After Aragorn's coronation as the new King of Gondor, the goals of the Kampf that the Fellowship set out on, have finally been accomplished. There is a spiritual progression throughout all of Middle Earth, but especially in the members of the Fellowship. Gandalf had ascended to Arhat much earlier, but now Frodo and Aragorn effectively join him. Also, given his ancestry, Aragorn taking his rightful (and dutiful) place on the throne at Minas Tirith is effectively the first major step in the reemergence of the Aryan civilization. However, since all key Aryan traits are not ethnic specific, the new standard of nobility that is now in place throughout Middle Earth is the real meaningful reemergence of Aryanism. One Aryan leader wouldn't mean much without a noble folk supporting him.
The Hobbits return to their Shire and most of the residents here are completely unaware just how monumental the past thirteen months have been. With their noble character, Frodo, Sam, Merry, and Pippin expect no thanks, they just know that what they did was right and that's enough. This change of character can be seen as they share a pint of ale in their favorite tavern, the Green Dragon. They just sit in silence, with a sigh of relief, do a "cheers" and take a few relaxing sips of the ale that they haven't had for over a year. Note that in the background, the other Hobbits behave like, well, like Hobbits; they're rowdy and inebriated, but they do mean well, though only in a humanist (or maybe hobbitist?) sense. Our four little friends, however, have become conscious of Arya and Universalism. It also gives Sam that extra bit of confidence he needs to finally profess his love for Rosie, the alewife at the tavern.
The Scouring of the Shire
There is a very large deviation from the source material in this concluding series of scenes. In general, everything ends up in the films as it does in the books, but one key episode was omitted from the film version: the chapter entitled "The Scouring of the Shire."
This chapter begins right when Frodo, Sam, Merry, and Pippin are returning to the lands of their Hobbit kin, but soon realize that something is very wrong. In short, the Shire has been over-run by thugs and also has been turned into crude industrial complex. To our heroes' surprise, it is all the work of Saruman along with his servant, Grima. In fact, what has been done in the Shire seems to mirror what happened at Isengard with the massive golem foundry for making orcs.
With this key episode Tolkien has effectively illustrated the arid hate and parasitic persistence that drives the Jewish subversion of nations and cultures; if one place doesn't work out, flee and hide for while until another opportunity is ready to be exploited. The forcing of destructive industrialization represents Tolkien's own fears from what he saw happen to the English countryside as many nations and economies started to get more and more mechanized. However, the well versed Tolkien must have also known about such things going on in the USSR and this is where the "rule by terror" notion seen in the story can be applied. It is a well known fact that at least 75% of all Soviet Commissars were atheistic Jews and they hated priests, yet held rabbis in high esteem, which of course, makes it plain that they just announced themselves as atheists, but secretly continued to practice Judaism. This also makes plain as to why the Soviet regime destroyed churches, but left synagogues standing. Saruman's actions in the Shire here are basically a line by line account of Bolshevik terror, but guised in story and metaphor.
Despite this different chapter in the book, Saruman's fate is very similar in both book and film. In both instances, Grima jumps up at him with a knife, but is then cut down by some well aimed archery. Though, in the book it is the Hobbits that fire the arrows. This also brings us to a key factor of message subversion. The movie shows the Hobbits living a peaceful life and not worrying about anything - all the important events take place elsewhere. Most people living today are in a situation analogous to Hobbit life - there is work, family, and job with the great big World beyond this immediate sphere and it is primarily seen through the media. Thus, the film's message is "don't worry, someone capable will fix all those horrible things you hear about." There is no doubt that Tolkien was well aware of the dangerous folly of such thinking and thus made it clear that ALL nations and folks must be ready to stand up and fight - even happy little Hobbits.
This review of the film The Dark Knight also examines the idea of ordinary people needing to unite to solve the plagues of their nation. Note the last section on the character, Brian.
Saruman's death in the film has metaphysical metaphors as we identified in Part V - he gets impaled on a symbolic Aryan Sun Wheel - while in the book he is driven out by Hobbit militarism with his death being a little more pitiful - he dies from the volatility of the situation that he is ultimately responsible for getting himself into. These two endings may take a different route, but wind up at the same meaning. The spoke wheel from the film could also be a link to Buddhism, which is an ideology that thoroughly rejects nefarious Talmudic materialism.
Saruman's Final Bane
Some Other Matters
Galadriel's Ring, which only shows up in one brief scene, can be seen to have six-points as the Judaic hexagram. However, Galadriel's ring is a flower, not a star, and on close examination you can see that the petals are "swooshed" to give it a spinning, or even Sun Wheel, appearance. The connection between Flower and Sun furthers this idea, thus the Rings that the Elves made to get knowledge about Middle Earth are shown as flowers to mean something along the lines of "blooming knowledge" from the Sun Wheel - the Swastika. Also, Galadriel's Ring is silver, while Sauron's Ring is gold. There is no doubt that a currency and monetary theme is at play here. Here some some interesting articles on the Aryan qualities of silver.
Perhaps the design choice of six petals was meant to appease Hollywood Jews, who just smelled a ton of money from the potential box-office success of an adaptation of such a popular book, but they didn't bother to look deeper and see that all the film's coherent symbolism and themes are actually Aryan!
Even the idea of the Elves "going West" has been inverted from its apparent Judaic/Masonic meaning. This was, of course, done by Tolkien long before the movie was made. In Freemasonry, when someone dies they are said to "go West." Tolkien ridiculed this idea by having immortal Elves go West! He flipped the Masonic idea on its head and probably had a good laugh about it. In the film version the last shot of the boat "going West" and into the Sun suggests that the departing Arhats are becoming one with Arya. It also looks a lot like a Viking funeral rite, in which the body was placed on a boat that was then lit as a funeral pyre and cast out towards the setting Sun. So, there are many interlocking metaphors here (as well as the satire) and they all tie in with Aryanism.
Passing into the Infinity of Arya
The one problematic thing seems to be that the one literal pyre that appears in the film is linked with Denethor's madness. Also, the dead at Rohan are buried in mounds. However, since the film takes place in the Third Age, before the Return of the King and Aryan Nobility, this can explain the lack of Aryanism in the lifestyles of much of the established nations.
Lastly, there is the idea of racial interpretation. The Gnostic Cross, which makes key appearances in the Hall of the King in Rohan and in the Royal Courtyard in Minas Tirith, is often used by White Nationalists. This can be seen on the main page of websites like "Stormfront" among others. This interpretation can be further solidified by the fact that all the good human characters appear to be Ethnic Europeans, while the bad humans are "The Men of the South" who can be seen as Moors or Arabs or even as Africans. Despite this, the racial interpretation is totally false. First off, the Corsairs who are mercenaries hired by Sauron, are shown to have many Whites among them, if not mostly Whites. Second, the orcs, who can occasionally be heard to speak English, have accents that can be heard around the United Kingdom, Australia and New Zealand. Thus, if race is applied to them, they'd could very well be White, though not necessarily due to the diverse population of those nations. The point is that this kind of interpretation of supposed racial supremacy falls flat on its face and cannot be made coherent through the whole story. Tolkien himself said that allegory was never his intention, but applicability. The only aspects that are coherent enough to be applied to our World are not racial, but folkist. Tolkien was advocating the unification of groups of folk. Note that this is precisely where he ends the core plot of his tale - when the various folk have united within their own nation, which then went on with noble relations with their neighboring folk, and this caused the defeat of their common enemy.
Also, as far as the Gnostic Cross goes, it should be noted that many non-racists, but racialists (a.k.a. folkists), use that symbol in their imagery and it is they who have an accurate understanding of its universalist symbolism.
Final Thoughts
The Aryan elements far outweigh the un-Aryan in The Lord of the Rings films. Even those un-Aryan elements that were introduced as part of the screen adaptation's production were nowhere near powerful enough to subvert Tolkien's themes. I have reviewed many films here, but this trilogy is, without a doubt, vital to authentic Aryanist revolution. Most of the other films that I have looked at only enjoy notice from small, but devoted, fan bases. The Lord of the Rings, however, is known and available worldwide in both its original literary version and in this very faithful film adaptation, which makes it one of the strongest elements that we have active on The Storytelling Front.
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