the Vietnam War was to become jungle warrior-poets themselves. “Up here is the truth. How much truth can you take, Captain? I’ve made sense of this war — war as you’ve never known it. We revel in our own blood; we fight for glory, for land that’s under our feet, gold that’s in our hands, women that worship the power in our loins. I summon fire from the sky. Do you know what it is to be a white man who can summon fire from the sky? What it means? You can live and die for these things—not silly ideals that are always betrayed. What do you fight for, Captain?” Americans had the means to win but not the will to win. Americans, feeling so big and powerful, didn’t want to get too involved to win. It thought the North Vietnamese and Viet Cong would get the message with enough bombs and firepower heaped on them. Also, Americans, feeling morally righteous, were loathe to sink to the level of jungle guerrilla warfare or shocked to discover that Americans were doing some ‘bad stuff’ in Vietnam. Therefore, what was needed was a total change of mind. American soldiers had to go ‘native’ and fight for the same primordial, warrior-spirit, and tribal impulses that animated their courageous and irrepressible communist-patriotic enemies.) For this reason, even though Nietzsche had a low opinion of ‘slave morality’, its core concept of Will to Power can truly be realized only through a slave rebellion narrative. The difference between Christianity and Nietzscheanism is thus less an issue of favoring slaves over masters or favoring masters over slaves; the difference is that Christianity sympathizes with slaves AS slaves whereas the Nietzschean glory is for the slaves to topple the masters to become masters themselves. In this sense, the so-called Alternative Right community’s understanding of Nietzscheanism is deeply flawed for they think the established master races/classes — white Europeans as the result of centuries of world domination — should, by some divine right, always have the right to rule over others. But such a power, even if the product of genuine vision and talent of earlier generations of whites, has not been tested and proven among those who merely inherited it. Thus, the Nietzscheanism of the Alternative Right crowd is political thought resting on its laurels and petulantly expecting the world to revolve around the power of one’s own people because… well, just because. Even if the Alternative Right community is correct that white people have higher IQs than most other races and may have personality traits and physical characteristics that have been essential to the development of the West, having superior qualities doesn’t mean anything unless they are applied ruthlessly and relentlessly. Why did the tortoise beat the hare? The hare was naturally faster, but it took its own mastery for granted.
Also, as people are necessarily moral creatures — and the West is morally more advanced than other peoples — , moral superiority doesn’t necessarily correlate with intellectual, economic, or military superiority. If a rich smart person does wrong to a dumb poor person, we would have to say the latter, as a victim, has moral advantage over the former. Morality is a form of power and also a great equalizer. Otherwise, we might as well say smart rich people are always right while poor dumb people are always wrong. As long as the historical moral narrative of the West is controlled by Jews, it will selectively remember past events to demote whites as the moral inferiors of Jews and Negroes — and straight normal real-sexual people as the moral inferiors of homosexual deviants and/or perverts. (Indeed, one area where whites are highly energized and motivated is in their zealous will to climb the moral mountain from the hellish pit of sinfulness, though with the understanding that they must never try to topple Jews and Negroes who deserve to occupy the uppermost position for themselves for all eternity. Whites notice that they are richer and ‘more privileged’ than other races and feel guilty about it since the Jewish narrative has them believing that ‘white wealth was built on non-white blood and sweat’. The moral zealotry of whites proves that the slaves are more motivated. Whites feel as moral slaves than as moral masters since they believe themselves to be spiritually shackled with the chains of their historical evils — rather like Marley in A CHRISTMAS CAROL — , and therefore, they have a powerful will to prove their moral worth and be freed from the shackles of sin. The source of such mentality actually goes back to the spread of Christianity during the Roman era. Christianity made gentiles feel guilty over the death of Jesus — even if Jews were especially blamed for it — and their general feeling of unworthiness before God, and such feelings of moral slavery shackled with sinfulness made Christians want to prove their worth as good folks so as to, one day, be liberated from the chains of the flesh and admitted into the free paradise of Heaven. Christians became more moral because they were made to feel morally less worthy; such sense of moral slavery before God motivated them to prove their moral worthy by spreading the Gospel, doing good work, praying, atoning, reflecting, and all that. And among all the religious groups, Christians are the only ones who feel sorry and atone for the ‘evils’ they may have committed in the practice of their religion. Of course, it needs to be said that even though Christians used torture and other horrific methods, such were something Christians adopted from the pagans — both Roman and Northern European — than something that intrinsically grew out of Christianity itself. A kind of syncretic fusion of Christian righteousness and pagan brutality resulted from the meeting of two worlds, but it was Christian Civilization that gradually and eventually got rid of all such cruel ways. Indeed, even the practice of hunting down and burning witches was something Christianity inherited from pagan practices. Even today in Africa, pagan tribes hunt, torture, and kill men and women accused of using witchcraft to spread bad mojo. Anyway, while the white motivation to prove their moral worth can be positive — at least under the gaze of the Almighty God — , it is dubious and dangerous when whites try to prove their moral worth before Jews and blacks. Jews and blacks, as moral judges of whites, now feel like gods and are even worshiped as such by silly whites who seem to think every Jew is a Holocaust victim and every black is some Magic Negro whose ancestors in Africa were living in Edenic harmony and bliss before whites came along and messed everything up. While it’s true that some whites did have power over some blacks and some Jews and abused their power, it’s also true that whites brought lots of advantages to blacks and Jews who were brutal, exploitative, and wicked in their own ways. So, when history is boiled down to the simple moral narrative of ‘bad whites must prove their moral worth before saintly Jews and blacks’, it may motivate whites to be better people but it also encourages Jews and blacks to be worse and nastier people overloaded with moral narcissism, god complex, preening self-righteousness, and insufferable arrogance. Jews are now at a point where they rob billions and then rationalize it on grounds that their grandfather wasn’t admitted to some Wasp country club. So, whites need to wake up and stop seeing themselves as moral slaves before the godly moral masters comprising Jews and Negroes — and even freaking homos. They need to see themselves as moral equals of Jews and Negroes who have their own dark histories and even darker futures — given where the world is headed — and see themselves as the economic, political, cultural, and/or demographic slaves of Jews, Negroes, homos, and other enemies of Western Civilization all over the world.) And of course, part of the reason why Jews have gained such power to control the Western narrative is because they are even smarter than whites. Jewish power has a Nietzschean element in that they went from the bottom to the very top. But if the ideal Nietzschean hero basks in his power and glory, Jews, no matter how much wealth and influence they amass, prefer to remain relatively low-key when it comes to their power. Jews want to be very visible as noble victims and lovable funny guys-and-gals, but they want to be invisible as a powerful people who are pulling the strings. Jews understand that one of the problems of Nietzschean hero-worship(as well as self-worship) of the Great Man is that it has a way of paving the way for a sudden fall. If a man or a group is said to be so great and godly, it has to maintain its aura of invincibility and awesomeness at every moment, but in truth, even the greatest of men are flawed, make fatal mistakes, grow old and ill, and are mortal. Therefore, maintaining the aura of absolute greatness is no easy feat, and in the long run, an impossible feat. Also, the heirs of the Great Men tend to be weaker due to the law of ‘regression to the mean’ — especially because Great Men often marry and have kids with pretty women without brains or talent — and because they, having inherited their wealth and influence, don’t have fire in their belly. So, Jews have decided not to create an aura of super-duper power around themselves that might make the gentiles who vastly outnumber them expect too much from them. Also, their children are raised to be paranoid and anxious than comfortable and complacent, thus making them hoard and gain more than be magnanimous and generous. Thus, even as Jews are the master race/class in America, they maintain the mentality of slave rebellion. They are the Crassuses of America but still act like Spartacuses.

They keep Caddyshacking white America with the narrative that would have us believe that some Wasp country club’s denial of admission to Jews in the past constituted one of the greatest injustices in human history. The moral logic of such argument spreads the canard that the robbery of billions by nasty Jews on Wall Street owed to some trauma of Jews who survived the golfocaust that denied them the right to tee off and sink the hole while ogling at the blonde ‘shikse’ daughters of Wasps. So, if a Jew robs you of your entire wealth, just remind yourself that HE is the victim deserving of sympathy; he was just trying to work out his neurosis stemming from his millionaire grandfather not having been admitted to some country club.

In contrast to Jews who keep their power ‘invisible’ — by masking it with goy puppets or forbidding any discussion of Jewish power via retaliation by blacklisting those who do, as Rick Sanchez found out — , gentiles tend to show off their power, and such bragging rights tend to make them vulnerable to criticism and mockery — after all, if they claim to be so great, why are they so fallible? — , and it tends to make their heirs complacent and second-rate. We can see this in the spoiled and weak sons of dictators all over the world. Gaddafi made huge claims for himself, but as time wore on, he failed to live up to his myth, and Libyans tired of him and camet to despise him as a clown. And Gaddafi raised his sons to be spoiled-rotten playboys who expected to inherit power and wealth from their pa. Kim Jong-Il, the son of Kim Il-Sung, was worthless, and his son Kim Jong-Un is even a bigger idiot whose national priority is inviting a basketball freak to party with. Saddam Hussein was grooming his trashy sons to take over after him, and the result would have been Iraq becoming dumb and dumber. The passage of power from Nehru to his daughter Indira and then to her son Rajiv Gandhi hardly did wonders for India. And the GOP elected its worst candidate in George W. Bush, the imbecile son of George H.W. Bush. Perhaps, there was something to the fact that the three greatest Republican presidents — Lincoln, Eisenhower, and Reagan — all came from humble backgrounds and had to climb to the top. And though Nixon is much reviled, his is one of the great political stories in American politics, and he also made the tough climb from the bottom to the top. One could make a case for Theodor Roosevelt as one of the greatest Republican presidents, and of course his origins were privileged. Nevertheless, he was sickly and asthmatic as a child, and maybe that drove him to prove his mettle to himself and in the eyes of the world; he had to prove that he was equal or even superior to any man. As for Assad Jr. who is currently fighting for his life in Syria, he seems to lack the political savvy and cunning of his father who, at the very least, climbed to the top by outmaneuvering and neutralizing potential rivals. The general tendency of hereditary rule is ‘from down to crown to clown to back down’. Stalin, Hitler, and Mao might have understood this law of power. Hitler didn’t have any children, and Stalin and Mao were very harsh with their own children — constantly reminding them that their positions for granted just because of their bloodline — and had to plans to groom any of them for future rulership, whereas some other dictators raised and indulged their kids as spoiled-brat princelings who came to expect all the goodies in life for granted, thus leading to dissipation of the bloodline and decadence of political governance.

Recently, there’s been some controversy over Amy Chau’s new book on the subject of what makes certain groups in America more successful than others. The book,
THE TRIPLE PACKAGE: HOW THREE UNLIKELY TRAITS EXPLAIN THE RISE AND FALL OF CULTURAL GROUPS IN AMERICA
, argues that for a group to climb the tree of success/power and to hold onto its fruits, it requires three traits working in tandem — one or two on their own won’t do. It’s like three sticks will only stand as a triangle if their ends are joined together. The group needs a sense of superiority and discipline but also a sense of inferiority; this sense of inferiority can be circumstantial or psycho-cultural. In the case of the circumstantial, a group with special pride or sense of destiny may be under the thumb of a greater power and may therefore feel compelled to work hard to reach the top to prove its worth as being equal or even greater than that of the current power-holding elites. But circumstantial sense of inferiority is likely to fade once the group reaches the top realm where circumstances and conditions will no longer remind of them of their inferior status. In contrast, a group with a psycho-cultural sense of inferiority may feel a sense of grievance even when it becomes the new ruling class of a society. There was an element of this in the Protestant Work Ethic. If Mexicans dream of working like ants so that they can, one day, take it easy like grasshoppers, the German and Anglo populations who were instilled with the Protestant Work Ethic believed that they should keep working like ants even when they could afford to take it easy like grasshoppers. They felt that nothing should be taken for granted. Since God put people on Earth to be diligent, productive, and sober, it only made sense that good people should be disciplined and productive than lazy and taking-it-easy, which was considered sinful in wasting the time given to man by God. ‘Work’ in this sense didn’t necessarily mean working for profit; it could also mean doing good work to further the social progress of a community and even by spreading the Gospel in other nations. Furthermore, the sexually puritanical(relatively speaking, of course) nature of Protestantism probably had a way of fostering individualism and channeling their ‘boing’ energies towards producing goods and services than children. In contrast, Catholicism put a greater emphasis on family and kinship, and that led to men and women devoting more of their time towards having lots of kids and thinking in terms of clan and blood relatives than of individuality with personal ideas and ambitions. Of course, these strains were not consciously understood by Catholics or Protestants who only thought that their way was the best way to serve God and Jesus. But their different approaches toward spirituality had the effect, even if unintended, of emphasizing different habits and social tendencies.

Even so, while Protestant Work Ethic had a sobering effect on the Anglo/American populations, it didn’t necessarily foster a permanent sense of resentment and inferiority/insecurity toward other groups except perhaps in the area of ostentatiousness. One could argue that since Anglo Protestants were not allowed to be as lavish, colorful, and show-offy as Latin Catholics and other cultural groups were, they resolved their envy and resentment by gaining more power and wealth. One can kinda see this in the case of Warren Buffett who is not an ostentatious person — like trashy Tony Montana or some Chechen gangster chieftain — but who keeps working hard to rake in more and more billions. If you can’t wave it, save it.
But all said and done, Anglo Protestantism wasn’t an world-view revolving around intense resentment of others. Anglos might have been full of superior feelings toward others, but they didn’t develop a way to feel permanently psycho-culturally inferior. The combination of superiority and inferiority may have been more a hallmark of the Catholic Irish, but in relation to Chau’s theory, we could argue that the Irish favored the idea of toughness over superiority, and toughness isn’t necessarily synonymous with superiority. Irish valued being tenacious and were obsessed with power, but they were not known for a preening sense of superiority that came to define certain other peoples. Irish power was survival-oriented than supremacy-oriented. Thus, Irish tended to be builders of machine politics than of empires. They thought in terms of close-knit power-for-ourselves than expansive power-over-others. In contrast, Jews love to gain control over the entire world through their web of finance, law, and media power. Thus, Irish political power in the US tended to be local and city-based, whereas Jewish power tended to interconnect across all cities and all around the world, which is why the once Irish-ruled cities eventually came under the domination of International Jews and their mini-me elites the homos.

Jews, unlike Anglo-Protestants, did develop a sense of resentment that was more than circumstantial, whereby, even when Jews gained the most power and wealth, they continued to have huge chips on their shoulders. Partly, this may owe to the Holocaust, but if that is the main reason, Jewish resentment should ebb away as WWII fades into historical memory. But, what we are seeing is Holocaust growing ever more potent as the new religion in the West, with Jews bitching about their historical victim-hood in ever more brazen and self-aggrandizing terms. Also, there is Holocaust as historical tragedy and the Holocaustianity as quasi-spiritual cult, the New Testament for the Jews or the Jew Testament. No matter how tragic a historical event may be, its hold on the collective imagination naturally passes away in time — I mean who worries about the Mongol hordes today? — unless it is turned into a secular religion. If Jews lacked a psycho-cultural sense of inferiority/insecurity/resentment, they would have allowed the Holocaust to pass away as just another horrible event in history. What commands our reverence and worship today isn’t so much the Holocaust the tragic historical event but Holocaustianity the new religion of the West, and Jews went out of their way to formulate such a religion because their psycho-cultural sense of inferiority/insecurity/resentment pushes them to embrace paranoia as a shield against gentile nations — even ones that did most to defeat Nazi Germany — and to use ‘collective guilt’ to make gentiles endlessly guilty of having tyrannized the poor, saintly, and powerless Jews. While Jewish leftists have encouraged the masses to hate and attack the wealthy class of gentile aristocrats and capitalists, they always defended rich Jews from the rage of less fortunate gentiles. (If poor white and non-white masses hate rich white gentile elites, the rage is fully justified morally and politically, so say the ‘progressive’ Jews. The white gentile elites are said to be greedy, vain, repressive, and tyrannical; therefore, they deserve to be hated, reviled, and even brought down low, just like the members of the monarchy and aristocracy during the French Revolution or Russian Revolution. However, if the poor gentiles masses — white or non-white — fix their sights on the rich privileged Jew elite, they are said to be ‘resentful’, ‘envious’, ‘hateful’, and ‘paranoid’ against well-educated and highly cultivated people who are said to be so generous, wonderful, kindly, and enlightened. Even the Jewish left retroactively defend the rich Jews of the Austro-Hungarian Empire against the gentile masses who resented the Jews as greedy and parasitic.) Partly, such a psycho-cultural mind-set may have developed from the condition of Jews as minorities all around the world, i.e. no matter how rich and influential they might become in a particular community, the goy elites and masses might unite once again to take everything from the Jews and kick them out. The Jewish mind-set also owes to the religious tradition that ordained the Chosen People to co-exist among the far more numerous goyim(thought to be less blessed than the Jews) — and furthermore, unlike Christians to whom the Messiah did reveal Himself and unlike Muslims to whom Allah sent the final Prophet, Jewish religion has continued to teach that their ultimate destiny is yet to be fulfilled — , but the Jewish mind-set also owes to the secular Jewish attitude(even if Jews won’t admit it openly) that they are more intelligent and cunning than dimwit goyim. Spiritually or intellectually, Jews feel superior to others but also know that they must live as vulnerable minorities, and this fact reminds Jews at all times to never take anything for granted.
There may also be a physiological reason for the never-ending resentment of Jews. While there are plenty of good-looking Jews, many Jews tend to be rather funny-looking(and even ugly in a very peculiar way that is the visual equivalent of the ridiculous-sounding Yiddish with words like ‘a grubber yung’, ‘ayn klaynigkeit’, ‘aroisgevorfene gelt’, ‘der tate oysn oyg’, ‘gevalt geshreeyeh’, and other space-alien-sounding phrases). Therefore, no matter how rich or successful a Jew becomes, he or she looks in the mirror and sees an ugly Jew or Jewess, and then he or she imagines the better-looking goyim thinking of him or her, even if privately, as the ‘ugly Jew’. Like the character in Edgar Allan Poe’s THE TELL-TALE HEART, the Jew is always imagining others thinking and saying the worst thing about him or her. While such a thing can drive a Jew crazy(even crazier than the Jew in the joke that goes “how do you drive a Jew crazy? Put him in a round room and tell him there’s a penny in the corner”, though only a Polish Jew would fall for such a trick), Jews are also able to use such paranoia as a shield against a goy order that might be plotting against them. Though a Philip Roth’s novel is called THE PLOT AGAINST AMERICA, the book’s main concern is the possible plot of White Gentile America(especially Anglo-Germanic America) against the JEWISH-America, especially as there had been a time where two visions of America were in conflict with one another. One vision was rooted in Anglo-American history and felt a racial kinship with other Northern-European Americans while another vision of America was dominated by the ethnic narrative of massive immigration — and increasingly Negro as well. The two visions clashed in WWII and in the early years of the Cold War. Prior to the attack on Pearl Harbor, many Anglo-Americans and German-Americans disfavored getting involved in the war, partly out of desire for ‘peace’ but also because they felt that Northern European stock shouldn’t be fighting other Northern European stock, especially as World War I had been a disaster because UK and US got involved against Germany. But Jews and Polish-Americans — and other ethnic groups whose brethren in Europe were conquered by the Nazis — wanted America to become involved, and among these groups, Jews were the only ones with real power. Italian-Americans were fellow ethnics, but as their home nation of Italy was allied with Germany, they felt ambivalent about the war. But Pearl Harbor changed everything, and Jews and Liberal Wasps paved the way for a new vision of America that favored the immigrant/propositional narrative over the Anglo-American settler/conqueror narrative that, as years went by, was associated with crypto-Nazi ideology.
But the American Right had a second chance with the end of WWII ended for the new enemy was the USSR ruled by Godless ‘Asiatic hordes’ and because so many agents of communism and radical leftism in America were Jews. But McCarthy pushed things too far and easily fell into the trap set for him by Liberals and Jews who sought to discredit anti-communism by associating it with his drunken thug-like antics. The main reason why so many Jews have loathed McCarthy and anti-communism is less ideological than tribal. After all, Reagan was staunchly anti-communist, but Jews didn’t necessarily hate him because, by that point in history, international communism had turned against Jews/Zionism and even leftist Jews had lost faith in communism as a moral or workable system. But in the late 40s and the early 50s, there were many Jews in the American radical left that, to many fearful Americans, Jewish power and radical leftist influence came to be almost synonymous — even if few dared to say so in the shadow of WWII where so many Jews had been killed.
Anyway, Jewish paranoia has been an instrument of mind-reading to see the ‘real person and his mind’ behind the mask. It’s like the Bob Dylan song “Seeing the Real You at Last”: “Well, I sailed through the storm/Strapped to the mast/Oh, but our time has come/And I’m seeing the real you at last.” The difference between the Jew and white gentile is this: If a white gentile goes to a Jew and says, “I’m like so-and-so and such-and-such” in a positive way, the Jew will say, “Bullshit! You are NOT as you say you are but really like this-and-this and that-and-that,” ‘this-and-this’ and ‘that-and-that’ meaning that, consciously or subconsciously, you are ‘racist’, ‘sexist’, ‘xenophobic’, ‘homophobic’, ‘antisemitic’, ‘odious’, ‘noxious’, ‘rabid and virulent’, ‘toxic’, ‘micro-aggressive’, ‘stereotype threat-ist’, ‘hateful’, ‘paranoid’, and on and on. And white gentiles, having been spiritually softened by centuries of naivete-and-earnestness intrinsic to Christianity, easily fold under such accusation and pressure. When white gentile elites had kept the Jewish power at bay, white gentile masses obeyed and followed the white gentiles in the service of white Christian power, but now that white gentiles in the West have surrendered their political, economic, and cultural authority to Jews, white gentile masses don’t have sufficiently powerful minds, hearts, stomachs, and balls of their own to stand up to the Jew and push back; they are like a body without a head. Anyway, reversing the example given above, suppose a Jew goes to a white gentile and says, “I’m so-and-so and such-and-such” in a positive self-promoting way. Unlike the Jew who mocks, critiques, and rebuts the white gentile’s positive view of himself, the white gentile of today is likely to totally agree with the Jew’s view of himself and get on his knees and, with tears streaming down from his eyes, meekly ask the Jew, “Can I suck your dick?” If white gentile masses over the many centuries tended to have negative opinion of Jews, it was because the white gentile elites kept the Jews in their place and maintained their own authority over the white masses. But without such counter-Jewish authority at the top, most white gentiles are likely to just fold and go along with the Jewish authority since the long Christian tradition of the West prepared white folks to naively support the powers-that-be like innocent sheep. If white gentile masses can so easily be led to believe that homosexuality is healthy, normal, and rainbow-like via manipulation of the Jew-controlled media and education, what can they not be led to believe and obey? You see, the Jew feels free to go to a white goy and say, “I’m see the REAL YOU at last”, and the white goy is likely to favor the Jew’s critique of him over his own assessment of himself. Jews, the masters of psychology and manipulation, thus come to own the souls of whites just like Shylock gained the heart — literally — of a goy boy. Furthermore, the white gentile gets on his knees and thanks the Jews for diagnosing the hidden mental/moral disease within himself and pledges to his utmost to purge his soul of the sickness so as to be worthy of being approved by Jews, Negroes, and homos. As Paul Gottfried wrote: “I was not disappointed that Lowry and his fellow intellectual pygmies caved in and fired their most talented thinker and writer(John Derbyshire). But there was an amusing side to this outrage. Before the adolescent crew kicked John out, they raked him slowly over the coals. While groveling toward the left as he was ‘parting ways’ with John, Lowry complained about how Derb’s piece ‘lurches from the politically incorrect to the nasty and indefensible.’ My thought at the time was that I’d like to see the clueless Lowry match wits with John by trying to prove that John’s assertions were ‘indefensible.’ It would be like having a featherweight pick a fight with Mike Tyson during his prime.” American Conservatives, even as they playact at opposing Liberalism, desire nothing more than to be approved by Jews, Negroes, and homos, most of whom are the enemies of Truth-and-Vision conservatives. Even Conservatism Inc. is premised on the proposition that ‘conservatism’ is better than ‘liberalism’ because its ideas will be better for Jews/Zionists, Negroes, and homos. There’s nothing about how Conservatism is worthy because it’s better for white majorities who constitute the backbone of Western Civilization. American Conservatives have accepted their miserable lot as the accused/defendant in relation to Globalist Liberalism — controlled by Jews — that relishes its role as plaintiff, judge, and even the jury. So, Conservatism doesn’t defend itself on its own grounds or for its own people but on the basis that it’s ultimately better for the enemies of white race and white power. Of course, Jewish Liberals don’t buy it, and Neocon Jews only pretend to buy it so that Conservative dummies will go on loving Jews and supporting Israel more than America and Europe themselves. Conservatism-as-defendant not only stands accused but tries to argue that its position is actually more advantageous to the plaintiff who is suing him for everything he’s got.
Anyway, if the Jew promotes himself positively as such-and-such but if a white gentile were to say, “No, you’re lying. I see the REAL JEW at last,” the Jew will not accept nor tolerate any critique, argument, mockery, and analysis of the true nature of the Jewish character and power. Instead, the Jew will seethe with rage and spit venom at the white gentile and accuse him of being ‘odious’, ‘noxious’, ‘hateful’, ‘paranoid’, ‘pathological’, ‘extreme’, ‘antisemitic’, ‘genocidal’, ‘Nazi-like’, ‘rabid and virulent’, ‘vicious’, ‘ugly’, and etc. So, even though the Jew insists on ‘seeing the REAL YOU at last’, you are not allowed to ‘see the REAL JEW at last’. When it comes to the ‘truths’ about Jews, we have to take Jews at their word. Jews tell us, “just look at the mask we wear, drop your fear, love us, praise us, trust us, and worship us, and never ever try to pry behind the mask to see the REAL JEW at last. Never!” But if we show our positive mask to Jews, they say, “Fuc* you, your mask is phony, behind the facade you are an odious, noxious, vile, vicious, ugly, hateful, and disgusting scumbag, and your entire soul needs to be purged by us and your daughter’s pussy needs to be purgated by the Negro penis for you Nazi white scum to be redeemed.” In other words, the ONLY way whites can be redeemed is through white geneticide overseen by Jews and their bouncers the Negroes. In APOCALYPSE NOW, a character says, “Never get out of the fuc*ing boat!”, and all sensible white folks must remind themselves over and over, “Never trust Jews!” Arrogant and devious Jews tell us not only how we should see and think about them but how we should see and think about ourselves. Between us and the Jews stands a two-way mirror through which Jews can see us but we cannot see them; it is also a mirror that can be warped by Jews to distort our own reflections. Though Jews often bitch and whine that they are misunderstood by a world that is all-too-‘antisemitic’(or outside the sphere of Jewish-Zionist globalist power), what really angers Jews is when gentiles understand them all-too-well. In truth, Jews want to be misunderstood — in accordance to their own propaganda, of course — because if white gentiles understand and see the REAL JEW AT LAST, Jewish power would come under considerable scrutiny and criticism. This is why Jews make such great fuss about the most ludicrous examples of antisemitism and would have us believe that ANY anti- or counter-Jewish views and expressions — even the most rational and cautious ones — on the level of THE PROTOCOLS OF THE ELDERS OF ZION. It’s like how politically correct Liberals would have believe that any race-ist view — even the most factual and rational — is on par with the venom of the KKK or the Nazis. It’s a form of guilty-by-association-with-extremism. Some ideas, even if expressed in the most non-extreme way, are always said to be ‘extreme’ by association. Of course, if you say that Liberals are like communists, you are being ‘paranoid’ and ‘extreme’, whereas if you say Conservatives are like the Nazis or the KKK, you have the moral upper-hand and it’s up to the Conservatives to prove the accusation otherwise, which is why the likes of Rich Lowry go out of their way to purge American Conservatism Inc. of anyone with the slightest whiff of rationalist and fact-based racial or race-ist views — ‘race-ism’ meaning ‘race + ism = belief in the existence of races and racial differences and/or the need for racial consciousness’. Anyway, Jews don’t want us to see the REAL JEW AT LAST. They want us to be like children and swallow everything they tell us of themselves. So, we get movies like Barry Levinson’s AVALON where Jews are so lovable and All-American-as-Apple-Pie-with-Cream-Cheese. And making-fun-of-Jews is allowed only for Jews who make themselves so endearing, hip, and/or cool(as with SEINFELD or Seinkefeld). And of course, we should just laugh at Jewish neurosis, and most of all, laugh at the Jews’ endless jokes about us that are far nastier than the soft-padded and soft-peddled jokes about Jews. This is why Jews really hate Veit Harlan’s JEW SUSS. While it was meant to be an antisemitic film by the Nazi regime, the result is actually something far more interesting and provocative. Even though the Jew is the villain, he is also the most interesting and complex character. As most of the German characters — even the ‘best’ ones — are rigid, stilted, one-dimensional, and robotic, the Jewish villain oddly becomes the most human(if not humane) character with something like psychology and insight. In a dark way, he has the most admirable qualities since he knows how to play the game, whereas the Germans only seem to know how to obey and go along with conventionality. The Jewish character looks like Stanley Kubrick, and I’ll bet Kubrick was attracted to Harlan’s niece because he saw so much of himself in the devious Jew of JEW SUSS.

Ziegler – Harford – Hooker

And just like the devious Jew had designs on the blonde ‘Aryan’ woman, Kubrick did marry the ‘Aryan’ niece of Harlan and ravaged her blonde pooter real good with his hairy Jewish schlong. Of course, politically and morally, Kubrick the Jew loathed Nazis and Harlan, but Kubrick was too smart to believe in the post-Holocaust narrative of the saintly Jew with the earnest intentions who are always being misinterpreted and scapegoated by ‘paranoid’ goyim. He himself was a clever/brilliant hustler of sorts and indeed hustled himself into the film business, which is not to say he lacked genuine talent — he was possibly the most talented film-maker of his generation — but that he well knew the difficult of breaking into the industry, especially for a personal film-maker like himself. Just as the gentile world once had discriminated against Jews, Hollywood(run by Jews) defacto discriminated against anyone who reeked of ‘art’ or ‘personal vision’. So, Kubrick knew that, in order for him to work as a film artist, he had to sell art as entertainment, and this accounts as to why so many of films worked around genre forms. 2001: A SPACE ODYSSEY could be sold as science fiction, A CLOCKWORK ORANGE could be sold as youth rebellion movie, THE SHINING could be sold as horror, FULL METAL JACKET could be sold as a war movie, and EYES WIDE SHUT could be sold as celebrity romance movie. Kubrick had to be Jew-Suss-like with the powerful Jews of Hollywood who were like Ziegler in EYES WIDE SHUT. (There’s a similarity between the scene with the sniper and black parking attendant in THE KILLING and the scene with Ziegler and Harford in EYES WIDE SHUT. The sniper shmoozes the black guy to win a favor, but when the black guy gets too familiar, a line is drawn between them: you there, me here. Same thing with Ziegler. He shmoozes Harford for favors and makes him feel like a close friend in the inner circle, but later, Ziegler makes it clear that there are boundaries Harford better not cross. Ziegler is of the master class, Harford is of the servant class. Even in America with its official egalitarian ethos, there are clear boundaries among the bean eaters, beef eaters, and caviar eaters. Kubrick obviously identified with both Harford and Ziegler. He depended on rich powerful Jews to finance his films, but he was a master manipulator who felt that lesser beings should serve him.)
Anyway, there is much to learn about the Way of the Jew in Harlan’s JEW SUSS, and that is precisely why Jews don’t want us to see it or to think about it; they just want us to think “it’s a vile antisemitic movie that viciously defames the noble Jewish people who are so very wonderful and perfect; it’s a vile antisemitic movie that viciously defames the noble Jewish people who are so very wonderful and perfect; it’s a vile antisemitic movie that viciously defames the noble Jewish people who are so very wonderful and perfect”, which is rather like “All work and no play makes Jack a dull boy” over and over and over. Jews want us to be dull boys and girls in thinking about the true nature of the Jew. While there is something undoubtedly vicious and ugly about Harlan’s JEW SUSS, it is also a subtly penetrating look into the Way of the Jew. And, just as the communist film I AM CUBA, despite its anti-capitalist message, cannot help being impressed by the allure of capitalist materialism, JEW SUSS, despite its purported exposé of the REAL JEW, cannot help being impressed by the more intelligent Jew who relies on his Will to Power — or more impressively, the Wit to Power — to get what he wants. JEW SUSS was a work meant to serve the ideology of a vile regime, but it is anything but a brainless and simple-minded film about the nature of Jews. It is one of the most penetrating films on the Jewish Question for the simple reason that film industries in America and Europe, being so heavily dominated by Jews, restrained from negative depiction of Jews and because the Nazi-dominated film industry in Germany lost so many talents to exile and ended up with too many hacks making second-rate escapist genre movies or dim-witted propaganda about Jews. Harlan’s JEW SUSS is an exception to the rule because its Jewish character, even as the villain, is the only fully human character with something like personal desire and individual will to get what he wants by engaging in the game of power. Indeed, JEW SUSS may be a key piece of the puzzle in understanding the obsessions of Stanley Kubrick, but most film folks would prefer not to ‘go there’. Just like the Catholic Church once forbade any discussion of Earth revolving around the Sun, there are certain taboos that psycho-culturally forbid us from discussing the darker side of Jewishness — though some Jews do this amongst themselves through coded messages. Even when Jews come pretty close to spilling the beans of their neurosis — as in David Mamet’s HOMICIDE and David Cronenberg’s RABID and eXistenZ — , they hide some key details that can be deduced but are generally left un-deduced by most viewers because to deduce such would mean that you just had an ‘antisemitic’ thought. So, it’s there, but it’s not there, but it’s there. As James Wood said of the ending of ONCE UPON A TIME IN AMERICA, “you know, but you don’t know, but you know.” This is the creative conundrum facing first-rate Jewish artists. As genuine artists, they want to explore and expose the truth with courage and insight, but to do so would be tantamount to spilling the beans about the true nature of Jewish power, and that might give ammunition to ‘anti-Semites’ who dare to speak truth to Jewish power. As artists, they prefer hard truths over comforting myths, but they must still wrap the truth in myth(and taboo) in order to prevent the goyim from saying, “Ahhhh, so that’s how the Jews are REALLY like!” So, even though they, like Galileo, want to tell us that the Earth revolves around the Sun, they still obfuscate our vision with a lot of Ptolemaic smoke-and-mirrors. They can never be truly honest about themselves and their tribe in the way that Eugene O’Neill or Ingmar Bergman was about himself and his culture. A goy artist might say, “I suck and we suck because I suck and we suck”, but Jewish artist will say, “I suck and we suck because you goyim who suck make me and my people suck”, so the ultimate blame for Jewish problems — even when admitted — always falls on the goyim. And of course, Kubrick was no different, which is why even as his fans pore over all the details of his films, huge blind spots remain about him because there are certain no-go areas that we are not supposed to notice. If some Germans with partial Jewish lineage tried to hide the truth of their ancestry during the Nazi era, Kubrick was a Jew who hid a ‘psycho-Nazi’ part of him. This isn’t to say he wasn’t proud of his Jewishness or that he admired Hitler but to say (1) he had certain sensibilities that were aligned with quasi-fascist ideas and visions and (2) he knew that, on some level, the anti-Semites, the Nazis included, understood the true nature of Jews better than the mindless lapdog philo-Semites in the post-war era who really don’t have a clue. Just as Jews thought critically of goyim, ‘anti-Semites’ thought critically of Jews, whereas the childlike, naive, or cowardly philo-Semites just swallowed everything fed to them by Jews as good medicine. So, even as Kubrick loathed the Nazis — they would have killed him and his family too, after all — , he could enter into their skulls and see the Jews through their eyes, and on some level, he knew they were onto something. How did he know this? Because he was Jewish on the inside and he knew his own nature: devious, cunning, manipulative, calculating, shrewd, and perverse. And he knew the Jewish community had many such types who had to revolve around goy power but, in the end, sought to have the goy world revolve around Jewish power. Though Kubrick would likely have made the kinds of films he did regardless of what he knew or felt about Veit Harlan’s JEW SUSS, one could argue that many of his films are at least informed by Harlan’s film. In Harlan’s movie, the sly and cunning Jew has his eyes on the ‘Aryan’ woman and smoothly makes his move to come between her and naive/earnest ‘Aryan’ male(s). He acts as if he’s a respectable man who’s only looking out for their best interests when, in fact, he’s really after the woman. Kubrick used Kidman and Cruise the same way. The ‘All-American’ Aryanish couple of Hollywood felt honored to work with a genius like Kubrick. They were willing to go out on a limb for him, and they put all their trust in him. Even as Kubrick was invested in making a work of art, he surely took pleasure in humiliating and subverting the couple. Kidman, though ostensibly working as an uncompromising artist, was put in all sorts of compromising positions not much different from that of a porn performer, hooker, or one of those nude women at the super-rich folks’ orgy. And Cruise could do nothing but watch the maestro camera-humping his wife. If Cruise were a director and Kubrick an actor, would Kubrick have allowed Cruise to use him and his wife in a similar manner? Cruise earnestly convinced himself that Kubrick was only invested in making a work of art even though Kubrick’s camera phallus rudely came between Kidman and him and for a long shooting schedule; Cruise might as well have been Alex undergoing the Ludovico Treatment in A CLOCKWORK ORANGE. Reportedly, Kubrick even spoke to Kidman as if she were a porn performer than a fellow artist. Thus, as with the couple in the film, a wedge(Kubrick’s camera phallus)came between the real-life ‘Aryan’ couple in a JEW-SUSS-manner. Though Kubrick was off-camera, he was effectively ‘film-fuc*ing’ Nicole Kidman as the whore while Tom Cruise was essentially emasculated, castrated, and cuckolded by cinema’s Jew Suss/Dr. Mabuse. Though Cruise and Kidman weren’t an ideal match in life, they’d managed to make their marriage work, but their collaboration with Kubrick obviously took a toll though neither was willing to admit it. The marriage broke apart soon afterwards, and lo and behold, Kidman became a total whore and even got it on with Lenny Kravitz, a Jew and Negro rolled into one. Cruise, scarred by the experience, decided to settle for an innocent brain-dead cutie pie Katie Holmes and redoubled his commitment to Scientology to regain his self-confidence as a masterful dude, but his third marriage didn’t work out either. Though working with Kubrick may have wielded Cruise and Kidman their greatest film, a towering work of art, in another way a devious Jew subverted and perverted them real good. If JEW SUSS tried to expose the Way of the Jew, Kubrick practice the Way of the Jew brilliantly with Cruise and Kidman on the set of EYES WIDE SHUT. Though Ziegler is made out to be the sleazy Jew, his on-screen presence distracts us from the sleaziness of Kubrick, and EYES WIDE SHUT is a great sleazy work of art that could only have been made by a devious and dirty son of a bitch. Just like Wall Street Jews hyped Bernie Madoff as the ‘bad Jew’, thereby distracting public attention from other Wall Street Jews, our focus on Ziegler hides Kubrick’s -psycho-sexual manipulation and exploitation of Cruise and Kidman that borders on the pathological and sadistic. Some have remarked that EYES WIDE SHUT fails as an adaptation of TRAUMNOVELLE(Dream Story) or DREAM STORY since New York of the 1990s is so different from Austria of the early 20th century, and the criticism is no doubt valid to a point. Certain aspects of EYES WIDE SHUT do seem anachronistic despite the contemporary updating of the story because 90s sensibility is so different from that of Europe at the turn of the century. Indeed, even the socio-cultural difference between the 90s and today is striking as, for example, the big majority of Americans would have laughed at the notion of ‘gay marriage’ back then. Even so, the joke is on the person who thinks he or she and his/her time and place are so different from and so much more advanced than an earlier period, because, after all, the rules may change but the underlying mental dynamics remains the same. For example, we like to think that we are less ‘hateful’ and ‘judgmental’ today than in the 1950s, and it’s true enough that there’s less hostile feelings toward blacks and homos. And yet, there’s been a radical rise in the hatred of ‘privileged’ white males, and today, those opposed to ‘gay marriage’ are judged and condemned as not only wrong but evil, mentally diseased(with a phobia), and ‘less evolved’. Hate exists as before except that the targets have changed. We like to say that the McCarthy era was ‘hysterical’ and ‘paranoid’ and that we’ve come a long way since those ‘dark times’. While it’s true that we are no longer ‘paranoid’ and ‘hysterical’ about the leftist threat, we are today obsessed with ‘racism’, phantom KKK, would-be white male rapists of blacks at places like Duke, and demeaning as neo-Nazi everything related to the science of race. And if you look at the blacklisting of Rick Sanchez and Helen Thomas, our society is no less censorious and repressive than America in the 1950s. It’s a matter who is doing the censoring and who are being censored.. According to the Liberal paradigm, it is ‘hateful’ to have hostile feelings toward blacks, Jews, and homos, but it’s not ‘hateful’ to seethe with venom at white males(at least conservative ones), Palestinians, Muslims, Russians, Iranians, Chinese, and patriotic Europeans who reject NWO globalism. So, our age is no less hateful than before; it’s just that the meaning of hate has been partisan-ized to such an extent that hate is called ‘hate’ ONLY WHEN the objects of hatred happen to be favored by Political Correctness. So, Jews bitching endlessly about Europeans with ‘dark nationalist’ sentiments, white conservatives, Palestinians, Iranians, Russians, and Chinese(at times) isn’t considered hateful or paranoid. But if you make the mildest criticism of Jewish power, you are full of ‘hate’. Similarly in the area of sex, we like to flatter ourselves that we aren’t repressed as we once used to be. We like to say we live in an open society where people can speak and express themselves freely verbally and sexually. But paradoxically enough, skankery has become the new prudery, as when a bunch of film/culture critics complained that the lovers in TWILIGHT didn’t rip off their clothes right away and screw each other’s minds out. So, the neo-prudish skankerites are not content to be skanks themselves; they are offended when some people still write stories that reject skankery. And it’s not enough for feminists to choose career over family; they must be judgmental in denouncing women who choose child-rearing over careering. And, what happens today if you were to detail the fecal penetrative nature of homo ‘sex’? You are attacked and destroyed as a ‘foul’ person with an invective that is downright Victorian. The Liberal community would have us perceive homos as clean-cut like the characters of 1950s TV family comedies. And even as feminists make a big deal of talking, speaking, and marching about the Vagina in the spirit of ‘liberation’, there’s an air of Stalinist officialdom about it, of collectivist conformism. It’s not about ‘my free self and my pooter’ but ‘we sisters and our collective iron cunt’. And even though Liberals claim to detest the kitschy, irrational, manipulative, hysterical, and inflated propagandizing of Italian Fascism and National Socialism, consider the kitschy mass hysteria at ‘gay pride’ rallies where so many idiots waving their ‘gay rainbow’ flags act no different from the mindless minions who waved the red flag or shook the Little Red Book under communism. And consider the rise of pop-fascist imagery in Hollywood films even as Liberals would have us believe that everything associated with fascism was evil. Especially after the fall of communism, with capitalism centered in places in New York, Los Angeles, San Francisco, and London becoming the only game in the global village — and with both the American ‘left’ and ‘right’ going all out for Wall Street and ‘free trade’ — , one could argue that a new aristocracy now rules the world. Even though so much has changed since the early 20th century, it’s as if, especially with the ‘end of history’, a neo-aristocraticism became the main mode of the global world order. In the 90s, with WWII a receding memory and Cold War finally over, Jews could finally finish what they began in the early 20th century. Early in the century, Jews had been taking over the elite institutions of European society by leaps and bounds. And even though gentile aristocrats distrusted Jews, they also depended on Jews for financial expertise and loans. And as the privileged classes were into art and culture, they inescapably fell under Jewish influence as so many Jews wielded immense power in literature, media, law, and culture. One difference between then and now was that one could be critical of Jewish power and influence then, and some legal and social obstacles still remained between Jews and the gentile world. Jews had a love/hate relationship with the gentile elite world. On the one hand, as the ‘unwashed masses’ were generally rougher, more hostile, less generous, and culturally more conservative, Jews found them unpleasant, at times even frightening. In contrast, even ‘antisemitic’ aristocratic and elite types had some manners and played according to certain discernible rules and honor, which Jews could exploit. Also, as aristocrats were better educated and into leisure, they were open to Jewish contribution to culture, even as they maintained their ambivalent feelings about Jews. And yet, there were some bastions of power that the gentile elites wanted to keep for themselves, and this made Jews angry, just like exclusively Wasp golf clubs pissed off Jews in America. So, some Jews figured, ‘the hell with the aristocrats and elites’ and committed themselves to radical politics to lead the gentile masses against the gentile elites. But many Jews with property and privilege obviously didn’t want that. Instead, they worked the political/economic spectrum from social-democracy to free market liberalism to secure ever more territory for Jewish power. And Jews were gaining more year by year in every European nation, and if the trajectory had been allowed to run its full course, Jews might have dominated Europe by mid-century. But several events messed things up. WWI may have destroyed the power of the aristocracy, but in its absence, it paved the way for nationalist and/or populist movements that messed up the trajectory of Jewish power. After all, even as Jews resented the aristocrats, the latter had provided Jews with favors and protection against the unwashed masses. With the fall of the traditional elites, politics became a battle of popular will shaped and guided by demagogues on the left and right. Though many Jews placed their bets on the populist left of communism — as the populist right tended to be ‘antisemitic’, though Fascist Italy was, for a time, open to Jews, possibly because the Italian elites hadn’t suffered the fate of aristocrats of European nations on the losing side of WWI — , communism was, in the end, not good for Jews as ultra-egalitarianism put a brake on Jewish genius and individual will to power. If not for WWI, the trajectory of rising Jewish power in German and French territories may have led to Jewish dominance of all of Europe. And even in Russia, Jews were making tremendous gains just prior to WWI. But WWI and then the rise of communism and National Socialism derailed the trajectory of the rise of Jewish power. To be sure, Jews gained a great deal during the period of the Weimar Republic and the early Bolshevik rule, but the problems wrought by the aftermath of WWI led to the rise of Nazis in Germany, and the shrewd cutthroat maneuvering of the Georgian Josef Stalin led to the fall of Jewish leadership in Russia. Hitler and Stalin both ensured the setback of Jewish power that had sought to take advantage of the turmoil of the aftermath of WWI. After WWI, Jews thought they had a golden opportunity made possible by the fall of the aristocratic/traditional gentile elite order, but the new order following WWI was too shaky to ensure stable support for the trajectory of Jewish power. And then WWII happened that led to mass extermination of Jews that was followed by mass exile of remaining Jews to Israel and America. Also, the Cold War revived the hopes of many ‘progressive’ Jews for a worldwide revolution. As a result, a good deal of Jewish genius was wasted on an ideological dead-end that would come crashing down with the end of the USSR. Finally, the Jewish community as a whole could focus all its attention on a common goal with the end of the Cold War. The trajectory that had been interrupted with WWI was finally revived with the end of the Cold War. All Jews gave up on radical leftism and adopted a form of ‘cultural leftism’ to expand Jewish power, and signs of this came into full fruition in the Clinton 90s. In this ‘end of history’ scenario, Jews were becoming the new aristocracy without ideological restraint, shame, and division that marked so much of the 20th century. That the Clinton presidency ended with his pardoning of Marc Rich the globalist oligarch Jew was all the sweeter for Jews. Jews even came close to owning all of the Russia in the 90s. And even though Jews didn’t directly dominate Europe as it did the US and Israel, the fact that Europe is dependent on the Jew-ruled US and has been burdened with the ‘guilt’ of the Holocaust meant that Europeans could never criticize Jews or disobey Jewish-dominated discourse emanating from the US. It too is under the thumb of Jewish power. Jewish neo-aristocrats came to rule all. Thus, EYES WIDE SHUT is both anachronistic and timely because what we have witnessed since the 90s is the rise of neo-aristocraticism hogged by the Jews who’ve set free of the grand ideological disputes that dominated the world since the end of World War I to the end of the Cold War. It’s as if the suspended trajectory of Jewish power in the early 20th century has finally been bridged with the fulfilment of Jewish power in the late 20th century. What both periods have in common is the sense of the natural order of aristocracy. Old aristocracies may vanish but new ones take their place. Equality is dead as ideology and reality. History is the story of power, and power is never equal. Even in communist nations, new aristocracy arose, as illustrated by George Orwell’s ANIMAL FARM. It’s just the way things are, the way of power. Communism and ‘progressive’ ideologies rejected, denounced, or criticized such view of mankind, but the old ideological dichotomies began to fade in the 90s. So, despite all the revolutions, wars, struggles, and horrors of the 20th century, it began with a proud and confident aristocracy and ended with a proud and confident (neo)aristocracy. The difference is that the gentile aristocracy has been replaced by the Jewish neo-aristocracy, but aristocracy is aristocracy. And of course, homos, the perennial hangers-on and stooges of the aristocrats, are the most favored groups of the globalist Davos Man. Similarly in THE SHINING, we get a sense of the constant nature of power. The Overlook Hotel could be seen as a metaphor for the Way of Power and Privilege. The Old Rich may be gone, but the dream of power and riches never goes away. It’s always there, making each new generation pursue its dream of gold that never grows old. Indeed, watching THE SHINING today is even stranger because the mega-riches today make the riches of yesterday seem quaint by comparison. When THE SHINING came out, the income differential between the richest Americans and middle Americans wasn’t that great. Also, given the rise of New Deal in the 30s, the expansion of the middle class in the 50s, the rebellion of the 60s, and momentum of the Civil Rights and other movements — and with US setback in Vietnam and the still formidable power of the USSR, not to mention the political turmoil of the Carter presidency — , the world seemed to be moving toward greater equality and ‘social justice’ in the late 70s when THE SHINING was being made, to be released in 1980. So, someone watching THE SHINING in 1980 would have thought in terms of ‘egalitarian spirit of today’ vs ‘bad old rich of yesterday’(depicted in the ghosts of rich folks who haunt the Overlook). But given the unprecedented rise of the new rich since the mid-90s with new technology and new finance under the regimen of expanded globalism and deregulation, today’s mega-rich make even the richest people in the past seem downright proletarian. The privileged ghost-folks in THE SHINING look like penniless hobos compared to the Zieglers of the world in EYES WIDE SHUT. Consider the young Jewish geeks who’ve made billions almost overnight. Since American conservatives have been pro-rich for so long, they offer no resistance to the rich and carry on with the patriotic fiction of protecting billionaire ‘victims’ from the ‘socialist’ government, even though the majority of the super-rich are Democrats who pretty much own the very politicians who supposedly push ‘socialism’ on us; in many cases, ‘socialism’ amounts to expensive policies that only the rich can afford, thereby driving out poorer people who can’t afford to be as ‘socialist’. As for the Jewish Left, they no longer care about the Revolution since their own kind has inherited most of the fruits of capitalism. And since the gentile Left is dumb and just takes orders — and money — from the Jewish Left that is funded and owned by Jewish billionaires, there’s no real attack of the super-rich from the Left either, despite all the phony huff-and-puff about the 1% vs the 99%. So, just like there’s a connection between the 1920s super-rich at the Overlook ballroom and the 1980s dream of riches and power(in the mind of Jack Torrance) in THE SHINING, there are lots of commonalities between the world of privilege in early 20th century(in Schnitzler’s novel) and world of privilege at the end of the 20th century in EYES WIDE SHUT. A kind of ur-aristocraticism dominates the world. ‘End of history’ is essentially the end of the ideology of equality and the end of unity to resist the neo-aristocratic rise of Jewish wealth and power. Anyway, Kubrick was a penetrating artist in more ways than one. Penetrating into the truth of the matter but also penetrating to violate the gentile.

Jew Suss
Kubrick

It can be seen in the subjects and themes that recur in Kubrick films such as LOLITA, BARRY LYNDON, THE SHINING, and EYES WIDE SHUT. Penetration is a big element in Kubrick’s films. A film like Sam Peckinpah’s THE GETAWAY dwells on penetrating a bank vault in the first part, but then the rest of the film is about escape and the chase. In contrast, almost the entire film of THE KILLING is about careful planning to penetrate the money storage room of a race track. Thus, there is greater emphasis on the process of intruding into the center of power/wealth/secrecy/privilege than the action-oriented formula of getting and running off with the loot as in most heist movies. THE KILLING is more like Jules Dassin’s RIFIFI. And DR. STRANGELOVE is about a mad general trying and the air force crew trying to penetrate Russian air space and about an officer named Mandrake trying to penetrate the mad general’s mind to get the secret code to stop the bombing attack. Incidentally, the mad general believes that the Soviets and communists have totally infiltrated and penetrated all levels of American government, military, and commerce. THE KILLING’s toying with chronology oddly lends a dual feeling of heightened anarchy and preordained fate, a feeling we also get from THE SHINING where the past and present — as well as physical time and psychological time — keep encircling one another, leaving us unsure if Jack Torrance is a ghost from a past reborn or a man of the present sucked via time warp into the past. And in EYES WIDE SHUT, even though the story progresses chronologically, the main character of Bill Harford(Tom Cruise) acts in accordance to the ‘ghosts’ of past events — his wife’s fantasy of infidelity and, then later, his suspicions about the possible murder of the woman who ‘redeemed’ him at the orgy. He moves forward in time, but his mind undergoes the ‘eternal return’ to the possibilities of the past that haunts him — ‘possibilities’ than ‘certainties’ because he can only imagine what really went through and still may be going through his wife’s mind and he can only speculate as to what might have really happened at the orgy-mansion after he was forced to leave. Time may move forward but our obsessions keep taking us back to the ‘ghosts’ that haunt us over and over and over, and such ‘ghosts’ are usually most closely associated with our desires, fantasies, and insecurities about power, wealth, beauty, sex, pride, and ambition. (In more ways than one, THE SHINING and EYES WIDE SHUT are closely related works, almost like two sides of the same coin, the dark side of the moon and the bright side of the moon. Through Alice Harford’s confession of her mad desire and all-consuming love — so powerful that it only took only a single glance and was beyond all rationality and social/moral conventions — for a naval officer, EYES WIDE SHUT takes on the shadings of a ghost story. The thing about ghosts is they don’t exist in physical form and yet linger as a strange presence in our lives. In this sense, all memories and fantasies have a ghostly element. Another characteristic of ghosts is that some can see them, others cannot. In THE SIXTH SENSE and MOTHMAN PROPHECIES, some people can see, sense, or be visited by supernatural spirits whiles others cannot. These spirits can be overwhelming — even terrifying — to some while utterly non-existent to others. So, the child in THE SIXTH SENSE sees and hears ghosts all around him, but his mother sees and hears absolutely nothing. The child Danny in THE SHINING senses something is wrong from the very beginning, but his mother Wendy senses nothing at all and thinks everything’s fine — though, to be sure, she did find something odd about the Negro calling her son ‘doc’. For those who are aware of the spirits, there is anxiety, fright, and resistance but also curiosity and fascination. Then, there are those come under ghostly forces without being aware. This is the difference between Danny and his father. Danny is aware of the forces that are working on him, but his father is not and comes under the spell of the ghosts, like an alcoholic giving himself to the power of drink. Even so, the ghosts can work on Jack Torrance because he has a hidden desire to be a man of fame, fortune, power, and access to gorgeous women — unlike his plain skin-and-bones wife played by Shelly Duvall. Ghosts have easy access to Jack’s soul because his desire for fame and fortune subconsciously seeks a Faustian pact with demonic forces of ultra-ego. In contrast, Wendy is content with the simple joys of life as wife and mother. Bill and Alice in EYES WIDE SHUT seem like the opposite of the humdrum plain-faced couple in THE SHINING. They seem rich, handsome, and glamorous. And yet, it’s not quite as it seems as all reality is relative. In EYES WIDE SHUT, the dynamics between the husband and wife is somewhat reversed. While Bill Harford, as a doctor, has a nice job and makes good money, he is content with what he has and is confident that his wife feels likewise and would never even dare to think of actually cheating on him; it wouldn’t surprise him to know that she may have fantasies of having sex with other men, but he’s cocksure that their love/bond is so solid that, when push comes to shove, she would never violate their conjugal arrangement to go off with another man. In this sense, Bill Harford is ‘limited’ in his imagination like Wendy. Neither is dumb, but both are prone to embrace and even earnestly believe in the cliches of life that goes “love and marriage, love and marriage, goes together like a horse and carriage”. Bill makes a clear distinction among sexual fantasy, personal morality, and medical duty. So, even though he might think of other women, he’s 100% sure that he would never cheat on his wife because he believes in the honor and dignity of marriage and its obligations. Though some of his patients might have ‘great tits’, he’s always totally professional as a doctor in the office. He neatly compartmentalizes his emotions into different spheres, and he projects his sense of emotional order onto his wife and is therefore sure about her socio-moral values as well. But just as Wendy was unaware of the dark ambition of power and wealth that had been lurking in Jack’s soul, Bill was unaware of the dark sexual currents running through Alice’s sensual soul or ‘sensoul’. His eyes are open but also shut in their conventional openness. He sees the reality but is blind to the ‘ghosts’ of reality; he sees his wife’s face and body but is blind to the ‘ghosts’ that possess her. EYES WIDE SHUT is about the porous barriers between spirituality and sensuality — often thought of as opposites in Christian tradition — , a kind of XXX-Mas movie, but then given the nature of consumerism that is so rampant during Christmas — the day honoring the birth of the Son of God who preached simplicity and self-denial — , humans are contradictory/dualistic creatures. When Wendy finally gets an inkling of what’s really eating away at Jack’s soul, she’s scared out of her wits, and similarly, when Bill learns of what’s really been going inside his wife’s head, he descends into quiet panic. Though her recollection is of a past event — and there is no chance of her seeing that naval officer again, especially as she doesn’t even know his name — , the manner of her confession suggests that not a day has gone by without her thinking about him and also that she might still choose him over Bill and her daughter in a heartbeat if he were to materialize before her once more. What really freaks Bill out at that moment is that this ‘sexual ghost’ that’s been haunting Alice’s heart-and-soul-and-ass-and-tits-and-pooter has been circling around him as well, but he’d been totally oblivious to it. If you’re intimate with someone, even his/her unspoken secrets are a part of your life as well since your life has, in so many ways, merged with his/hers. So, all these years, the ‘ghost’ of the naval officer has been circling around Bill as well even though he didn’t know it. When Alice was talking to him through the years, her mind might have been on the naval officer instead. When she was looking at him, she might have been measuring him — and his inadequacies — in relation to the naval officer. When they were vacationing together, she might have been fantasizing about the officer than relaxing with Bill. Even in their most intimate moments, when he was spread-eagling-and-pumping her or humping her from behind, she might have been thinking of the naval officer who might have been taller, even handsomer than Bill, and maybe bigger-donged as well. But all through the years, Bill was unaware of all this ‘ghostly’ presence that has had such powerful hold on his wife. It’s like Dustin Hoffman in STRAW DOGS has no idea that his wife is remembering the rape — with a mixture of sick terror and dark desire — earlier in the day as he makes love to her. He thinks he has redeemed his manhood — he’s decided to fire the crew of workers — and is having sex with his wife, but in fact, two of the male workers had ravaged his wife in that very house earlier. She didn’t tell him, and she has lost all respect for him as images of the rape recurs in her mind still, but he’s utterly clueless and thinks he’s the man-of-the-house once again. Anyway, if we use ghosts as a ‘metaphor’, they are the invisible thoughts and emotions of other people — and even of our subconscious that we are not aware of — that may mean everything to them but are invisible to us. This is why, when some next-door neighbor turns out to be a serial killer, people in the community often say, “He seemed like a nice quiet person.” They saw him but not the ‘ghosts’ that possessed him. It’s like Jews were really shocked when the Holocaust happened. They knew there had always been some degree of anti-Jewish feelings in Germany and Europe, but they had no idea how powerful it really was or could be. Not only the Nazis but many nice-seeming Germans took part in the mass killing, and many non-Germans willfully collaborated in the German-occupied territories. Many such people could have been next-door neighbors of Jews. In everyday life, they might have been kindly to Jews and greeted them every morning. Who knew that, deep in their hearts, they would have aided and abetted in mass killing if given the chance? Thus, Jews have learned to be extra-paranoid as the fears of Franz Kafka proved to be prophetic. But, many gentiles came to feel similarly about Jews. On the surface, many Jews seem rational, sensible, smart, and friendly. While Jews are known for their chutzpah and pushiness, many Jews are kindly-looking and humble-acting in the “I would never hurt a fly” way. Just look at the mug of Stanley Fischer, the former finance minister of Israel that continues to dispossess Palestinians.

“Would I hurt a fly?”

Take Hyman Roth in THE GODFATHER PART II. Why, he looks like a kindly old man who wants to do favors for other people and only wants just a little piece for himself. Indeed, there was something paradoxical about how the Jews became the Jews. The Jewish God was conceived as the most powerful force ever conceived by man. He wasn’t only the most powerful God but said to be the one and only true God according to the Jews. And He was said to be all-knowing and all-perfect. And yet, the Jewish God, who is greater than all other gods — who are presumably false idols — , chose as the founder of his special tribe a simple man named Abram who had no particular qualities that we might associate with heroism or ‘greatness’. Abram was not a great warrior, handsome stud, or even a genius. He was a simple man. But God chose him because he was a good man. So, it’s strange that the greatest God ever would favor the humblest of men. It’s like Charlie Brown choosing a dinky little tree in MERRY CHRISTMAS, CHARLIE BROWN instead of the bigger and more impressive trees. So, Jewish religion and tradition, more than other cultures, had a powerful moral foundation with the idea that the Jewish God bestows His blessings on the basis of goodness and humility than pride and power. And yet, given that the Jewish God was a cosmic projection of Jewish personality, it also means that, more than any other people, Jews nursed the biggest megalomania within their minds, hearts, and balls. So, it’s a strange duality within the Jewish mentality: the emphasis on both humble goodness and profound power. And the devious product of such duality can be seen in the Hyman Roth character in THE GODFATHER PART II who speaks so softly and acts as though he’s mission-in-life is to serve others than himself. When handed a slice of cake on his birthday, he asks for a smaller piece. He acts like Abram before God. And yet, he was planning all along to ‘live forever’ and become the true god of the gangster world and wipe out the Corleones as surely as the Zionists rubbed out the Palestinians. Michael doesn’t spare Roth at the end because he knows the way of the Jew. Michael has to ‘wipe everyone out’ because the Jew, even when beaten and down, will always come back and get is revenge. Though the humility-arrogance dichotomy and/or duality exists in all cultures to some extent, it’s especially powerful within Jewish culture. If most mythical narratives tell of a heroic tribal origin for a particular people, the two outstanding origin stories in the Genesis involve a humble man named Abram and the slaves who flee from Egypt under the leadership of Moses. Abram is rather taken aback by God’s choice of him as the founder of the Chosen Tribe, though the shock may have been over God’s instruction to scalp the penis of every male in the tribe, master and slave alike. And yet, given the power of the penis to create life and its potency as a symbol of manhood, there’s a certain cocksureness to the Covenant. Abram-as-Abraham, along with his wife Sarah, are even more taken aback when God tells them that they will have a child. After all, Abraham is an old man and probably has a hard time getting it up — though he did easily impregnate a slave woman in the household, so I guess his thing was working just like Saul Bellow’s or Tony Randall’s in their old age — , and Sarah is barren. Given that healthy children tend to be born of young parents, it’s odd that God chose an old couple who are way past their child-producing years to found a Chosen People. Maybe old-age-birth has metaphorical meaning as the combination of life, faith, and wisdom that only comes with experience and age. Young people have sex out of lust and lack of control, whereas Abraham and Sarah did it for higher reasons. And since Sarah had a child through what sounds like an impossible birth, there’s an element of miracle, as in the case of Jesus’s later birth of a virgin Mother. Anyway, we see the duality between weakness and power. Old folks are shriveled and frail, and yet it was through the coupling of old folks way past their prime that the Jewish Tribe was created. The narrative combines frailty with stamina and power. And this pattern shows up in the Jewish narrative over and over, as in little David’s seemingly impossible victory over the gigantic Goliath. In the Joseph story, the most bullied and belittled brother sold into slavery — by his own brothers no less — becomes the leader, master, and savior of his own tribe, his repentant brothers included. Joseph was like the psychoanalyst of his day and won the trust of the Pharaoh with the power to read dreams. In the Moses story and Exodus, Jews are an oppressed slave people, but they are aided by God to break out of Egypt. It’s rather interesting that, among all the ancient peoples, Jews would take special pride of identity and righteousness in the narrative of humility and slavery. Though the Jewish narrative of the underdog-against-the-giant is hardly unique, it is more potent than in other cultures that preferred the narrative of heroism and power. The Spartans, for instance, thought themselves to be the descendants of Heracles. The Romans saw themselves as the descendants of Aeneas the Trojan. Trojans may have lost the war, but Aeneas was still the son of a prince and the goddess Aphrodite. In contrast, there’s something shaggy and grubby about the origins narratives of the Jews, rather like of the lice-infested Sanjuro character in YOJIMBO. Most peoples of the ancient world would not have wanted to believe that their origins began with some humble tribesman or a bunch of dirty/desperate slaves. Perhaps, there is a certain paradox in the lowliest man striving for the highest power. While some lowly folks just accepted their lot — like so many indigenous natives of Latin America who’ve lived under Hispanic rule for centuries — , Jews may have been a lowly people with a powerful personality, which, combined with their fierce spiritual imagination, conceived of the greatest power that could ever be in the universe. Or, maybe it had something to do with the fact that Jews created a form of spiritual universe where God and men are totally separate entities. While God can peer into man’s souls and even though man’s flesh and soul were made with the hands of God, God is God and man is man, and man cannot be god; the twain shall never meet. In contrast, pagan cultures usually had a lot of porous areas between men and their world AND gods and their world. So, gods and humans could intermingle and have inter-spiritual sex and produce half-man/half-divine folks, such as Aeneas, though, even among the sometimes ‘gay’-ish Greeks, I don’t there was a story of gods and men having ‘gay sex’ and producing life through the butt-hole. In contrast, since there was a clear division between God and man in Jewish religion, there could never be divine ‘super-heroes’ among the Jews, though Samson came close, but then he was dumb enough to fall prey to a ‘shikse’ whore.
Because Jews could not be God-like according to Judaism, the corollary was God could not be man-like(like so many pagan gods). Since God was freed from anthropomorphism or animal-morphism, He could be as powerful as one could imagine Him to be. He wasn’t contained within any limitation associated with worldly forms. No matter how one may imagine the power of a man-like god or animal-like god, his or her power is bound by the form he or she is trapped in. Even Superman, as powerful as he is, can only be at one place at one time. But a God that is totally free from the semblance of creatures of the world can be infinitely powerful, infinitely everywhere, infinitely infinite. Since Jews could not be godlike themselves, they could never imagine themselves to be individually powerful like the pagans who thought the actual blood of the gods coursed through their veins as the result of inter-spiritual sex between their ancestors and the gods. So, Jews might have felt weaker and more vulnerable as individuals since they could only be entirely human than be semi-divine as many pagan folks saw themselves. And yet, because their God could be as powerful as He could be, Jews could, via association with Him, also feel as the most powerful and invincible of peoples: the paradox of ultra-power through ultra-humility. Because Jews were the most humble among the ancient folks — as none of them could be half-gods like pagan folks — , they were paradoxically capable of imagining the most powerful God. Since the Jewish God couldn’t be like humans with all their limitations and flaws — as indeed most pagan gods came to be — , He could be totally spiritual, totally perfect, and totally powerful. And in being bowing down to this God, the humblest of peoples, the Jews, could win His blessing and gain supremacy over the world. And of course, Christianity essentially squeezed this concept into the story of a single Man named Jesus who embodied both humblest and the most megalomaniacal characteristics of man. And because of the moral content of Jewish culture, a vague notion of righteous ‘victim’ took root and eventually pushed aside the physical notion of the ‘loser’. For most of history and in most cultures, it was a matter of winners and losers. Winners won, and losers lost, and that was that. Obviously, it was better to be a winner than a loser. No sports team wants to be the loser. But once power became moralized, especially by the Jews, the narrative of winners vs losers began to morph into one of wicked oppressors and righteous/sanctimonious victims. Under this spiritual scheme, a person or people could lose physically but still win spiritually or morally. As all cultures had a moral sense, such view was not unique to the Jews. After all, TROJAN WOMEN is full of sympathy for the Trojans and damning of the victorious and ruthless Greeks. Even so, it was really the Jewish tradition that did more to favor the righteous loser over the wicked winner, and this dynamics wasn’t simply about individuals but could be about entire peoples. Even so, it was really Christianity that bestowed the honor of righteous victim-hood to all peoples. In contrast, Jews were only interested in their own righteous victim-hood and didn’t shed any tears for the wrongs done to others — especially by the Jews — , and we can see the same psycho-moral pattern today. While many white gentiles acknowledge and feel guilt about the Holocaust — as well as ‘genocide’ of American Indians and black slavery — , Jews only gripe about their own historical victim-hood — and those of their current political allies, Negroes and homos — but feel no guilt about all the terrible things Jews have done over the centuries and especially in the 20th century, with considerable Jewish participation in the mass killing and spreading of communism, not to the mention the ethnic cleansing of Palestinians under the aegis of Zionism. Anyway, we were saying something about ‘ghosts’, actual or metaphorical, in the films of Kubrick. ‘Ghosts’ are all around us because there’s more to reality than physical or material things. Consider a game of chess. At the most physical level, we see pieces on the board. But what really make the game are all the invisible thoughts and calculations taking place inside the minds of the players. Each player not only tries to weigh his own possibilities but tries to read the mind of the opponent.

Crazy ho spills the beans

Thus, one needs a kind of ‘telepathic’ power to penetrate and predict the thoughts of the other player. Wendy in THE SHINING and Bill in EYES WIDE SHUT were shocked because they’d failed to read the minds of their spouses. They stuck to sociology 101 of proper family living and relations. Even when Wendy talks about a disturbing incident when Jack dislocated his son’s shoulder, she brushes it aside as just an accident on the assumption that Jack is a nice guy who just momentarily lost his temper. She’s either afraid or unwilling to enter the minds of others lest such knowledge undermine and upset her tidy view of the world. It’s like so many people have been brainwashed by Political Correctness to just trust Jews, Negroes, and homos and to never ever try read the darker motivations of such groups. Such people are a bunch of Wendys who prefer to believe in Jews as the most wonderful folks, praise MLK and blacks as Magic Negroes, worship homos as the ‘new normal’ saints and angels, and etc. They don’t want to pry into the dark history of Jews, the underbelly of MLK who beat up women, the gross reality of homosexuality where men indulge in fecal penetration and snobbish bitchiness, and etc. And of course, were they to pry into the dark side of Jews, Negroes, and homos, PC will accuse them of being ‘paranoid’ and ‘crazy’, even though Jews, Negroes, and homos are always prying into the darker side of white gentiles and supposedly finding Nazi, KKK, ‘racist’, ‘antisemitic’, and ‘homophobic’ ghosts in there. Anyway, because Wendy wants to be happy with a simple view of life — centered on housekeeping and TV shows — , she has no idea what is really gnawing away at her husband and son’s souls. And because Bill wants to maintain his social and emotional comfort — centered around professional dedication and being a supportive father and husband — , he has no idea what’s really swirling inside the mind, heart, and body of his wife. Just as Jack’s dark heart was willing to go so far as to kill his own wife and son to appease the ghosts of privilege, Alice could have deserted her husband, child, and even her sanity for one night with some sexual god of a naval officer; she felt as out-of-control as Uther when he saw Igraine in EXCALIBUR. When Wendy comes upon Jack’s stack of papers with “All work and no play make Jack a dull boy”, she’s especially unnerved because the Jack she knew all this time was not the ‘real’ or the ‘only’ Jack; indeed, it turns out he was mad even when he’d seemed totally normal. Similarly, when Bill hears his wife’s confession which goes like “All housework and no play make Alice a dull girl”, he’s stunned because the reality of her inner-soul or ‘sensoul’ turns out to be so unlike what he’d even dared to imagine. It is upon hearing his wife’s confession that Bill begins to ‘see ghosts’; his eyes open wider to see to more than what is apparent. The phone call that interrupts the hypnotic silence after her confession makes the moment all the more jarring. Before he’s had time to fully process what she just said and/or confront her about it, the phone call snaps him back into normality, as if shaken from a dream. And Alice, who’d been talking like a shaman-sorceress-medium as if in a seance from another realm, regains her senses and goes on as if nothing untoward had just transpired between them. But of course, even as Bill goes back to being the dutiful doctor again, he’s really shaken to the core. He becomes acutely aware of the truth that there is so much to reality than meets the conventional pair of eyes. Indeed, if we could read everyone’s mind and penetrate their deepest desires and secrets, how would reality seem to us? And if others could do the same to us, how would they see us and how would we see ourselves? We live in an empire of lies, and in a way, we have to maintain conventions in order to maintain civility and social order, but the rules and norms that govern such a necessity can also dupe us into believing that the mask is the face than an instrument of saving face. Thus, it was very uneasy when the likes of Freud and Jung began to penetrate not only the thoughts but the dreams and subconscious of others. They claimed to do it for the purpose of curing neurosis, but they were also ‘mind-fuc*ing’ other people, i.e. turning psychoanalysis into a phallus to enter the minds-of-others-as-mental-vaginas, which is why the instruments of mind-sharing in David Cronenberg’s eXistenZ look like sex-related bodily organs. Edward Cullen in TWILIGHT can easily read the minds of others, and as such, they’ve become boring for him, but Bella is special because her mind remains a mystery, i.e. full of ‘ghosts’ he cannot see, and indeed there’s a ghostly pallor about her in the first film. While we all know that everyone harbors his or her private/secret thoughts and feelings, we tend to be pretty confident of most people’s general nature. As Edward says to Bella as he scans the minds in the restaurant, “Money, sex, money, sex… cat” Most private thoughts, if they could be accessed, would probably be boringly ‘obsessed’ with the usual things; indeed, look at Americans at Walmart on Black Friday, and it’s an idiocratic morass of lust for BIG ASS this and that. But not all secrets are equal, and Alice’s confession is simply beyond sexual desire or fantasy. It’s as though, since the moment her eyes were set upon the naval officer, her soul moved into dream-mythic territory and worshiped him almost as a living god, so much so that her husband Bill became little more than a boy or a pet dog to pity and adore in her eyes — similarly, Captain Willard in John Milius’s original screenplay of APOCALYPSE NOW has a pretty good idea of what makes most military guys tick, but Colonel Kilgore is one warrior whose aura is spellbinding. Bill is made to feel like another child in the family than as the man of the house despite the fact that he is the bread-winner. And this feeling even comes to affect how he sees himself in relation to larger society. That so many people find him attractive is flattering and soothing to his ego, but he begins to feel that the world is mocking him. So, he’s especially intimidated when a bunch of louts bump him and call him a ‘faggot’ and when a secret society of perverted rich folks unmask him and order him to undress; he also feels small when Ziegler treats him like a child who needs to learn his lesson like a good boy who does as he is told; it echoes the scene when Bill spoke to the drugged out hooker as if she’s a child. It’s like a librarian telling a child to stay in the children’s section and out of the adult section. It’s like Hart in PAPER CHASE learning that, try as he might, he won’t ever enter into the world of Professor Kingsfield, intellectually, socially, or psychologically. So, while some secrets are of a generic nature, others tend to be of more peculiar, special, or shocking nature. All of us can imagine how the rich live, especially through TV shows like DALLAS, DYNASTY, and etc. We figure they have bigger homes, better clothes, more money, fancy yachts, and etc. We don’t have it but can easily imagine it. But what about the truly hidden world of the super rich that goes beyond generic delights and privileges? In the opening scene of EYES WIDE SHUT, Bill and Alice are invited to Ziegler’s party, and they feel they are ‘in’ with the upper crust world; they are in the inner sanctum with the ‘best kind of people’. But the orgy at the mansion later in the film serves as a metaphor for the innermost sanctum in the inner sanctum of power and privilege. It’s something that even a successful guy like Bill with connections to rich clients would never even have dreamt as possible unless he saw it with his own eyes, and indeed, the scene where he moves from room to room amidst a bunch of masked perverts humping one another feels like a dream; it’s like the moment in UGETSU when the pottery maker says, “I didn’t know such pleasures existed” as he surrenders his soul to an aristocratic ghost woman. It’s both wildly alluring and disillusioning since the appeal of any secret, no matter how great, lies its secrecy. Once accessed, it is a fascinating world of pleasure but also, all said and done, of tawdry and decadent indulgence by rich folks who apparently have nothing better to do than get a bunch of hookers and have a Hindu-like orgy ritual to get off; however grandiose their sexual ritual, it reminds us of Quilty’s silly games in LOLITA with his fellow artistes and hangers-on; in a way, Bill is like the Humbert Humbert character in that he thinks he’s awful clever, but then, cleverness is always a matter of context; as Merlin says in EXCALIBUR, “Remember, there’s always something cleverer than yourself”; you may think you’re playing others, but others who are smarter and more powerful than you are playing you. Even though he retraces the steps the next day to tie some loose ends — especially after hearing about Nick Nightingale’s bruises — , there’s also an inkling that a part of him wants to re-enter the world of the previous night for it was like nothing he had ever seen or imagined. It’s like after the Cullens leave Forks in TWILIGHT: NEW MOON, Bella goes kind of crazy and tries to invoke Edward’s presence by revisiting certain places and has imaginary conversations with Alice Cullen, the finest vampiress that ever lived. Anyway, what Bill sees in the opening of EYES WIDE SHUT is the generic world of the super-rich, with wine, dancing, and music. But what he sees later is a peculiar and ultra-secretive ‘ghostly’ world of the super-rich. Similarly in THE SHINING, Jack is shown the generic world of the rich in the Gold Ballroom, but he is blocked from the deeper recesses of the super-rich. There are parallels and contrasts between the opening party and the orgy in EYES WIDE SHUT. In both occasions, Bill is interrupted by one of the servants of the super-rich. At the party, Bill, who is walking with two gorgeous women, is summoned to Ziegler’s bathroom — which is bigger than most people’s living rooms and festooned with expensive art collections — where a nude woman reclines limply on a sofa from an overdose of heroin. Later at the orgy, Bill is summoned by a servant and brought to a ‘trial’ of sorts that accuses him of being a usurper. It’s like the scene in CASINO where some card cheater is brought to a backroom where Ace Rothstein and his goons warn him not to come around again… or else he’ll get what his friend got: a broken hand. The two interruptions — at the party and at the orgy — become interrelated via the figure of the hooker; the woman whom Bill may have saved in Ziegler’s bathroom at the party later ‘saves’ him from the super-rich who demand to see his willy. Also, if in the first encounter, Bill found a naked woman in Ziegler’s room, in the second encounter at the orgy, Bill is almost denuded himself. In a sense, Bill is also a prostitute of sorts though he’s too ‘limited’ to know it. Though Ziegler schmoozes him and profusely thanks Bill as though Bill saved his life, Bill is really just a fancy prostitute, a shoeshine boy to the super-rich who get everything their way, indeed even if they must destroy people — as Jennifer Rubin did to Jason Richwine — or kill scores of people, as Zionist-centric foreign policy has done around the Middle East. Even though the doctor in CRIMES AND MISDEMEANORS is not super-rich, he shares the mentality of Jewish sharks like Ziegler. He feels pangs of self-serving guilt ONLY WHEN he fears he might get caught, but once he knows he’s free and clear of any suspicion, he feels no guilt at all. He was only wrestling or rehearsing with ‘guilt’ only insofar as to convince himself and the world that he’s not without angst-ridden conscience over what he’d done. But knowing he’s clear of the murder of his mistress, he’s all smiles and no worries. And given Woody Allen’s sexual record, his moral character or lack thereof seems to be on the same wavelength; despite all the hand-wringing about morality and meaning of life in his films, he’s really out for #1, which is himself and #2, which is his Tribe; he’s really no different from Alan Dershowitz. Conscience can merely be a convenience of exhibition of guilt for those fearing they might get caught. That way, they can at least claim that they were troubled by what they to, at the very least, redeem their inner soul. But if they could get away with what they did, what do they care? At any rate, Bill is a prostitute who sucks up to power. Though we like to divide the world between the elites and the masses, or the 1% and the 99%, even among the elites, there are Zieglers and there are Harfords. Zieglers know it’s all about power and control, and the stuff about ‘justice’, ‘equality’, and ‘diversity’ that they peddle is only to dupe the suckers, the pigeons of the world. Just like pushers shouldn’t use their own supply, Zieglers of the world don’t themselves swallow the BS they peddle to the world. But not all elites are so cold and devious. There are the Harfords who swallow the official drug of the elites. Chelsea Clinton and Charlize Theron are Harfords; they adopt African babies in the sincere notion that they are ‘redeeming’ their ‘racism’ by promoting ‘diversity’ and ‘equality’ when that stuff is just a ruse used by globalist Jews to guilt-bait and sucker white folks. When Bill found the half-dead naked woman in Ziegler’s room, he should have confronted Ziegler about exploiting a woman in that manner and allowing her to use drugs in his bathroom; heroin, after all, is a lot more potent and dangerous than the pot Bill and Alice would smoke later at their place — or the champagne Alice shared with some Hungarian aristocrat. But Bill is servile to Ziegler and only admonishes the woman for having been careless. Sad to say, almost every American politician and white goy journalist act toward their Jewish masters as Bill acts toward Ziegler. They are running dogs of Jewish super-power. Ziegler wants to get rid of her as fast as possible, and we later learn why. He doesn’t care about her condition and only wants her at the orgy where the super-rich can gawk at her like a piece of trophy; as soon as she was conscious, she wasn’t sent home to rest but to an orgy to act the whore once again. While the hooker is hardly a saint and her drug habit is her own — just like the prostitute who caught HIV brought it upon herself — , there’s still no denying that Jews like Ziegler exploit the weaknesses of others to their own benefit instead of trying to help them. When a Jewish porn king sees a white girl fleeing from an abusive home, his idea of ‘saving’ her is turning her into a cumbucket for Negroes. He has no interest in cleaning her up except with the cum of strange men. And yet, the toy boy goy P.T. Anderson in BOOGIE NIGHTS praises a porn king as a benign patriarch who lends ‘dignity’ to his flock of gentile whores. And the so-called mainstream culture meekly accepts the new Disney as a Jewish prostitution industry that encourages young white girls to grow up to be the likes of Britney Spears, Christina Aguilera, and Miley Cyrus. Hollywood Jews use white girls like Ziegler uses white women. The only reason why the woman was with Ziegler and at the orgy is because she’s beautifully built, and such awesomeness is one prize that is still ‘democratic’, i.e. even the worst of ‘white trash’ can produce individuals blessed with beauty, even if it’s all tits and no wits. But given that most people who are beautiful have little in the way of brains, they are bought and ridden like horses — like the horse of the Hollywood producer Woltz in THE GODFATHER. Jews own beautiful white women to be used as actresses, models, music idols, and porn ‘stars’; Jews own the strong Negroes to be used as athletes, music idols, and porn stars. The result is Jews owning the new culture where the tough Negro stud whups the white boy and humps the beautiful white woman. As for the white male in this new order, they are now just chauffeurs of Jews and their lot is to pull to jerk off to images of Negroes banging their white wives, daughters, mothers, and sisters, or even images of Negroes banging white homo boys in the ass. Even straight white guys are developing the sexual demeanor of someone like Andrew Sullivan, a fruitkin who loves to get his fairy-hairy white ass porked by giant homo Negro dicks. Anyway, returning to Bill Harford, he succumbs to a kind of paranoia, changing from a Bill who was clueless of the ‘ghosts’ hovering around him and Alice to a Bill who begins to imagine even ‘ghosts’ that are not there. While certain forms of paranoia are schizophrenic, other kinds of paranoia could be existential reactions to life events, and such can paradoxically most deeply affect those who’d been most trusting and conventional. In the beginning of the film, Bill is a trusting and trustworthy person. Bill trusts his wife to do the right thing, he trusts himself to do the right thing — he knew he wouldn’t do anything salacious with the two women who clung to his arms, unlike Ziegler who was having adulterous sex with a hooker upstairs — , and, despite Ziegler’s sexual peccadillos, Bill trusts Ziegler as essentially a respectable man who just happens to be too horny. Indeed, Bill, as doctor and ‘friend’, assures Ziegler than his lips are sealed on the matter of what just happened with the hooker. In one sense, it’s a simple case of doctor-client privilege, but we can’t help feeling that Bill is especially compliant toward Ziegler because Ziegler is so impressively rich and smart. Bill’s servility toward Ziegler is markedly different from Zhivago’s promise to say nothing about Komarovsky and Lara in DOCTOR ZHIVAGO. Zhivago makes it clear what he really thinks of Komarovsky, whereas Bill seems eager to be in good graces with Ziegler who is actually a bigger slimeball than Komarovsky who, at the very least, did really love Lara in his own crazy way and went to great trouble to save her. For Ziegler the psychopathic Jew, nothing and no one matters but his own power and pleasure. In contrast, Komarovsky, cynical as he is, has a repressed sentimental side, and on that level at least, he has something in common with Zhivago, as much as he is loathed to admit it. They are both romantics deep inside. Bill is a very ‘limited’ person and becomes a romantic only through dark emotions stirred by his wife’s confession and the weird experience with the hooker who ‘redeemed’ him at the orgy. Bill is introduced in the film as a trusting and trustworthy person, even if he gives his trust to a slimeball like Ziegler. But upon hearing Alice’s confession, his trust in her is shaken, and thus his self-trust is also shaken. He comes to realize that his trusting view of the world around him led to a huge blind-spot. Thus, his troubled soul begins to see the ‘ghosts’ around him in the form of fantasies about his wife having sex with the naval officer, among other things. After having trusted for so long, he wants to stop trusting and see the ‘ghosts’ that are not visible to the naked eye, and he is gradually drawn into a strange world of dark sexual desires. But the problem is that proto-paranoia, while initially stimulating of one’s imagination to see more than is apparent or conventional, has a way of going beyond the limits and even beginning to imagine stuff that are not there. Maybe something like this happened to Oliver Stone. He was raised as a conservative patriotic type — rather like a younger Pat Buchanan minus the religious and racial zealotry — who believed in Red, White, and Blue, but after fighting in Vietnam and experiencing the radical 60s, along with using lots of drugs, he became not only skeptical of the government and the establishment but came to see the most outlandish kinds of conspiracies everywhere. A naive person fails to see anything other that what is readily visible or officially promoted by the powers-that-be. But if such a person is shaken by a personal or political crisis, he might shift into proto-paranoid mode, and he might see more than what official truth will allow. But once full paranoia sets in, he begins to ‘see’ things that are imaginary. In a way, ultra-naivete and ultra-paranoia are two sides of the same coin. Ultra-paranoia is as innocent and susceptible as ultra-naivete. If ultra-naivete believes everything disseminated by official authority, ultra-paranoia disbelieves everything disseminated by official authority — even the fact that airplanes crashed into the Twin Towers and the Pentagon building on 9/11 — and is susceptible to believing just about all and any conspiracy theory from alternative sources. So, if an ultra-naive person would never has asked questions about the Warren Commission, an ultra-paranoid person might well think that not only the FBI, CIA, the Pentagon, LBJ, and Dallas police but even a New Orleans fairy with curly white hair were in on the plot to kill Kennedy.

Man Who Killed Kennedy

Something like this transformation happens to Bill. He goes from naive trust to proto-paranoia to paranoia to ultra-paranoia. While Alice might have on-and-off thoughts about the naval officer, Bill comes to feel that such fantasies are all-consuming in her mind when, quite possibly, they might not be and may have been confessed by Alice because she smoked too much weed and wasn’t really feeling herself. But for the next two days, Bill cannot spend a single minute with or without Alice without the ghostly imagery of the naval officer swirling between him and her. What makes it worse is the dream she had when he returned from the orgy. While he’d only been looking at naked bodies engaging in sex, she was immersed in a dream where she was totally naked and was being humped by a whole bunch of men, among them the naval officer; and in the dream, Bill was humiliated, just like at the orgy. At least at the orgy, a woman ‘redeemed’ and saved him, but in the dream, his own wife mocked and laughed at him. So, is Bill right or is he wrong about Alice? Did he go from underestimating her dark desires to overestimating them? And even Alice may not fully know herself as dreams, like drugs, release repressed feelings buried in the subconscious. Bill even imagines a conspiracy where the woman who ‘redeemed’ him was murdered. Ziegler’s explanation of events may be entirely correct — it was all just an act and she died of drug overdose — , but the alluring thing about paranoia is that the afflicted, even as he is troubled by suspicions, clings to them as a precious key to the hidden truth. It’s like Richard Gere’s character in MOTHMAN PROPHECIES is both terrified and attracted to the paranoia-inducing messages from a mysterious force that calls itself ‘Indrid Cold’. Paranoia is thus both discomfiting and comforting, which is why some JFK and 9/11 conspiracy theorists just can’t let go of their theories against all evidence that, yes, Kennedy was killed by a lone gunman and the Twin Towers fell because of the impact of planes and not hidden explosives in the building. On the other hand, we don’t know for sure what really happened with the hooker. Maybe she really was killed in some bizarre ritual. Unlikely but who really knows? Indeed, a sequence of events at the orgy belies Ziegler’s contention that all of it had been an act. Recall that the hooker, who’d been standing in a circle, walked up to Bill, led him away, and then warned him to leave the mansion to save himself. As Bill had walked into the middle of the ritual, there could have been no time for the masters of the mansion to order her to warn Bill to get lost, at least when she did it the first time. It seems she, of her own intuition and volition, spotted an uninvited guest who happened to be Bill and warned him to leave. So, it seems she noticed an outsider/intruder even before others did and tried to help/save him before she was told what to do. Of course, once the powerful folks in the mansion discovered there was an uninvited guest in their midst, they ordered her what to do with the stuff about ‘redeeming’ him, but her concern for him might not entirely have been an act, at least not initially. So, maybe just maybe, she was indeed murdered in ritual sacrifice because she, against house rules, tried to save someone out of her own free will. At any rate, the psychological pressures build to such a level that the only way Bill can enter into a post-paranoid state is by breaking down and confessing all. But of course, people cannot live like that forever either, constantly spilling the beans on their dark and troubling fears and fantasies. There has to be a balance between the emotionally ‘limited’ tendency to trust and the sensually charged obsession to tell all. Incidentally, the elements of naivete, trust, distrust, and paranoia can play out in stranger ways than in EYES WIDE SHUT. Consider THE GODFATHER PART II. Unlike Bill Harford who is sincerely ‘limited’ in his emotional understanding of people and the power dynamics around him, Michael Corleone believes himself to be a cynical player and feels confident in his ability to see the world as his enemies see it. So, early on, his main suspicion falls on Hyman Roth, and he takes actions to smoke out the ‘traitor’ on his own side. Unlike Bill, Michael watches coldly and has nerves of steel. He has no illusions about the nature of the business he’s in; he trusts no one and suspects everyone, even his own men. He keeps Tom Hagen away from certain affairs — for him to trust Hagen on some things, he cannot trust him with other things — , and after the assassination attempt, he uses Hagen to watch his men while he goes to see Roth and Pantengeli. As Michael says to Tom: “All our people are businessmen. Their loyalty is based on that.” And indeed, Michael is sneaky and savvy enough to outmaneuver Hyman Roth though Roth is as good or even better than Michael in the game of power. And unlike Bill, who really is a bit naive, Michael only plays naive before the Senate Committee. Just like powerful Jews act like they got no power and emphasize their victim-hood, Michael says he’s not a boss of a criminal empire and that he doesn’t own or control casinos in Las Vegas. Instead, he reads a statement about how he fought for good ole USA during WWII. Before public scrutiny, Michael would have the world believe that he’s just some smalltime businessman with some stocks in the casino industry, along with in IBM and out blue-chip companies. He denies that he any special powers or connections or a dark past. Unlike Bill who believes in his own cliches and clings to his own conventionality — until Alice’s confession sears his heart and penis like nothing before — , Michael only plays at being conventional and a good American. Even so, Michael is also a dupe in ways he never suspected. Even though Michael is extremely distrustful of the world outside the family, he believes in devotion to family, and furthermore, he never entirely lost his idealism about America. He was willing to do the right thing and fight for the US during WWII instead of using medical deferment procured by his father. And even though he joins the world of crime, he sincerely wants to gain enough power and wealth so that the Corleones can eventually go ‘totally legitimate’, which is difficult since even the ‘legitimate’ world isn’t so legitimate either, with the likes of corrupt Senator Pat Geary and the other senator owned by Roth. But more than business, Michael believes in the family. He says to Geary, “Senator, we are both part of the same hypocrisy, but never think it applies to my family.”

Who’s the real ‘traitor’ in the family?

But just as Bill didn’t know his wife’s true heart, Michael’s faith in family led to some serious blind-spots. Michael, the mastermind of ‘business’, couldn’t see how Fredo resented him, indeed enough to make a deal with Roth that could have cost him his life and those of his wife and children. But Michael’s biggest blind-spot was about Kay. He saw Kay as a good American girl who would remain by his side. He saw her as someone who would appreciate all that he’s trying to do to make the family go legitimate and become part of the American way. He saw her as the proud mother of his children. But it turns out that, even more than Fredo, she was the real ‘enemy’ of the family who committed the ‘infirmia’ of aborting or ‘murdering’ his son. So, the very people Michael loved and trusted most came to betray him in the most profound way. And to the extent that Connie allowed Kay to see the kids behind Michael’s back, he feels betrayed by her as well. So, an odd kind of paranoia hovers over Michael. In some ways, he’s the most paranoid and distrustful person, and yet he could also be the least paranoid and most trusting, at least within the family because his mind dichotomized the world in terms of ‘family’ vs ‘business’. In ‘business’, anything goes, but within the ‘family’, trust is solid gold. Even his lies to Connie and Kay about the disappearance of Carlo was to preserve trust within the family. But trust built on lies and denials is cancerous. Thus, trust within the Corleone family is built on an unstable foundation. Carlo, Connie’s first husband and a member of the Corleone family by marriage, betrayed Sonny, and Michael betrayed Connie by having Carlo killed, and Connie betrayed him by ruining her own life. And yet, Michael clings to the faith in family trust. He never trusted Fredo enough to hand him any serious responsibility, thereby hurting Fredo’s self-pride, and yet, he never expected Fredo to turn against the family. Because Tom argued for ‘business’ when Vito Corleone was nearly killed in an assassination attempt, Michael came to trust Tom less, and yet, Tom — not of Sicilian blood — turns out to be the most loyal one in the family, whereas Michael’s own blood kin, Connie and Fredo, turned on him, and finally, even his wife, the mother of his children, betrayed him and kill his unborn son in the name of bringing to an end this ‘Sicilian thing’. So, just as even the greatest chess players sometimes fail to see certain moves and lose games, Michael has his own blind-spots, ones so huge that he can’t believe it when it happens; it’s like the Yves Montand character in THE WAGES OF FEAR is ever so cautious and fearful while delivering nitroglycerin to the burning oil fields but so careless on the return trip. With Fredo at least, Michael sort of suspected it was him after the attempted assassination but simply didn’t want to believe it and waited until the facts were undeniable. But with Kay, he was like a deer in the headlights and didn’t see it coming at all. He was so ‘blind’ that he thought Kay was depressed and trying to leave him because she was upset over the ‘miscarriage’ when, in fact, she had deliberately killed his son to get back at him. Michael remembers his father saying, “Keep your friends close, but keep your enemies closer”, but he failed to understand that his closest family members could be his worst ‘enemies’, ironically because he was ‘trying to be strong for the family’; another irony is that his family members
felt most distanced from him. As he was so immersed in ‘business’ and tried to protect his family from it, he became more intimate with the game of power than with family life. It’s like the song “Cats in the Cradle” by Harry Chapin. In actuality, ‘business’ becomes his true family, which is also true of Nixon in Oliver Stone’s film. Of course, one reason why Michael was so ‘blind’ was because it’s human nature to fixate on those with power and overlook those without. As Hyman Roth was the big fish, Michael focused on the powerful Jew while taking for granted the loyalty of weak & stupid Fredo and the trust of his kindly wife Kay, a ‘good girl’ who, after all, married him despite his disappearance from her life for several years in THE GODFATHER. Similarly, Bill in EYES WIDE SHUT, as a medical professional who works with rich clients, sees his wife as essentially a domestic partner and incapable of any ‘big idear’. In THE USUAL SUSPECTS, the detective underestimates Kevin Spacey’s character because of his beta-male act and gimpy leg. In WILD BILL, Hickock drops his guard against the loser kid who turns out to be one who kills him. And Jesse James was killed by a ‘coward’. And it is the ‘loser’ guy who finally pulls the trigger in BULLETPROOF HEART, aka KILLER. This is perhaps why the white gentile establishment was taken by surprise by the rise of Jews. Jews were supposed to be Holocaust victims, pawn-brokers, a humble people who’d been misunderstood and mistreated for too long. I mean, wasn’t it time to give them a break! So, while the Wasp establishment lowered its guard, the Jews gained the power and came to own Wasps as their whores who, as collaborators, could keep their goodies if they served the Jews. It’s like Mike Tyson took his power for granted and took Buster Douglas lightly, but look what happened. If you want to keep the power, you never lower your guard and you never waste your sympathy on a group that is as intelligent, motivated, and hostile as the Jews. Whites underestimated the rise of blacks and homos for the same reason. They just saw blacks as poor Negroes who be wanting to be recognized as a ‘man’ and saw homos as just a bunch of fairies who just wanted to be left alone. Little did they know that blacks wanna kick white boys’ ass and hump white girls, and little did they know that homos are, by nature, a bunch of sneering, sniveling, and snotty neo-aristocrats. If you’re a good-looking straight male, a homo might smile at you and act ‘nice’, but he really wants to pummel your ass with your whanker. Homos not only love fuc*ing people in the ass physically but socially, politically, and culturally.)
Anyway, the problem isn’t only that Jews were not allowed into Wasp country clubs. It’s that even when they were allowed in, they looked around and still felt as the funny-looking Jew in contrast to the better-looking and cleaner-looking Wasps. I mean if you look like Anthony Weiner and full of egotism, it’s not gonna be pleasant when you look in the mirror and see someone as ugly as Beavis staring back. Beavis, being dumb and ‘innocent’, doesn’t mind what he looks like, but a smart guy like Weiner is bound to feel resentful.

It may be Jewish guys are more penis-centric than most other white ethnic groups to compensate for their generally inferior-looking faces. It may also owe to the fact that so many Yiddish words alliterate with with ‘schlong’.

Amy Chua is getting at something more than power and success. After all, the title of her book speaks of the RISE AND FALL of groups in America. Why did so many elites and empires rise, fall, and vanish? Why were some civilizations defeated time and time again but always managed to spring back and regain power and respect? It’s like a sports theorist wondering what makes some teams continue to have winning seasons — and even if they have some losing seasons, how they manage to regain the trophy. Lots of teams have won championships, but relatively a small number have had long winning records. Consider the domination of the New York Yankees from the 1930s to the 1950s. Or the San Francisco 49ers in the 80s and first half of the 90s. Many empires all over the world rose to great heights, but most of them completely vanished into the thin air, gone for good or subsumed into other cultures or civilizations. Why did it happen to some peoples while others, even though conquered and humiliated time and time again, managed to come back and rise to great heights once again? The two groups with the longest winning record are the Jews and Chinese. In many ways, the Jewish story is more compelling as Jews had to maintain their identity as a minority over thousands of years in vast majority gentile lands. In contrast, China’s geography protected it from most other powerful civilizations, and therefore, it only had to deal with periodic invasions from barbarian peoples — who were also Asiatic in appearance — who would, in time, be absorbed into the superior Chinese culture. One might make a case for the resilience of the Chinese community in Southeast Asia, but it was natural for the Chinese to maintain their own identity given the relatively backward cultures of the natives. In contrast, Jewish cultural survival is all the more surprising since they rubbed shoulders and went head-to-head with some of the biggest, most advanced, and most awesome civilizations and empires the world had ever seen: Egyptians, Babylonians, Assyrians, Persians, Greeks, Romans, Christian Europe, Ottoman Empire, and etc., many of whom could have been said to be, at the time at least, superior in culture and achievement to the Jews. So, why did Jews manage to cling to their culture and identity more than other peoples? Some might say it had something to do with the Jewish concept of God, but maybe it also owes to the ‘democracy of identity’ among Jews as well. In many pagan civilizations, the power of identity was monopolized essentially by the elites. The rulers represented the identity and pride of the community, and most people were little more than servants, slaves, chattel, riff-raff, and etc. Thus, if the elites fell, the identity was destroyed along with the elites, and the masses were left with no pride of identity since it had been hogged by the elites. In contrast, Jewish identity was equally shared by all, and its mythic origins began not with a royal family or great heroes but with a humble man named Abram who was told to scalp his penis as a Covenant with God. Thus, even though there were rich Jews and poor Jews, powerful Jews and weakling Jews, elite Jews and ordinary Jews, they were all bound together by the ‘democracy of identity’ whereby God was said to have loved all of them regardless of their riches/power or lack of it. Also, as ALL Jewish males were made to scalp their penises, all Jews felt as part of a single tribe. In other cultures, the elites might have certain markings to set themselves apart from the masses, but among Jews, universal circumcision among males had a unifying effect. Thus, even when Jewish elites were crushed or destroyed, the Jewish people maintained a strong sense of identity because even the lowliest of Jews had a Covenant with God through their scalped penises. It also probably helped that Jews were an idea folks than an icon folks. Icons are heavy and hard to carry if a people were defeated and exiled, but ideas can be carried on scraps of paper or in the mind. Perhaps, Confucianism had a similar ‘democracy of identity’ impact on the Chinese. At least ideally, it gave all Chinese the hope that their sons could study and pass exams and be part of the civilized gentry class. And the word-centrism of the Chinese may have made it easier to carry their identity outside China, because, even though the Chinese took pride in their land known as the Middle Kingdom, their kingdom was also the kingdom of the mind where Chinese anywhere could keep their Chinese identity and tradition by spouting Confucian cliches and writing calligraphy. Word-centrism allowed Jews and Chinese to travel all over and still manage to preserve their own culture, and this gave them both a kind of quasi-cosmopolitan edge, but, at the same time, their identity never surrendered to the ideal of universalism — as may be happening with the Christian West — as Jewishness and Chinese-ness still remain racial, tribal, and particular identities. The Catholic Church would like everyone to become a Catholic, but no matter how much Jews and Chinese may spread their tentacles or dragon claws around the world, they don’t want everyone to be Jewish or Chinese. The more Christianity fulfills its mission of universality, the more the white Christian or Christian-moral-informed European folks lose their particular identities. In contrast, the more Jews wanna be Jewish and the more Chinese wanna be Chinese, the more they become Jewish-centric or Chinese-centric. In contrast, the credo-centered religion of Christianity and credo-centered ideology of Americanism are bound to fail their founders-and-their-progenies the more they fulfill their missions of universalism. If Christianity’s ultimate goal is to Christian-ize or Christian-moralize the entire world, then the Western spreaders of Christianity will become subsumed by the Christian-ized tide of color that will engulf the ever shrinking white populations of the West who were the original Christian power-holders. And if Americanism’s ultimate mission is to create a nation that is color-blind and bestow equality and liberty to peoples from all over the world, then the white descendants of the original founding stock of America will be swallowed up by the tidal wave of color. For a long time, Christianity and America became almost synonymous with white people since the former developed in Europe and because whites were the overwhelming majority founders of America. But if in the end, both are more universalist than particularist in nature, whites are bound to be swallowed up by the world order they’ve created and expanded all around the world. The more Christianity and Western Liberalism succeed, the more they eventually undermine the power of their promoters. If you turn basketball into a universalist game, blacks will beat you even if your people invented basketball. This is something that Jews and Chinese don’t have to worry since the very ideas of Jewishness and Chinese-ness are particularist at their roots. Though portable and quasi-cosmopolitan due to their word-centrism, Jewishness and Chinese-ness are not about turning the world Jewish or Chinese but rather about using the world to increase Jewish or Chinese power/wealth/influence. It’s we-niversal than you-niversal.

Amy Chua, given books like DAY OF EMPIRE and BATTLE HYMN — as well as TRIPLE PACKAGE — , is obsessed with power. She’s less interested in freedom and liberty per se than how freedom and liberty can be used to gain power because, after all, freedom without power is nothing. Beavis and Butthead are as free as anyone else in America, but what they do amount to? Freedom has meaning as the freedom to gain power for history is the story of power. Though some leftist scholars now focus on the powerless of history, that too is game of power since such scholars — often Jewish, mulatto, or Asian — are really trying to shame white gentiles to gain power over them. Discussing the powerless of past history doesn’t help them as they are all dust in the wind; rather, it helps those in the present who use the past to justify their own empowerment, and empowerment means not only gaining power against the powerful but gaining powerful over others. It seems what Amy Chua loathes most are slackers who’re just happy to be free without direction or ambition in life. After all, squirrels and sparrows are free too. History is made by power, and so, freedom is valuable only to the extent that it leads to power. In a nutshell, her view of the world isn’t much different from that of Tom Vu, the ‘legendary Asian pimp’. “You a loser, get out of my way… Take a look at them from head to toe… of course, they have nothing… stay away from them… learn from success, not failure…” So, what are the keys to not only success but keeping the fruits of success and seeding them for even greater success? And if tragedy were to strike and rob a people of the fruits of their success, what is the crucial formula for them to rise again? Why did Germany and Japan, so terribly wrecked in WWII, rise to economic heights? Why is Haiti still the same stinkpot before and after the earthquake? How come Detroit, once one of the leading cities in America, became a city of no lights? To be sure, blacks are always the exception because, while most peoples have much to gain or lose depending on their cultural emphases, there isn’t much of a difference between blacks who do things right and blacks who do things wrong. The problem is essentially biological, with too many blacks being either not smart enough or not self-restrained enough. Though Chua and like-minded thinkers may focus on delay of gratification, such trait is as much the result of genetics as social conditioning. Also, such conditioning may be more effective among some groups like whites and Asians because, by nature, they may be more respectful toward authority. It’s like dogs are easier to train than cats because of the differences in natural temperament. Cats generally don’t care how you feel about them, whereas dogs are very sensitive about how you feel about them. (Consider the social form of tipping among Americans. It could be that blacks are less likely to tip because they’re less sensitive about offending others. While blacks are ultra-sensitive about others offending them, blacks don’t care if they give offense to others. In contrast, whites and Asians worry about giving offense to others; they are naturally wired to be ‘nicer’. While their niceness may be sincere to some extent, it could also be the expression of their fear of being thought un-nice. What’s funny about America today is that three least sensitive groups — the wild-ass Negroes, the pushy Jews, and sneering homos — are the ones making the biggest stink about how everyone should be sensitive toward them.) So, the higher levels of ‘self-control’ among whites and Asians may owe not only to SELF-control but fear of external control if they were to get out of line. A white person or an Asian person may feel greater shame at being ostracized by others, whereas blacks are more likely to say, whereas blacks are more likely to say: “fuc* you and suck my dick or kiss my big fat ass.” So, while whites and Asians are also capable of acting wild and crazy, they fear being ‘caught acting the fool’ more than blacks do. Though MLK has been much praised and revered, the actual man was much like the person in the linked video, who, in turn, looks like the MLK-Bouncer-of-the-Mall statue in Washington D.C.

Anyway, one general rule of longevity/power is the fusion of the slave and master narrative. Paradoxically, for the masters to remain masters, they must infuse their master-identity with slave-identity. For one thing, it has a way of reminding the young ones born into power and privilege that the power and wealth they enjoy had been earned through ambition, hard work, and discipline of their ancestors and should never be taken for granted as manna from heaven. Also, the slave narrative has a way of keeping the masters filled with anger, and anger is not only aggressive and energetic but righteous. Also, the slave narrative lends moral justification to one’s side, i.e. one’s own side deserved to win because it had been wronged by the previous masters who’d enslaved them and from whose bondage they broke free and fought their way to the top. Such narratives also exist in the story of the gods. In Greek mythology, the Titans sought to wipe out their children, the Olympians, and the triumph of the Olympians was thus a slave rebellion against their brutal parents, and their victory gained an element of moral righteousness. United States was founded on a slave rebellion narrative though American colonials were hardly slaves of the British Crown and even though some of the Founding Fathers were themselves owners of slaves. Such a narrative gave moral justification to the new masters of America. While clinging to their elitist power, they felt as noble leaders who’d led a ‘slave rebellion’ against the tyrannical crown of England. And of course, the entire history of Christianity was founded on spiritual slave rebellion of Jesus. Though Jesus didn’t rebel physically, He still resisted Roman and Hebrew authorities and chose to die than bow down to their power. He rebelled spiritually by having His spirit triumph over the material powers of the world. This idea enabled future Christian rulers to see themselves as humble servants of the Great Lord who’d been killed by unjust authority. So, even though Christians rulers were themselves ruthless and devious worldly masters, they beheld a kind of slave rebellion narrative that made them feel morally righteous and justified in their power. Since their Lord had been whupped real bad and killed most cruelly, they didn’t regard their power as merely worldly power but righteous power blessed by the Heavenly spirit aligned with the enslaved and oppressed all over the world. It was this element of humility within the heart of power that allowed the Christina West to survive for 1,600 years despite so many upheavals and setbacks. In contrast, the supremely arrogant rule of the Nazi Germany had no chance of second life after its ignominious fall because, in the end, its concept of power had nothing to show for itself but supreme and absolute arrogance. Once Hitler led Germany into war against the USSR, Germany could either win all or lose all with no other possibility in between. In contrast, the Christian concept of power always reminded Christian masters of the world that there is a higher truth and that their power can only be justified by the blood of suffering Christ who was whupped and killed worse than any slave. Though Hitler did build the National Socialist ideology partly around the slave rebellion narrative — especially against Jews — , his mania about the racial superiority of the ‘Aryans’ was so extreme that he dispensed with any moral consideration of power. Once war with the USSR began, the power struggle became purely a matter of which race is better than which side is more justified on any moral grounds. Of course, there was German propaganda about how Germans were ridding Europe of the Jewish and Bolshevik virus, but there was also the stuff about how Germans were so superior that they had every right to crush and enslave the Slavs and even kill them in huge numbers.
In military terms, Hitler increasingly lost his patience and self-control as he pushed events forward. Though he came to power with iron control over his impulses — even his impassioned speeches were carefully prepared— , once his appetite was whetted for more victory and glory, he began to act like a degenerate gambler, and in the end, he was fighting a fantasy war inside his head than the actual war in the real world that he was losing badly. Such boldness can pay huge dividends, but if one wagers everything on a single bet, one is likely to lose everything, and the Nazis totally lost everything in WWII. Thus, slave consciousness is useful for those who seek power for it reminds them of the possibility that any people could end up as slaves, and therefore, to avoid such a fate, one should play the game of power with caution because not doing so can lead to total defeat and slavery. Hitler rose from the gutter and had become familiar with poverty, but he was so sure of ‘Aryan’ superiority and his own greatness that he eventually came to take for granted that his inspiration and vision would lead Germany to total triumph. And with the swift victories over France and with UK reeling and fleeing desperately across the English Channel, he came to favor boldness over caution at every turn because, after all, he’d been proven right while all those who’d urged caution had proven to be wrong. Since he’d been right thus far, history must have been and will always be on his side, especially since he was so convinced of the superiority of the ‘Aryans’ over other peoples. With less fear of defeat and of the possibility of German people relegated to slave status, Hitler threw all caution to the winds. Henceforth, he could win everything or lose everything, and he lost everything. Of course, history would judge him differently if he’d won everything, but a wise man knows that the horrors of losing everything far outweigh the bliss of winning everything. Personally and historically, the happiest moment cannot compare to the most horrible. Happy can never be too happy whereas horrible can be horrible beyond horrible. The joys of a happy occasion like graduating from college, getting married, or watching TWILIGHT cannot compare with the agonies of being tortured or watching JEANNE DIELMAN. It’s better not to win big than to lose big.
Given Hitler’s loss of impulse control as the war dragged on, he violated one of the principles of the Triple Package. While a sense of superiority combined with an inferiority/insecurity complex can propel an individual, a people, or a movement forward, it must be remembered that without impulse control and some kind of mechanism of caution, the energies can run out of control and lead to destruction. Of course, Jews themselves have sometimes tended to forget this valuable lesson either due to excessive prophetic or intellectual arrogance, chutzpah, greed, or contempt. Jews like Allen Klein, the manager of the Rolling Stones and the Beatles, eventually lost their friends as the result of too much greed and pushiness. And indeed, the Holocaust cannot be properly understood if we see it solely as a case of totally evil Germans just deciding out of the blue to kill a whole bunch of saintly innocent Jews out of some crackpot ideology. Though Jewish media tell us about the ‘antisemitic’ perceptions about Jewish communism, finance capitalism, cultural subversion, and the like that paved the way to the Holocaust, the fact is a lot of Jews were involved in radical, subversive, and/or dangerous movements that understandably alienated and angered a lot of Germans and other Europeans. This was especially troublesome given that Jews were acting like this in non-Jewish lands.
In consideration of the problems Jews sometimes stir up in gentile societies, there’s been a school of Jewish political strategy calling upon Jews to not ‘rock the boat’ too much. Why act so obnoxious, pushy, and heinous, thereby upsetting even gentiles who initially felt no ill will toward Jews? It’s like even leftist Europeans who want to sympathize with Gypsies or Roma often end up hating them because so many Gypsies act in horribly scummy ways. (We’ve all grown up with stories about decent gentiles who went against the grain and saved Jews from the Holocaust, and during most of my life, I would have said I, as a moral person, would have risked my own life to hide and save Jews if something like the Holocaust would break out again. But today, considering the Jewish role in massive financial robbery, anti-white agenda, open borders to destroy the racial integrity of the West, the promotion of anti-white interracism that encourages white women to become ‘mudsharks’ and have mulatto babies, the radical homo agenda, the destruction of the Middle East and massive horrors visited upon Arab Christians, the political war on Russia for having resisted Jewish oligarchs, the promotion of porn culture, and the blood libel of expending gentile blood to fight Wars for Israel, I certainly would not aid Jews if the Second Holocaust. I wouldn’t take part in the Second Holocaust, but I wouldn’t lift a finger to save Jews. Jews often bitch and whine and ask, “why didn’t enough Europeans do something to save us from the Nazis?” Well, look at what Jews have done to the West in the past 50 yrs, and there’s your answer. Even in films such as ANGRY HARVEST by Agnieszka Holland that are sympathetic to the plight of Jews, the relations between desperate Jews and goyim who help them are fraught with ambiguity because many of the Jews had once been richer and more privileged than the goyim, who’d indeed been treated as horse-dung by Jews who saw themselves as rightful masters over the ‘dumb Polacks’, though, to be sure, Germans also treated Poles as inferiors. So, when all hell broke out, most Poles didn’t care to save Jews during WWII and didn’t care to save Germans when the time came to expel them out of territories annexed by Poland after the war. Poles remembered contemptuous Jews and arrogant Germans.) But there’s another school of Jewish strategy that takes pride in being pushy, demanding, and chutzpahtic. Alan Dershowitz, one of the most hideous and vile Jews in American life and politics, even wrote a book arguing that Jews should flaunt their chutzpah. If not for the Holocaust and its associated cult cooked up by the Jewish-controlled media, there would be a lot of anti-Jewish feelings in both America and Europe. Jews are now so powerful, corrupt, arrogant, pushy, obnoxious, contemptuous, hypocritical, hideous, heinous, vicious, ugly, and hypocritical that it’d be natural for the people to rise up and say ENOUGH IS ENOUGH. But because of the cult of the Holocaust, many people either choose to use code words or repress their true feelings, but both the Tea Party and Occupy Wall Street have certain counter-Jewish undertones. Of course, both sides will sincerely deny that they have any animus against Jews. Even so, much of the current disaffection with the American government and economy can be traced back to the New World Order created by Jewish financial control, media control, government control, legal control, and foreign policy control. Whether it’s Saul-Alinskyite big government-ism or Ayn-Rand free market-ism, a kind of extremist zeal has taken over American politics, culture, economics, and life. Look at many of the most powerful people in American government or economic system, and they are Jews who undermined political, economic, legal, and moral principles to amass more fortune, power, and influence for themselves and their own kind. So, if not for the cult around the Holocaust, there would be honest rage among the gentile masses. But because of the cult of the Holocaust or Holocult, we go on pretending that even greedy and unscrupulous Jews are respectable, admirable, and trustworthy people. Unless Jews do something really horrible and make a mess of it — as with Bernie Madoff and Jordan Belfort, though even their abuses were spun to make Jews seem the main victims — , they are protected from all kinds of misdeeds and scandals, and the rest of us better not mention that Jews have great power and often abuse power for their self-aggrandizement at great cost to the rest of us who are forced to foot the bill and bail them out. The financial collapse of 2008 was essentially the result of new rules and instruments created by Jews, but most of the Jews who exploited the rules to plunder the economies of the world not only got to keep their ill-gotten loot but were bailed out to rake in billions more while the rest of America sunk into severe recession. Deep in their hearts, honest and decent Jews(and such people do exist) must know that a lot of powerful Jews are behaving very badly and that if the gentiles masses were to know the real truth — and were to break free of the mental chains of the Holocaust cult — , they will stand up and speak truth to Jewish power and even unite to punish the Jewish elites. In a way, Jews, smart as they are, came to be filled with excessive moral arrogance to learn the OTHER lesson of the Holocaust. The first lesson is that extreme racial supremacism and radical antisemitism can lead to unspeakable horrors, and therefore, we should be careful about scapegoating all Jews for social or national problems. But the OTHER lesson is no less important. Contrary to the Jewish-centric narrative, not all Jews were innocent and wonderful members of society, and too many Jews acted horribly and viciously during the inter-war period as either psychopathic communists, verminous finance capitalists with no remorse about the millions they stole from the suffering gentiles, or hideous subverters of morals and traditions of gentile nations. It was because Jews have not learned that OTHER lesson that so many of them act so recklessly and arrogantly on so many levels: economic, political, social, moral, cultural, historical, etc. David Mamet is a very talented playwright and film-maker — and as an artist is capable of depth and complexity, even if the meanings tend to be buried or hidden — , but as a social activist, he sees all of history and society as poor Jew, poor Jew, and poor Jew beset by evil, nasty, ugly, and hideous gentiles. Some conservatives may be glad to have him on their side, but Mamet’s view of the entire history of the West can be summed up as “you scummy white Christians oppressed and killed us.” His ‘conservatism’ is really just a means to use the American Right to stand up for Israel and rich Wall Street against the ‘antisemitism’ of the American Left, but of course, Mamet has plenty of allies and friends among Liberal Jews who manipulate the American Left to rail endlessly against the ‘racist’ and ‘antisemitic’ American Right. It’s really Liberal and Neo-conservative Jews working hand-in-hand behind the scenes to make gentiles fight gentiles along the ideological divide, which indeed wouldn’t be so deep if not for Jewish manipulation. (Everyone may own his or her own TV set, but what comes through the TV is decided by a small cabal of Jews who monopolize almost all of the media. You own the hardware, but Jews have the power to send messages through the hardware to take over your mind.) After all, one of the biggest issues that divides gentile Liberals from gentile Conservatives is ‘gay marriage’ — it is also used to divide Russian whites from American whites lest the latter come to admire Putin and Russians as proud nationalist folks who stood up to Jewish domination — , but why did so many white Liberals become so impassioned in the first place about such a bogus issue that would have them believe that the idea that fecal penetration among men is the biological and moral equivalent of real sex between men and women? Both American Liberals and American Conservatives can come to an agreement on the need for Tolerance for homos, but such an agreement would close the ideological gap between the gentile Left and the gentile Right, and of course, Jews don’t want that. So, Jews have radicalized the homo agenda and turned into a case of “if you’re not with us, you are against us.” In other words, it’s not enough to tolerate homosexuality as a deviancy. Instead, against all common, biological, and moral sense, we have to convince ourselves that homosexuality should be ‘welcomed’ and ‘celebrated’ as being of equal biological and moral value as real sexuality between men and women that produce life. If not, you are EVIL. Liberal whites are as brainwashed as the Red Guards with their Little Red Book during the Cultural Revolution. They are rabid and hysterical with their mindless worship of all things homo, and Jewish control of academia, media, finance, courts, and government made them that way.

Anyway, given the ultra-chutzpah of so many Jews, it seems they too have forgotten some of the lessons of history and have thrown caution to the wind. Perhaps, all groups eventually revert to their natural mode. It’s like there was a time when blacks, under the pressure of having to be a ‘credit to their race’, tried to act respectable and uphold middle class values. While such blacks still do exist, there are also lots of blacks — even among middle class and rich blacks — who seem to be reverting to their African nature and talking & acting like half-naked apelike savages. Similarly, though Jews have tried not to ‘rock the boat’ for awhile, they seem to have reverted to their natural personality traits that tend toward nastiness, pushiness, viciousness, and obnoxiousness. Given that Jews are finally showing their true face, one would think white gentiles would be furious and waking up to the Jewish threat. However, the domination of mass entertainment and shameless hedonism — controlled and promoted by Jews — has made gentiles less allergic to Jewish nastiness and viciousness. If and when in the past, Jews mocked and ridiculed non-Jews, gentiles saw it as yet another classic case of Jews acting dirty and nasty, and they did something about it. But the rise and spread of Jewish-dominated mass entertainment has made us laugh along with the Jew even though the main targets of Jewish humor and mockery are gentiles. So, movies like CADDYSHACK, the comedy acts of Sarah Silverman and Howard Stern, and the filthy antics of Jerry Springer and Maury Povich are seen by us not as insults against us but as entertainment to make us laugh and have fun. In the past, if a Jew stole a gentile’s wife or daughter, turned her into a whore, and humped her, the gentile would have hated the dirty Jew for his actions. Today, if a Jew does such a thing, the gentile will identify with the Jew and even celebrate the Jew’s dirty behavior; he might even be flattered that the Jew made him laugh at his own stupid face by shit-facing him — it’s like Khrushchev was made to act the fool in front of Stalin and grew accustomed to his clown persona. (Jews use comedy to fool us into thinking that we are laughing at their expense, but in fact, they are making us laugh to gain control over us — like a pusher pushing drugs — , and in the end, Jews are not only making fun of us but making us laugh at our own expense. It’s like the jester in Akira Kurosawa’s RAN seems to be acting the fool, but his funny routine is really meant to make fun of his lord. Today, so many Americans make their political decisions based on what’s mocked on TV by Jewish comedy writers. So, if Jewish power says we shouldn’t laugh at homos but earnestly worship them, that’s what we do. And if Jewish power says we should mockingly laugh at people who believe in True Marriage and feel contempt for them as a bunch of ‘less evolved’ Neanderthals, we laugh along and seethe with venom like a bunch of dummies whose brains are always being molded by Jews who control the messages that stream through 600 million TV sets in America.) And of course, Jews control porn and has even made white guys identify with black males who are pussifying them by humping white women. In the past, when blacks aggressively made their moves on white women, white men felt, “blacks guys are moving on our territory.” Today, white boys from a young age are jerking off to images of blacks conquering white women and even porking ‘faggoty’ white guys in the ass. They’ve been conditioned and manipulated by Jews who control the porn industry, media, and academia to believe that black domination of whites is something whites should embrace, welcome, and celebrate — or else you’re an EVIL ‘RACIST’. So today, even when whites lose their pride and power, they identify with and take pleasure in the non-white victory over whites. Since whites are ‘racist’ and ‘evil’, they have no right to be pro-white in any way. Instead, the prevailing PC narrative says whites can only root for Jews and blacks winning over whites, demolishing white pride and identity, and using white women to produce non-white kids. (Even as whites continue to lose, whites who welcome their own demise are praised by Jews as ‘overly privileged but generous and liberal’ whites who are decent enough to share their wealth and power with less fortunate minorities. So, even though whites are losing their power at an alarming rate, they are urged to see themselves as excessively ‘privileged’, therefore obligated to be magnanimous toward the less fortunate. So, if whites resist, they are denounced as evil. But if whites submit and accept defeat, they are praised with false-appreciation for their generous hearts when, in reality, Jews simply want to tear out and own the entire white heart so that whites can never challenge Jewish master race power again.)
Black women may be jealous of white women who ‘steal’ black men, but the black penis entering a white vagina is like a knife that murders the white race. Black women love Obama, but what is he the product of? A black man humping a white woman. So, the white woman’s vagina was used to produce a black child instead of a white child, and that means her vagina has been converted to a black-child-manufacturing machine. Since blacks see even part-black folks as ‘black’, any white woman who ‘steals’ a black man is essentially surrendering and destroying her own racial identity to produce more black people. What was really stolen was her white pussy for it was turned into a Negro-producing machine. So, if black women are jealous of prettier white women, they should wise up and rejoice because when a black guy takes a white girl, her vagina will produce black babies who will feel as a part and be seen as part of the black community. Obama’s white mother destroyed her own whiteness by producing a black child who identifies as black and came to be loved by the black community, especially black women. In a way, O.J.’s penis entering Nicole Simpson and producing black children murdered her more totally than the knife that nearly decapitated her. The knife just killed her whereas the penis in the white vagina produced black kids from white pussy. The white vagina was murdered in its function as a organ meant to produce white children. It was remolded as a mulatto-Negro producing machine, and surely, black women have no ill will against mulattos, as plenty of mulattos resulting from black men humping white women are much loved mega-stars in the black community.

Anyway, the seismic change in racial attitudes among whites is largely due to the Jewish control of media, academia, finance, and culture. Today, a hideous Jew can dick-slap and humiliate the white daughter of a white man, and the white man will likely laugh like an idiot and whank off to the Jew’s indiscretion instead of getting riled up to strangle the Jew for befouling his daughter. For most white males, films like THE BIRTH OF A NATION or THE SEARCHERS(where tough & proud white men fight the colored races for their racial integrity and the honor of their own women, wives, mothers, and daughters) are seen as the greatest evil. White boys have been so defeated and castrated that they thrill to stuff like DJANGO UNCHAINED. And even though millions of loathsome black Africans are invading the UK and producing tons of mulatto babies with British women whose vaginas have been murdered and remolded into Negro-producing machines, white guys in both UK and US sheepishly and gratefully take moral lessons from someone like Steve McQueen (director of 12 YEARS A SLAVE) who is also married to a white woman whose vagina produces black babies in the very nation of her ancestors. Of course, Jews are laughing and celebrating at the total pussification of the white boys. But Jews being Jews — dirty and hideous — love to rub it in. As if it’s not bad enough for white men to lose their women to Negroes, Jews are demanding that all Americans — Conservatives as well as Liberals — bend over to the homo agenda. So, the new editor-in-chief of The National Review is a ‘gay marriage’ supporting dork who censured Mark Steyn for making an irreverent remark about homos. You see, all white guys must REVERE homos and bend over backwards and forward to the feces-stained homo penis. Look at the sorry sight of Charles Murray sucking homo penis and supporting ‘gay marriage’. Even those who continue to oppose ‘gay marriage’ do so silently. When yet another court in another state legally forces ‘gay marriage’ upon the people — ‘fudgepackers’ as judgepackers — , there’s no outcry or shaming by Conservatives who hide their heads like ostriches.

Nazi anti-Jewish propaganda

Anyway, there is something to be learned from the fusion of the slave rebellion narrative and master race/class narrative in the rise of National Socialism. It overturns the official narrative that would have us believe that Nazism was only about racial supremacist Germans doing horrible things to pure-and-innocent Jewish victims who were marked as inferior. Despite the Nazi rhetoric of ‘Aryans’ being superior to the Jews, there was a strain in Nazi ideology that duly noted the greatness of Jews even if it was seen as perverse and parasitic. Jews were said to play dirty, nasty, and deviously, but there was a kind of dark admiration for the Jewish ability to have survived so long and taken over entire political-social-economic-cultural eco-systems of gentile nations. Also, it was clear to anyone with an honest pair of eyes that Jews were not merely trying to assimilate into German society but seeking to gain control over it and fundamentally change it so that Germanness would eventually become something to be mocked, subverted, and degraded instead of being preserved, prized, and protected. While all societies and cultures evolve and change, there is a difference between a society/culture/nation/race growing stronger through change and a society/culture/nation/race growing weaker through change. Of course, Jewish influence was never a simple matter in Germany or elsewhere. Jewish contribution to the advancement in German science, literature, law, and culture in the late modern era was immense, and there were many decent Jews who admired and appreciated Germany and even felt patriotic feelings. Also, even nasty anti-German Jews, having so much talent and intelligence, could contribute things to German science or culture that were of genuine value. (Similarly, Werner von Braun and other German rocket scientists later contributed greatly to space technology in both the US and USSR. Talent, whatever its political or national affiliations, can be of great use to any nation and people.) And sometimes, a Jewish contribution to German/Austrian culture could be both negative and positive. Think of men like Sigmund Freud and Franz Kafka whose contributions to the world of ideas and literature were both real(and titanic)but also dangerously subversive and disturbing(and possibly destabilizing). Given the blend of Jewish genius and Jewish perversity in so many endeavors, a Jewish contribution could be both fascinating(and provocative and stimulating) and foul(and encouraging of destructive social trends, especially among the goyim who, having less impulse control, could easily fall victim to the spread of the Jewish cultural virus in pornography, drugs, and degeneration.) Consider Pauline Kael’s landmark film criticism of BONNIE AND CLYDE. It is indeed a piece filled with insight, erudition, brilliance, and lots of passion. Indeed, it inspired a whole new generation of film critics and even altered film sensibility and film culture. And yet, it is also a crazy and dangerous subversion of cultural morality that all-too-nihilistically and flippantly embraces thrill for thrill-sake, as if violence made sexy is beyond moral reproach. BONNIE AND CLYDE, made by the Jewish Arthur Penn, was indeed a ground-breaking film that opened people’s eyes to a new vision of violence but also shut them to any meaningful moral consideration.
So, Jews all over the world were a mixed blessing, and in some ways, all great blessings are likely to be mixed since something very great tends to overwhelm our conventional sense of the ‘good’. Great things tend to envision bold and new possibilities, sometimes leading to massive social and cultural disruptions and upheavals that are as filled with curses as with blessings. Indeed, every nation that underwent the grand experience of modernization and industrialization knows that great transformations can be traumatic. Even so, if a pre-modern people undergo such a transformation and find themselves the masters of the new order, the changes will have been for their own power, and thus, even if the old ways have been lost, the new ways(at the very least) preserve and serve their sense of identity and unity. But what if, following the great transformation, a people found themselves under the political, economic, and cultural control of an alien people? And that was precisely what was happening in Germany in the late 19th and early 20th century. Though Jews were assimilating and contributing greatly to German science, economy, and culture, they were also gaining power over the Germans politically, financially, culturally, and psychologically. They were becoming the master race/class over the Germans and gradually displacing the German elites — just as Jews in Russia nearly came out on top after the massive ‘privatization’ in the 90s following the end of communism. Of course, as Germany was advancing and things were improving for the masses as a whole, many Germans didn’t freak out over increasing Jewish power and wealth. Indeed, if not for the intervention of WWI, the German economy would likely have continued to grow, and many, even most Germans, might have accommodated themselves to growing Jewish power. But World War I changed everything. It led to embittered rage among German veterans. It was followed by a Jewish communist putsch that, had it succeeded, would likely have led to massive bloodshed, even democide of huge numbers of Germans. Had German-Jewish communists taken power, they would have united with their tribal brethren in the newly communized Russia and worked together to smash churches, round up conservatives and liberals, and set up a massive secret police state where countless folks would have been tortured, shot in the back of the head, or sent to the Gulag or Jewlag. The German-Jewish communists failed, but the German economy remained weak, and the German middle class saw their life-savings wiped out. And though Jewish middle class folks suffered the same fate as that of the German middle class, there were lots of Jews in finance who exploited the economic crisis and made off like bandits — like Jewish oligarchs in Russia during the 1990s — , and there were lots of Jews who were promoting porn and using poor/desperate German girls as sex meat. And just when the German people, having been driven to desperation, were looking for cultural leadership and moral inspiration, Jews were promoting the kind of culture that mocked German social/moral values and wallowed in wanton ugliness and degeneration. To be sure, there’s no rule that says art has to be pretty or ennobling — and degenerate art can be insightful and fascinating — , but just when so many Germans felt desperate and destitute, rich Jews in Germany were throwing parties, using German women as sex chattel, and trading in works of art where ugliness, contemptuousness, and self-indulgence prevailed. In better times, most people might not have noticed or even might have found something of interest in the new culture, but for so many Jewish elites to act so piggish — like Ziegler in EYES WIDE SHUT — just when so many Germans were suffering created a fatal rift between the German people(who felt as slaves) and the Jews(who seemed to be living high like a neo-aristocratic master class with a coterie of fancy pansy homosexuals). Indeed, even Americans would be outraged today at Jewish malfeasance in this country if it weren’t for the fact that nearly all of the media, celebrities, and politicians are in the pockets of Jews. If the American people were to ever find out what rich elite Jews are really up to in this country and how they’ve come to control the minds of goyim, there could well be another round of national socialism, albeit one without the crazy racial theories of Hitler whose inner core was as vile and extreme as that of many Jews.

At any rate, the history of National Socialism illustrates that the master race/class domination mind-set can co-exist with the slave rebellion mentality. Consider the character of Roy Batty(Rutger Hauer) in BLADE RUNNER. On the one hand, he is indeed a rebel slave who challenges the authority of Tyrell, the master of the world. (Incidentally, in the original novel DO ANDROIDS DREAM OF ELECTRIC SHEEP, the Tyrell character is named Eldon Rosen and his corporation is named Rosen Association, but the names were probably changed because ‘Rosen’ suggest Jewishness — and hint of ‘antisemitism’ — , and Philip K. Dick probably meant Rosen to be a supremacist German-American-Jew.) But Batty is also a creature who exults in his own superiority and rightful mastery over weak and stupid humans. He disregards human being as weak, ugly, dumb, and feeble; he feels no remorse over killing them. He rebels against Tyrell to gain the secret of longevity, but he also feels that the likes of himself should be masters of the world since they are not only the intellectual equals of Tyrell but strong and beautiful.
Throughout history, if some peoples, as slaves, rose up against their masters to end slavery/inequality once and for all, others rebelled against the masters so that they themselves could be the new masters ruling over others. And in this sense, Nazism has to be seen as both a slave rebellion and master race/class movement. Such a dualistic attitude defined Jews for thousands of years as well. Moses, for instance, rebelled against the tyranny of the Egyptian masters and tried to lead his people out of bondage, but his rebellion also had an element of master race/class mentality. Moses didn’t rebel on the basis that Jews are as good as Egyptians but on the basis that Jews are BETTER than the Egyptians and other goyim. As far as Moses in concerned — especially in TEN COMMANDMENTS the movie, which is more exciting than the account in the Bible — , there is only true God, and He chose the Jews as a special people. Therefore, as far as Jews were concerned, all the Egyptian gods were, of course, bogus and fake, and the Egyptians better do as the Moses the Jew demands because if they continue to mess with God’s special Chosen People, innumerable Egyptians will be demolished in one holocaust after another. So, Moses’ message was that Egyptians better let the Hebrews go because Hebrew slaves are not merely as good as the Egyptians but much better than them. If there is indeed only one true God, and if that God has a special love for Jews over all others, then Jews are obviously superior and should logically have power over others. And indeed, once Jews made it out of Egypt, their next mission was to commit mass killings against Canaanites, Philistines, and other inferor folks to found the nation of Israel for the superior Jews who are the blessed of God. According to the Torah, God will sometimes punish the Jews for their bad behavior and sacrilege, but if Jews honor and worship God in the proper way, He will ensure that that Jews shall have domination over all other peoples of the world. All peoples of the world can receive the blessing of God but only through their rightful masters the Jews. Even though modern folks like to interpret the Moses story as one of slave rebellion, it is also a master race narrative.

‘Chinee’ not so good at kung fu fighting.

In the past 150 years, one of the nations that underwent a powerful combination of slave rebellion narrative and master race/class narrative is China. For thousands of years, Chinese got used to seeing themselves as the people of the Middle Kingdom and felt superior to all other cultures and civilizations. Even when China was invaded by non-Chinese, the seemingly natural heaven-mandated superiority of the Chinese was thought to have a way of absorbing and digesting the barbarian conquerors. It was as if China was a vast ocean of civilization in which non-Chinese impurities would eventually be dissolved into Chinese-ness. In victory or defeat, time was on China’s side(and size). But Chinese got a rude awakening in the 19th century when a new kind of ‘barbarian’ powers from the West — as well as from the East in the form of Japan that had adopted Western ways — not only defeated the Chinese in key battles but demonstrated their obvious superiority in just about every field: science, technology, governance, philosophy, education. When Mongols or Manchus invaded China, the Chinese could assure themselves that time would eventually favor the Chinese who were far more numerous and more advanced culturally, technologically, and politically than the ruffian toughies. Mongols or Manchus were clearly not powers that were advancing in science, technology, and culture; they just happen to be bold and daring in striking China when it was most divided and vulnerable. But the Western ‘barbarians’ seemed to grow ever stronger as years went by. If the British who whupped the Chinese in the first Opium Wars were pretty formidable, they were even more awesome just a few decades after with even bigger ships, guns, and other instruments of power. And they weren’t alone as China was being devoured by other imperialist powers. Indeed, even Japan — a nation of dwarfs as China had historically seen it — came to push big China around too. So, Chinese finally came to realize that time was not on its side in the new world order. The proud people of the Middle Kingdom had been reduced to ‘slavery’ under the domination of ‘foreign devils’ and ‘island dwarfs’ with superior technology and methods of governance/organization, and therefore, something drastic or radical had to be done. Thus, a slave rebellion narrative took hold in China under both the KMT led by Sun Yat-Sen and Chiang Kai-Shek and under the Chinese Communists led by Mao Zedong. And this narrative is still alive and possibly intensifying as China seeks its own vision of the ‘place in the sun’.
To be sure, just as Germans gained a lot from the rise of Jewish influence and power(that even reached the status of the master race/class during the Weimar period), Chinese gained a great deal — political, economic, moral(though they still kill dogs and boil cats), scientific, cultural, and etc. — from its ‘humiliating’ contact with the ‘foreign devils’. Though the imperialists could be overbearing and arrogant(and even downright pathological as Japan in its full-scale invasion of China), they also planted most of the seeds that came to fruition in the creation of a new Chinese civilization in China and elsewhere with sizable Chinese populations. Even so, no people wanna be ruled by foreign powers forever, and foreign rule was especially problematic in the case of the Chinese since they traditionally had such a high opinion of themselves as the people at the center of the world. Therefore, the Chinese slave rebellion narrative in the modern era always carried an element of the master race/class narrative. Chinese believe that they are meant for great things and must be one of the great powers — if not the great power — in the world. This doesn’t mean that China wants to invade the world outside China, but it does mean that China now wants respect from the entire world; they want to be recognized, revered, and feared as a great power. China can be dangerous in the future due to this combination of slave rebellion mentality and master race mentality. Before the arrival of the foreign powers, China had become complacent in its sense of timeless grandeur. This led to economic, scientific, and political slackness and even stagnation. But once the foreigners kicked them in the butt, Chinese woke up to find their proud selves condemned to ‘slave status’ vis-a-vis the foreigners. (To be sure, even before the Europeans and Japanese arrived, China had been under the rule of Manchus, but Manchu rule had only demonstrated the superiority of the Chinese ways since the Manchu elites adopted Chinese dress, Chinese manners, Chinese culture, and presumably Chinese food, which was one thing the Chinese did better than most Europeans and Japanese even during the era of the invasion of the ‘foreign devils’ and ‘island dwarfs’.) Therefore, the Chinese, across the ideological spectrum, resolved to liberate their nation from foreign domination and end the ‘slavery’; however, given their superiorist sense of history and tradition, they also resolved to regain their status of greatness: a neo-Middle Kingdom.

Jew and Chua

In this, the Chinese have something in common with the Jews who also have this slave/master duality mentally embedded in their view of the world. And to some degree, it also exists among American blacks. Though Amy Chua mentions Nigerians as the great black American success story — though some might select the West Indies mulattos that include Eric Holder and Malcolm Gladwell as the most successful black group in America — and makes a case against the socio-economic failure of American-born blacks, it all depends on what kind of success we are talking about. If we focus on economics and academics, it’s true that American blacks have lagged behind most groups. But if we judge success on the basis of athletics and entertainment, black Americans are a great success story, whereas Chinese-Americans and Indian-Americans are total failures. If we judge success on the basis of badass fearsomeness and/or sexual prowess, American born blacks are again a great success story. Detroit may be an economic mess, but blacks conquered it and drove whites out. Rome was a mess after Germanic Barbarians laid wasted to it, but who can deny that Germanic Barbarians triumphed over the Romans? White males are deathly afraid of blacks while increasing numbers of white women cannot get enough of Negro muscle and pud, so blacks have conquered whites sexually. And in sports, white boys and white girls worship black athletic ‘heroes’. And, while blacks find white music to be boring and ‘faggoty’, a lot of white guys listen to rap music and try to be badass ‘niggaz’ and a lot of white girls ‘twerk’ their asses while fantasizing having sex with Negroes. And in politics, there’s a saying that “white man cannot deliver a speech” since he doesn’t have the booming voice of the Negro. Indeed, even secular Liberals respect religion when Negro pastors with booming voices make MLK-style speeches; and there is the iconography of the mountain-sized Magic Negro who loves a little white mouse. And behind the black success in all these things, there is an element of the slave/master duality. On the one hand, black aggression is justified by blacks — and white Liberals — as a form of slave rebellion against chattel slavery, then racial discrimination, and finally ‘white privilege’. Thus, blacks feel righteous in their rage and rebellion, in the demands that they make. But there is also a master race narrative to the extent that blacks feel they are the superior race for having bigger muscles, stronger voices, bigger penises, more bouncy ‘tits and ass’, more funky-ass creativity, more colorful jivery, and more all-around mofo-ness. And indeed, though Iranian-Americans, Chinese-Americans, Lebanese-Americans, and other-such-Americans may be doing better in schools and small businesses than the Negroes, it is the American-born Negroes who have the admiration, respect, and even worship of so many Americans who listen to rap, who lose their minds over the Superbowl, who seek out interracial sex, who try to imitate badassness, and etc. Even Mexican-Americans, ‘white trash redneck racists’, Chinese-Americans, Arab-Americans, and Hindu-Americans try to talk ‘black’ and call each other ‘nigga’, which has come to mean something like ‘badass mofo dude’. So, it all depends on how one defines ‘success’. Jews win with brains and pens, Negroes win with brawn and penis. And white gentiles get whupped, humiliated, and slapped around by both groups and have been brainwashed into begging for more abuse in the name of atonement and redemption for historical sins.

White rightists need to understand that, even if they reject the ‘slave morality’ much derided by Nietzsche, they need to embrace the mind-set of ‘slave rebellion’. There is no shame in being a slave as long as you have the fight in you like Conan the Barbarian who rose from slave-hood to master-hood. The ‘slave rebel’ narrative keeps things real and in perspective. The master race/class mentality on its own leads to either excessive arrogance — and delusions of invincibility as in the case of Hitler in WWII — or excessive complacency(as among the Chinese prior to the arrival of ‘foreign devils’). In a way, both the National Socialists and Wasp elites were done in by the same thing. Even though National Socialists sought to crush other peoples and rule as slave-masters whereas Wasp-Americans became increasingly idealistic, principled, and magnanimous, the attitudes of both groups were predicated on taking white superiority for granted as an permanent guarantee. Nazi Germans got to thinking that they, being so utterly great, could defeat Russia and easily rule over ‘untermenschen’. And Wasp-Americans thought they, being so rich, privileged, and powerful, could afford to be increasingly nice to other groups with no danger to themselves. Both groups were defeated due to their preening over-confidence. In service of bad or good, certainty of one’s invincibility leads to recklessness or complacency and finally to defeat. If Wasp and white gentile elites in the 40s and 50s could foresee what America would eventually become in the age of Clinton, Bush II, and Obama, they never would have been so indulgent with the nasty Jews. But being so sure of their own power and privilege, they figured it’d be no big deal if Jews gained increasing power in the media, academia, government, economy, and whatever else. Jews waged a two front war in elite culture and popular culture. Jewish intellectuals won over the respect of wasp intellectuals, and Jewish-run Hollywood controlled the fantasies of the masses.

Therefore, for white folks to regain their sense of identity and purpose, they must adopt the slave rebellion mentality/narrative. Now, some people might argue that white Americans are certainly not slaves but all-too-privileged folks in the Land of the Brave and Free. Sarah Palin got in hot water not long ago by invoking slavery in her criticism of increasing government power. But there is slavery as an actuality and slavery as a metaphor or figure or speech, and in that sense, it’s not wrong to define the condition of one’s people as a form of slavery.

Also, we need to understand that slave-like control comes in many forms. There is chattel slavery where people are owned and sold in body. But there is also mental slavery and emotional slavery. After all, one can control dogs even without the leash. Why do unleashed dogs obey their masters’ commands even though they are physically free to run around and do as they please? It’s because humans have mentally trained them to obey and do as told: ‘fetch’, ‘roll over’, ‘sit’, etc. So, even without the material reach of the leash, dogs are bound to their masters through the mental leash; they are mental slaves of humans. BRAVE NEW WORLD by Aldous Huxley showed how effective the power of mental, emotional, sensual, and pharmaceutical leashes can be. The members of Huxley’s vision of the future are physically free, but they think and act only in approved ways because they’ve been conditioned to obey and never think of going against the system. In today’s America, the elites who control education, media, entertainment, law and courts, medicine, and finance control us through mental, emotional, sensual, sexual, legal, narcotic, and monetary leashes. They are the pushers, we are the junkies, and junkies are mental slaves of pushers. Even if we are not chattel slaves of the Jews, the fact remains that if we disobey them, they can destroy our businesses and ruin our reputations through the control of the media, courts, and government. Consider how the Jew-controlled IRS went after the Tea Party. Look at how Christian-owned bakeries are being sued and shut down because they won’t bake cakes promoting the perversion of ‘gay marriage’.
To be free means to be brave, but look at the sheer cowardice among Americans when it comes to dealing with Jewish power. They are essentially mental and emotional slaves of Jews; they are afraid of being irreverent toward Jewish power. Jewish masters can be irreverent and mocking toward things that have special/sacred meaning to white goyim, but white goyim must revere Jews and their power. Jews can smash your idols, but you better kneel down before the Jews’ idols. Jews also control gambling, and people who are addicted to gambling are essentially habitual slaves of Jews. Unless they gamble away their hard-earned money at casinos owned by the likes of Sheldon Adelson, they don’t feel alive. And Americans addicted to rap and porn are sensual slaves of Jews who control those vice-ridden industries. Many white girls must listen to rap and ‘twerk’ their behinds in fantasies of having sex with Negro men, or they don’t feel alive. Many white boys must indulge in interracist porn or even homosexual interracist porn to get off. Clever Jews, who are masters of psychology, know how to gain near-total control over a people through mental and sensual means. They know how to titillate, nudge, tweak, prod, and toy with the minds of gentiles.
Now, if a gentile group gained this kind of control over Jews, Jews would indeed call it slavery. Suppose there’s nation called Schwarzia where Jews comprise 98% of the population while Palestinians only 2%. Suppose Palestinians have an average IQ of 140 and, via their higher intelligence and tribal networking, have gained great power in Schwarzia. Suppose they came to disproportionately control the finances, the courts, the academia, the culture & entertainment, the mores/values, the historiography, the pharmaceuticals, the high-tech, politics, and government of Schwarzia. Suppose the Palestinians, through selective historiography, instilled Jewish hearts with bottomless guilt and shame over the ‘original sin’ of Zionist tyranny, Jewish role in communist mass murder, and Jewish nastiness/viciousness as slave traders and usurious moneychangers through the centuries. Suppose Palestinians promote interracist porn to Jews whereby Jewish men are made to feel as pussy-boy dorks while Jewish girls are encouraged to have sex with Arab and Negro men. Suppose Palestinians rationalize their own abuses and corruption by endlessly bemoaning about how Jewish country clubs had once not allowed Palestinians from playing golf or cricket. Suppose all the TV channels in Schwarzia are owned by Palestinians — who make up only 2% of the population — , and all the news that Jews get are filtered by Palestinian censors. Suppose the elite academia are largely controlled by Palestinians, and one of the orthodoxies of Palestinian enforced political correctness is the notion of ‘Jewish privilege’, whereby Jews must surrender more of their wealth and power to make Palestinians even richer and more powerful. Also, suppose Palestinians fear being surrounded by a vast Jewish population that might one day rise up against the Palestinian master over-class. So, Palestinians push for massive immigration in the name of ‘diversity’ so that Jews will one day be a minority in what was once their own country. Suppose Palestinians smash Jewish idols of political and historical leadership and heroism — branding them as ‘racist’ and ‘odious and noxious’ — and make Jewish children worship the idols that imbue Palestinians moral/historical sanctity while reminding Jews of how rotten they’ve been and still are. Suppose Palestinian-dominated pharmaceuticals make Jews become addicted to whole bunch of drugs, all of which have side-effects that call for yet more kinds of drugs. Suppose Palestinians pass ‘hate speech’ laws whereby any Jew who dares to speak truth to Palestinian power or dares to call for Jewish unity/power could be fined and even imprisoned. Suppose there are two political parties, and Palestinian money constitutes 60% of funds to one party and nearly 50% to the other one. Suppose Jews are made to line up and wave ‘rainbow flags’ to celebrate Muslim polygamy pride parade and Pakistani cousin-marriage pride parade. And etc, etc. Wouldn’t independent-minded Jews living under such a system invoke ‘slavery’ to describe their own condition and plight? I think so. Would such Jews call for a slave rebellion? You bet.

So, what’s up with white folks who are living under the yoke of Jewish master class with no scruples and honor?

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ARK CINEMA: Core Collection of Great Films. Part 2.

ARK CINEMA PART 2

Click here for ARK CINEMA PART 1.

* denotes masterwork.
** denotes masterwork above and beyond the call of art.
Red titles denote special likes.
Blue titles denote special loves.

JOHN STURGES

BAD DAY AT BLACK ROCK

OLD MAN AND THE SEA

THE MAGNIFICENT SEVEN

THE GREAT ESCAPE

ICE STATION ZEBRA

KATHRYN BIGELOWK-19: THE WIDOWMAKER*HURT LOCKERIt’s the dream of every film director to be an ‘auteur’ with a powerful style, but those who can’t dance would to better to learn to walk and run. Directors like Orson Welles, Akira Kurosawa, Sam Peckinpah, Stanley Kubrick, Martin Scoresese, and Sergei Eisenstein could make images dance like the crocodile and hippo ballet in FANTASIA, but when the likes of Terry Gilliam, Baz Luhrmann, Alan Parker, and Ken Russell have attempted as much, the result wasn’t very pretty. And even great talents like Francis Ford Coppola and Federico Fellini can lose the muse. The first third of APOCALYPSE NOW ranks as among the greatest in cinema, but the remainder is mostly slow death that won’t be reversed even with periodic charges of the defibrillator. And Coppola’s attempt at auteur showmanship fell flat in ONE FROM THE HEART and RUMBLE FISH. Fellini’s 8 ½ is one of the great marvels of cinema, but his subsequent role as circus master was bloated and lifeless like the beached manta ray at the end of LA DOLCE VITA. As Harry Callahan says at the end of MAGNUM FORCE: “A man’s got to know his limitations.” Eastwood’s longevity owes to his recognition of his weaknesses as well as strengths. FLAGS OF OUR FATHERS and LETTERS FROM IWO JIMA didn’t try to imitate SAVING PRIVATE RYAN because Eastwood knew he wasn’t a Spielberg. Rather, Eastwood stuck to a method grounded in the Classic Hollywood of directors like John Ford and Howard Hawks. (Spielberg owes a great deal to Ford and Hawks, but his spirit is more that of a magician than a craftsman; he’s the impatient sorcerer’s apprentice who outdoes the sorcerer, winging it than walking it.)
As Kathryn Bigelow has been one of the handful of notable female directors in all of film history, (too)much has been made of her directorial vision and prowess. If she were a man, she would be respected as a solid craftsman, one of the boys in the industry — especially as her movies tend to be male-centered in theme and characters — , but not much more. Oddly enough, her most ‘powerful’ female character is in a movie scripted by James Cameron, one of those nerds who gets a kick out of action-babes. (If a ‘feminine’ case can be made for Bigelow, perhaps it worth noting that the fates of her stories are decided by the keener eye or nimbler finger; in the end, it’s about needles and pins. If Cameron’s movies hang in the balance of who blows up more stuff, the Bigelow’s films rely on something more delicate than brute strength despite or precisely because of the unrelenting brutishness of the world.)

Despite her considerable talent, Bigelow is no wizard, and her best works are comparable to those of Clint Eastwood. Her attempts at auteurama had a certain campy appeal in NEAR DARK but served her less well in the disastrous STRANGE DAYS(a film as repulsive as Gilliam’s TWELVE MONKEYS) and overwrought THE WEIGHT OF WATER. She’s been in top form when focusing her knowledge and talent towards telling a good story than selling an inflated ego, the bane of the otherwise talented Julie Taymore who keeps trying to be the female OrsonWelles. In Bigelow’s best films, the directorial personality isn’t overt but nevertheless embedded throughout the material in the needlework of professionalism, diligence, and generosity. While a handful of great ‘auteurs’ can get away with just about anything, most directors would do best to know their limitations. While Bigelow will never rank alongside the giants of cinema, she has earned her place with ace professionals like John Sturges.

JOHN BADHAMSATURDAY NIGHT FEVERMARCO BELLOCHIOFISTS IN THE POCKETCHINA IS NEAR*FRANK TUTTLE

THIS GUN FOR HIRE

ROBERT REDFORD

ORDINARY PEOPLE

THE CONSPIRATOR

JERZY SKOLIMOWSKIMOONLIGHTING*DENYS ARCANDBARBARIAN INVASIONS*

EUGENE CORR

DESERT BLOOM

SEIJUN SUZUKIYOUTH OF THE BEAST

THE GATE OF FLESH

STORY OF A PROSTITUTE*

CARMEN OF KAWACHITOKYO DRIFTER

FIGHTING ELEGY(aka Elegy to Violence)*BRANDED TO KILLSERGEI GERASIMOV
AND QUIET FLOWS THE DON(aka Quiet Don)*JEAN RENOIRBOUDU SAVED FROM DROWNING*THE GRAND ILLUSION*LA BETE HUMAINE

RULES OF THE GAME*THE GOLDEN COACH*FRENCH CAN CAN

TERRY ZWIGOFFCRUMBGHOST WORLD*ART SCHOOL CONFIDENTIAL

SHARI SPRINGER BERMAN and ROBERT PULCINIAMERICAN SPLENDOR*TIAN ZHUANGZHUANGHORSE THIEF

BLUE KITE*ERIK SKJOLDBJAERG

INSOMNIA

CHRISTOPHER NOLANMEMENTOINSOMNIA*INCEPTION*

MICHAEL WINTERBOTTOM

WONDERLAND

PEDRO ALMODOVR

TIE ME UP, TIE ME DOWN

ALL ABOUT MY MOTHER

PAUL SCHRADER

MISHIMA: A LIFE IN FOUR CHAPTERS

LIGHT OF DAY

AFFLICTION

YEVGENY YEVTUSHENKO

KINDERGARTEN

VLADIMIR MENSHOV

MOSCOW DOESN’T BELIEVE IN TEARS

ENZO BARBONI

THEY CALL ME TRINITY

TONINO VALERIE

MY NAME IS NOBODY

JAN KADAR & ELMAR KLOS

SHOP ON MAIN STREET

GRIGORI CHUKHRAI

BALLAD OF A SOLDIER

LINDSAY ANDERSON

IF….

GEORGE ROY HILL

HAWAII

BUTCH CASSIDY AND THE SUNDANCE KID

SLAUGHTERHOUSE FIVE

THE LITTLE DRUMMER GIRL

SERGE BOURGUIGNON

SUNDAYS AND CYBELE(aka Sundays in Ville d’Avray)

MIKHAIL KALATOZOV

CRANES ARE FLYING

LETTER NEVER SENT

I AM CUBA

KAREL REISZ

SATURDAY NIGHT AND SUNDAY MORNING

WHO’LL STOP THE RAIN

MICHAEL SNOW

WAVELENGTH

CARROLL BALLARD

BLACK STALLION

NEVER CRY WOLF

ARTHUR HILLER

LOVE STORY

THE IN-LAWS

JOSEPH CEDAR

FOOTNOTE

DANNY VETERE
YELLOW ASPHALT

VEIT HARLAN

JEW SUSS

KOLBERG

GABRIEL AXEL

BABETTE’S FEAST

KEISUKE KINOSHITA

TWENTY-FOUR EYES*

YOJI YAMADATWILIGHT SAMURAITHE HIDDEN BLADELOVE AND HONORFRED ZINNEMANNHIGH NOON*FROM HERE TO ETERNITY

PAUL NEWMAN

SOMETIMES A GREAT NOTION

ZHANG YIMOUTHE STORY OF QUI JU

TO LIVE

SHANGHAI TRIAD(aka Row the Boat to Grandma’s Bridge)PETER YATESBULLITT

BREAKING AWAYELENI

MEL GIBSON

APOCALYPTO

PETER WATKINS

PUNISHMENT PARK

BILLY WILDERSUNSET BOULEVARD*

STALAG 17

SOME LIKE IT HOTJAE-EUN JEONGTAKE CARE OF MY CATJOON-HO BONG

MEMORIES OF MURDER*

WILLIAM WYLERTHE WESTERNER

THE BEST YEARS OF OUR LIVES

BIG COUNTRY*BEN HURTHE COLLECTOR

WIM WENDERSKINGS OF THE ROADROBERT WIENETHE CABINET OF DR. CALIGARI*RAOUL WALSHTHE BIG TRAIL**ROARING TWENTIESTHEY DIED WITH THEIR BOOTS ONWHITE HEAT*DUSAN MAKAVEJEVLOVE AFFAIR, OR THE CASE OF THE MISSING SWITCHBOARD OPERATORINNOCENCE UNPROTECTEDJEAN VIGOL’ATLANTE*THOMAS VINTERBERG

THE CELEBRATION

THE HUNT*

ANTHONY ASQUITHTHE BROWNING VERSIONDZIGA VERTOVTHE MAN WITH THE MOVIE CAMERA*THREE SONGS OF LENINGUS VAN SANTELEPHANT*ANDRE DE TOTHTHE DAY OF THE OUTLAW*ROBERT TOWNEPERSONAL BEST*PAOLO & VITTORIO TAVIANIPADRE PADRONE
CY ENDFIELDZULUGIUSEPPE TORNATORE
CINEMA PARADISOBELA TARRTHE WERCKMEISTER HARMONIES*WES ANDERSONRUSHMORE*MOONRISE KINGDOM

ROBERT ALDRICHVERA CRUZKISS ME DEADLY

ATTACK

THE DIRTY DOZEN

ULZANA’S RAIDTHE EMPEROR OF THE NORTH

THE LONGEST YARD

DAVE BORTHWICKTHE SECRET ADVENTURES OF TOM THUMBERIC VON STROHEIMGREED*JAN SVANKMAJERALICEFAUSTADRIANE LYNE

JACOB’S LADDER

KINJI FUKUSAKU

BLACK LIZARD

ANTHONY MINGHELLA

THE TALENTED MR. RIPLEY

CECIL B. DEMILLE

CLEOPATRA

UNION PACIFIC

SAMSON AND DELILAH

THE GREATEST SHOW ON EARTH

TEN COMMANDMENTS

HAROLD RAMIS

GROUNDHOG DAY

RICHARD PEARCE

HEARTLAND

MICHAEL LEHMANN

HEATHERS

NEIL JORDAN

INTERVIEW WITH THE VAMPIRE

MICHAEL COLLINS

THE END OF THE AFFAIR

BYZANTIUM

ROBERT ZEMECKIS

USED CARS

ROMANCING THE STONE

BACK TO THE FUTURE

CASTAWAY

PRESTON STURGESSULLIVAN’S TRAVELSGEORGE STEVENSA PLACE IN THE SUN

SHANE*LESLIE ARLISS

THE MAN IN GREY*

THE WICKED LADY

TONY RICHARDSON

THE LONELINESS OF A LONG DISTANCE RUNNER

THE CHARGE OF THE LIGHT BRIGADE*

JAY RUSSELL

MY DOG SKIP

ERNST LUBITSCH

HEAVEN CAN WAIT

HAROLD BECKER

THE ONION FIELD

GEORGE BUTLER and MICHAEL FIORE

PUMPING IRON

HECTOR BABENCO

PIXOTE

SAM RAIMI

A SIMPLE PLAN

ED HARRIS

POLLOCK

MICHAEL CATON-JONES

ROB ROY

JON JOST

SURE FIRE

EDWARD DMYTRYK

THE YOUNG LIONS

WARLOCK

BLUE ANGEL

MARK MALONE

BULLETPROOF HEART(aka KILLER)

ROBERT DUVALL

THE APOSTLE

MICHAEL GILIO

KWIK STOP

RONALD NEAME

TUNES OF GLORY

DAMIANO DAMIANI

A BULLET FOR THE GENERAL(aka QUIEN SABE?)

ROBERT WISE

WEST SIDE STORY

THE HAUNTING

SAND PEBBLES

GUNTHER VON FRITSCH and ROBERT WISE
THE CURSE OF THE CAT PEOPLE

JACQUES TOURNEUR

THE CAT PEOPLE

ARTHUR CRABTREE

MADONNA OF THE SEVEN MOONS*

GARY NELSON
NOBLE HOUSEYOSHITARO NOMURATHE CASTLE OF SAND*WHIT STILLMANMETROPOLITANLAST DAYS OF DISCO*DAMSELS IN DISTRESS*

SPIKE LEE

25TH HOUR

MANI RATNAMGURUKYUNG TAEK KWAKFRIEND*TONY KAYE

AMERICAN HISTORY X

SHANE MEADOWS

THIS IS ENGLAND

GREG MOTTOLA

THE DAYTRIPPERS

PETER GLENVILLEBECKETYOSHIMITSU MORITATHE FAMILY GAME*DICK POWELL

ENEMY BELOW

DUNCAN JONES

MOON

JOHN IRVINTINKER, TAILOR, SOLDIER, SPYHAMBURGER HILL

TAKESHI KITANOVIOLENT COP*BOILING POINT*SONATINE

KIDS RETURN*FIREWORKS(aka Hanabi)KIKUJIRO

LUC BESSONFIFTH ELEMENTDOUG LIMANBOURNE IDENTITY*EDGE OF TOMORROW

PAUL GREENGRASSUNITED 93BOURNE SUPREMACY*JOSEF VON STERNBERGUNDERWORLDLAST COMMAND*THE BLUE ANGEL*JAKE SCHREIER

ROBOT AND FRANK

JOHN CARNEY

ONCE

VIRGIL W. VOGEL, PAUL KRASNEY, HARRY FALK, BERNARD MCEVEETY

CENTENNIAL

STEVEN SODERBERGHCHEDON SIEGELRIOT IN CELL BLOCK 11

THE INVASION OF THE BODY SNATCHERS*COOGAN’S BLUFF

THE BEGUILED

DIRTY HARRYTHE SHOOTIST

ESCAPE FROM ALCATRAZ

SOULEYMANE CISSEYELEEN(aka Brightness)WEI LO

FISTS OF FURY(aka THE CHINESE CONNECTION)

ROBERT CLOUSE

ENTER THE DRAGON

DANNY DE VITOHOFFANURI BILGE CEYLAN

DISTANT

ONCE UPON A TIME IN ANATOLIA

BARBET SCHROEDERGENERAL IDI AMIN: A SELF-PORTRAITMICHAEL SCHULTZCOOLEY HIGHCAR WASH

FRANK DARABONT

THE MIST

GREGORY HOBLIT

PRIMAL FEAR

JEAN-FRANCOIS RICHET

MESRINE: KILLER INSTINCT

MESRINE: PUBLIC ENEMY #1

NICHOLAS WINDING REFN

PUSHER

WITH BLOOD ON MY HANDS: PUSHER II

I’M THE ANGEL OF DEATH: PUSHER III

DRIVE

ALEX COXSID AND NANCY

WALKER*HIGHWAY PATROLMANKENNETH BRANAGH

THOR

KEVIN COSTNER

OPEN RANGE

KEVIN SPACEY

BEYOND THE SEA*

IAN MCCRUDEN

ISLANDER

ERIC KHOO

TATSUMI

TAKUMI FURUKAWA CRUEL GUN STORY*TAKASHI NOMURA
A COLT IS MY PASSPORT*MASAYUKI SUOSHALL WE DANCEROGER DONALDSONSLEEPING DOGSSMASH PALACE*BOUNTYNO WAY OUT

HIDEAKI ANNO

GUNBUSTER*

KATSUHIRO OTOMO

AKIRA

OSAMU DEZAKI

SPACE ADVENTURE COBRA

TOSHIMICHI SUZUKI, KENICHI SONODA, MASAMI OBARI, KATSUHITO AKIYAMA

BUBBLEGUM CRISIS(OVA or Original Video Animation)**

HIROYUKI FUKUSHIMA
BUBBLEGUM CRASH: GEO-CLIMBERS EPISODE 2

YOSHIAKI KAWAJIRI

DEMON CITY SHINJUKU

NINJA SCROLL

TOYOO ASHIDA

ULTIMATE TEACHER

HIROSHI FUKUTOMI

GUUNM(aka Battle Angel Gally or Battle Angel Alita)

SOJI YOSHIKAWA

LUPIN III: MYSTERY OF MAMO

MAMORU OSHII

ONLY YOU

YOSHIKAZU YASUHIKO

VENUS WARS

NOBUTAKA NISHIZAWA & DAIKI YAADA(unshown)

SHONAN BAKUSOZOKU BOMBER BIKERS

BHAVNA TALWARDHARMHAIFAA AL-MANSOUR

WADJDA

GEOFF MURPHYUTU*
STEVE DE JARNATTMIRACLE MILE*JOHN SAYLESBABY IT’S YOU*SHUNJI BIWAIALL ABOUT LILY CHOU-CHOURIAN JOHNSON

LOOPER

CHRIS & PAUL WEITZ

ABOUT A BOY

LONE SCHERFIG

AN EDUCATION

FRED SCHEPISI
THE CHANT OF JIMMIE BLACKSMITHLAST ORDERS

RICHARD KWIETNIOWSKI

LOVE AND DEATH ON LONG ISLAND

NORMAN LOFTIS

SMALL TIME

EDGAR WRIGHT

SHAUN OF THE DEAD

HOT FUZZ*

THE WORLD’S END**

BUD YORKIN

TWICE IN A LIFETIME

TONY PALMER

WAGNER

MARTIN DONOVAN

APARTMENT ZERO

RON SHELTON

BULL DURHAM

COBB

PHILLIP NOYCE

DEAD CALM

CLEAR AND PRESENT DANGER

RABBIT PROOF FENCE

WILLIAM DIETERLE

THE HUNCHBACK OF NOTRE DAME

GAVIN MILLAR
DREAMCHILD

BURT KENNEDY

WAR WAGON

JACK STOKES and GEORGE DUNNING

YELLOW SUBMARINE

KARL FREUND

THE MUMMY

DANIEL MYRICK and EDUARDO SANCHEZ

BLAIR WITCH PROJECT

JONATHAN DAYTON and VALERIE FARIS

LITTLE MISS SUNSHINE

ANDREW STANTON

JOHN CARTER

ALISON MACLEAN

CRUSH

JOHN MILIUS

BIG WEDNESDAY

FAREWELL TO THE KING

ANDREI UJICA

THE AUTOBIOGRAPHY OF NICOLAE CEAUSESCU

ALAN RUDOLPH

TROUBLE IN MIND

LUIS PUENZO

THE OFFICIAL STORY

GODFREY REGGIOKOYAANISQATSISOFIA COPPOLALOST IN TRANSLATIONTHE BLING RING

NOAH BAUMBACH

KICKING AND SCREAMING

THE SQUID AND THE WHALE

CLAUDE SAUTETCLASSE TOUT BRISQUES(aka The Big Risk)ALAIN CAVALIERLE COMBAT DANS LILLE*DAVID FINCHERALIEN3*THE FIGHT CLUBPANIC ROOM

ZODIAC*MIRA NAIR

SALAAM BOMBAY

CRISTIAN MUNGIU

4 MONTHS, 3 WEEKS, AND 2 DAYS

GAVIN HOOD

ENDER’S GAME*

TONY SCOTT

TRUE ROMANCE

GRAHAM BAKER

ALIEN NATION

DAVID GREENE

PEOPLE NEXT DOOR

ROOTS: EPISODE ONE

MARVIN J. CHOMSKY, JOHN ERWIN, GILBERT MOSES

ROOTS EPISODES 2-12

JERRY LONDON

SHOGUN

HENRY HATHAWAY

TRUE GRIT

XIE FEI

WOMEN FROM THE LAKE OF SCENTED SOULS

SUSANNE BIER

AFTER THE WEDDING

PAVEL LUNGIN

LUNA PARK

TRAN ANH HUNG

THE SCENT OF GREEN PAPAYA

GARY ROSS

THE HUNGER GAMES

DERECK & BEVERLY JOUBERT

ETERNAL ENEMIES: LIONS AND HYENAS

EYE OF THE LEOPARD

MARK ROBSON

VON RYAN’S EXPRESS

MILCHO MANCHEVSKI

BEFORE THE RAIN

P.J. HOGAN

MURIEL’S WEDDING

JIM RASH & NAT FAXON

THE WAY, WAY BACK

LAURENT CANTET

TIME OUT

PAOLO SORRENTINO

IL DIVO

THIS MUST BE THE PLACE

THE GREAT BEAUTY

MARTHA COOLIDGE

REAL GENIUS

MITCHELL LEISEN

REMEMBER THE NIGHT

JONATHAN GLAZER

SEXY BEAST

UNDER THE SKIN

JOSHUA OPPENHEIMER

ACT OF KILLING

J. LEE THOMPSON

TIGER BAY

GUNS OF NAVARONE

CAPE FEAR

CONQUEST OF THE PLANET OF THE APES

DON SHARP

A WOMAN OF SUBSTANCE

HOLD THE DREAM

LODGE KERRIGAN

CLEAN, SHAVEN

DAVID SUTHERLAND

THE FARMER’S WIFE

COUNTRY BOYS

BORIS SAGAL

MASADA

CAMERON CROWE

SAY ANYTHING

ALMOST FAMOUS

ROB REINER

THE SURE THING

MICHAEL APTED

7 UP

COAL MINER’S DAUGHTER

BRYAN FORBES

KING RAT

STEPFORD WIVES

MARLON BRANDO

ONE-EYED JACKS

ROBERT DE NIRO

A BRONX TALE

ALLAN DWAN

SILVER LODE

SANDS OF IWO JIMA

DAVID ANSPAUGH

HOOSIERS

RUDY*

ARCHIE MAYO

STREET OF WOMEN

JOHN S. ROBERTSON

A SINGLE STANDARD

EUZHAN PALCY

SUGAR CANE ALLEY

ANDREA MOLAIOLI

THE GIRL BY THE LAKE

RON HOWARD

A BEAUTIFUL MIND

RUSH

KENNETH LONERGAN

YOU CAN COUNT ON ME

MICHAEL RITCHIE

DOWNHILL RACER

BAD NEWS BEARS

ULU GROSBARD

STRAIGHT TIME

PETER USTINOV

BILLY BUDD

RANDAL KLEISER

GREASE

DELMER DAVES

JUBAL

MEL BROOKS

TWELVE CHAIRS

HISTORY OF THE WORLD: PART I

SPACEBALLS

JIM ABRAHAMS – DAVID ZUCKER – JERRY ZUCKER

THE KENTUCKY FRIED MOVIE(directed by John Landis)

AIRPLANE!*

HASKELL WEXLER

MEDIUM COOL

HENRY KING

JESSE JAMES(Co-directed by Irving Cummings)

TWELVE O’CLOCK HIGH

THE GUNFIGHTER

THEODORE J. FLICKER

THE PRESIDENT’S ANALYST

RICHARD FLEISCHER

THE VIKINGS

DAVID MILLER
LONELY ARE THE BRAVE

PIERRE COFFIN & CHRIS RENAUD

DESPICABLE ME

NORMAN JEWISON

IN THE HEAT OF THE NIGHT

FIDDLER ON THE ROOF

RAUL RUIZTIME REGAINED**YURI KARABALTHZAR’S FEAST, OR A NIGHT WITH STALINJOHN WOO

A BETTER TOMORROW

SAMMO HUNG

THE BLADE OF FURY

CHING SIU-TUNG

CHINESE GHOST STORY

EAST IS RED(aka SWORDSMAN II)*

COREY YUEN

YES MADAM*

GORDON CHAN

FIGHT BACK TO SCHOOL

TSUI HARK

BETTER TOMORROW III

DAVID GORDON GREEN

GEORGE WASHINGTON

JOE

MIKAEL HAFSTROMEVILROBERT ROSSENALL THE KING’S MEN*MIKE FLANAGAN

OCULUS

PAUL VERHOEVENA SOLDIER OF ORANGE*THE BLACK BOOK*OLE CHRISTIAN MADSEN

FLAME AND CITRON

MICHAEL VERHOEVEN

THE NASTY GIRL

ANDREW DAVIS

THE FUGITIVE

ZACK SNYDER

300

WATCHMEN

NOAM MURRO

300: RISE OF AN EMPIRE

JOSE PADIHA

ELITE SQUAD

ELITE SQUAD: ENEMY WITHIN

ROBOCOP

LEV KULIDZHANOV

CRIME AND PUNISHMENT

GRIGORY KONINTSEV

HAMLET

KING LEAR

LAURENCE OLIVIER

HENRY V(aka The Cronicle History of King Henry the Fift with His Battell Fought at Agincourt in France)

HAMLET

RICHARD III

ALEKSANDR ASKOLDOV

COMMISSAR

SERGEY BONDARCHUK

DESTINY OF A MAN

WAR AND PEACE

ELEM KLIMOV

AGONY, THE LIFE AND DEATH OF RASPUTIN

COME AND SEE

MICHAEL RADFORD

1984

DANIEL VIGNE

THE RETURN OF MARTIN GUERRE

MOHSEN MAKHMALBAF

A MOMENT OF INNOCENCE

THE SILENCE

VERA BELMONT

RED KISS

AGNES VARDA

CLEO 5 TO 7

LE BONHEUR

VAGABOND(aka Sans Toit Ni Loi)

JIM MICKLE

COLD IN JULY

BEN WHEATLEY

A FIELD IN ENGLAND

TOMU UCHIDA

A FUGITIVE FROM THE PAST*

DOUGLAS AARNIOKOSKI

THE DAY

JORDAN VOGT-ROBERTS

THE KINGS OF SUMMER*

ABDELLATIF KECHICHE

BLAME IT ON VOLTAIRE(aka Poetical Refugee)

GAMES OF LOVE AND CHANCE

ERICK ZONCA

THE DREAMLIFE OF ANGELS

OLIVIER ASSAYAS

IRMA VEP

TODD HAYNES

MILDRED PIERCE

ANDY & LANA WACHOWSKIMATRIX REVOLUTIONS*RODNEY ASCHER

ROOM 237

JOSEPH KOSINKSITRON LEGACY*KEVIN REYNOLDSFANDANGO*WATERWORLD*TRISTAN AND ISOLDE

JAMES CAMERONTHE TERMINATOR*HANI SUSUMU

NANAMI: THE INFERNO OF FIRST LOVE

CHRISTOPHER MENAUL(top), ANDY WILSON(below), DAVID MOORE(not pictured)
FORSYTE SAGA PART I & IICHEN KAIGEYELLOW EARTH

LIFE ON A STRING

FAREWELL MY CONCUBINE*THE EMPEROR AND THE ASSASSIN

TOGETHER

JOHN WELLS

AUGUST: OSAGE COUNTRY

DAVID FRANKEL

THE DEVIL WEARS PRADA

LEWIS GILBERT

YOU ONLY LIVE TWICE

MICHAEL ANDERSON

MARTIAN CHRONICLES: EPISODE ONE. THE EXPEDITIONS.

JAN NEMEC

DIAMONDS OF THE NIGHT

SYDNEY POLLACK

THEY SHOOT HORSES, DON’T THEY?

JEREMIAH JOHNSON

YAKUZA

THREE DAYS OF THE CONDOR

TOOTSIE

JAFAR PANAHI

THE CIRCLE

CRIMSON GOLD*

ANDREW ADAMSON

THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE

DOUGLAS SIRK

IMITATION OF LIFE

LEWIS JOHN CARLINO
THE GREAT SANTINI

DANNY BOYLESUNSHINEALEJANDRO GONZALEZ INARRITUAMORES PERROS*BABEL

ALFONSO CUARONY TU MAMA TAMBIEN*GRAVITY*

STEVEN LISBERGERTRON*CHARLIE KAUFMAN and MICHEL GONDRYETERNAL SUNSHINE OF THE SPOTLESS MIND*SPIKE JONZEBEING JOHN MALKOVICH*JAMES WHALEFRANKENSTEIN

THE BRIDE OF FRANKENSTEIN*JAMES CLAVELLTHE LAST VALLEY

DINO RISI

THE EASY LIFE(aka IL SORPASSO)

MICHAEL WALKER

CHASING SLEEP

PRICE CHECK

SRDAN GOLUBOVIC

THE TRAP

JOVAN ACIN

DANCING IN WATER(aka Hey Babu Riba)FRANKLIN SCHAFFNERTHE PLANET OF THE APES*PATTON*NICHOLAS AND ALEXANDRAPAPILLONDON TAYLOR

ESCAPE FROM THE PLANET OF THE APES

HOWARD HUGHES

HELL’S ANGELS

LUCIAN PINTILIE

THE OAK

AN UNFORGETTABLE SUMMER

TSAI MING LIANG

THE RIVER

ANDRE TECHINE

ALICE AND MARTIN

FRANCIS WEBER

THE DINNER GAME

TONY GATLIF

LATCHO DROM

ZHOU XIAOWEN

ERMO

RON FRICKE

BARAKA

FRANCOIS GIRARD

THIRTY TWO SHORT FILMS ABOUT GLENN GOULD

PETER COHEN

THE ARCHITECTURE OF DOOM

RAY MULLER

THE WONDERFUL, HORRIBLE LIFE OF LENI RIEFENSTAHL

CATHERINE COOKSON ADAPTATIONS directed by RICHARD MARTIN, MARY MCMURRAY, BRIAN MILLS, RONALD WILSON, DAVID WHEATLEY, MICHAEL WHYTE, SIMON LANGTON, GAVIN MILLAR, SARAH HELLINGS, NORMAN STONE, ROY BATTERSBY, ALAN GRINT
THE MALLENS(directed by Richard Martin, Mary McMurray, Brian Mills, and Ronald Wilson)

THE FIFTEEN STREETS(directed by David Wheatley)

THE MAN WHO CRIED(directed by Michael Whyte)

THE CINDER PATH(directed by Simon Langton)

THE DWELLING PLACE(directed by Gavin Millar)

THE GLASS VIRGIN(directed by Sarah Hellings)

THE GAMBLING MAN(directed by Norman Stone)

THE TIDE OF LIFE(directed by David Wheatley)

THE GIRL(directed by David Wheatley)

THE WINGLESS BIRD(directed by David Wheatley)

RAG NYMPH(directed by David Wheatley)

THE MOTH(directed by Roy Battersby)

COLOUR BLIND(directed by Alan Grint)

TILLY TROTTER(directed by Alan Grint)

THE SECRET(directed by Alan Grint)

A DINNER OF HERBS(directed by Alan Grint)

RUPERT SANDERS

SNOW WHITE AND THE HUNTSMAN*

CATHERINE HARDWICKE

TWILIGHT*

CHRIS WEITZ

TWILIGHT: NEW MOON*

DAVID SLADE

TWILIGHT: ECLIPSE

BILL CONDON

TWILIGHT: BREAKING DAWN Part 1.*

TWILIGHT: BREAKING DAWN Part 2.

YURI OZEROVTHE LIBERATION(aka Osvobozhdenie)*

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Neo-Fascist Consideration of MIRACLE MILE(by Steven De Jarnatt) & TREE OF LIFE(by Terrence Malick) Part 1.

http://ostrovletania.blogspot.com/2013/06/neo-fascist-consideration-of-miracle_498.html


This is Part 1 of the Blog Post. For part 2, click here.

According to the preferred narrative in the so-called ‘cinephile’ community, the late 60s and early 70 comprised a landmark period in American filmmaking. Just when the once vital European and Japanese cinemas were waning, American cinema was coming into its own with the dissolution of the old studio system and the rise of personal filmmaking. Though there had always been mavericks in American cinema — consider independent director John Cassavetes and B-movie director Sam Fuller — , the general impression was that of Hollywood churning out popular entertainment and Europeans(and some Japanese) specializing in personal ‘art films’. Throughout the 50s and early 60s, American critics and intellectuals bemoaned of how ‘foreign cinema’ was far ahead of the game in terms of vision, innovation, and experimentation. Though Hollywood was possibly bigger than all of foreign cinemas combined and brought forth tremendous technological innovations, the manner in which the technology was used was thought to be essentially crass or philistine. American films had bigger sets, wider formats, splashier colors, and etc., but they generally lacked the audacity and/or personality of the best of the foreign cinema. Indeed, consider the landmark foreign films of the 1950s and 1960s: I VITELLONI, SEVEN SAMURAI, SAWDUST AND TINSEL, 400 BLOWS, BREATHLESS, L’AVVENTURA, HIROSHIMA MON AMOUR, JULES AND JIM, THE LEOPARD, LES COUSINS, FIRES ON A PLAIN, PIGS AND BATTLESHIPS, ANDREI RUBLEV, and etc. Though American cinema produced its share of bold and imaginative films in the same period, Europeans and Japanese truly embodied the new spirit of post-war filmmaking up to the mid-60s. In the case of Sergio Leone, some were beginning to ask why an Italian-American who’d never been to the American West — at least until working on ONCE UPON A TIME IN THE WEST — was making more interesting westerns than his American counterparts. (And BONNIE & CLYDE was initially offered to Francois Truffaut, perhaps on the supposition that only a European filmmaker exemplifying the spirt of the age could do something remarkable with the material.) If anything, Americans were trying to emulate and catch up with ‘foreign cinema’, and this mind-set, fawning and even slavish at times(Mike Nichols and Paul Mazursky, only to name a few, worshiped Fellini’s 8½), lingered for some time, even as the fortunes and quality of ‘foreign cinema’ precipitously declined. (It’s like the glory of Rome continued to inspire civilizations even after Roman civilization faded.) Woody Allen carried on with his European-ish films up to the 80s — today, he makes films in Europe. Perhaps, the American director who went neck-and-neck with the European masters was Stanley Kubrick. THE KILLING, PATHS OF GLORY, LOLITA, and DR. STRANGELOVE were as daring and different, as ‘out there’, as anything that came out of Europe. And 2001: A SPACE ODYSSEY went even further. Only ANDREI RUBLEV — and perhaps 8 ½, PLAYTIME, PROFOUND DESIRES OF THE GODS, HERE’S YOUR LIFE, MARKETA LAZAROVA, and THE WILD BUNCH — among 60s cinema is comparable in terms of vision and scope. But then, Kubrick had left America, set up shop in the UK, and made all his films beginning with LOLITA across the Atlantic, far from Hollywood(and, to be sure, safely distanced from continental European cinema as well. His relative isolation made him somewhat like Ingmar Bergman, but if Bergman was perhaps wrapped too tight with his neurosis, Kubrick coolly unwound the world around him with an approach that was both leisurely and intense; he worked hard at a slow steady pace; he sold ‘no wine before its time’. Perhaps, one crucial difference was Bergman carried considerable traumatic baggage from his childhood whereas Kubrick grew up reasonably happy, pretty much doing as he pleased. Bergman felt hatred for his father whereas Kubrick didn’t. On the other hand, Bergman was of a people, the Swedes, who’d not only managed to avoid the major conflicts of the 20th century but profited handsomely from them, especially WWII. Kubrick was of the Jewish people who suffered one of the great horrors in WWII. But then, the Kubrick, who grew up as a child in NY, was safely distanced from the horrors that were raging across the Atlantic. Bergman lived a peaceful life in Sweden, but, across the Baltic Sea, the world was blowing up, with tens of millions of people perishing in the biggest war in history. Bergman may have felt a double guilt: guilt of having come to hate his father and reject the Faith AND the privileged/pampered guilt of obsessing about his private angst when the world was blowing up not far from Sweden’s shores — the guilt was later reflected in films like WINTER LIGHT, SILENCE, PERSONA, and SHAME. Another layer of guilt had to do with his youthful enthusiasm for National Socialism and Hitler; Northern Europeans are funny that way; do you know of any Jew who feels guilty over having associated with communism that destroyed tens of millions of lives? Okay, maybe David Horowitz, but that’s about it. Kubrick may have felt somewhat guilty for having enjoyed a mostly carefree and privileged childhood when so many Jews were dying in Europe, but then, his personality wasn’t of the guilt-obsessive type. Also, as his father was a doctor, Kubrick had it better than most people even during the Depression. But Jews are not into the guilt-thing as much as Christians are because the Judaic tradition — even among secular Jews — has always been more pragmatic than the idealistic Christian one. Judaism was ritualistically purist but morally ‘diplomatic’ since it had no figure like Jesus who held forth the model/ideal for the Perfection of Man — to be sure, He was also an anti-ideal as His story was about doing in man’s stead what man himself couldn’t do; it would have been presumptuous for a mortal man to emulate Jesus’s perfection; nevertheless, even impossible ideals do inspire, and many Christians secretly longed to be as great as Jesus. Also, the Semitic personality tends to be more wiggly and haggly. Straightforwardness and earnestness are not to be found in the Jewish vocabulary. Northern Europeans are, by nature, a more straightforward and earnest people, more direct than devious. Even when Northern Europeans lie, they are more apt to believe in their own lies since they have this need to believe that they are good people on the side of the truth. When Jews lie, they know they’re lying and enjoy it as a game much like chess. Because of the relative pure-heartedness of Northern Europeans, they must believe that they are good/correct/justified in order to feel well, and therefore, when they tell lies and suspect that they’re telling lies, they must do their utmost to repress their doubts and misgivings since their Northern European mind is only comfortable with the purity of truth. This may explain the sheer madness of Nazism and Swedish Political Correctness. Many Germans surely suspected that Hitler was full of shit, but they didn’t know how to deal with lies, so they did their utmost to simplemindedly believe that Hitler was a great leader on the side of Truth. And many Swedes today must sense on some level that political correctness and multi-culturalism are full of BS, but such realization would force them to admit and face the fact of lies that pervade their lives. But their national character doesn’t allow this. So, they fanatically attempt to suppress and prevent any dissent that gives the lie to their ‘truth’. Jews are different in that they are comfortable with lies, which isn’t to say Jews lie all the time or believe lying is a virtue in and of itself. Instead, Jews have long survived in foreign lands with goy majorities — often hostile toward Jews — by honing the art of lying, and thus, lying became one of their main modes of surviving, subverting, and prospering. Thus, Jews came to see the tactical value of lying, and so, Jews are not uncomfortable with the fact that they are telling lies or may be surrounded by lies. Thus, if a Northern European forces himself or herself into believing that the lie is really the truth, the Jew will play with the lie knowing that it’s a lie but useful as ‘truth-for-dummies’. Thus, if Jews by and large know that all the stuff spewed out by the ADL, SPLC, AIPAC, and ACLU are lies but nevertheless useful to Jews, Northern-European-Americans like Ken Burns and Stephen Colbert really swallow PC bullshit as the holy truth. [Jews tend to win against Northern Europeans because they have different fighting styles. Jews approach the game of power like chess. In chess, you don’t make obvious moves. You don’t give yourself away. Rather, you make seemingly opaque moves that gradually set up to surround and/or trap the opponent. In chess, all your moves are seen by other side, but your motives and strategy remain hidden. There are also gambits in chess where you make an ostensibly ‘bad move’ that is intended to set up the opponent. Jews are sometimes direct, feisty, pushy, and aggressive, but that alone wouldn’t have made them so formidable. After all, blacks and Italians have been loud and brash too. Jews know when to scream and holler, but they also know when to smile and hold the knife behind their backs. Since one wins in chess by avoiding obvious moves, one has to be conscious of how every move connects with other moves. Thus, even when Jews seem to be acting in a non-hostile manner, they could be setting up the pieces to make way for the killer move. It’s like before you push the lever and blow up structure, you have to quietly go set up the explosives in a sneaky manner. Though the pushing of the lever detonates the dynamites, more crucial was the act of positioning the dynamites in the first place. Before Jews make the obvious move of pushing the lever, they make a series of non-obvious moves that sneakily plant the explosives within the goy power structure. When a Jew and a Northern European argues, the latter states his or her case in an obvious and earnest way whereas the Jew is always predicting what the goy may say and what he himself should say to gradually rout the goy. Northern European goy makes an obvious move whereas the Jew is always making moves coordinated with other moves. The only way to win against the Jew is to play the game better, but Jews have the highest intellect. The only other way to win is to blurt out the truth as to the nature of the game. If you can’t win in chess, you must speak the truth. You must say, “Jew, you are smarter than me, and that biological fact gives you an unfair advantage over me. Therefore, I won’t play this game and use other means to gain my freedom and independence from your ilk.” This is why Jews hate and wanna suppress the truth as ‘hate speech’. Jennifer Rubin’s real reason for going after Jason Richwine was the latter spilled the beans on higher Ashkenazi intelligence. Though American Enterprise Institute once hosted Richwine, there were probably Jews at the organization who tipped Rubin about the troublesome goy and what must be done about him.] And in a way, this was the difference between Kubrick and Bergman. Bergman, as he confessed in FAITHLESS, was a compulsive liar and betrayer, but he was deeply troubled by his own lies and sought some way to either dig himself out of the hole to face the music or dig himself deeper into the hole to hide in shame and silence. Thus, in PERSONA, the woman refuses to talk because all she hears coming out of her mouth are lies, personally and professionally. A character in SAWDUST AND TINSEL recounts a dream where he turned into a small baby and crawled inside his wife’s womb and then vanished into the void — the inability to face the world of endless lies and painful truths, the desire to just dig into the hole and disappear. There’s something about an abortion in PRISON, aka DEVIL’S WANTON, and in WILD STRAWBERRIES the husband says he wishes he hadn’t been born and dreads bringing another child into this world. All of this may sound weird coming from a Swede who grew up in relative privilege in a nation that was spared the ravages and mayhem of World War I, World War II, Nazism, and Communism, but it was rather typical of Northern European neurosis; I wonder if Bergman was especially strange because he was maybe part-Jewish. Maybe his mother had a fling with a Jew behind her husband’s back; the grandmother in FANNY AND ALEXANDER certainly had intimate relations with a Jew, so maybe Bergman sensed this was true; if so, maybe Bergman’s half-Jewish nature simply couldn’t abide by an earnest Northern European upbringing.

Kubrick shared some of the same fascinations with Bergman, but he was a more easygoing person because his Jewish nature didn’t need to believe in or fess up to some Truth. As a Jew, he was comfortable with lies and saw the world as a maze of lies. This isn’t to suggest that Kubrick was a compulsive liar or swindler or con-artist. Rather, Kubrick was accepting of the world as an entity built of lies; a world where truth is less something to be found in the maze than the workings of the maze itself. The maze is the truth, and the objective of the maze is to fool us. If Danny outwits his father at the end of THE SHINING, it’s because the father looks for something/someone in the maze whereas Danny gains insight into the nature of the maze itself. Jack Torrance is oblivious of the workings of the maze and merely runs after Danny, whereas Danny figures out a way to use the maze to his advantage. Deception becomes perception.
[The best summation of Kubrick’s approach may be found in INCEPTION by Christopher Nolan. A character named Ariadne is hired to work as an architect. She will build mazes in dream space, and the person brought into the dream world will naturally project his subconscious onto them. Kubrick was like an architect who built these cine-mind mazes onto which audience members found themselves projecting their own ideas, emotions, and obsessions. For this reason, some people have found his films to be somewhat hollow and empty, lacking a center grounded in powerful characters. But this sense of emptiness was intentional as Kubrick’s characters were meant to serve as vessels for our own thoughts and emotions through the maze. Thus, they are half-formed characters at best. The other half of them is left empty for us to embody and onto which our own subconscious is to be projected. Though Nolan’s idea is Kubrickian, he himself isn’t a Kubrickian director as he’s too discursive and explanatory, at least in his big budget movies.] Jews may seem impassioned when they spout politically correct nonsense, but they are really playing a mind-trick game; their show of emotions is less a manifestation of their true conviction than an attempt to browbeat us into going along with their agenda. Just as playwrights and authors manipulate their own characters, Jews see themselves as the authors of our world and see us as characters in their Jewish Supremacist play. Jews write the ‘script’ of higher education, entertainment, propaganda, and culture; and these things have a way of infiltrating and influencing the way we think and act, and thus, we become like fictional characters in a Jew-written play. For example, Jews spread all this gay propaganda that has come to affect so many hearts and minds, and so, many young people are flocking to ‘gay pride parades’; it’s as if Jews have direct access to the mental mechanisms of others. Authors know they’re writing fiction, but fictional characters don’t know they’re fictional. Authors knowingly deal with lies, whereas fictional characters believe in the ‘truth’ of their fictional worlds. Jews are like authors, and Northern-European and Wasp Americans are like fictional characters. Jews, like authors, are comfortable with lies and the endless ways they could be spun. Northern Europeans, like fictional characters, have this need to believe that they are living for and in the world of truth. Such purism has a way of undermining thought, so Northern Europeans are often afraid to think on their own to discover their own truth. Christianity was appealing because it supplied them with the Truth that could be accepted simply and wholly. But in the post-spiritual order, there was need for a new kind of faith, and it was offered to Northern Europeans in both US and Europe by the Jews. This is partly why Jews won. Jews didn’t feel uncomfortable with lies whereas Northern Europeans did. Since the world is complex and difficult to understand, we are surrounded by more lies than truths. Jews could handle this, but Northern Europeans couldn’t. Since the Old Truth was no longer acceptable — since anything related to white racial pride or identity became associated with Nazism — , Northern European types were in need for a new ‘truth’. Jews spun a whole bunch of politically correct lies into a new ‘truth’ for Northern Europeans to embrace, and so they did. Bergman was a very intelligent man, but it isn’t difficult to understand why Sweden turned out the way it did if we study Bergman’s career. Bergman had trouble with the truth but also had trouble with the fact that he had trouble with the truth. To the end of his life, he longed for some kind of absolute truth — and this can also be said of Michael Haneke who morbidly and single-mindedly digs and digs for what he assumes to be the Truth. Kubrick the Jew never felt such need. It’s like the difference between the Tom Cruise character and the Sydney Pollock character in EYES WIDE SHUT. The former needs some kind of ‘forever’ truth whereas the latter is comfortable with lies as chess pieces in the game of power. So, when Jews tell PC lies, we need to know that they’re using lies to win the game of Jewish Supremacism. In contrast, when Northern European types spout PC nonsense, they really believe in the nonsense they’re spewing. Just look into the ‘innocent’ eyes of goo-goo boys like Ken Burns as they sing the PC chorus about ‘equality’ and ‘diversity’. If one traces Bergman’s personal problems to his relationship with his father, what about the case of Franz Kafka? Kafka possibly hated his father even more than Bergman hated his. Bergman at least understood that his father was not a bad man but a weak and difficult person who concealed his social and personal insecurities behind sternness and brusqueness, but Kafka really found his father to be a nasty and unfeeling person. And yet, Kafka, like Kubrick, wasn’t so much trying to separate the truth from the lies but sardonically exploring the way of how lies and truths are interwoven through one another at every level of reality). To be sure, there was a counter-narrative that ironically originated in Europe itself. Just when American intellectuals and cineastes were profusely praising foreign cinema, a group of French cinephiles centered around Francois Truffaut, Eric Rohmer, and Claude Chabrol — Godard also for awhile — at the Cahier Du Cinema were making a case for American cinema as art. The ‘auteur theory’ championed a growing number of American directors — growing because every would-be-critic had his personal list of great ‘unsung’ directors — as artists no less significant than European masters. French auteurists preferred many American directors over the ‘cinema of quality’ French directors whom the auteurists excoriated for their impersonal tastefulness and bland competence. (This bloodless convention of ‘cinema of quality’ now seems to prevail in Hollywood during the fall season when the so-called ‘mature’ films are cranked out for Oscar season. While more adult and serious than most summer blockbuster fare, most of them might as well be directed by the same professional hacks. AMERICAN BEAUTY, NEVER LET ME GO, REVOLUTIONARY ROAD, HITCHCOCK, CAPOTE, and etc. have no personal style or vision to speak of.) In a way, French auteurists and American intellectuals had something in common. Both were waging a war on middle-brow philistine-ism. American intellectuals argued for cinema as personal art, and the French auteurists were no less praiseworthy of film directors such as Bergman, Fellini, Resnais, Antonioni, Rossellini, Renoir, and etc. What the French auteurists didn’t like were the ‘impersonal’ professional directors who worked closely — even ‘slavishly’ — with the writers and producers. Such directors were accused of serving the concept of the writer and/or pandering to the staid respectability of middle class viewers(as understood and shaped in turn by the producers and industry as a whole). So, French auteurists attacked Rene Clement and Henri-Georges Clouzot, and American culture critics would eventually turn on David Lean. Where American intellectuals and French auteurists initially differed was in the idea that Hollywood had produced its share of genuine film artists worthy of comparison with the best of European artists. The standard line among American intellectuals acknowledged that even though Hollywood had lots of talent and produced its share of film classics, it was mostly about entertainment and not art. So, even as American intellectuals appreciated Hitchcock, Huston, Wilder, Wyler, Ford, Hawks, Capra, and etc. they were seen as entertainers than artists; they were considered as professionals who knew the tricks than artists seeking the truth. French auteurists disagreed and argued that the best American directors were genuine artists in their own right. Andrew Sarris took this and ran with it. Auteurism gave him intellectual cover to fully come out of the closet and declare his hopeless romantic obsession with Hollywood movies; it’s no wonder he sympathized with Robin Wood’s coming out of the closet in the 1970s as a ‘gay critic’ or homouterist. Ironically, Sarris was liberated in his love of populist American cinema by European intellectualism/respectability. Sarris had grown up watching Hollywood movies and loving them. But as a would-be academic and professional writer, he’d felt compelled to favor and champion the ‘higher’ over the ‘lower’. So, in 1958, he included Stanley Kramer’s ON THE BEACH on his top 10 while excluding VERTIGO and TOUCH OF EVIL. Kramer’s movie was lousy but dealt with lofty, grave, and ‘socially relevant’ themes. And in the 60s, there were many American critics who praised Sidney Lumet’s ridiculous THE PAWNBROKER for its ever-so-serious attempt to emulate European cinema — it might as well as have been called ‘Holocaust Mon Pawnbrokeur’. Sarris had been wanting to come out of the movie closet and unabashedly proclaim his love for American-cinema-as-art-in-its-own-right, but American intellectuals were looking to Europe for the big ideas. In the age of Jean-Paul Sartre, how could Sarris argue for Budd Boetticher and Sam Fuller as artists? So, how convenient for Sarris to discover the French auteurist school that argued in favor of American cinema. If French cinephiles thought so, maybe it was intellectually legitimate after all to champion American cinema as art. Sarris made his decisive turn with his praise for Hitchcock’s PSYCHO. Though Pauline Kael and Sarris were never on good terms, her attitude about cinema and art was more or less in the same vein. And if Truffaut and especially Godard were especially appealing to both critics, it had something to do with their riffing on American pop cultural influences. BREATHLESS and SHOOT THE PIANO PLAYER owed a lot to American B-romance-thrillers. And Chabrol borrowed heavily from Hitchcock, though all said and done, his sensibility was uniquely European. Of course, this Hollywood vs European cinema dichotomy has always been blurry due to the fact that so many Hollywood movies were made by European emigre directors, especially Jews who left Germany with the rise of Hitler. Was Fritz Lang more a European or American director? And was Hitchcock ultimately more British or American?

Anyway, by the late 60s, European and Japanese cinemas were on shaky legs for any number of reasons. The rise of TV cut into ticket sales. Radicalization of politics and culture turned many directors into dull ideologues — especially true of Godard. Success turned some formerly innovative directors into crowd-pleasers — especially true of Truffaut. In some cases, film directors became obsessive and/or self-indulgent — especially Fellini and Bergman in the late 60s and early 70s; films like FELLINI SATYRICON and PASSION OF ANNA don’t look good today. But then, we should remind ourselves that even in the heyday of European art cinema, many of what came to be considered as classics were box-office failures. The decline of Japanese cinema was even more dramatic. The studio bosses decided that the trend was irreversibly in favor of TV and decided against risk-taking in cinema, and already by the late 60s, most Japanese films were cheapie genre productions about gangsters and ‘pink films’ or soft-core porn. Unwittingly, the Japanese movie business and Japanese Left joined hands to destroy Japanese cinema. In economic terms, the businessmen went for the safe easy bucks, and the Japanese radicals, in their war against ‘bourgeois’ culture, denounced everything about Japanese culture. The most famous — or infamous — Japanese director of this period, Nagisa Oshima, attacked just about all the big names in Japanese cinema as ‘militarist’, ‘bourgeois’, ‘oppressive’, or whatever. Thus, many Japanese film artists were abandoned/neglected by the industry and/or attacked/excoriated by the Japanese intellectuals and critics who, like other such folks all over the world, were blinded by fashionable leftist dogma.

Just when European and Japanese cinemas were fading, American cinema was coming into its own as an art form. (Though one could argue genuine works of art had always been created by Hollywood from the beginning, most Hollywood filmmakers kept their ‘artist soul’ in the closet as ‘art’ was considered a dirty word in Hollywood for both capitalist and leftist reasons. For studio bosses, ‘art’ meant pompous jerks making movies that always lost money. For leftists, ‘art’ was bourgeois in its selfish and self-indulgent notion for art-for-art’s-sake when truly worthy art must be for The People! So, filmmakers who aspired to be artists kept their artist-hood in the closet as gays did their homosexuality. Thus, even though John Ford made several films worthy of the title of ‘art’, he always publicly disdained the term as fey and ‘gayish’. It was really in the late 60s that American filmmakers, without apology or reservation, came out of the creative closet as aspiring personal artists. In this sense, the dichotomy of film vs movies, however limited or simpleminded, did some good for American film-makers. Hollywood had long insisted that everyone make ‘movies’, but maverick directors like Elia Kazan and Stanley Kubrick wanted to make more personal films or do their own thing. They wanted to work in the ‘film’ mode than ‘movie’ mode. The problem wasn’t with the idea of ‘movie’ per se but with the idea that Hollywood products must be ‘movies’. Mike Nichols, a wunderkind of 60s American cinema — who, like Orson Welles, arrived from Theater — made THE GRADUATE in the spirit of ‘film’ though, in many respects, it was very much a ‘movie’. Though artistically several notches below CITIZEN KANE, its impact was comparable, truly seismic.) Though one could trace the trend to an earlier time, the aptly titled THE GRADUATE was like the official declaration of Hollywood’s full embrace of the idea of film-as-art. Though not the first attempt, it was the first truly successful one that made believers out of everyone — critics, fans, and academy members alike. In truth, THE GRADUATE wasn’t so much a bona fide ‘art film’ as a populist pandering to youth with certain European ‘art film’ mannerisms.

Buck Henry’s screenplay could almost be sitcom material. (The success of Woody Allen’s ANNIE HALL owed to a similar formula. It turned European Art Film conventions into bite-size sitcom hors d’oeuvres.) But there were certain nuances and moods in the film that conveyed a wholly new kind of feeling in American cinema. And unlike previous youth films made by clueless adults who didn’t really ‘get it’, THE GRADUATE rode on the wavelength of the generation it pandered to. Prior to THE GRADUATE, most movies about young people presented the content of youth but in the older context of Hollywood’s assumptions about youth; even Nicholas Ray’s groundbreaking REBEL WITHOUT A CAUSE stereotyped the young as a social tribe to observe and ‘understand’. For all his angst and whimpering, the James Dean character is more a type than an individual. Compare WEST SIDE STORY and SPLENDOR IN THE GRASS with THE GRADUATE. The first two are about young people but seen from a remove through adult eyes whereas THE GRADUATE makes the viewer feel as one with Benjamin Braddock(Dustin Hoffman). In WEST SIDE STORY and SPLENDOR, all sorts of fashionable ideas and theories — Freudianism, social critique, morality of sex, danger of repression, etc. — are at the forefront and come between the characters and the viewers. Also, their styles, impressive as they are, seem rigidly ‘classic’ and artificial than ‘different’ and personal — compare Natalie Wood’s picaresque adventure near the waterfalls with Dustin Hoffman’s dash to the church in the final reel. Movie makeup is always omnipresent in SPLENDOR IN THE GRASS, even in its rawest moments, whereas THE GRADUATE begins with the white noise inside an airplane and zooms away from the dark tanned face of Hoffman, which late in the movie is full of sweat and stubble and shot through washed out colors and accompanied with what could be real sounds of the street; when the car runs out of gas and Ben starts running, we feel the full effect of the noise, confusion, and heat; the cine-cosmetics have melted off; the zoom lens effect gives it a grimy cinema-verite documentary feel, but it’s much more than realism as the technique, though deceptively spontaneous, has been expertly calibrated  to convey the personal mood of desperate hope and fatalistic anxiety in Ben; the combination of realism, professionalism, and personalism(with a touch of poeticism) in THE GRADUATE was truly remarkable, so much so that few directors, including Nichols, were able to match it in coming years. (MIDNIGHT COWBOY and HAROLD AND MAUDE are among the few that come to mind.) Mike Nichols, at 36, wasn’t exactly ‘young’ when he made THE GRADUATE, but he understood the spirit of the times — and the use of Simon and Garfunkel’s songs was one of the first(if not the first) effective uses of the New Music in film. While Rock n Roll music had been used many times earlier in movies, it had been mostly as dance spectacle(as in musicals) or social statement. In THE GRADUATE, from the very opening scene with “The Sounds of Silence”, the music is part of the film’s psychology. It isn’t just the soundtrack but a glimpse into the heart of Benjamin Braddock, the melody of the generation, the film’s very soul. In this regard, THE GRADUATE may have served as a template for such films as MIDNIGHT COWBOY, EASY RIDER, HAROLD AND MAUDE, and AMERICAN GRAFFITI. THE GRADUATE revolutionized the use of music in movies. In earlier movies, a song, especially a rock n roll song, tended to hog the foreground as either a statement — of rebellion in BLACKBOARD JUNGLE — or a spectacle, as in all those Elvis and Beach Party movies. There were exceptions to be sure, especially Ringo’s walk along the river bank to the instrumental of “This Boy” in A HARD DAY’S NIGHT. It was European cinema’s use of pop music that was more nuanced, as in THE EASY LIFE, aka, IL SORPASSO(1962) and MASCULIN FEMININ(1966), and Nichols was among the first American directors to explore the new possibilities of melding mind, matter, and music.


Anyway, for a time in the late 60s and early 70s, it was as if American cinema was finally coming into its own as a full-fledged art form. And unlike serious American directors of the 50s and early 60s who sought to imitate the Europeans and make European-ish films like THE PAWNBROKER, the American directors of the late 60s and 70s were finding their own national, ethnic, and/or personal voices in attitude, style, and sensibility. While they owed something to European innovations in film grammar, they spoke with a distinctly American accent. Robert Altman’s MCCABE AND MRS. MILLER and NASHVILLE were as American as cheeseburger and milk shake. So were Lucas’s AMERICAN GRAFFITI and Peckinpah’s THE WILD BUNCH. If earlier American directors of ambition tried to imitate European innovations note-for-note, the American auteurs of the late 60s and 70s had learned the notes but played their own tunes, paralleling the difference between American composers of the late 19th and early 20th centuries who tried to slavishly imitate the ‘superior’ Europeans and those of the later period who, while absorbing the lessons from abroad, played freely with unique American voices and spirit. Thus, TAXI DRIVER owes something to Bresson and Godard, but it’s distinctly a New York film — unlike THE PAWNBROKER that tries so hard to be a European Art Film made in New York.

Another strange development was that the Americans finally discovered and expressed the European content of the American character by becoming less European-ish and more American-ish. Francis Ford Coppola, for instance, was as influenced by European filmmakers as by American ones, but it was by working on THE GODFATHER that he came to express what was uniquely Italian and Old World about Italian-Americans. Instead of trying to seek approval of haute Europeans or Anglo-Americans, he probed into his ‘humble’ Southern Italian-American roots to portray the richness of Italian-American life and culture unknown to outsiders. As such, THE GODFATHER is, at once, one of the most American and one of the most ‘exotic’ films. It’s about the Italian experience in America but in a unique than generic sense. It’s as much about the part of Italian-ness that cannot assimilate into American society as about the part that can. It’s both a film of acceptance and exile. Corleones do win and are accepted into the American order, but something about them remains as outsiders, the exclusion working both ways — Wasp elites looking down on the Corleones as ‘oily’ outsiders, and Corleones not trusting anyone who’s not a Sicilian, which is rather ironic since Sicily is a land of deception and corruption; Corleones are also at war with other Sicilian gangs and with other ethnic groups like the Jews. As Sicilians of humble background who became rich in America, the Corleones are both a family of bandits and members of the New World royalty. As Americans who found great success in the New World, they cannot really return to their roots. But as nouveau riche Americans who made their fortune through gangsterism, they cannot belong to respectable society. When we think of European CULTURE, we think of France, Germany, Britain, and Northern Italy. No one thinks of a backwater like Sicily or even much of Southern Italy. Indeed, even many Italians don’t think very highly of Southern Italy and Sicily which are sometimes derisively associated with Africa or Arabia. Just as Jews found paradise in America, Southern Italians found their true blessings in America, but the Italian-American experience has been marred by organized crime. Thus, there is an element of exile in THE GODFATHER and Scorsese’s MEAN STREETS, and that may have been one of the reasons why Pauline Kael felt a certain fondness for them. Jews also have a long mental history of exile, and in the case of Kael, it was double-layered for she also felt exiled from much of the Jewish community centered in NY and LA. Perhaps, Kael didn’t care for most John Ford movies and European art cinema because of their air of officialdom. John Ford movie seems to say “this is America”, “these are American archetypes”, “these are American values”, etc. And European art film seems to say, “this is art”, “this is intellectualism”, “these are proper ideologies”. For Kael and others like her, the truth was in the personal and the tribal. This isn’t to say that she was an individualist ideologue(in the manner of Ayn Rand) or tribalist(in the manner of a Zionist or race-ist). Rather, she liked the FEELING of truth, and this feeling could always change, and she liked the freedom of being able to change her mind and moods. As the character Steiner says in THE CROSS OF IRON, “a man is generally what he FEELS himself to be.” Sam Peckinpah was one of Kael’s favorite directors. Whether good or bad, high or low, left or right, Kael had a thing for truth of feeling. For her, too many Hollywood films were generic in their appeal to the mass audience or in their formulation of Americanism or moralism. And too many European films were overly serious about meaning, symbolism, and intellect. Both overrode the feelings at the core of human experience. The issue wasn’t really populism vs. art sensibility. Movies were legit or not legit depending on whether they channeled or blocked the truth of feelings. Thus, Kael could admire an art film like EMIGRANTS and THE NEW LAND or a popular work like the movies of MEL BROOKS. They felt true in the power of their emotions. It is then no surprise that the film she was craziest about was THE LAST TANGO IN PARIS. She connected with its dark and delirious passion of middle age crisis and love-sexuality-guilt triangle. An American fuc*ing in Paris.

The 70s became a legendary period for cinephiles, especially as the 80s came to be associated with Reagan, the conservative revival, neo-patriotism, and the triumph of capitalism(and demise of communism). To be sure, American cinema began to move away from ‘personal filmmaking’ already with the success of JAWS and STAR WARS — though one could make a case for THE EXORCIST as well. Because the success of JAWS and STAR WARS(and then HALLOWEEN) spawned the rise of blockbuster and/or formula movies in the 80s, aka the Reagan era, Lucas and Spielberg came to be loathed by many liberals — all the more so since Lucas copped Riefenstahlian fascist aesthetics in his space fantasy and not only for the villains but for the good guys, e.g. the final scene of STAR WARS with the triumphant good guys borrowed design ideas from the Nuremberg Rally. That such a brazenly aesthetically-fascist movie could become the biggest hit of all time troubled many social commentators. And Lucas’s main intellectual and ‘spiritual’ inspiration came from Joseph Campbell, the quasi-fascist scholar of mythology. Though liberals like Bill Moyers tried to clean up Campbell’s image, especially in the PBS documentary THE POWER OF MYTH, the fact remains that Campbell was no lover of Jews and Negroes. Of course, not liking Jews doesn’t make one a fascist as there are Jewish fascists too — as Zionism is a form of Jewish fascism — , but Campbell was fascinated with the power of the irrational, the visionary and the imaginary, and themes of particularist blood-and-soil loyalties. Lucas was also the son of an arch-conservative father. But Lucas was also a child of the 60s and absorbed many of the anti-establishment assumptions of the Counterculture. In taste and imagination, he was very much a conservative and fascist, but in terms of conscious political outlook, he was very much a liberal Democrat. Thus, STAR WARS was a means by which Lucas could have the cake and eat it too. He could indulge in all the fascist imagery(from comic books, science fiction fantasies, and WWII photos and footage that he loved as a child), but then, neatly divide fascism into good fascism(as represented by the Jedi Order) and bad fascism(as represented by the Dark Side). Interestingly enough, all the good guys were white in the first STAR WARS whereas ‘racial’ diversity in the form of various creatures in the Jazz club tavern, Jewish-like Jawas, and Arab-like Sand People looked rather unpleasant. Possibly due to criticism, Lucas added a Negro in EMPIRE STRIKES BACK and made RETURN OF THE JEDI more like SESAME STREET, or Muppets vs the Evil Empire. And in the later series, one of the top Jedi masters was played by Samuel Jackson, and indeed the Jedi Order seemed to be made up of a diverse bunch of space freaks, including  a conehead with bushy whiskers. But then, once Annakin Skywalker becomes evil, he puts on a black armor and starts sounding like a Negro whose motto is “Force is a terrible thing to waste.” And then, the Stormtroopers turn out to be a bunch of Samoans. In a way, Spielberg and Lucas had more in common with Steve Jobs(relatively a late boomer) than with the boomers born between them. Lucas and Spielberg(early boomers) were respectively born in 1944 and 1946, and Steve Jobs was born in 1955. That means both of their formative period missed the crucial period of 67 to 70. If one’s most formative years are between 15 to 18, Lucas and Spielberg were already in their 20s by 1967; their formative period was in the late 50s to early 60s. By the late 60s, both were full adults. And by the time Jobs was in his late teens, the memory of the ‘radical’ 60s was fast fading away. Lucas and Spielberg’s formative years were before America went crazy, and Jobs’s was after America went crazy. Lucas’s nostalgia trip AMERICAN GRAFFITI set in the early 60s could have been set in the late 50s, and in a way, it’s like a Twilight of American Innocence movie. And though Jobs wanted to be part of 60s culture, the ‘vibes’ were fading by the day as Jobs came into adulthood. Thus, while all three were affected by the 60s, their youthful impressionability was at a certain remove from the epicenter. Lucas’s favorite music was from the late 50s and early 60s. Spielberg was more into Walt Disney and David Lean than into rock music(and there’s something old-fashioned and ‘classic’ about all of his movies). There were plenty of cinephiles in the 60s, but they were more into European art film and the like. Spielberg preferred the more accessible David Lean and Akira Kurosawa, who was also the hero of Lucas. For Spielberg and Lucas, the 60s were a mixed blessing. They were excited by the changes and moods, but they also felt that the America they loved was slipping away. Both lacked the passion to join the movement as it destroyed the America they grew up in and longed to return to — a more innocent America — , but they were affected by the movement’s idea that the Establishment had lied to the public and kept people in the dark about the truth. The problem of the Vietnam War and Nixon’s scandals compounded these fears. And yet, Spielberg loved suburbia, not hippie communes and rowdy college campuses. And Lucas loved machines and gadgetry — a passion shared by Steve Jobs — than hemp and patchouli. Though the ‘spiritual’ message of STAR WARS is anti-technological, its heart-and-soul is about machines, technology, and special effects. Ultimately, even the good guys need big spaceships to fight the bad guys — and we gotta admit the Empire has a great looking armada and battle gear. And what are light-sabers? Weapons made of wood and stone? No, they are weapons made of hyper-technology. Besides, we later learned it was the good guys who first used the storm trooper Clone Army to fight the evil forces. (In a way, Lucas foreshadowed the dilemma that Hollywood had to face.

Lucas loved fascist aesthetics and irrational mystical cults — so central to anti-rationalist fascism — , but he hated fascist politics. STAR WARS offered a means to celebrate and enjoy fascist aesthetics and spectacle while condemning its message. As STAR WARS broke all box office records and proved immensely profitable, it was obvious that people love fascist aesthetics, especially wedded to science fiction and neo-Wagnerian music; eventually Hollywood made peace with fascist aesthetics and made a killing at the box office with quasi-fascist directors making stuff like ROBOCOP, TERMINATOR, RAMBO, LOTR movies, TRANSFORMERS, MATRIX trilogy, etc; the trick was that it couldn’t be called ‘fascist’, and the political message had to be anti-fascist, even as the aesthetics was pure pop-fascism. Even as many boomers attacked Lucas as a sell-out and closet-fascist-‘racist’, there was a certain appeal in his fascist imagination because all that stuff about the Force was, in a way, an extension of the 60s ideal of self-actualization and being ‘far out’ enough to touch god. Lucas changed the electric guitar to the light saber; he idealized the disciplined order of Jedi Knights than the rowdy disorder of rock stars, but the appeal of both was the Power. At Woodstock, rock stars were revered as guitar gods with the power of sorcery. In the STAR WARS universe, Jedi Knights possess and wield a mysterious power known as the Force manifested through their masterful display of skills with light sabers. In the 60s, the boomers rebelled not only because they found society to be too oppressive and unjust but because they found it too equal, square, and conformist. As Benjamin Braddock says to his father, he wants to be ‘different’; he didn’t want to be the same or equal with everyone else who is into ‘plastics’. Even as boomers railed against racial inequality and the like, many boomers wanted to gain fame, fortune, and power far above what had been deemed adequate by their parents, and this outlook began in their bedrooms as they listened to rock music. If earlier generations understood that they had to ‘put away childish things’ and grow up and become responsible, the boomers grew up enjoying more freedom to dream their fantasies in their bedrooms while listening to rock music. Good wasn’t good enough for them. Boomers believed that they were anti-materialistic and ‘spiritual’ because they preferred to ‘drop out’ and ‘find themselves’ than jump on the career path to make money, but this form of anti-greed or anti-materialism was paradoxically a profound expression of their ultra-greed and ultra-materialism. After all, people find jobs to pay their own way and to pay taxes, which is what the parents of boomers did all their lives. But many young boomers selfishly wanted everything without working, and they naively believed that their commitment to ‘love’ and ‘peace’ would bless them with manna from heaven when, in fact, their parents were footing the bill for their self-indulgences. Boomers were actually acting like the snobby guy in MILDRED PIERCE who takes money from Mildred but doesn’t want to work because it’s beneath his dignity as a person meant for finer things — and this also shows in the sneering arrogance of Obama who reeks of unearned privilege but hides the odor with highfalutin rhetoric of ‘social justice’. Thus, there was a streak of closet-aristocratism in the souls of boomers, which is why they loved the public image of the Beatles and Stones, the neo-aristocrats of the age, who seemed to have lots of money and privilege to indulge in creativity, love, and whatever caught their fancy. Of course, boomers eventually couldn’t be kids forever and eventually had to find work, and not surprisingly, their materialism and ‘greed’ in the 1980s and 1990s went far beyond anything imagined by earlier generations. This is where Reagan and Thatcher miscalculated. Their idea of the rich and successful harked back to an earlier time when the rich had more class and restraint; therefore, they thought the return of the culture of wealth would ‘conservatize’ the boomers, but what really happened was that wealth was ‘radicalized’ by the boomers, a very excessive generation. Of course, boomers couched their energies in progressive language of fighting for ‘social justice’ and equality, but what really excited them was the chance to be totally free and follow their bliss. They wanted all their youthful fantasies to come true as if they were princes and princesses in fairytales. Oliver Stone embodies this boomer paradox down to a tee. He wants to be Alexander the Great and is fascinated with rich football stars, famous rock stars, gangsters, and Wall Street titans — and all sorts of men of power — , but his political rhetoric is always some bullshit about ‘social justice’. The dirty secret of the 60s was that even as the generation spouted Marxist cliches, the real animating force was a kind of personal fascism, i.e. each boomer radical or visionary wanted to be his or her own Mussolini or Hitler. Only John Milius and perhaps Paul Schrader — the director of MISHIMA — were honest about this, but then the crazy right generally tends to be more honest than the crazy left.) Many liberals found Lucas too conservative(even fascist), but Lucas, well aware of the fact that liberals had the upperhand in the field of moral combat(what with the myth of WWII as ‘good war’ and Civil Rights Movement), had to convince others(and himself) that he was a good progressive. Also, since his Industrial Light and Magic Company relied on recruiting top talent in computers and high-tech(and since most geeks were either Jewish or liberal), it was necessary for him to be the good ‘progressive’. Republican message under Reagan was all about success and wealth, but the likes of Lucas didn’t need any advice from Republicans and conservatives to make a lot of money. Though Lucas and Spielberg benefited handsomely from the Republican policy of lower taxes and pro-entrepreneurship, they didn’t simply want to be seen as rich guys and be thought of as ‘crass’ and ‘greedy’. So, even as they made their money the ‘conservative’ Ayn-Randian way, they wanted to show the face of ‘compassion’ and ‘inclusion’. This is something the Republicans didn’t understand, that, as Jesus said, “man doesn’t live on bread alone.” Republicans emphasized economics because they found themselves on the defense in areas of race, sex, and other issues. Since Republicans couldn’t defend hierarchy on the basis of race or sex, they opted for the natural hierarchy of talent as the determinant of wealth. Republican policy was appealing to a lot of yuppie boomers in the 80s — especially as many were eager to put behind the crisis mode of the late 60s and early 70s — , but as the decade wore on, all the wealth seemed empty and meaningless. And even as the Republican policy made the talented boomers fabulously rich in finance, entertainment, high-tech, and fashion, most yuppie rich despised the cultural core of conservatism that seemed trapped in the 50s, the Southern Bible Belt, or bland suburbia as retreat from urban cosmopolitanism. In the post-religious age, yuppie boomers wanted some ‘spiritual’ meaning in their lives, but all they got from conservatism was Reagan’s muscle flexing, Ayn Randian me-me-me-ism, and/or Bible-thumping. Yuppie boomers were ‘greedy’, but they didn’t want to feel or seem greedy, so most of them couldn’t accept Randianism. Yuppie boomers didn’t care for old time religion, but they wanted something to worship. And so, there was the new religions of the Green movement, Oprah, Holocaustianity, and MLK faith. Boomers loved the immediate sugar highs of pop culture but also wanted to seem ‘intellectual’, so their gathering place was NPR where popular movie stars and musicians were interviewed in an intellectual manner by the likes of Terry Gross(who really looks gross). Have the cake and eat it too. Yuppie boomers were afraid of Negro crime but wanted to seem ‘guilt-ridden’ and redemptive. So, even as they drove Negroes out of urban areas via gentric cleansing and locked them up in massive prison compounds(built under Clinton), they extolled Oprah as the heroine of our age and voted for Obama as ‘the one’. All these contradictions can be found in Lucas. The way he made his money was Reaganesque, and he did it by marketing pop-fascism. Also, there’s little that’s egalitarian about Lucas’s life or the message of his movies. Lucas built his empire by making everyone know who is boss. He didn’t wanna be just another filmmaker working for Hollywood but built his own movie studio and was his own mogul. And STAR WARS is all about hierarchy. Annakin Skywalker goes wrong because he betrays the hierarchy of the Jedi Order. The wise and noble Obi-Wan Kenobi is loyal and obedient to Yoda, and he expects Annakin to know his place. Annakin as a young Jedi is like a punkass kid who wants to his own thing, a kind of rebel without a cause. Yet, despite all this, Lucas in public life has been eager to show himself as some kind of egalitarian teddy bear who’s with the People. And he pretends to understand Negroes too. Like that other silly white man James Cameron, Lucas seems to have something for black mamas. If Cameron wrote a script(STRANGE DAYS) with a hot mama Negress, Lucas went one better and is on the verge of marrying one. Maybe, it’s just a white boy fantasy. As both were likely castrated by smart white women, maybe they seek solace in the myth of the soulful black mama who done understand. You see, white women be too icy and cold, but black ho’s, they be full of soul and be understanding what a white man feels and needs. They get to play Thomas Jefferson, if indeed he did father children with one of his plantation slaves. (This also seems to be the appeal of Oprah. It isn’t exactly Jungle Fever but more like Mama Fever.) It’s sort of like what Bugs Bunny gets from the female gorilla in “Apes of Wrath”.

Of course, black women understand the naive white boy psychology — especially if the white boy is rich and famous — and milk it for all its worth. Sorryass white boys castrated by cold white bitches. Uh poor poor babies, come to black mama and suckle on chocolate milk from warm jungle titties. Looks like Roger Ebert done got some warm chocolate milk by suckling on the titties of a Negress too.

Anyway, the 80s got tagged as the Reagan Era and, as such, came to be derided by liberals. To be sure, Reagan and the 80s have sometimes been portrayed positively by the liberal media to shame current conservatives. This narrative would have us believe that Reagan had been for compromise and cooperation — with Democrats and even the Soviet Union — whereas recent Republicans are only shrill fanatics. So, Obama is praised as being Reagan-like or the Reagan of the Democrats.
There is some truth to the liberal narrative, but as arguments go, it’s more specious than specific. Remove the glow of nostalgia, and liberals and leftists loathed Reagan in the 80s and saw him as the man who wanted to start WWIII. The liberal media even broadcast the crazy paranoid THE DAY AFTER in the hope of scaring Americans into voting for Mondale. (Red Scare of the 50s very bad, Reagan Scare of the 80s very good!!) Also, the loutish cantankerousness of Limbaugh, Gingrich, and their ilk owes something to boomer era radicalism. The heated rhetoric of the Counterculture created the heated rhetoric of the counter-counterculture. While there had been no lack of virulence in American politics from the beginning of the republic, pre-boomer politicians and personalities still had common manners, attitudes, values, and restraints. Ideology aside, a member of the Frankfurt School could have had a sane conversation with William Buckley. They may have disagreed on principles and ideas, but liberals and conservatives had more or less the same standards of behavior — and one of the reason for McCarthy’s downfall was his rudeness and lack of manners. As Pat Buchanan wrote in RIGHT FROM THE BEGINNING, even as he and liberals locked horns in the late 50s and early 60s, they belonged to the same species of Homo Americanus. But as the 60s got radical, the Counterculture wasn’t just an assault on the Right but everything deemed American. It wasn’t reformist but radical. Even a communist and a Bircher, in terms of manners and attitude, had more in common in the 50s than a traditional Democrat and a counterculture boomer did in the late 60s.
The radicalism of the Left naturally led to the radical style of the Right. As the result of the rise of the Civil Rights Movement and legal battles over discrimination, conservatives could no longer be passionate about specific ideas that propped up old privileges, so conservatism moved from substance to style. Since conservatives couldn’t be aggressive in ideology — even overt anti-communism could be denounced as ‘McCarthyite’ — , they developed a kind of swagger, and today it can be seen in Ann Coulter and Rush Limbaugh. All in all, in the battle of moral ideas, liberalism defeated conservatism, but conservatism defeated communism. Conservatism conceded to liberals on the race issue and joined in worshiping MLK, and liberals conceded that communism was rotten and wasn’t worth defending. Ironically, Reagan’s role in the ‘defeat of communism’ was a great boon to liberals as (1) conservatives lost the great bogeyman to rally the nation against — the War on Terror has been a poor substitute — (2) liberals could no longer be accused of being ‘soft on communism’ (3) Jews no longer needed to rely on the GOP to ‘save Soviet Jews’. During the Cold War, Soviet mistreatment of Jews and its support of Arab nations made Jews increasingly wary of the international Left. But with the demise of the USSR and the spread of the Zionist-globalist empire, Jews came to realize that they control everything. What need to rely on the American Right for protection? Of course, Jews still throw a bone to the American Right once in awhile to prevent it from turning against the Jews. (Jews are clever this way. If most white conservatives rely solely on the GOP for their interests, Jews play with both the Democratic party and Republican party to further their agenda. If white conservatives were smarter, they would play both parties too. Use the GOP to support rich and middle class whites and use the Democratic Party to support poor and working class whites. Don’t just place all the eggs in the basket of one party. NO ENEMY TO THE RIGHT should be the slogan of white conservatives.) If all Jews were Democratic and pissed on the Right, the Right would be forced to fight the Jews. But as long as neocon Jews and other fakers give false hope to the American Right that Jews so dearly appreciate their support of Israel(and may one day become Republican), the American Right will continue to pray that Jews will politically convert to the Right and join the GOP.
Anyway, though American conservatism has become more ‘extreme’ in style, it’s grown more compromised in substance if anything. Increasing numbers of ‘conservatives’ are bending over to embrace ‘gay marriage’ because they fear the powerful gay lobby allied with the all-powerful Jewish lobby. I guarantee that Limbaugh will support ‘gay marriage’ in a few years. Also, what many liberal critics ignore is the fact that much of conservative ‘extremism’ is merely an attempt to appease Jews. Politics is about money, and politicians go where the money and power are. Jews have control of Wall Street and the media. Since conservatives don’t see eye-to-eye with Jews on social issues, they try to win Jewish support by being fanatically pro-Wall Street and pro-War-for-Israel. But this is extremism as a form of prostitution than ideology. Also, conservatives feel a need to prove that they are not ‘racist’, so they go out of their way to show the world that they will do anything to prevent ‘another Holocaust’, even if it means aiding and abetting the Zionists in the bashing of Palestinians and Iranians.
There are libertarian extremists in the GOP, but two things need to be said about libertarianism, which is a two-headed beast. One side of libertarianism is purist and anti-conservative. True blue libertarians are only allied with conservatism and despise most cultural conservatives. The other side of libertarianism is purely opportunistic or pragmatic. It is white nationalism wrapped in ‘principles of freedom’ because white nationalists know that whites have higher IQ than blacks and non-white Hispanics. All things being equal, if individuals are chosen on the basis of merit, even poor whites will do better than rich blacks, as the SAT scores of poor whites are often higher than that of rich blacks. The reason why some conservatives cling to libertarianism with such extremist zeal is because the culture of political correctness doesn’t allow any honest debate on race and racial differences. Thus, libertarian extremism is a reaction to the extremism of political correctness that defines so much of American politics & culture and prohibits honest discussion of issues.
Also, we need to ask who gets to determine what is or isn’t ‘extreme’? We are now living in an age when an idea as ridiculous as ‘gay marriage’ is deemed ‘normal’ and mainstream while opposing such monstrosity is considered ‘extreme’. How did America become like this? Today, the antics of Lady Gaga are mainstream. Sarah Silverman is also mainstream. But if restaurant chain like Chick Fil-A donates money to a group that opposes the gay agenda, it is said to be ‘extreme’. Young people are so brainwashed that even straight people participate in ‘gay pride’ parades that celebrate the lifestyles of men who practice fecal penetration. Thus, the extreme has become ‘normal’, and the normal has become ‘extreme’. This is the new America as created by rabid and virulent Jews who, all throughout history, have acted as a virus that enters and corrupts entire societies. By weakening the host, the Jewish virus takes control. Jewish virus also takes over the mind, which is why even many intelligent goyim are defenseless against Jewish influence. New drugs may make homos more impervious to the HIV virus, but America has almost no immunity left against the Jewish virus. ‘Extreme’ is a codeword that really means ‘the conservative is too principled and courageous to bend over to the liberal demand’. If compromise and acceding to the other side are so wonderful, why don’t Jews ever compromise on the issue of Israel or Jewish power? Why didn’t homos just give up the ‘gay marriage’ crusade when most Americans opposed it not long ago? Aren’t Jews extreme? Haven’t gays been extreme in pushing for something that most Americans rejected? You see, it’s never ‘extreme’ for Jews and homos to make any kind of demand on the rest of us, but we are ‘extreme’ if we oppose their lunacy. In Jewish-controlled America, it’s legal for illegal aliens to invade this country, but it’s illegal for local governments to arrest and deport illegal aliens(or to even call them ‘illegal aliens’ or ‘illegal immigrants’). It’s normal for Jews to throw their weight around and destroy the career of anyone who is critical of Jewish power, but it’s ‘extreme’ for anyone to criticize Jewish power. It’s normal for gays to act like freaks in public parades and call people ‘homophobic’ for disagreeing with gays, but it’s ‘extreme’ for people to even believe in the special meaning of marriage as defined through the ages. Welcome to JewSA.

Anyway, even though the 80s have gotten a bad rap in the cinephile community, some of my fondest movie memories are from the decade. Despite the general demise of personal filmmaking and the implosion of national cinemas all over the world, 80s produced their share of classics, some of them my all-time favs: YEAR OF LIVING DANGEROUSLY, EXCALIBUR, ONCE UPON A TIME IN AMERICA, BLADE RUNNER, MERRY CHRISTMAS MR. LAWRENCE, RAGING BULL, KING OF COMEDY, NAUSICAA OF THE VALLEY OF THE WINDS, LAPUTA: CASTLE IN THE SKY, TO LIVE AND DIE IN L.A., LOCAL HERO, MELVIN AND HOWARD, SOMETHING WILD, THE RIGHT STUFF, RISKY BUSINESS, KAGEMUSHA, RAN, FAMILY GAME, HIMATSURI, MAKIOKA SISTERS, WHEN FATHER WAS AWAY ON BUSINESS, NIGHT OF THE SHOOTING STARS, L’ARGENT, TIME OF THE GYPSIES, MY BEAUTIFUL LAUNDRETTE, LIFE AND NOTHING BUT, MIDNIGHT RUN, SUNDAY IN THE COUNTRY, MYSTIC PIZZA, HEY BABU RIBA, THE SHINING, FULL METAL JACKET, ATLANTIC CITY, KILLING FIELDS, MOONLIGHTING, DANTON, MILLENNIAL BEE, BALLAD OF NARAYAMA, EIJANAIKA, DINER, TESS, DAS BOOT, HOUSE OF GAMES, MEPHISTO, RAGTIME, BABY IT’S YOU, DO YOU REMEMBER DOLLY BELL?, BROADWAY DANNY ROSE, UTU, BORN ON THE 4TH OF JULY, JEAN DE FLORETTE, WALKER, DESERT BLOOM, BREAKER MORANT, SMASH PALACE, LOST IN AMERICA, POLICE STORY, YES MADAM, PLANES TRAINS AND AUTOMOBILES, TWICE IN A LIFETIME, STRANGER THAN PARADISE, COAL MINER’S DAUGHTER, TERMINATOR, HOOSIERS, THE THING, WOLFEN, SURE THING, HOPE AND GLORY, CHARIOTS OF FIRE, GREYSTOKE THE LEGEND OF TARZAN, RUNAWAY TRAIN, SHY PEOPLE, REVOLUTION, FANDANGO, OSTERMAN WEEKEND, EMPIRE OF THE SUN, VIDEODROME, A BETTER TOMORROW, FANNY AND ALEXANDER, and some others.

But one of the movies I completely missed in the 80s was MIRACLE MILE, and the reason was probably my aversion to the non-stop slew of teenage action-comedies pouring out of Hollywood month after month. There was also the whole Brat Pack thing. Though the star of MIRACLE MILE, Anthony Edwards, wasn’t part of the Brat Pack, he was one of the generic and almost interchangeable young faces of 80s cinema along with Emilio Estevez, Judd Nelson, Michael J. Fox, Rob Lowe, Ralph Macchio, James Spader, Andrew McCarthy, John Cusack, Eric Stoltz, Charlie Sheen, Matthew Modine, and several others(who were also not of the Brat Pack but might as well have been). They seemed to be perpetually stuck in teen-hood. Matthew Broderick was 24 when he made FERRIS BUELLER’S DAY off but he didn’t look a day over sixteen. Tom Cruise sort of belonged to this crowd too, and indeed, he got his break along with some Bratpackers on Francis Ford Coppola’s THE OUTSIDERS. Lucky for Cruise, he had more fight and drive. He was willing to bite off more than he could chew and swallow even if it got stuck in the throat. Some of the 80s ‘teen’ movie stars eventually grew out of typecast roles and found new niches for themselves. This was especially true of John Cusack, but then he’d exhibited something special in movies like THE SURE THING. And Broderick’s charm as a comedian was undeniable. Lowe was too pretty not to land gigs later. James Spader, usually the wasp heavy in many ‘teen’ movies, also had genuine talent and could have been a major star with better roles. Though waspy, he had the edgy quality of Christopher Walken, who also never lived up to his potential. As it happened, most of the big ‘teen’ names of the 80s turned out to be more Sal Mineos than James Deans. They were not star stuff but shooting stars, here today, gone tomorrow. Possibly the biggest loss of the decade was Matt Dillon who had the looks and charisma to be something special. For whatever reason, he faded and fumbled. Perhaps, as with Mickey Rourke, there was something self-destructive about Dillon. Or maybe he was considered too dark and heavy for ‘teen’ roles and too heartthrob-ish and immature for ‘serious’ roles.

Though I have fond feelings for 80s cinema — nostalgia can do wonders — , I thought 80s culture was pretty lousy while it was happening. And even in retrospect, much of 80s culture seems insufferably shallow and stupid. Though it came to be associated with the ‘Reagan Era’, stuff like MTV and other pop cultural silliness were the product of the liberal imagination. But it could be mistaken as ‘Reaganesque’ because of its lack of ‘commitment’ to anything but hedonism and materialism. From the late 70s to around 1986 — when Oliver Stone made an impact on the culture with PLATOON, which, however flawed, was a necessary antidote to the wantonly stupid RAMBO — , pop culture was happy to be pop culture and little else. Though most people in the industry were nominally liberals, apolitical-ism was in the air. The Sixties were over — and even thought to be embarrassing as boomers came of age and were raising kids of their own — , and Jimmy Carter dashed hopes for a New America. Liberals couldn’t stand Reagan, but with the likes of Mondale and Dukakis in the wing to run as future candidates, there was no thrill or passion among the Democrats. Urban elites, especially Jews and liberal wasps, found themselves at odds or in trouble with Negroes(who never seemed to do anything right), the entrepreneur class, and the working class. Negroes were robbing and raping urban liberals. Entrepreneur class wanted lower taxes and more free trade and came to value Reaganism. And working class patriots found liberals to be a bunch of sissies who were afraid to stand up to the Evil Empire. And among ethnic voters, there was lingering bad feeling at the Democrats for having pushed social policies that unleashed waves of black crime. It was not a good time to be a liberal, and pop culture reflected this. The big shows on TV were the COBSY SHOW where a black family acted as white-as-can-be and FAMILY TIES, where former 60s radicals had become a middle-class suburban family with an intellectual conservative son, a kind of Milton-Friedmanian young version of Archie Bunker(Carroll O’Connor). If Bunker was conservative in his prejudices, Alex Keaton(Michael J. Fox) was conservative in his principles. But unlike ALL IN THE FAMILY, which was full of bickering and nastiness, FAMILY TIES was all about warmth and togetherness. Because liberalism was so out of vogue, most pop stars didn’t take any kind of stand. And college campuses were mostly quiet. When I began college in the mid-80s, I actively sought out radical leftist groups but could hardly find any, and those that existed, like Marxist fronts championing ‘peace’ for Central America, could barely attract more than half a classroom of enthusiasts. China was abandoning communism, and Soviet Union seemed to be going senile along with its octogenarian rulers and then seemed to desperately grasp at straws under Gorbachev. For awhile, even Bruce Springsteen was doing the Rambo act. Despite the bitter lyrics of “Born in the USA”, its effect was anthem-like at concerts… and the Boss knew it. And Michael Jackson seemed to be turning white with each passing year. And the other big black star in music was Prince, who looked like a light-skinned Puerto Rican and played ‘white rock’ than soul or rap. If 60s racial politics was pretty acrimonious, 80s began with Paul McCartney and Stevie Wonder singing a duet called “Ebony and Ivory”, one of the dumbest songs ever recorded, but it soared the charts to #1. In the mid-80s, the biggest political statement by celebrities was “We Are the World”, but it too was pretty apolitical for its message was nothing more than “let’s feed the dumb Negroes in Africa”. It was hardly a call for revolution. Even conservatives had nothing against sending some free food to Negroes. And given that the famine in Ethiopia happened under a Marxist regime, the publicity didn’t do much good for the Left. If there was a hot spot in the 80s, it was Central America, and some feared that it might become the new Vietnam, but as US provided more aid and pressured Latin American nations toward greater democracy, Marxism became less appealing to the Latin masses. And if one of the great moral causes for the Left in the 60s and 70s was Vietnam, the passion had not only cooled but turned to revulsion after the Vietnamese Boat People fiasco and the revelations of Khmer Rouge holocaust in Cambodia. Even liberal Hollywood found itself making THE KILLING FIELDS. The Old Left was dead forever. The New Left that came into being in the 60s was in tatters. The Right seemed to be on the ascendancy while the Left seemed to be in decline or retreat all over the world. In the 80s, there was no good news in the communist world. Meanwhile, the capitalist economies of East Asia under US tutelage and protective umbrella were booming and even catching up with Japan. And among the Latin American economies, the best performer by far was Chile headed by the much reviled right-wing Augusto Pinochet. Pinochet, as it turned out, also had the decency to voluntarily relinquish power, something no communist leader was ever willing to do. And it became clearer by the day that there was no saving the Soviet Union. Gorbachev’s Glastnost and Perestroika couldn’t reverse the rot. And China gradually became communist in name only. Even more brazenly than Reagan and Thatcher, Deng Xiaoping, the man who’d spent most of his life trying to socialize China, told the Chinese that it was ‘glorious to be rich’. And American Jews, who’d been heavily represented on the far left in American polit