Starship Troopers: Spaced Out Fascists

If there is anything Hollywood hates more than anything else, it's fascism. The reason is very simple: fascism is de-humanizing and with Hollywood being obsessed with humanism, this makes fascism very evil. So they have to tell their audience just how very evil fascism is every few years. Usually this means making a movie about Nazis or the Ku Klux Klan, but more likely a movie about Nazis: you can have more kick-ass explosions that way so as to ensure that your audience is not only impressed, but also thoroughly distracted from a rational approach to the subjects of your film.

Every other blue moon or so, Hollywood actually gets creative enough to make a satire (something a bit more complex than just the straightforward goof-ball comedy), and wouldn't you know it, in the Fall of 1997 they did just that: they made a big satire. To be more precise they made a satire about fascism called Starship Troopers. The originality is just a thin veil here and it is quite obvious that the message still is: "just reminding you of how evil Nazis are." The only bit of true creativity here is showing this from an unconventional point of view, which is the one truly good thing about this film.

However, given the typical film audience, they'll be lost in the rest of the film's creativity, which is confined to the extensive special effects - sights and wonders meant to keep the brain confined to the predetermined arena of thought. Thus, all in all, this is just another serving of the same old fodder from Hollywood.

Subversive Engineering
The very first sequence of the film shows us an eagle logo and a propaganda commercial encouraging young men and women to sign up for military service. The soldiers pictured all wear grey uniforms and that eagle logo is their outfit's main emblem, thus from the very start it is not hard to put two and two together.

Funny thing is that the real version is so much better.

The film then cuts to a battle scene as seen by an embedded news crew. Things quickly go bad, as some horrifyingly huge insects start to dice everyone up. Eventually we see one of the wounded soldier's points of view as one of those bugs jumps on him, with his scream the shot fades to an image of space with the title card: One Year Earlier. However, this view of the stars is next seen to be, as the shot pulls back, a computer screen on which a student is drawing. Aside from a relatively standard way that movies employ to build suspense, this beginning is suggestive of an engineered reality. Namely, the news crew's imagery and the scenes of the battle have just been juxtaposed with a student's doodling in class.

This theme of staged and fake media is apparent throughout the entire film. There are frequent news flashes as part of the story and just like the opening propaganda ad, they seem very staged. Even when Johnny Rico, the main character, talks to his parents via video-phone, or when he gets video-mail from his girlfriend, the shots seem deliberately staged. And not staged by the people Johnny is stalking to or gets a message from; due to them standing far away from the camera and some pretty bad acting, the whole event seems deliberately and hastily put together. Now, some films have bad acting, but with these media sequences it's too consistent to be an actor's fault - so either the director specifically wanted crappy acting or edited the bad takes into the final cut - the pattern is intended.

One media clip shows a missionaries' outpost decimated by the Bugs (mankind is at war with this arachnid species) and there are numerous close-ups of mutilated bodies. This raises two questions: if the planet was crawling with the Bugs, how did the missionaries go so far as to set-up their outpost? Wouldn't they we attacked pretty much right when set foot on a hostile planet? And how is the crew filming so much footage? It all looks like it may have very well been staged to further the constant message of "fear the Bugs." After all, with such a large war and with so much military equipment, it would be very inconvenient to not have a use for it all of a sudden.

Not Exactly Fascism Either
Well, as it turns out, this vision of the future is actually a vision of Zion. In the aforementioned classroom, where the student, who ends up being Johnny Rico, was doodling, there is a philosophy class in session. Professor Rasczak giving the lecture makes on point very clear: "When you vote, you are exercising political authority, you're using force. And force my friends is violence. The supreme authority from which all other authorities are derived." In this world, only citizens can vote and citizenship is granted after military service with the idea that those selfless enough to put their needs aside for the preservation of the human race can make the best decisions about things. A seemingly good idea, but there is something critically wrong with the definition of "violence" used. Violence is not force, it can be, but at its root it is not. Violence is a "lack of consent" - the truest sense of the concept of violation.

Rasczak also describes how democracy failed and the military veterans swooped in and created the current order that has kept stability for a long time, presumably several generations. This draws a parallel to the film Equilibrium where there is a strong suggestion that the war that brought about the creation of Libria was engineered so that a Zionist system could be put into place with the impression that it "saved" humanity from total destruction. In this film, the background course of events is also the "order out of chaos" routine, however, in this vision of Zion there is less flavor of 1984 as in Equilibrium and more of Brave New World as there are enough pleasurable distractions in the Federation so as to make no real need for a brutal, ever-present police force. Still, the root of this fictional state is un-Aryan and therefore not National Socialist, and so the film's satire of the Third Reich is just spawned from ignorance. "Fascism" (as seen in Hollywood movies) is the ZC approved version of National Socialism as it exaggerates certain traits (e.g. militarism) making them seem all pervasive in their most basic form, distorts some of them (e.g. duty) giving the impression that people are motivated by promises of greater comfort and/or fear, and just outright lies about the rest as we see in the society's approach to science and the military. There is no mention of Aryan ideals, let alone how people can work to achieve those goals, which is something that Adolf Hitler made a major, if not the most all-encompassing, part of his platform as Fuhrer of the Third Reich.

With all of this in mind, the film is really not a satire and we can see that it was not really made out of ignorance, at least not on part of the producers. The director, Paul Verhoeven, may very well be a useful idiot who grew up "hating Nazis" and was employed for his approved views and ability to put a film project together, however the producers in Hollywood, from whom the $100 million budget came from, knew what they were doing. They presented a careful distortion of the thing they fear most.

Irrational Science
For a large future state that seems to be enjoying prosperity, it's quite odd that its approach to science is so base and primitive. Right after the philosophy lecture, the students go to a science class where they dissect large bugs. Not the ones the humanity is fighting a war against, but also a species alien to Earth. The professor here, a stereotypically geeky looking science teacher, is talking about how wonderful and perfect examples of evolution these creatures are and names that one of their admirable traits is the ability to reproduce in large numbers, thus ensuring the survival, or rather preservation, of the species. This idea is a key as it is an apt concision for the principle motivations of the Human Federation and this is another element that makes the fictional state thoroughly un-Aryan - one of the film's planned distortions.

Next, there is a scene where Johnny and his friend Carl are attempting mind reading and psychic tricks. In the background is a picture of Albert Einstein, who has been hailed as a king of reason and has become the face of scientific progress during the 20th Century. Only Jews would boast about such a man who was nothing more than a plagiarizing Zionist racist. Carl then places a kernel of popcorn at the entrance of a maze and watches his pet ferret navigate its way out and eat the little treat. He says that he trained the critter for this and even shows that he can "dispatch" it to run upstairs and annoy his mother. The ferret goes upstairs because Carl has conditioned it to believe that there is a treat up there. Carl states in this scene that he wants to experiment on people, the card trick he attempts with Johnny is his own pilot project for this goal. Effectively, this brief episode is an allegory for the rise of Zion - from controlling small creatures and then working its way up to dominating mankind. The appearance of Einstein suggests manipulative Jewish science, more than anything else, and of course, in this scene they are basically doing the classic carnival card trick, the only thing that's missing is the "pay to play" robbery scheme. With Johnny getting every card wrong (and Carl even making fun of him for it) he would have lost a lot of money.

Of course, the filmmakers didn't intend this scene to be read this way - Einstein is practically a saint to scientists - and the intention is to show the audience how cool all this is. Things get even more ridiculous as we see military science and technology.

Army Toys
For a state that was founded by veterans and is in a life-or-death war against another species able at combat, the Federation's Military is absurdly insufficient. We start at basic training and first get our obligatory scenes showing us just how evil and brutal fascists are: Drill Sergeant Zim breaks a recruit's forearm and pins another recruit's hand to a wall with a throwing knife just to make a point. It is procedural for military instructors to take their recruits to their max in physical endurance, but this is just absurd. Military training is just that, training, the teaching of skills, not blunt sadism and pointless machismo. Added to the fact that such traits are the base Gentile tribal preservation mechanisms and would have no place in a true Aryan National Socialist State.

Not exactly a subtle difference

The characters in the film can be seen on the right of the above photo with one exception: there are no white supremacists in the film, which is a good thing (and true to authentic NS), but everyone is still brutishly stupid. Also, the Federation's military is so equal that even women train along side men. While it is true that women are very able to serve in the military, even in combat roles, but full training equality is absurd. This goes back to the fundamental anatomical differences between the sexes and in the real World, to this day, basic training is kept gender segregated for this reason. Note that even sports events have different categories for male and female athletes - this is a fundamental law of nature, but Zion apparently thinks that it can break it or convince us to break it. Well, as with most things, it's a lie.

The training that the recruits do is also fairly ridiculous. Not only does the basic training facility look like a cheap movie set (continuing the media deception theme) but the recruits engage in no exercises that seem anything like the real combat that they will go on to face. Boot Camp cannot fully simulate combat scenarios, but they should at least engage in drills that resemble fighting giant bugs. Here, they play capture the flag with laser-tag guns and do a live-fire exercise that is so ridiculous that the accident that happens during it (a recruit gets his head blown off) should have been seen from a mile away. Also, the instructors should have been considered negligent for authorizing such a thing.

Things get even worse when we find out that the Federation's scientists actually know how to effectively combat the Bugs. Carl, who went into Military Intelligence, appears in a media clip, and this scientist quickly and effectively blasts a Bug's limb off and then gets a kill shot, while shooting from a distance at a Bug in a cage. He even says, "here's a tip, aim for the nerve center for a quick kill" before killing the caged creature. It sounds like he's giving advice on how to beat a video game. Not surprisingly, we next see a propaganda ad with kids squashing roaches as their mother fanatically cheers them on. Killing bugs, it's kid's play.

More Than A Bug Problem
This is then very much contrasted in the film's long and extremely gory combat scenes where apparently trained soldiers can't kill the Bugs in any sort of swift way, thus proving their training was poorly designed. The scientist took out the caged bug in two quick, well-aimed bursts of rifle fire, but the troops in the field literally spend hundreds of round on just one bug. And there are swarms of these things.

What's more, is that the Federation's military seems to fight by 1915 standards: deploy soldiers to a field, line them up, and charge! No tanks, no air support, no artillery, just rifles, grenades, though they do have nuclear powered bazookas. Once again, the educated National Socialist will see past the folly of this Zionist slam on what was without a doubt the best designed military of its time. The only one that didn't resort to blunt force trauma in both of the wars that have been used to label it as "infamous." If anyone still doubts that this is a slam on the German Military, then may they read this official trivia entry from IMDB: Nearly every military uniform has WW2 German military and SS paramilitary uniform references.

And this is a table with the shoulder boards of the Starship Troopers uniforms.

Hmm... guess to what they are alluding...

It is not just the training, but also the general activity that the soldiers engage in. When Johnny meets up with Carmen, who had gone to flight school, he is a bit jealous of her co-pilot, Zander who just so happens to be a former sports rival of Johnny's. The main thing here is the fact that Zander also clearly likes Carmen and proposes that he and Johnny duke it out to resolve their differences. Zander is clearly drunk in this scene as he hands off a whiskey glass to Carmen before the two start fighting in the middle of a crowded bar. Considering that Zander is an officer, this is shockingly bad conduct and would have seen him demoted if not booted from the service. The fight ends without another officer breaking it up (oddly, there's none in the huge crowd) and the two brawlers go their separate ways. To be more precise, Johnny goes to a tattoo parlor with some of his comrades and they all get skull tattoos with "Death Before Dishonor" written on them - another base reference to the Schutzstaffel. Perhaps this next part is coincidental, as it is a bit of a stretch, but Death Before Dishonor is a also an action film from 1987, one that vilifies Islam - ZC makes many such films!

ZioDelusion
The film's first major combat scene, which is also part of the introductory sequence, but cuts to "One Year Earlier" as a soldier sees his last. Well, it actually ends that said soldier is Johnny Rico at the end of a disastrous assault on a bug planet. Johnny is listed as KIA yet we see him to be alive in an advanced healing facility, more specifically in a pod that resembles a womb in which he floats and is reconstructed from his injuries. This also serves as another indicator of technological absurdity - advanced healing technology contrasted with the pitiful weapons technology that the soldiers use. However, there is another thing at play here: Johnny may very well be dead and living out a dream as this seems to suitably explain the rather ridiculous happy ending. The film's ending is also shown as a media event, and we already know that all media in the film is staged. Thus, Johnny is dead, but reborn via media propaganda and this allows him to carry out some of those crazy heroics that we see him do: like single handedly taking out that thing in the background.

Big Bug Problem

On the day that Johnny, Carmen and Carl agree to sign up for military service, they promise each other that they'll "always be friends." Given the large scale events that go on throughout the movie, the events that bring them together once again, are fairly far-fetched and seem more like a dream playing out. A dream where ZioFascism triumphs over disgusting bugs - Johnny's own media-deluded mind is just playing out a fantasy.

The reporter who dies in the very beginning of the film, and later when the sequence replays from Johnny point-of-view, is also the only one in the film who questions the purpose of the war on the Bugs. The invasion in the film starts when a large meteorite destroys Buenos Aires. We get the "news" from one of the many media clips throughout the film and it is obviously engineered with fire graphics to make an impression. Then graphic clips of destruction are used to pump everyone up for a war. It is pretty ridiculous to think that a meteor, from half a galaxy away, could be set on a course to impact Earth. Given the anti-meteor technology that the humans have (boasted about in one of the media propaganda clips) it makes one wonder why it conveniently failed to work this time. The one reporter who questions the Bugs' real motivations (the same one who gets diced in one of film's more graphic deaths), says that the Bugs only attack human settlers after they've stepped onto a Bug planet - hence, with the Aryan definition of violence, it is the humans who are guilty of it here and it is initiatory violence, which makes it all the more un-Aryan and not true National Socialist. This key part is, of course, not addressed by the film and we just see pumped up Ziofascists scream "kill 'em all!"

Conclusion
This was meant to be a slam against National Socialist Militarism, but it obviously is just a self-defeating flop from ZC Propaganda Inc. The film wasn't a hit at the box-office so at least this is one pack of lies that ZC didn't profit from. However, due to the high gore content, as well as some nude scenes, this film has found a niche in cult following and several video game versions have been made as well. Basically, something dumb has been made dumber, but with the current low state of the World's masses what can you really expect? The film just focuses on blunt sensationalism. Director Paul Verhoeven was born in 1938 in the Netherlands, thus had first hand experiences with Nazi occupation, though seeing that he was just a young boy, it is no surprise that he misunderstood pretty much everything that was going on around him. The impressionable young mind of his was then molded by decades of Zionist propaganda that made each and every hardship suffered during the occupation and war years seem like deliberate German treachery.

This film version also deviates considerably from the source novel, which goes into much more depth and discussion of the fictional world, the politics and philosophies of the Federation and the like. The book is often called more daring than the film for it examines a bit more thoroughly the concepts of fascism and the potential values of militarism (instead of just straight up vilifying it), but it is still far removed from being an Aryan literary work as it doesn't see the ideals let alone provide thoughts on how to work toward them as Hitler and the NSDAP did.

Verdict: The film is calculated reverse bluff from the minds of Zion. They try to show the audience how evil "fascists" are, but by breaking their empirical information monopoly, it can be seen that the Zionists are just trying to cover their own asses. And they fail.

The Long Kiss Goodnight: A Challenge to the Establishment - Part II

The film now moves into the final act where all the critical pieces -characters, plot elements, and real World implications- fall into place.

Revelations and Confrontation
Baltimore doesn't yet know that Timothy has kidnapped Caitlin and after saving Henessey from some henchmen, she one seems ready to thoroughly abandon her life as Samantha Caine - the image of her daughter with Hal in the church, it seems, had only moved her momentarily. However, that changes. Timothy calls Henessey's cell phone (after getting the number from Caitlin) and says he will kill the girl unless Baltimore gives herself up - with Baltimore captured or dead, any loose ends from the bomb plot will be severed. It is this key moment, one where she must decide whether to serve herself or her child, that Baltimore goes back to being Caine and agrees to Timothy's demands... but she also out manuevers him on his own chessboard.

By using a bit of cleverness with a phone company, Caine and Henessey track Timothy to a town near Niagara Falls. Much to their surprise, Perkins is also there with all of his henchmen. They go ahead anyway with the rescue of Caitlin, but end up captured.

Here, the final pieces fall into place: just what is Perkins really up to? And what does Timothy's gang have to do with it? From what we know, Perkins' agency is due for an appropriations hearing and is not likely to be granted much funding due to them losing Charlene Baltimore - they though she was dead, but her resurrection proved problematic. We also find out that the US Congress cut the budget of Perkins's agency and the Presidents earlier hinted that these prospective funds are going into social spending. Thus, to secure more funding, Perkins put together a plan in motion: hire Daedalus and Timothy, arms dealers who were on a hit list 8 years ago, the one that Charlene Baltimore failed to execute; give them the security and means to carry out a huge terrorist attack; then blame the lack of funding and "Muslim terrorists" for what happened. A seemingly perfect, and quite simple, recipe for False Flag Terror. Note that the 1993 bombing on the World Trade Center is mentioned: "...it's not unthinkable they [the CIA] paved the way for the bombing purely to justify a budget increase."

Two major scenes with Perkins:

First scene is in the beginning of the film

with Perkins talking with the US President.
Second is the final revelation of Perkins' plan.

From what we know the bombing will be "right in the center of town" and this final staging area is right by Niagara Falls on the US-Canada border. So what is the target city? Buffalo, NY? Montreal, Canada? It doesn't really matter, since such a huge attack on a border city would surely alert the nations on both sides. It is also Christmas Eve and the bomb is primed to go off at midnight, the first minute of Christmas Day. Perkins also plans to "blame it on the Muslims, naturally" and Timothy even laughs when this line is spoken, because he knows it's deliberate misdirection. Given that every agent and government assassin in the film has an alias (like "Daedalus") this also brings to question whether "Timothy" and "Mr. Perkins" are real names. In all likelihood they are probably just aliases, as well.

So what does this mean? Who could possibly benefit from having the United States and Canada both reacting to "Muslim" terror? Why don't we allow Mr. Netanyahu to answer to that question with a comment that he gave about an eerily similar situation. Note the ridiculous accusation directed at Iran, as well as comparing the Islamic Republic to his favorite boogeyman, at the end of what he has to say. The blatant hypocrisy is that Israel has an entire nuclear stockpile and has a very aggressive policy toward its neighbors, while Iran, has no nuclear stockpile and doesn't continually make aggressive pushes at its borders or in politics. Despite these facts, the aforementioned Zionist Criminal has the shamelessness to lie to the World. This revealing documentary, along with this one, as well as this news article provides further light on he was talking about.

Also, note the line, "Congress blinded us overseas." That seems to be the main motivating factor for Perkins's false flag terror plot. If he is so concerned with having funds available for operations overseas, he just may be working for, or funneling the funds into, a foreign state - the one that he is a parasite for.

Caine and Henessey, with cooperation and some orchestrated chaos of their own, manage to subdue many of the villains and foil the entire plot. By this point, director Renny Harlin has created a very unconventional movie for its genre, but given the fact that it was funded by Hollywood, he probably conceded a bit on the grimness of the ending or making the real World implications more overt. Screenwriter Shane Black, based much of his script from non-mainstream information about the 1995 Oklahoma City bombing - note the truck bomb parallel here. Also, in the version of the script that Black sold (for a record price at the time), Henessey ends up dying from the wounds he receives while fighting in the final act. This would probably be a more "real World" ending, but the film, as released, does give a positive fate to an honorable character. Having started out as a disgraced cop, former prison inmate, and small-time scheming private detective, Henessey ends up answering to the sudden call of duty. He could have abandoned Caine before they even got to the train station where they were to meet Waldman, but he decided to stay on course. It was a very rough and dangerous course, but Henessey didn't back down or cower out.

In addition, the ending challenges established conventions by not having Perkins killed off. His fate is off screen, but it is said that he was arrested and indicted in multiple counts of high treason. Many action movies succumb to providing the cheap thrill of having the main antagonist annihilated in spectacular fashion. The situation in which that happens often feels forced and latched onto the film just for the sake of having some extra satisfying violence.

The identity of Charlene Elizabeth Baltimore is also done away with and the protagonist goes back to being Samantha Caine. In the final scene, with money from the safe deposit box that was going to be used by the shady government agency, Caine drives to a farm where Hal and Caitlin await her. She is back to her long brown hair, but still shows that she can handle a throwing knife. The final shot is in golden sun light over a farm and fields (contrast to the bleak farm earlier where torture took place) and a song plays with the lyrics "I just wanna be free" - the Aryan symbolism is quite unmistakable. In fact, it's the most obvious at this last point in the movie.

Bits and Pieces
As with any great film, there are many minor details here that fit into the overall themes.

When Caine realizes that she can cut vegetables and handle a knife, she ends the scene by throwing the kitchen knife into a wall and impaling a pepper. This relates the flashback when she is shown fighting One Eyed Jack (the first assassin to visit her) - she gave him that one eyed face by stabbing him with a syringe in face. Also, the line "I used to be a chef!" seems to link assassins and food - when talking about prepping the bomb that is to go off at the end, Timothy says, "I just have to make the soup" referring to the device's chemical ingredients. Also Perkins' first scene is in a kitchen with the US President. Then of course, One Eyed Jack gets the pie in his face.

Mr. Perkins's name, being both the name of principle villain and the name of Caitlin's teddy bear, is interesting. The image of the bear was used during the Cold War to represent the USSR, which was still on the map in the 1980s when Caine worked for Perkins. The Cold War was also a false dichotomy held together by fear of nuclear strike - the War on Terror, which Perkins seems keen on starting up in 1996, is also such charade, but with fear of terrorist attack. Also, two bears play-fighting appear briefly on a TV at one point in the film.

The beginning of the film shows some background on Henessey, who has an estranged wife and son. The wife refuses to even talk to him, while the son isn't so cold, but ends up not accepting a birthday present from his father. This depressing event could have been an excuse for Henessey to hit the alcohol and drink to forget his troubles, but it is right then that Trin notifies Henessey of the lead she found and he gets right to work on it.

The second hotel room where Caine and Henessey stay is all gold. They go there after clearing out Daedalus' farm hideout where Caine fell into her Baltimore personality. This marks the lowest point in Caine's character and she is at her most selfish right in this room. The hotel is located in Atlantic City and thus right next to plenty of casinos, which goes hand-in-hand with Caine's temporary arrogance. She even seems to be on her way to becoming a Lone Wolf Archetype, however, by the end of the film, she and Henessey actually end up as anti-Lone Wolves. It is by their cooperation that they win and they do not use their victory for self-serving purposes. Caine has the money that she took from the safety deposit box, but seeing where she is at the end, on a farm and not a personal palace, and the fact that she chose to go back to her life as a teacher and raise her daughter, she may very well have given a lot of that extra money away for a charitable cause.

Lastly, another bit of convention challenging is one of the most obvious, and therefore most overlooked: the title - The Long Kiss Goodnight. It is uttered only once and only in the gold hotel room where Charlene Baltimore says that she has kissed Samantha Caine goodnight. The title is interesting when you think of other action film titles: Lone Wolf McQuade, Lethal Weapon, Die Hard and others. They seem to clamor for that "bad ass" factor, yet this film proves that you cannot judge a film by its title - if you do you might think that this is romance movie. Renny Harlin directed a few studio financed movies where his creative control was limited and, in fact, the full title of Die Hard 2 is Die Hard 2: Die Harder. Perhaps he realized how ridiculous and forced that sounds. The title Cutthroat Island is also a slight deviation from convention as movies may have "bad ass" titles, but "cutthroat" is a little more grim and violent sounding for a title than most others.

Conclusion
This was not a popular move at the box office and it was likely that the overt challenge to Hollywood's conventions was what fated it as such. Even today, this film is very different character-wise and plot-wise than what comes out of the Hollywood Film Factory. Renny Harlin's career went into turmoil after this second-in-row big-budget failure. On the flipside, Michael Bay has enjoyed great success in creating goy biscuits for the brainless masses thanks to money from Bruckheimer (Jew) with whom he collaborated up until 2003, but now collaborates with Steven Spielberg (Jew) who produces the Transformers franchise, which is due to have a third entry next year.

Renny Harlin has made some lower quality work as of late, since he doesn't have much means in making a living as a director now. His subsequent films veered away from the ethical positives presented in Cutthroat Island and this film. However, Harlin's skill as an action director kept going strong for some years; 1999's Deep Blue Sea (basically Jaws with many sharks), 2001's Driven (about professional racing), and 2004's Mindhunters (an elaborate slasher film) still display his trademark style of tight action sequences with mixes of slow motion and are artistically superior to most entries into their respective genres - though the scripts leave much to be desired.

Recently, Harlin finished a film project about the conflict in Southern Ossetia that caused shockwaves in the fall of 2008. Knowing his daring style, he just might get into some taboo ground about the real reasons for international conflict and ethnic strife. Currently, Harlin is shooting a biopic about Marshal Mannerheim in his native Finland - whether this film falls prey to WW2 myth or dares to venture into rationalist and revisionist territory is still to be seen.

The Long Kiss Goodnight: A Challenge to the Establishment - Part I

A largely overlooked, yet excellent, thriller film from 1996 is The Long Kiss Goodnight directed by Renny Harlin. The preceding year Harlin had directed Cutthroat Island and both movies shared a similar fate: general obscurity, but with a small fan base. The big action blockbuster hit of 1996 was The Rock directed by Michael Bay who also helmed the sleeper-hit of 1995 with Bad Boys. Both of Bay's movies were produced by Jerry Bruckheimer (Jew) and are supremely bland, cardboard cut-out quality action films. Perhaps, The Rock is slightly helped by Hans Zimmer's excellent score, but all that means is that you should get the soundtrack! Avoid the movie.

In the big budget film industry, Michael Bay and Renny Harlin went on to become dynamic opposites, just like their movies. Bad Boys was just a buddy cop comedy with blatant machismo and MTV style editing - Michael Bay started his directing career making music videos - and the movie went on to becoming the surprise hit of 1995. Cutthroat Island was film about honorable cooperation between characters with skillfully choreographed action sequences - Renny Harlin started in film with some shorts before securing funding for feature length projects - with some minor hits during his first Hollywood years he temporarily sold his artistry and made a Nightmare on Elm Street 4, Die Hard 2 and Cliffhanger. These films, while perhaps slightly above par in their respective genres, were not really all that special in any way, but they did build up Harlin's reputation and he was finally given practically full creative control on his next project, Cutthroat Island. Unfortunately that movie flopped with only $10 million at the box office, a measly sum compared to the film's $100 million dollar budget.

Did this deter Harlin? Did he realize that he must conform to Hollywood's unwritten rules to have a career there? He probably did realize, but guess what he didn't do? Conform. The Long Kiss Goodnight shares many thematic similarities with Cutthroat Island and it was also a flop with just over $33 million box office earnings from a $65 million budget. Like it's predecessor, the film also forges new ground and challenges Tinseltown's bigoted conventions. It also, in a somewhat subtle way, challenges ZC.

Not your typical action flick

The Beginning
The movie begins in an small All-American down during the Christmas season with Samantha Caine narrating about her happy, but unusual life. She is a teacher at an elementary school, has a daughter, Caitlin, and lives with a boyfriend, Hal, in a comfortable suburban house. The usual part is that Caine is only 8 years old! She awoke on a beach 8 years ago with many scars and was 2 months pregnant at the time. Her amnesia prevents her from remembering anything that led to that point. She has hired detectives to investigate her past, but they didn't manage to find out anything of significance. Now she is down to hiring "the cheap ones" as her eagerness to find out perseveres.

Mitch Henessey is this cheap detective and he is certainly a man of moral ambiguity. His introductory scene has him barging in on a man with a prostitute and slyly getting the man to bribe him in order to keep the incident quiet. It is only in the next scene that we find out that he is actually Caine's PI and that the "prostitute" in the scene was actually his coworker - they run a little scheme to earn extra cash.

In these beginning scenes we also meet the mysterious Mr. Perkins, a shady government agent, who runs a spy network and needs more funding approved by the President to carry out certain operations. And there is also Timothy, a criminal though it seems like he is very organized and capable - perhaps he could even be called a "terrorist."

These beginning scenes also show that something is not right with Samantha Caine, she begins to recall little bits and pieces of what must be her past life. First, she begins to expertly cut vegetables in the kitchen - "I used to be a chef!" - before throwing a knife and impaling a pepper in the wall, much to the shock of Hal and Caitlin. Then, she yells at her daughter for crying after she falls over skating, but then forgets the specifics of what she said to Caitlin. The third and final thing that gets Caine to seek out her past is a visit from a one-eyed assassin - "I want my eye back, bitch!" - who, after a pretty rough fight, Caine manages to take out. This fight also ends with some interesting genre breaking - she takes the villain down by smashing a pie into his face. This image is rampant in cartoon gags and most often ends in a harmless laugh. Yet here it results in a violent knockout - the glass plate that the pie was on smashes against the assassin's face and he falls to the ground and Caine breaks his neck. The movie just told the audience that cartoon violence doesn't exist - it's a myth.

That scene is also the second neck breaking of the film. The first one is actually right near the beginning as Caine is taking a drunken party guest home, who starts to act up in the car, and this distraction proves nearly fatal - there's a deer on the road, hypnotized by the headlights. The car hits the deer which flies through part of the windshield and hits the drunken guy, the car goes out of control and hits a tree, Caine flies out through the windshield. This is where she gets her first flashbacks, by seeing herself surreal mirror. Note that mirrors contain silver. Later, a real mirror will serve up a key revelation as the truth gets closer to surface. This scene also has another key image: the deer that was hit is not dead, but twitching its broken body in the snow. Caine sees the deer, which is bleeding only from its neck - failed kosher slaughter - so Caine ends the suffering with a swift neck break.

There is also an interesting bit of character conventions being smashed. Trin, Henessey's secretary, is first shown as a prostitute in the trick that she and Henessey pull off to get some cash. Many female roles are sexualized in Hollywood, and small roles like Trin's might as well be prostitutes - they're just there to fill a quota or for "diversity" but are thrown away soon. Trin, though a small role, is not at all like this. She is still dressed in a sexualized way, though this is probably just a character idiosyncrasy of hers, but the important thing is that she figures out a key piece of evidence that allows Henessey to resume his investigation of Caine's past. Thus, she is not just a regular sideline bimbo - the quality of her character is quite the opposite.

Pieces of the Past
Trin's investigation provided a phone number and this ends up being a former contact that Caine had years ago. The contact, Mr. Waldman, intructs her to a meeting point at a train station for the next day. That night, however, Caine's past starts to come more and more to the surface. Henessey notices that she begins to curse more. She also finds a disassembled rifle and an assassin's knife in a hidden compartment of her suitcase. She puts the rifle together - in front of a mirror, the film's second mirror - and then sees the image of herself from the surreal mirror... the image lashes out of the mirror with the knife! This ends up being only a dream, but the rifle that Caine put together is there. Henessey, surprised by the rifle, thinks that Caine is crazy and begins to head home. In the car he then proceeds into a lament of how he ended up working as a cheap private eye: he used to be a big city cop, but after trying to steal some bonds to make quick cash he was busted and spent four years in prison. "I never did one thing right in my life. That takes skill," says Henessey with a glum look. He then decides to not head home and actually take Caine to meet Mr. Waldman. This scene aptly shows a key change in Henessey - he finally follows through with something and not just for his own gain, he take a vital step towards a sense of duty.

At the train station, we meet Timothy once again. He tries to see if Caine will recognize him, but she doesn't. Apparently, he is a part of her past. A key part at that, since he orders some goons to kill Caine and Henessey! As a gentleman approaches Caine, she thinks he may be Waldman, but he man draws a gun. In a quick reaction, almost soldierly, Caine reaches into Henessey's coat and shoots the would-be-killer. They decide to run for it, but more assassins swarm into the station and open fire with Caine and Henessey barely managing to make it out. This scene is also another key genre breaker as at least 20 innocent people get caught in the cross fire. Bystander deaths are still a taboo in Hollywood movies, despite many of them containing raging shootouts. Harlin, however, just shows violence for what it is - grim and bloody.

After making it out of the train station they finally meet the real Waldman who instantly recognizes Caine and tells her the truth about her past, which makes sense of those small past moments - she used to be Charlene Elizabeth Baltimore, an assassin working for the United States Government and it was Waldman who trained her. Note how she is told all this: as Waldman looks at her through the rearview mirror of the car - the third key mirror of the film, it's not part of a dream or hallucination, it is just plain real and right in front of Caine. She learns the truth in steps through silver.

Henessey doubts all that is said and convinces Caine to abandon Waldman, which they promptly do. Caine doesn't believe Waldman, since all evidence points to her being formerly engaged to a man named Luke - doesn't sound like a secret agent story. However, there is a great flip of reality next - "engaged" is actually code for "assassin ready to strike" and the whole character of Samantha Caine was actually a cover story invented by one Charlene Baltimore (Caine's real identity) as a part of her moving in to kill a target, an arms dealer named Daedalus (for whom "Luke" serves as a cover). Also, as things turn out, Timothy is a key enforcer for Luke/Daedalus and promptly shows up at the farm and Caine, Henessey, and Waldman are taken prisoner.

Daedulus needs to find out why his former would-be-assassin has all of a sudden shown up at his hideout. So he tortures Caine on a water wheel, and this wheel is shown to have a three-diameter/six-point design. Waldman has already been killed, drowned beneath the wheel. While submerged, Caine's past comes back to her in full and she takes up her former role of assassin and gets out of another tight situation - by finding a hidden gun that Waldman previously mentioned having on his person, she shoot Daedalus, thus completing her mission from 8 years ago.

There is some interesting imagery in this part of the film. First off, the water wheel, a farm tool (the scene takes place on a farm) used to torture Caine, can be seen as a way of getting Aryanism to collapse in on itself by using Aryan symbols to destroy Aryanism. The real World stigmatization of the Swastika is an example.

The scene also avoids what would have been some straightforward sensationalism by not showing much of the violence. Instead, the film cuts to Henessey, who has been chained up a cellar. We then hear shooting break out for a few seconds and then... quiet. The sounds of violence end just as quickly as they had started and this image is shown:

Caine stands at the top of a pyramid composition. Symbolically, she has just destroyed the classic pyramid metaphor for elitism, the most infamous of which is on the back of the US Dollar bill. Notice, that there are 13 steps completely shown in the shot, while the lower ones get cut off. The Eye of Zion pyramid on the one dollar bill has 13 brick layers with the Eye at the top. Caine has effectively replaced the Eye at the top of the power structure. She uses to new found power to free Henessey, who is trapped below. Note that even before this shot, there is a more subliminal pyramid formed by the rays of light that come through the ceiling as Henessey looks up when he hears the shooting. This symbolism will be relevant during the film's final revelations.

Putting it Together
The mysterious Mr. Perkins re-enters the plot at this point. Note that Caitlin's teddy bear is named Mr. Perkins, it must have been a present from her mother, and the name didn't come from just anywhere - Mr. Perkin's is Caine's former boss, the one who assigned her to kill Daedalus. As things turned out, Mr. Perkins has actually hired Daedalus and Timothy for some mysterious job. We get a hint of this in Perkins' first scene has he talks to the US President about securing more funding, but the situation looks unfavorable since Perkin's must explain how he lost track of an agent, while the President simply says that the money will be better off in Healthcare. This scene even takes place in a kitchen, but why a kitchen? Doesn't the US President have a better place to meet with his advisors? I think it is to show the invasive nature of Perkins as well as him trying to "feed bullshit" to the President - Perkins is a parasitic advisor.

Also, worth noting is that the actor who plays Perkins, Patrick Malahide, also played the corrupt Governor Ainslee in Cutthroat Island just a year before and also directed by Renny Harlin. Thematically, these two characters are very much alike - self-serving, law breaking, out for their own gain without regard for others. Though Ainslee was just an opportunist, while Perkins is ready to do some serious manipulating to get the situation to conform to his liking. Just what might this be? We shall soon find out.

Meanwhile, Caine seems to be enjoying her new self - "The name's Charly... the spy! Please to meet you." She even cuts her hair and dyes it blonde, as she saw herself in the vision from the past. Henessey, however, doesn't like this new change and says that the personality for Samantha Caine must have come from somewhere, to which Caine (now as Baltimore) just scoffs. She even tore up and threw out her pictures of Hal and Caitlin and even offers Henessey a romp, which he refuses. This is another bit of character genre breaking. Stereotypically, the Black man lusts after the White blonde woman, but here it is the White blonde who is the lusty one and despite having a sure chance, Henessey backs away and tells "Charly the Spy" that he liked "that school teacher" a lot more and reminds her to call Caitlin. Caine/Baltimore is now just plain disgusted and walks out of the room.

Her spy skepticism has come back as well as despite wanting to go back to work as an assassin, she doesn't just blindly trust Perkins and then becomes sure that something is not as it used to be after Perkins dispatches goons to kill her. She and Henessey manage to escape and Caine/Baltimore decides to just be Baltimore from now on. She remember that a little key that she always wore as a braclet, and one that she left at home on Caitlin's teddy bear, Mr. Perkins, actually opens a safe-deposit box that has a lot of money in it. This is presumably cached operating funds from Perkins' agency. As Baltimore goes to get the key, she sees her daughter and Hal, along with the rest of the community, in church and the children are performing a Nativity play. Caitlin is dressed as an angel and it is Christmas Eve at this point in the story. Baltimore is moved by what she sees and reconsiders her decision to abandon her family and life in this town, but then hears that Henessey is in trouble. Perkins' agents have tracked them to this town and while she manages to save Henessey from pursuers, they proved to be only a distraction as Timothy swoops in an kidnaps Caitlin back at the church.

Thus, we reach the film's final act, where all that has occured, will now up to some startling conclusions.

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Part II
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The Aryan Kampf in "Lord of the Rings" - Part VI

Conclusion

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.

The Aryan Kampf in "Lord of the Rings" - Part V

Events and Places
Volume III: The Return of the King

Once again, we pick up right where the previous film left off. The nation of Rohan had achieved victory in the battle at Helm's Deep, which also resulted in Saruman's army being destroyed. In story dynamics, it means that the False Dichotomy had been exposed and one side of it has been put to an end. However, Men are easy to claim victory and settle down after one hard fought battle and it will still take some convincing, a final push, to unite the two nations of Rohan and Gondor.

Frodo and Sam, with Gollum, are getting ever closer to Mordor and this is increasingly allowing for Gollum to be more cunning with his trickery.

The Fall of Saruman and Isengard
The Ents have completely destroyed Saruman's surrounding compound by flooding it with a river from the mountains. The only thing left standing is the tower, Orthanc. In the books this is explained by revealing that Orthanc is actually one great piece of unbreakable stone and the Ents were not able to bring it down. This bit seems to be only implied in the film. However, Saruman has locked himself inside and is at a loss of what to due after suffering such a defeat. Gandalf and company arrive offering Saruman peace if he only tells them what he knows of Sauron's plan. Quite predictably, evil and ego go hand in hand, thus Saruman still thinks he can cause some damage, first by insulting Theoden and by shooting a fireball at Gandalf. This proves folly as Gandalf is now an Arhat. In The Fellowship of the Ring, Saruman easily defeated Gandalf in a wizard duel, but now it is Gandalf who defeats Saruman by breaking his staff with so much as a snap of his fingers.

Grima Wormtongue, Saruman's former agent in Edoras, is here too and Theoden honorably allows Grima to redeem himself and join the forces of good. However, the selfishness of Saruman once again comes out and he scolds his servant for even considering such an option, which in turn angers Grima who jumps at Saruman with a dagger only to be shot down by Legolas, but not before he wounds Saruman who falls from the tower! Quite the quick series of events, but it shows very well how volatile the power-hungry really are, as well as where it often leads them to. The first sequence of this third film is actually an elaboration on the back story of Smeagol/Gollum and it shows how he was, still as a happy little hobbit, fishing with his friend, Deagol, who by chance found the Ring resting on the riverbed. In less than a minute, after the both of them have had a good look at the Ring, they are fighting to kill each other over it; such are the selfish, such are those divided by greed for material possession. In the end, the only winner is the force that initially tore them apart.

With Saruman's final bane the theme of falling can been seen once again. There is even a special tracking shot of Saruman's plunge, much like the previous film did with Gandalf, thus it can readily be identified as a key image and idea. Saruman's fall is also his end; he is impaled on a spoke of a wheel and pulled under water into darkness and death. The spoke wheel can be seen as a metaphorical Gnostic Cross or Sun Wheel. In Slavic mythology, the kołowrót or kolovrat (literally - "spinning wheel" and sometimes Anglicized as collowrath), is a Sun symbol and it comes from the practical tool of the wheel in a well's pulley system, which is course a farmer's tool and thus an Aryan one. The symbol is also sometimes referred to as a Slavic Swastika.

Saruman about to be destroyed by the Sun Wheel

It is this that finally puts an end to Saruman, thus making his death not just physical, but also spiritual. This is a direct opposite to Gandalf who became more physically able and spiritually stronger after his fall and battle with the Balrog. This sequence is also a pretty big deviation from the source material, but that will be covered in Part VI.

Some interesting details here are that Theoden clearly shows to not be under affected by Saruman's voice and magic anymore. This suggests that he is stronger in spirit than before. When Saruman shoots the fireball, the framing of the shot shows the flame swooping down from the top of the symmetrically framed tower, which not only mirrors the power of Sauron's fiery Eye atop Barad-Dur, but also general theme of the Eye of Zion atop the pyramid on the back of the Dollar Bill. The situation is getting dire for the elite at the top, thus they do not just send their golems out anymore, they themselves begin to lash out at those mobilized in revolution.

Return to Edoras and the Next Step
With Edoras saved and the nation of Rohan secure from immediate aggression, the Men do what Gentiles most often do in such a situation - bring out the kegs and mugs and serve ale all around! The Hobbits, of course, join in the celebration. However, Gandalf and Aragorn know that there is still much work to be done. One tower from the False Dichotomy may have fallen, but the other still remains strong. King Theoden has a typically Gentile grudge against Gondor, which he claims didn't answer his own nation's need for help, thus he doesn't have to help Gondor.

Things are also new complications from the fact that Merry, being a curious, but not all that wise, Hobbit, looked into the Palanthir, which was the stone that Saruman had used to communicate with Sauron. This, effectively, gives Sauron a glimpse of what is going on in Edoras as well as make him think that Merry has the Ring of Power. Gandalf leaves with Merry for Minas Tirith, which is the main city in Gondor and that nation borders with Mordor. This will keep Sauron's gaze away from Rohan and closer to his own lands, though unfortunately it puts Gondor on the path of imminent danger.

The Great City of Minas Tirith
Minas Tirith is perhaps the grandest set piece in the entire film trilogy, as well as the location of the most spectacular battles - first the Siege of Gondor, which is almost immediately followed by the Battle of Pelennor Fields.

With its large scope and precise design, the architecture of Minas Tirith is a beacon from an Aryan imagination. The uniform stone design with not one block or corner wasted is what the greatest Roman architect or Albert Speer strived to achieve in one of their projects. Interestingly, Minas Tirith was inspired by a real location that can be visited to this day: Le Mont St-Michel in Normandy, France. This is a key to understanding the very Aryan symbolism of Minas Tirith.

 Aryanism is the Real World and in Fiction

The very top of Le Mont St-Michel is an abbey, while the top of Minas Tirith is the hall of the King of Gondor. This reinforces the Aryan idea of a leader not just being a political leader, but also a spiritual leader - one with a vision and capability for achieving Greatness in his nation. "Le Mont St-Michel" literally means the "The Mount of Saint Michael," referring to the Archangel who struck down the devil with his sword. This can be directly applied to the sword that Aragorn now wields as heir to the throne of Gondor and also to the idea of an Aryan leader being both militarist and spiritual - in effect, being rendition of a warrior angel like Saint Michael. Aragorn will slowly rise to an image very much like this and in the final battle even wears a cape that can be seen as resembling angel wings. The soldiers of Gondor also have wings in the designs of their helmets, they are wrapped around either side.

As Gandalf first rides up to the King's Hall, there is a good view of the courtyard at the top of Minas Tirith, which is basically one big Gnostic Cross. The two statues here also have wings on their helmets, though these actually stick out and this just makes the warrior angel symbolism all the more apparent.

The Final Key to the Grand Alliance
The leadership of Minas Tirith has, like so many other things, been divided. Currently, it is Denethor who sits on the throne, but he is just the Steward, which is a post that perhaps can be best described as "first officer to the King." An important position, one that takes on full leadership responsibilities in the King's absence, but ultimately the Steward is not the top leader. Denethor knows this and has been corrupted by the power that he was entrusted with. Perhaps this comes at no surpise, since Denethor is father of Boromir who also fell to the power of the Ring. There is no direct indicator that Denethor is being manipulated by Sauron, but there is much that suggests that he is in fact under a spell.

First, he is acting horribly irresponsibly in his post. Even if he was a selfish leader who was only interested in saving his own skin, he wouldn't just sit around waiting for his city to be pillaged. Second, we first see him slumped in his throne grieving over the death of Boromir whose broken horn he holds. This is where the theme of duality comes into play. Denethor is effectively the mirror image of Theoden who was also under a spell in his throne. Now, there is no parasitic agent manipulating Denethor, but Grima the traitor wasn't the source of the spell on Theoden, it was Saruman, who was in the bordering territory of Isengard, up in his tower working the magic. Who do we have next to Gondor? Why, it's Sauron himself as Mordor borders with Gondor. Surely, Sauron is a much more powerful spell-maker than Saruman, thus doesn't need a petty agent nudging his puppet along. He can just put his targeted leader into an irrational state of grievance, stirred from the death of a dead son, and have thus have him be an impotent leader for just long enough as an army of orcs marches over from Mordor. The maddened Denethor even refuses to call for aid from Rohan and he is even more stubborn about Gondor-Rohan relations than Theoden was seen to be. Thus, Gandalf must step into action - he has Merry light the beacons signaling Rohan for help and then he himself rallies the soldiers of Gondor right after Denethor had lost his mind and ordered a pointless retreat. The weak and overcome Denethor eventually goes mad and tries to burn his one living son alive, but ends up burning himself and falling (another key fall in the storyline) from the top of his own city.

Theoden, who has shown to be tougher in spirit, rises to the call of duty and answers the message from the beacons. Thus, the much needed alliance is finally settled, but Rohan needs to muster enough military power to smite Mordor's forces. After two days of calling all able men to arms, Theoden and company know that they do not have nearly as much soldiers as they hoped, but they ride into battle anyway. In doing so, they effectively ensure that what Sauron fears most, men uniting with one common purpose, not only happens, but those men then ride battle ready right up to Sauron's doorstep to put an end to all of his deception.

The Importance of the Oath
While Rohan's army rides on into battle with militarist perseverance, Aragorn, Legolas and Gimli, have gone into the depths of an old mountain. They are looking for an old army, long since dead, but cursed and trapped in stone for abandoning their former master Isildur in battle. As Isildur's heir, and now with his ancestor's sword, Aragorn ihas the chance to get these ghosts to fight, which will provide a winning chance for the Alliance, as well as allowing old tortured souls finally be at peace.

The Army of Dead has some interesting symbolism around it. In effect, they are living beings forced into stone. The mountain that they inhabit is said to be "evil" and has this particular aura around it, not a visible one, but one in the metaphysical sense. It is no ordinary mountain and for all intents and purposes, it should not be this way. This idea of having a life force trapped in stone is representative of the golem theme that we have with the orcs. The orcs are artificial beings forced into a certain existence, which is a condition akin to the men trapped in the stone mountain. The key difference is that the golems have been made by evil to serve evil, while the men were formerly good and have been punished for a great misdeed - reduced down to an artificial state of being until they fulfill their oath.

In essence, Aragorn asks the Army of Dead:

"Is Your Honor Loyalty?"

Their rising up to the call of duty, which results in them being free from their torment in death, is also what Boromir went through, albeit over the course of minutes not millennia! Like the Army of Dead, Boromir gave his word to fulfill a task, but was overcome by the Ring and effectively abandoned his duty. However, he realized this an snapped out of the spell and saved Merry and Pippin in battle, but received mortal wounds in doing so. However, he passed on in honor. The Army of Dead, too abandoned their duty long ago, but now snap out of their spell, leave the confinement of stone (un-become golems by their own will), and go to fight for their former master's heir. The theme here is a return to honor and it can also be seen in the line of Denethor (father), Boromir (first son), and Faramir (younger son) - Denethor succumbed to madness from being under spell and died in shame; Boromir fell under a spell, but snapped out of it, and died with honor; Faramir was tempted, but never succumbed, and goes on to live in honor.

So as we can see, the Kampf to overcome the spell of Sauron is also a whole lot of inner-revolutions by individuals as well as the Grand Alliance of Nations and Folk against him. Each member, down to the individual soldier, faces his own inner battle with spirit, in many instances even when already wielding a sword against Sauron. For many may fight, but only the Noble, the Aryans, fight by motivations from a profound spiritual insight as to what they're doing and why - that is the essence of Kampf.

The Trek into Mordor
Frodo and Sam, with Gollum, who have steadily been making their way to Mordor, have finally reached that feared place. Much like with the others facing their toughest challenge, they now face theirs. Climbing up a hidden set of stairs as indicated by Gollum, they are nearing a way past the massive mountain walls of Mordor - a certain tunnel and Gollum seems to have some particular plans brewing with this place. Gollum has been slyly working to get Frodo to resent Sam and to making Frodo suspect that his friend is trying to betray him. This takes its final step during a rest along the steps during which Gollum sets up a situation to make it look like Sam has been stealing bread. Sam, who Gollum knows is frustrated with him, lashes out at Gollum who plays the pathetic, innocent victim. The ruse, of which this is the last step, finally works - Frodo tells Sam to leave on the pretense that the trip is taking its toll on him and that he is hindering progress.

Frodo is, of course, thoroughly convinced that he did the right thing and this is because he did it from his own will - this is the key to Judaic manipulation. It is not the manipulating of the pawns to get them to move where the puppet master wants, it is the manipulating of the playing field so that he pawns move by their own will where the puppet master wants, thus giving the illusion of free choice. The Zionist chessboard isn't literal, it's metaphorical - it is more like The Matrix or the alien infestation in They Live. Due to his madness which was accentuated by the loss of his son, Denethor was absolutely convinced that he was doing the right thing. As was Isildur when he tried to control the Ring. The spell was on their minds. Gollum has just orchestrated such a situation with Frodo and Sam and tore two friends apart - the unimportant one is out of the way, while the one with the Ring is walking into a trap. There is no need to snatch the Ring, there is just the need to get Frodo to drop it.

Sam had had been honest throughout the entire journey and soon sees proof of the ploy that had been played; he promptly rushes back up to help his friend. Frodo on the other hand sees that the tunnel is not just any old tunnel, but actually a lair of a giant spider-beast, Shelob. He just barely makes it out of there when Gollum reappears and now just flat out tries to take the Ring in angry frustration that his plan of having Frodo eaten by Shelob didn't work. Frodo has taken a heavy toll mentally and physically and still doesn't fully see what Gollum is doing, or starts to pity him once again after another pathetic "victim" excuse. However, when Gollum leaps at him again, Frodo manages to roll him off of a cliff... this is actually a bit of luck and Frodo's full commitment to destroying the Ring is still to be tested.

Shelob comes out of her lair and sneaks up Frodo stinging him as he looks where to go. Luckliy, Sam shows up and fights the beast off with Frodo's sword, but also with the vial of light, the Light of the Star Elendil. The theme of light is present throughout the whole storyline and all golems in the Lord of the Rings despise natural light, but especially sunlight. It is no surpirse that the Swastika, a Sun symbol, is looked at with disgust by Zionist pests.

Frodo is not dead after being stung, but rather just completely limp for a few hours, as Sam overhears some orcs talking, but they take Frodo to their fortress, Cirith Ungol. Sam has much of his work cut out for him, as the garrison at the fort begins to fight after an argument breaks out over Frodo's shiny armor. This would have been a pretty lame plot device, since it makes Sam's rescue of Frodo much easier, but as we have seen: orcs are very volatile in temper and spiritually weak beings succumb to materialism quicker. Thus, it is no surprise that something so small sets some orcs off in a brawl, and no surpise that the whole garrison joins in.

Thematically, this is also very consistent. The essence of Sauron's power, symbolic of usury based power, is highly unstable and demands constant manipulations to keep afloat. Also, the orcs/golems are the dynamic opposite of the members that set out on the Kampf against Sauron. Thus, the golems fight without purpose or for whatever little reason they feel like fighting over in a brawl of disunity - while the Noble Warriors on the Kampf fight for a very specific purpose and are united because of it.

The Final Tasks
Theoden's Riders arrived and helped break the siege at Minas Tirith, while Aragorn showed up shortly thereafter with his Army of Dead and helped take down the Men of the South and the Corsairs, allies of Sauron. Interestingly, those particular groups were said to be mercenaries, or soldiers for hire, and thus another version that stands opposite of the Noble Warriors. That makes for three types of motivation to be found in the groups on the battlefield - Noble Warriors motivated by Kampf; Mercenaries driven by promise of gold; and Orcs, brainless golems just doing what they're told - the "anti-purpose."

After defeating all in the battlefield the next decision is the key Final Task for the Alliance of Middle Earth Folk - to meet Sauron's remaining forces by the Black Gate so that Mordor is empty and Frodo can destroy the Ring in Mount Doom. They set out from Minas Tirith.

The success now depends on Frodo who must accomplish his Final Task - destroying the Ring. Note that the final changes that take place physically are in conjunction with changes that take place metaphysically. Gimli who had been stubborn about allying with Men and Elves, went on to accept this, but still poked fun at the fact, as did Legolas. In the Battle of Pelennor Fields, as in Helm's Deep, they were competing to see who can kill the most orcs and Gimli would say "may the best Dwarf win!" Then he got jealous that Legolas managed to take down an entire War Oliphant, complete with crew, single-handedly. As they stand by the Black Gate and watch a massive orc army pour out, Gimli makes yet another remark in the same vein, but Legolas quickly responds and a profound realization sets in.

Gimli: "Never thought I'd die fighting side by side with an Elf."

Legolas: "What about side by side with a friend?"

Gimli: "Aye. I could do that."

That is the essence of camaraderie, which all warriors in a Kampf must come to realize, and in Lord of the Rings, they do. They form a diverse army, comprised of members from every Folk in Middle Earth, to smite their common enemy who has been ever manipulating and causing turmoil for everyone. This multi-ethnic alliance, to many peoples’ surprise, actually has precedent in the real World - that would be the real-life military unit that was as ethnically diverse as a World Map - The Waffen SS.

SS Mittelerde - Dwarf, Human, Elf, Wizard

and Hobbit (the helmet by Gandalf... lol)

Meanwhile...
Frodo approaches Mount Doom and stands at the edge of the grand foundry where the Ring was made. Gollum had reappeared just before he and Sam went in, but Sam managed to hold him off to allow Frodo time to toss the Ring in. However, this final moment, the Final Task, is one of will. Just like for Aragorn and the Alliance of Middle Earth, the hard part was not marching up to the gate and drawing swords, it was getting themselves to do it and then standing ground as they see the orcs pour out. Likewise, for Frodo, a simple toss is not the hard part, but the building up the will to make the toss. It is breaking out of the mind prison set up by Sauron, to any wearer the Ring appears as the most “precious” thing in existence, just like facing Sauron’s army appears as the most hopeless thing in existence - it is all part of Sauron’s spell to ensure his preservation - it is the engineering of the playing field to get pawns to go where he wants them to be and do what he demands of them. And so Frodo... puts on the Ring... immediately Sauron senses this and sends the Nazgul after him.

Gollum, long since completely overcome by his lust for the Ring, will never stop in trying to get it and attacks Frodo, after seeing his footprints, and bites of his finger, which finally puts him in possession of “the Precious.” The next scene is key since it shows that Frodo finally stands up to the task and overcomes Sauron's illusion. Just outside of Shelob’s lair, he had a bit of luck with rolling Gollum off of a cliff, but here actually does it intentionally and Gollum plunges down into the molten rock. Note the shot - it is tracking shot of not just a character falling, but also of the Ring. There is one more key fall, the final one, and it occurs right after the Ring lands in the volcanic river.

The floating Ring is soon consumed by the molten flow, it is pulled under the surface of Middle Earth never to return; this causes the tower of Barad-Dur to crumble and the Eye of Sauron to topple from its peak and burst, rifting the earth in a great shockwave and pulling down all of the parasitic creations deep into the bowels of Baphomet’s Hell.

Frodo and Sam manage to escape the erupting Mount Doom, but get stranded on the slope as lava streams surround them. It all seems hopeless, but then Gandalf shows up with a flight of eagles and both Frodo and Sam are taken by an eagle in its mighty, yet in this case also gentle, talon. It is certainly an interesting image and it is no coincidence that it bears striking compositional resemblance to the Luftwaffe insignia that can be seen in this blog's banner - the eagle is holding the source of salvation which has brought about a New Order.

The New Age and The New Order
A New Age of Unity and Nobility then settles peacefully onto Middle Earth. Aragorn’s final monologue at his coronation on the Gnostic Cross Courtyard of Minas Tirith effectively says: “Let there be Unity through Nobility.” The original Fellowship is still together in friendship and lasting mutual respect. The lands of Men can be seen as soon to be fully united as Faramir and Eowyn - a Son of Gondor and a Daughter of Rohan - have taken romantic interest in one another.

In The Two Towers there is a brief scene where Aragorn’s ancestry is mentioned, and the nation that he belonged to, as well as its dispersal, which reflects what happened to the Aryans in our real World - scattered with the occasional rising up throughout history. However, in this highly romanticized tale, the Aryan doesn’t just rise up and accomplish some feat, he actually ensures the setting up of a kingdom founded on Aryan ideals. This is made all the more clear with the arrival of Arwen right after Aragorn’s coronation. She is an immortal Elf, but chooses a mortal life with purpose, over an immortal life that’s empty. By staying in Middle Earth and taking Aragorn’s hand, she also effectively ensures that the new King will have an heir, thus she is actually playing a very key (though totally off screen!) role in the well-being of the nation of Gondor.

There is still some ground to cover with Lord of the Rings and that will be wrapped up in the concluding chapter.

PART VI

The Aryan Kampf in "Lord of the Rings" - Part IV

Events and Places
Volume II: The Two Towers

The story picks up right where the previous installment left off. The Fellowship had been separated by the Falls of Rauros and now three parties push on with the Grand Task. I have said that the Fellowship wasn't really "broken" (as the chapter title seems to suggest), but that it is still intact and it is just different duties that sent the members in different directions. This idea is confirmed by the Extended Edition DVD, which includes a map of the Fellowship's trek on the box art. The map on the first film's DVD box shows the Fellowship's path from the Shire and to the Falls of Rauros, thus the Fellowship was formed much earlier than it was formalized by Elrond, simply new members joined the mission. In the box art to The Two Towers, there is also a map, but now with three paths - that of Frodo and Sam; that of Aragorn, Legolas and Gimli; and that of Merry and Pippin, who go through a similar change that their two Shire kin have already begun to experience.

Frodo and Sam's Journey
The first of three major plot lines in the film. Frodo and Sam are traveling through a chain of mountains and the journey is starting to take a heavy toll on Frodo. First, he has a nightmare about Gandalf's fall from the Bridge of Kazad-Dum in Moria. Second, the weight of the Ring is making him ever weary and seems to be altering his body. Sam notices that Frodo is eating and sleeping very little, thus it must be the Ring that is somehow driving him and this condition of being artificially alive are the first steps that led to Smeagol's degradation into the Gollum.

Gollum is also introduced as a character here - previously he had just been an ominous background stalker as seen in The Fellowship of the Ring. Frodo connects with Gollum in a way and he seems to at least partly understand Gollum's condition, since he himself is going through what Gollum went through years and years ago. Sam, on the other hand, is very wary of Gollum and suspects him to be pulling a two-faced trick so that he can get his hands on the Ring, which he repeatedly calls "the Precious." Gollum may be just a goy of Sauron, though he is a clever goy and promptly begins to use the Dark Lord's favorite tactic of divide and conquer. Gollum knows that he cannot overpower both Hobbits at the same time, especially since Sam is not falling for his charade, so he starts to sow discord between the two Hobbits. This is subtle at first, such as calling Frodo "Master" and belittling Sam as "the fat Hobbit," which, in effect, places them on opposite ends of a forced dichotomy - one is held in esteem, the other in disgust. Through constant repetition, this mindset of Gollum's begins to settle into the minds of Frodo and Sam and the seeds of conflict start to sprout. The first argument that the two of them have is after being with the Gollum for a few days, yet they were best of friends before. Thus, this new found callousness they have towards each other (though mainly Frodo towards Sam) must have been subversively introduced - first by the Ring and then further stirred by Gollum, which is basically just the same process as both serve the Dark Lord.

Gollum's inner conflict is also a mirror of Frodo and Sam's brewing conflict. The theme of duality seems to be very pervasive in Lord of the Rings, and due to the great length and scope of the work, Tolkien was able to demonstrate not just a great many possibilities, but their opposites as well -- Boromir and Faramir; Saruman and Gandalf; Denethor (whom we still have to meet) and Theoden; Gollum/Smeagol and Frodo & Sam. In all instances, one side is seduced by evil, while the other rises up to the call of duty, note that this does not always mean survival.

The destructive efficiency of evil hopes that by making one side fall, the other side will be pulled down trying to save it. This image of a forced dichotomy that is engineered to destroy is the main theme of this chapter and the first great task of the Fellowship is to counter it.

Dichotomy of the Two Towers
There are two literal towers in the film, Orthanc in Isengard and Barad-Dur in Mordor. These titular towers represent the Grand False Dichotomy that the Dark Lord is using to divide the nations of Middle Earth, but mainly the two nations of men - Rohan and Gondor. This image can be directly applied to the real World Cold War that was in full swing when Lord of the Rings was first published with the two towers being Washington DC and Moscow, or Capitalism and Communism, or NATO and the Warsaw Pact, etc... However, this idea of subversive divide to pave the way for easier conquest and control is nothing new and a well versed scholar like JRR Tolkien was certainly well aware of this fact. To this day we have people arguing over left and right in countless forms be they social, political or even in the fields of science. The point is that it very effectively negates the objectivity and focus that unity requires and thus Gentiles remain repressed. It is a grand irony that this unfortunate condition is largely due to their own doing, but that is what makes it so hard to combat - it requires the swallowing of one's own pride (something not easily done) and realizing that you've been fooled by an illusion.

This is by an large what the puppet master Sauron is counting on, that capable Men are unable to swallow their pride and sacrifice for their neighbor with whom they have a grudge or in whom they see some arbitrary difference, be it political, social, cultural, or national - or even simply geographical. Conquest of spirit precedes conquest by sword.

The Light of Arya begins to expose to the False Dichotomy

Gandalf's Journey
A longer version of Gandalf's great fall from the broken bridge of Kazad-Dum is the opening sequence of the film. Despite already being very deep underground, Gandalf and the Balrog seem to fall into a pitch black abyss and in this sequence we see that it is actually quite deep, they fall and even fight while still falling and falling...

This could be explained by the fact that they actually weren't that deep underground, but near the foot of mountain as the surrounding landscape seems to show. However, a literal and physical explanation will come to another dead end: when Gandalf tells Aragorn, Legolas and Gimli of his fall, he says that he eventually defeated the Balrog while up on what can only be the peak of a great mountain. How did he fall so far and wind up on an alpine summit? The explanation, therefore, must be metaphysical and/or spiritual. This would also explain why Gandalf is still alive after such a strenuous feat as well as why he seems to be endowed with not just new powers, but effectively a new life - Gandalf has ascended to Arhat. The fall down to the depths of Middle Earth and the final fight up on a freezing peak is him triumphing over all levels of his natural condition - both in spirit and in body. Each member of the Fellowship is on the same kind of metaphysical journey in conjunction with their mission.

Edoras
Edoras is the main city of Rohan, which is one of two nations of Men in Middle Earth. An alliance between these nations is key for Sauron to be defeated. The Dark Lord knows this all too well and has used his puppet Saruman to forge an army of elite orcs in order to destroy Rohan. Saruman is also up to tricks of his own and has divided the leadership of Rohan and effectively made it powerless and subversively guided by him. King Theoden of Rohan is under Saruman's spell and the King's advisor Grima Wormtongue has been bought out by Saruman and thus maliciously advises the King. When Eomer, the King's own nephew, warns his uncle of the coming danger from orcs, Grima accuses Eomer of being a warmonger and has him banished from Edoras, after getting Theoden to sign an "official order." Grima Wormtongue is a very apt name for this character and as with many names in the whole work, it is no mistake.

The Parasitic Advisor with the Puppet

This image can be directly applied to real World Jewish subversion of national leaderships. The United States government is a perfect example and it doesn't take very much research to see that while the US President is (and always has) been a Gentile, the amount of Zionist Jews in the Presidential Cabinet has been ever increasing. This allows the subversive agents to be very influential with a direct link to national leadership (right at its side and whispering into its ear), while also being able to take zero responsibility for any failures of their puppet since they didn't "officially" make the decision - they merely "advised" and "suggested." This allows them to place a weak leader in order to attempt to execute a strong (and possibly even noble) plan, but the inability of the leader will be ignored upon the inevitable and calculated failure upon which it will be the plan, not the leader, that will be labeled as "ineffective." Next, very quickly, the opposite plan will be implemented, which was the scheme all along. The other possible subversive course is if a leader gets too near a controversy of some sort (often even this can be engineered as well), he can be promptly removed and a new puppet, one ready to listen or take the fall, can be then installed. The overall point is that while leadership constantly changes, the parasitic agents always remain. And the masses still wonder why change hasn't come as initially (and repeatedly) "promised."

Consider the motto of the Israeli Mossad: "Where there is no guidance, a nation falls, but in an abundance of counselors there is safety." The subversive factor is that these "counselors" are actually placed in foreign nations; they are the parasitic advisors who funnel an able nation's resources to the Jews. The United States gives Israel a large, yearly, and unconditonal sum of money, military equipment, and aid. This is the real World's biggest example of "guidance" and "counselors" which via secrecy and brainwashing is kept from the American public. However, there are some who are well aware of this.

Grima's mission is to ensure that division and indecision keeps Rohan in a weak and disorganized status quo with everyone hesitant about what to do and how to do it. Gandalf, now as Arhat, easily sees through this charade and quickly reveals the real nature of this corner of the chessboard. Grima, confronted with reality and unmasked, flees in shame without any of the prizes that were promised him. King Theoden is tempted to strike Grima down, but is held back by Aragorn and promptly realizes that impulsive reactions cannot be the solution to their present situation. So, King Theoden was not only freed from his mind prison and reverted back to his normal human state, but also has begun to act more nobly, thus is taking his own small, but sure, steps out of the ignobility that plagues the men of Middle Earth.

When pulling Theoden out of Saruman's spell Gandalf says a very interesting line to describe the situation, "like poison from a wound." This applies directly to the method Zionist subversion, which secretly frightens its puppets with some infliction of false flag terror and then claims to have all the remedies, which are then implemented by parasitic advisors. However, it is those elements that are the poison, the "spell," which then keeps the puppet under appropriate control. Gandalf snaps Theoden out of just such a condition.

The Noble Advisor with the Leader

Gandalf then advises King Theodon on the best course of action and this is, no surprise here, a militarist plan - the Folk of Rohan are to set aside their differences with the Folk of Gondor and meet their shared enemy in battle.

An interesting visual detail, which can be seen in the screen shot above, is that there is a Gnostic Cross in the design of the throne and it is right by the King's head when he is sitting up straight. However, when he was under Saruman's spell, Theodeon was slumped and slightly angled away from the Cross and towards the traitor Grima.

The Battle of Helm's Deep
This is an interesting development in the story since going to Helm's Deep seems to contradict Gandalf's advice of militarist action. However, due to Gandalf not really protesting the decision all that much, but in fact going along with it, the decision and motivations behind it are militarist and they certainly achieve such results.

The Battle of Helm's Deep will later be seen as a mirror of the final battle by the Black Gate of Mordor. At Helm's Deep, evil marches to confront good, while later at the Black Gate, good will go to confront evil. The overall strategy of this move is also a dynamic opposite to Sauron's strategy of divide and conquer. By hiding in the defensible position of Helm's Deep, Theoden evens out the odds of facing Saruman's great army of orcs, but also, in effect, denies cooperation between Saruman's army and Sauron's army. The move comes at a heavy cost and many lives are lost, but it seems men just can't help but using the enemies' weapons against them! Though, the weapon here was the general strategic move, a counter move to be more precise, thus Theoden did not succumb to the power of the Ring or sellout his honor in any way. The members of the Fellowship may have felt somewhat aggravated by Theoden not doing things exactly as they imagined, but they realized that Theoden is a sovereign leader and must be allowed to enact his own leadership in his own lands. The victory at Helm's Deep was a tough one to achieve, but it effectively united Rohan and destroyed a key part of the False Dichotomy set up by Sauron - Isengard's army is annihilated.

A strange, and seemingly out of place, event in the battle is when the orcs breach the fortress's outer wall with some powerful explosives, which they placed at its base in a key weak point - a drain. These bombs are set off in a suicide run by a torch bearing orc and the most frustrating part of this scene is that Legolas fails to bring him down despite launching two arrows. This is the only time Legolas misses and it's twice in a row. However, this is not so much of a plot point and an excuse to show a big explosion as it is a reflection on how the Dark Forces in the story work. The orcs' initial mass storming of the wall served as a cover to plant the bombs; Aragorn and Legolas realized too late what is going on and the mines were detonated. This progression by deception is exactly what Sauron is doing and him getting ahold of the Ring would be just like the bombs going off here - only the swarm unleashed then wouldn't even be winnable in a pyrrhic victory for the Good in Middle Earth.

The end of the battle at Helm's Deep has some interesting symbolism. Gandalf rides down a giant slope with Rohan's Cavalry and the rising Sun, the light of the Swastika, blinds the orcs/golems and they are decimated with the scattered remaining ranks fleeing into the nearby Fangorn Forest where the living trees finish them for good.

The triumphant army of Rohan, which now includes Eomer and his Riders, is set to be part of the overall Kampf against the Dark Lord Sauron.

Ents and the Battle of Isengard
The Ents are an interesting addition to the story and the third of major plot lines in The Two Towers. This plot is the one with Merry and Pippin who were kidnapped at the end of the last film and Aragorn, Legolas, and Gimli set out after them. However, they met Gandalf who told of his fight with the Balrog and assured the Fellowship members that the Hobbits are safe.

Merry and Pippin escape during a fight at the orc camp, Eomer and his Riders ambushed the Uruk-Hai, and the two little Hobbits fled to the nearby wood. There they found out that the trees are not just alive... but alive and moving! These tree beings are then Ents who safeguard and care for the forest. As a metaphor, this is directly applicable to the Aryan notion of the unity of all things under the Sun, as symbolized by the Swastika or any other of the many Sun symbols, which all derive from the Aryan Swastika. In brief, the trees join the Kampf! This plotline also shows that Merry and Pippin are maturing as warriors and, in fact, are on their own respective journeys of ascent out of their natural Hobbit condition. Each one has a role in getting the Ents to rally against Saruman. Much like Men, the Ents rise up to the call of duty after being shown the destructive possibilities of the Dark Lord's plan; the Ents see that Saruman has destroyed much of their forest to fuel his industrial forges and create his army.

With this sight, the Ents see that they must spring into action and march on Isengard. The ensuing battle has more Aryan symbolism as the golem foundries fueled by artificial fires are flooded with a great river that Saruman had blocked to allow his industry to expand. This is an image of natural life overcoming the artificial - water snuffs the foundries and the Ents smash the orcs - the trees shatter the golems.

An interesting visual detail here is that the walled compound that is now at the center of Isengard, and the one that the Ents flood and destroy, has six sections as can be seen below - three diameters in a circle means it has been partitioned into six parts. Thus, a six-pointed icon that has been forcibly scorched into the face of Middle Earth is destroyed in this battle.

Divinity drowns the Demonic

The Kampf Continues
One side of the False and Forced Dichotomy has been destroyed, however, the struggle is far from over. In the ruins of the city of Osigiliath, Faramir realizes that he cannot bring the Ring to his father, Denethor, even though he is very anxious to please his father who doesn't seem to appreciate his efforts. This is a very important step and the defining moment between Boromir and Faramir - both were faced with the same choice and both chose differently and thus wound up on very different paths.

Interesting is that Osigiliath, a destroyed city, resembles the halls of Moria, which is no surprise as both fell to the same plague. Frodo and Sam left Moria in despair, but now they press on in their journey with a new found hope, which Sam describes in a monologue. "Some things are worth fighting for" - he is basically talking about Aryan ideals of civilization. Gollum also has a final monologue, with himself, and he continues his scheme of trying get his hands on the Ring. He even seems to suggest that he wants to keep it for himself and not give it Sauron, which reflects his true nature of serving only himself, which is a trait that ultimately even Sauron possesses.

Next, the Kampf will go on to its two greatest tasks - facing Sauron's Army in battle, which will require the alliance of Gondor; and the destroying of the Ring, which will require entering Mordor.

PART V