Devil: Microcosm of Zion

"Be sober, be vigilant; because your adversary the Devil walks about like a roaring lion, seeking who he may devour." ~Peter 5:8

This quote (which should be noted as "1 Peter 5:8") opens the film Devil, in which 5 people, apparently total strangers, get stuck in a malfunctioning elevator, but soon realize that there is an even greater problem present. Those trying to get the stuck passengers out - some of the building's security personnel and a pair of police detectives - also see that something else is not right and it is soon suggested that the Devil has planned all of this to happen. Overall, the film plays out as a good horror film and is very far removed from the gratuitous slasher nonsense that seems to permeate the genre. And wouldn't you know it, in this film's interesting portrayal of lurking evil and subversion of spirit, there are some solid anti-Zionist themes.

That was one of the first images used to promote the film, a rather bleak and dark poster, but there is a subliminal hexagram there in the form of the elevator buttons. The "down" button acts as the V, however when put together with the "up" button we get a six-pointed star and not the usual Satanic pentagram. These two buttons are the only actual objects in the poster, the rest is writing - credits and the tag-line "Bad things happen for a reason," which suggests an ominous plan slowly coming together.

The film's opening sequence is a series of upside-down aerial shots of Philadelphia, the final of which enters a building, travels down an elevator shaft, where we'll spend most of the film, then flows into the building lobby, where the first key event takes place: a man falls onto a van parked outside. The janitor cleaning the lobby doesn't notice as he has head phones on and he is facing away from the windows. Odd, perhaps, but plausible. When the police begin to investigate the scene, the truck has rolled down the street and into an alleyway. The investigating detective even says that it must have bounced off of a concrete barrier before coming to a crooked stop at the end of the alley, thus it must have been a noisy trip, and here the real oddity plays out: no one noticed this. There are no witnesses in the middle of a big city and the detective himself figures out that the truck must have coasted down here. This was early morning, but any modern downtown has all sorts of business in which employees arrive to prep for the day before business hours, such as the janitor cleaning the lobby, but certainly not everyone was so distracted so as not to notice an out of control truck careening down a street!

This either means that the forces, which had propelled the previously described events were supernatural or that people just didn't bother care. Both notions will soon come into play.

No Coincidences
During a mundane week day, it's even raining outside, five people trickle into an elevator presumably to get to an appointment or work. Soon things start to go inexplicably bad and fear sets in and they all start to turn on one another - each one cares only about their own skin - and there are, most definitely, supernatural forces at work. The building's computers display information contradictory to what is happening, a mysterious face flashes on the security camera's display, and the elevator's lights flash on and off for no reason intermittently with the trapped people emerging from the darkness, first with wounds, but then they wind up getting killed off one by one. All of this seems to be contained within one elevator and everyone swears that that hadn't touched anyone else.

There is a narration in the film that tells, in episodes, a story about the Devil in which he rounds people up into one place so that he can torment them before taking their souls.

"When I was a child, my mother would tell me a story about how the Devil roams the Earth. Sometimes, she said, he would take human form so he could punish the damned on Earth before claiming their souls. The ones he chose would be gathered together and tortured as he hid amongst them, pretending to be one of them. I always believed my mother was telling me an old wives' tale."

This is basically a continuation of the idea presented in the opening quote. One of the security guards mentions to the detective a legend called "a Devil's meeting" which is essentially a template for the situation unfolding before them. Earlier in the film, the detective was having breakfast with a friend who told him "to truly feel free, you may have to start believing in something greater than yourself." If all goes well, this would be the realizing off greater ideals. However, all does not go well and the "greater thing" encountered is the Devil who seeks to make people into puppets and victims.

The detectives, the security officers and the building engineer all work to free the people trapped in the elevator, but things seem to get worse and worse. First, one of the passengers is wounded with what seems to be a serrated blade, then one of them dies with a shard of glass in his neck and the nerves of the survivors get worse and worse. The building engineer falls down the shaft, as he tries to make his way from the top of the shaft onto the top of the elevator car. Firemen are called in to hack through the wall so as to access the shaft from the side at the level where the car is stuck at. Yet, as everything seems to progress, though at a cost of life in certain instances, it doesn't seem to progress fast enough! The malevolence in the elevator car continues to torment the people and snuff them out.

The background narration at the point, when the fire department arrives at the scene, states that sometimes people would try to fight with force, but "some battles cannot be fought with weapons." This is a virtually exact transposition of Adolf Hitler's idea of "where we lack weapons, we must compensate with will power." It is the struggle of the spirit that makes men succeed - slowly the characters begin to realize this. Bowden, the main detective, even tells of a incident that happened 5 years ago and in which his wife and child were killed by a hit-and-run driver. This has led him to not believe in the Devil, for "people are bad enough by themselves." His idea of what goes on in the World has been entirely reduced down to people either doing good or bad, but now that's changing.

Bowden's background story becomes a key aspect of the film's action when the last remaining survivor in elevator ends up being revealed as the one who was the hit and run driver 5 years ago. At this point, the Devil makes his presence known, he is in the form of the older woman who was in the elevator and thought to have been the second one killed. By now, all the characters in the film have been revealed as having done bad deeds in the past and thus were slyly hoarded into this one place. Then, for what must have been hours of tension and mental strife that have led to nothing but violence and now culminate into an encounter with the Devil himself - "the lies we sell ourselves introduce us to him" is part of the narrated background story.

However, now the lies stop and the last one alive sees what he must do to get out: repent. He thinks back to the time when he committed the hit-and-run, he remembers the moment when saw the dead mother and child, and when he cowardly drove off leaving only a crudely written note. In realizing his past wrong doing, his past selfish actions, he takes the responsibility that was once avoided. For that, the Devil can't claim his soul for it is a soul that is actually struggling to be free of evil.

"God only helps those who are prepared to help themselves." ~Adolf Hitler

By stopping the lie that he has been living with, the man helps himself become of better moral conscience. This does not mean being let off the hook for his previous doings, but the important thing is that he puts an honest effort to set things right, though late it may be. As Detective Bowden drives the man to the police station and when they are driving down a long, dark stretch of road, a place where Bowden could easily have vengeance and fake a story (who wouldn't believe a cop?) and thus have simple satisfaction, he says that he forgives the man for what he did 5 years ago. In this scene, through the back windshield of the car we can see a V-shape of lights fading away in the distance as the car drives on. The V was the first introduction to the Devil on the promotional poster, but now it is a parting with the Devil as Bowden does the honorable thing.

The film's closing narration: "After my mother would finish her story, she would always comfort us. 'Don't worry,' she'd say. 'If the Devil is real, then God must be real, too.'"

Mainstream Evil
The film employs much mainstream imagery to convey its notion of evil, but it remains interesting nonetheless. For instance, the truck on which the suicide jumper lands is from a company called, Bethel Bread Co. and Bowden's family died on Bethlehem Pike, which tie in together - "Bethlehem" means "House of Bread" - as well as allude to the story of Christ. The building that serves as the film's setting is located on 333 Locust St; this can refer to the biblical story of plagues, but there is a real street of that name in Philadelphia, however the portrayal of it in this film is fictional. 333 is half of 666, the Number of the Beast.

The film's first shot in the opening sequence is the same shot that ends the film, however, the opening is upside-down, while the ending is the same shot, but now right side up. These are shots of the Philadelphia cityscape, which includes many pointed buildings, just like the triangles on the promotional poster. Thus, we have an upward triangle and a downward triangle - put those together and there is a hexagram. 333 + 333 = 666.

Numerology tends to lead to obsession and inevitable folly, so it is only good to briefly entertain it. In all probability, the filmmakers included it to have an easy understanding of the film be possible. Everyone "knows" that 666 = Devil. It's practically a selling point in pop-culture.

Visions of Zion
On this aspect the film is a bit more creative. In the opening sequence, as the shot travels down the elevator shaft, it is neither right side up nor upside down. In this location the triangles coexist and point both up and down - and this is where the Devil eventually appears. Then, right when the shot travels to a particular door in the shaft, it spins so as to come out right side up for its travel time in the lobby.

The red glare creates an inverted cross that goes "into" the V, reflecting the inversion of the original teachings of Gnostic Christanity into corrupt form of Judeo-Christianity. The elevator buttons are on the right and a number 6 is right above the door. In effect, the final moments of the opening sequence seem to revert the above cross and suggest that the film's outcome will ultimately be good. These opening shots are a small representation of what will now happen throughout the rest of the movie. And wouldn't you know it, the fist major event is a suicide by falling down, while the last event is an act of forgiveness and mercy, the sparing of a life.

The film's abundant triangle/mirror images all point to the hexagram and there are many notions to "flipping" in the film: the first of the main characters to die, a salesman of mattresses, suggests that it is a good idea to "flip" your mattress every 3 months so as to lessen the effect of sagging. He says this while standing in front of a mirror, which flips images. He had been looking into this mirror for a while before this moment and then dies by getting a triangular shard of the mirror in his neck. Seems like the Devil killed him first for a reason. By looking into the mirror he saw an entire false dichotomy, the same one that is making the people in the elevator lose their nerves and turn on each other. By instilling hate and distrust, the Devil is making it seem like the people are killing each other.

The kicker is that the elevator is a microcosm for Zion: people trapped, with no hope of escape, in a space controlled by the Devil. This microcosm can be seen in greater form in the shape of the entire building - it literally has the same shape as the elevator and when the police shut the building down and tell everyone to stay in the lobby they have just created an identical, but larger, situation as that in the elevator. One of the building's security guards goes to the basement at one point to fix something, but ends up getting shocked by a faulty cable and collapses out in the lobby. With this dead body, the lobby is now a macrocosm of the elevator.

Microcosm - a small part representing the whole.
Macrocosm - a large-scale reproduction of something small.

Put these together in a continuum and you have a fractal, a repetition of subdivisions that are identical to the main shape. In the film, this pattern is just elevator < building. However, theoretically this could continue on to: city < county < state < nation < ...etc... < Zion. The last repetition is the ultimate, though still theoretical, compartmentalized prison complex that would spread on forever and last indefinitely. It is the absolute killer of freedom with all of the inmates' identities erased and replaced with small sections of slaves toiling away for the Devil.

Devil = microcosm for (ZION) = macrocosm for Devil

With these two shapes locked together in coexistence, for they truly are one, we get the configuration whose only goal is to grow so as to contain and dominate all.

RIGHT NOW:

There is still a chance to escape the grid and fight.

IF THE DEVIL WINS:

The fences close. Reality is redefined.

Right now, the film's closing narration still applies to our real World: if Zion's forces are at work, then so are the forces of Arya. Joining the right side is each individual's choice.

We must believe that we can win.

We must not assume that we cannot lose.

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.

Cross of Iron: Short of Greatness

Out of all of the films about the Second World War, Cross of Iron, directed by Sam Peckinpah, stands out as among the most unique due it showing that great war from the perspective of the Wehrmacht.

By the time he directed this film, Peckinpah had already built up a reputation of showing violence in a brutally honest way, as well having more-complex-than-usual characterizations even when it came to typically vilified characters. His breakthrough film, The Wild Bunch, showed a group of aging Western outlaws as also having some sympathetic qualities, while the many law-men in the film aren't quite saints. There is mix of traits all around and Peckinpah was interested in showing the very real volatility of men on opposite sides clashing instead of some fluffed up white hat/black hat, fairy tale style western.

Thus, it seems that Peckinpah was the right man to show the oft vilified Wehrmacht in a more realistic light. To a large degree, he succeeded in looking past the all the "evil Stahlhelm" stereotypes and showed a diverse and down to earth Wehrmacht. However, the film is not without its (perhaps inevitable) shortcomings.

Overview
The year is 1943 and the German army is retreating from the Soviet. On one small part of the Eastern Front, on the Taman Peninsula, Corporal Steiner and his men return to base after a successful mission and learn that a new commanding officer has been assigned to their platoon. This is Captain Stransky who is a proud Prussian aristocrat and who quickly makes it known that he specifically volunteered himself for this new post so that he can have a good chance to be awarded the Iron Cross, a top Wehrmacht decoration for a soldier's valor. In contrast, Steiner is an experienced veteran from a humble background and he’s had about enough of the war. Practically right away, a conflict between Steiner and Stransky begins to boil when Stransky orders Steiner to shoot a young Russian prisoner on the grounds that no prisoners are to be taken. Steiner then suggests that Stransky do the dirty work, but the new officer hesitates. One of Steiner’s men then says he will do the job, but he takes the boy back to their trench safely.

Stransky has obviously never been in combat and flinches at the sound of every exploding shell whether distant or close in contrast to Steiner who hardly flinches at anything. These two very different outlooks on the war also mean that each man defines his duty as different. Steiner is a soldier, who carries out orders and oversees his squad with care. Stransky is a lone wolf who seeks to exploit his position in order to win an award, which then will enable him to show off.

Though Stransky may lack a true soldier’s attitudes and valour, he certainly possesses a sharp cunning that enables him to make himself seem eligible for the coveted Iron Cross. First, he spies on the fact that one of lieutenants, Triebig, is a homosexual and threatens to expose him. Second, after a Soviet attack, he claims to have led the successful counter-attack and names two witnesses to this feat: Triebig, who has been blackmailed with his homosexuality, and thus glumly goes on with the fraud. Steiner, the second named witness, is not so easily swayed. Stransky had from the start tried to suck up to the soldiers to earn their respect as commander; for one he spontaneously promoted Steiner from Corporal to Sergeant when he first arrived at his new assignment. Now, Stransky proceeds to further bribe Steiner by promising to take care of him financially after the war. Steiner refuses to take part in the scheme.

This causes Stransky’s plotting to turn ugly and he doesn’t relay an urgent retreat order from Colonel Brandt, the company commander. Steiner and his men are left in their position, which is now behind enemy lines.

Their way back features some top-notch battle scenes that are notable for their use of exclusively real, and not computer generated, effects. The torn up landscape, the tanks (actual T34s, albeit the Yugoslav variant) and grim tone makes for an uncompromising image of war. With the German shown in the middle of this, it makes for a unique, English language film about the Second World War. Due to all the characters being German, there is also a very welcomed language uniformity, namely no corny accents. In English language films, but especially the American ones, with both Allied and Axis soldiers, the Germans almost always speak with accents in order for them to be differentiated. European productions tend to avoid this awkwardness by hiring German speaking actors and having them speak their native tongue fluently and the film is then subtitled. Hollywood was, all too often, too lazy for this kind of authenticity. “Cross of Iron” circumvents the issue all together, but whether intentional or not, it is one of the film’s strengths.

Steiner and his men eventually make it back to their own lines. They used a radio to secure their passage across no man’s land and head towards their trenches. Stransky, having hoped that Steiner was killed after not having received the retreat order, suggests that Triebig shoot at Steiner and his men and then it can be written off that they were mistaken for Soviet troops. A Soviet attack does, in fact, start right then and in a dramatic scene almost all of Steiner’s men are wiped out by a machine gun from a Wehrmacht position, but the ever resilient Steiner makes to the trenches. Triebig confesses as to what happened and is gunned down by a vengeful Steiner who then goes after Stransky. As the Soviet attack grows in intensity, Steiner finds Stransky cowering in a building and says he’ll show him “where the Iron Crosses grow.” They head out to meet the Soviet assault, but then, in a odd twist, the film ends on an abrupt note: Stransky fires of all of his ammunition and is unable to reload, while Steiner erupts in laughter. The end is sort of ambiguous, but plenty of artillery shells rain down, thus we can presume what happens to Steiner and Stransky in those moments.

 

Oddly, for most of the film, Steiner carries
a Soviet PPSh-41 and not a German MP-40.

Weltanschauung
The film’s view of the World and war is largely based off of the opening and closing credits sequences. I have omitted those from the overview in order to focus on them here.

First, there is the German folk song about coming of age called, Hänschen klein, which can be heard over the opening and closing of the film. It is a recording sung by children, whose mild voices starkly contrast much of the film’s harsh sound effects. This opening also has grim imagery of battle inter-cut with images of Hitler and Nazi rallies. The message here that Hitler is “Hänschen klein” - Little Johnny - whose adventure is the war, but he doesn’t suffer any of its effects. These are instead thrust on the shoulders of ordinary men like Steiner. This then reflects Steiner’s low view of all officers; he tells Col. Brandt with full open frankness that he despises all officers even the “enlightened” ones, meaning those who know what the ordinary soldier goes through. Brandt is one of these “enlightened” ones and can be seen to rally troops in the last closing battle scene, unlike Stransky who cowers.

Second, the film’s closing sequence, right after Steiner erupts in laughter, once again has the folk song and now it portrays Stransky’s naive view of war. It is rather ambiguous, but presumably as this song plays and Steiner laughs, an artillery shell takes both of them out. This is further suggested in the appearance of the young Russian prisoner who had died earlier when Steiner had tried to release him during en ebb in front line action, but this proved fatal as an attack started without warning and the boy was caught in a crossfire. Thus, his appearance now suggests that Steiner and Stransky are also dead. This ending reflects the Eastern Front for many of the men of the Wehrmacht. In an interesting move, the stock sad ending is avoided, which again proves to be a strength of the film. Steiner goes out like a warrior, unafraid; Stransky goes out like the coward he is. In the moments before death, the men’s true characters are shown and Stransky’s boasting and conniving have finally been proven to be totally worthless.

While it is not the worst kind of ending, as it realistically rounds of character arcs, there is also a very established convention at work in that last scene. And that is defeat or death for the German soldier. If Wehrmacht soldiers are shown as the typically faceless enemies of a war movie, then many die but many may also be spared to wind up in defeat. In contrast, if Wehrmacht soldiers are shown as much more drawn out characters with whom an audience can identify and sympathize, then they must die. For there can be no lasting sympathy to their struggle according to Hollywood.

In this end sequence, the folk song soon transitions into a sad instrumental and we see images of war atrocity from many wars throughout the 20th centruty, including a photo of what appears to be a Wehrmacht officer in the process of hanging some young people. This photo appears several times in different framings throughout this last sequence. However, that the thing that seals the deal with the film comes along right after the last photo is shown. It is the following quote:

"Don't rejoice in his defeat, you men. For though the world has stood up and stopped the bastard, The bitch that bore him is in heat again."

Those pessimistic words that suggest an eternal loop of pointless struggle are the product of Bertold Brecht. More specifically, they are from his 1941 play, The Resistible Rise of Arturo Ui, which is Brecht's fictionalized version of Adolf Hitler's story and his attitude toward Hitler can be readily seen even in the title of the play. Not surprisingly, Bertold Brecht was a life-long Marxist who emigrated from Germany to Denmark in 1933, and then, by 1941 he left Europe all together for the United States. In the late 1940s, he was suspected of being a member of the Communist Party due to his commitment to Marxism. He then left the US after giving one testimony before the House Committee on Un-American Activities and returned Germany, Marxist East Germany to be more precise. There lived out the rest of his days in East Berlin where he became one of the GDR’s “intellectual heroes.” Unfortunately for Cross of Iron, it is with this mention of Marxism that the film’s anti-elitism takes on a whole new meaning.

When Stransky is attempting to persuade Steiner to sign a witness statement as part of his scheme to get the Iron Cross, the two have a brief discussion about class in society. Steiner’s background is unspecified, but we can assume he is a regular working man. Stransky, on the other hand, is very class conscious is sure that there are differences of blood quality between the upper and lower classes. He even writes off Immanuel Kant and Franz Schubert (both did not have upper-class origins) as “exceptions” while he is interested in “general concepts.” He is even initially angered when Steiner brings up the notion of Hitler’s attitudes about the equality of all Germans, but this is only a brief rise in tension and he immediately backs down, “...but he is our Fuhrer.”

The discussion doesn’t go much beyond that. It’s a shame, since when it finally seems that a film is ready to actually discuss NS policies by having a realistic pairing of characters from the era in dialog about them, it cuts off. The sharp contrast between the humble Steiner and the slimy Stransky also screams Marxism. While it is true that Hitler did not like the old aristocratic system, he did not despise the people in it, just the system of favorites that the upper class had going on, that is what Hitler got rid off. As far as the former elite class was concerned, Hitler had nothing against them and even permitted that they serve in the Wehrmacht; for one, General Erich von Manstein had upper-class origins. It was the Marxists who demonized the upper class and, in Soviet Russia, had practically all of them murdered. Thus, we can see why the film cut off the discussion: if it continued there might have been some great NS myth busting, but as we well know, that can’t happen!

There is even one NSDAP member in the film, but he turns out to be a rapist who has his genitals bitten off by the woman whom he is abusing! This is then mirrored, in a way, when Stransky is symbolically castrated by not being able to reload his submachine gun. Marxists' enemies are impotent according them.

There are also some subtle appearances by Hitler in the film, beyond the images from the opening. These are in the form of a picture of him that rests on a shelf in Col. Brandt’s field office. First, the officers in the bunker are discussing their glum situation and Captain Kiesel, Brandt’s adjutant, who is clearly shown to be disillusioned and worn out from the war, gets up and whips out a salute just as shells start to rock the whole place. He tries to stand up straight at attention with the salute, but is being shaken all about. In a quick cutaway shot, we can see the small picture of Hitler fall from one shelf to the one below it. The theme of instability in this brief sequence is thus linked to Hitler: the men following him are just going to their deaths, or that Hitler made his followers delusional and all the usual ZC propaganda. The second, is when Steiner is giving his opinion on officers: the picture of Hitler is back on the shelf in the background just over Steiner’s shoulder. Thus, once again, a Hitler-myth, the one in which all decent Germans during the war actually hated Hitler. Steiner even adds that he not only hates all officers, but also “everything that this uniform stands for.”

In the end, the film’s Weltanschauung remains Humanist, at best. As far as portraying the Wehrmacht soldier, this is a good step from the typical vilification and/or facelessness, but there are still plenty of steps to be taken. And this not only requires for a story arc to go further, but also for it to have a different starting block than this film.

Production Background
The film’s background can also be seen as an indicator of its content. First off, the money put up for production came from, Wolf C. Hartwig, a West German producer, albeit one who made a career from pornography and exploitation films. Thus, that was one of the early steps to indicate that showing anything authentically National Socialist was pretty much out of the question. The film doesn’t venture into exploitative territory, but it doesn’t go too far past the standard themes of the war genre. It just shows the Wehrmacht campaign as “men on the front lines of Hell” - a very common war film theme - a.k.a. the old anti-war/pacifist theme. Also, a subtle detail is the mixing and matching of equipment and attire - Steiner uses a Soviet machine pistol and some of his men wear Red Army caps complete with Soviet insignia - all subliminally suggesting that these are all just the same decent men needlessly fighting each other. This notion effectively reduces the struggle of the Wehrmacht to that of soldiers in any other war when, in fact, theirs was so much more. ZC doesn't lie that the German soldier struggled, but it lies what he struggled for. All is made to point away from Third Reich ideals.

Director Sam Peckinpah had been in steady decline throughout the 1970s and this film is often seen as his last bit of greatness as a filmmaker. Again, the film is good in parts, but it could have been so much better. It could have been groundbreaking on more than just one level. On set, Peckinpah was reported to have been drinking up to 4 bottles of vodka a day during shooting and only sleeping a few hours each night. Thus, the fact that he managed to deliver a finished work at all is rather astounding. By the end of filming, the production had run out of money, so the ending scene in the film was actually improvised on the last day of shooting. However, imagine if Peckinpah was of totally sound mind and fully committed to his story. What could have he shown us then? Would he have seen past the base themes and written them out of the story? Would he then have expanded and shown us a truly honest portrayal of the Wehrmacht soldier? In all likelihood, this would have then gone on to be edited accordingly by the studios, so whatever the result may have been, we’ll never know. It just remains interesting to ponder or as act a springboard for a future film project.

Final Thoughts
The material in the film remains a mixed-bag, however, there is one last thing, and this is something superb. This is the original release poster. It very aptly shows the tragedy of the German soldier on the Eastern Front and how his honor was stolen.

The fallen Wehrmacht soldier tangled in barbed wire,

unable to retain the symbol of his honor,

for the Soviet propaganda machine has destroyed it,

after the Soviet military machine had killed him.

For that is what happened.

Luther: Questions and Struggle for Truth

Revolutionaries challenge established powers. This starts by asking a few, often simple, questions and then proceeds, if it indeed it reaches that key stage, into a struggle that redefines the limits of the revolutionaries' will power. Success will make them remembered by following generations, however it is their struggle that will make them great. For without it, there would be nothing.

Martin Luther is one of history's most famous revolutionaries. His daring to ask certain unorthodox questions led to the Protestant Reformation, which, in turn, led to the Roman Catholic Counter-Reformation, and both redefined the Christian faith and its followers.

The 2003 film Luther is a dramatization of the German's life. It remains reasonably faithful to his life story, the key part of it that it covers, but it also makes some key omissions and in the end reduces Luther's message to a contemporary humanist level.

Film Summary
There is a clever device right in the film's opening credits: the film's title first appears as Luther's signature - it is literally "written" onto the screen - before the conventional printed title appears. A signature is supposed to connote authenticity. As if it is Martin Luther himself telling the story.

We then see a young man scared for his life in the middle of field as a furious thunderstorm is raging. The young man says that he will give his life to serving God if only his life be spared. This is Martin Luther. He keeps promise and begins to study theology and soon joins the priesthood. During his first mass, young Luther seems taken in by light streaming through the stained glass window above - is it wonder? awe? - and it causes him to fumble his first mass, much to his father's dissatisfaction. Luther's father even doubts his son's motivations for becoming a priest, but the young priest only relents.

He enters into an abbey and soon finds himself on his first pilgrimage to Rome. It is right there, in the center of Christendom, that he sees what will set the course for the rest of his life. In the church, before when he fumbled the mass, Luther saw a glimpse of his ideal - a direct connection to God, a personal connection that one faithful person can experience and learn from; now in Rome, Luther sees what he feels that the faithful need to move away from - these are the infamous “indulgences” and the market that deals with them. Much to Luther’s surprise, it is possible, according to Roman Law, to buy one’s way into Heaven. Or to shorten your dead relatives’ time in Purgatory, or even release them early. As Johann Tetzel, salesman of indulgences, puts it: "Coin in the coffer rings, a soul from Purgatory springs" thereby effectively reducing the idea of spiritual salvation down to an advertising slogan. Luther quickly sees the absurdity, hypocrisy and downright ignobility in the selling of indulgences. He even says that the indulgence certificate received upon purchase is “just paper.”

Interestingly, when Tetzel is first shown holding one of these certificates (or “guarantees” or whatnot), he shot is framed so that it is seen through fire - a not so subtle connection to the fear-mongering hellfire speech that he had just given in that scene in order to scare peasants into buying his indulgences.

Throughout the film, Luther is framed with sunlight in key scenes. This can be first seen when he is scrubbing the floors of his abbey, making them very sparkly and clean and his mentor even jokes that he is working himself to hard. This scene comes after Luther’s first trip to Rome and he was angry with all the hypocrisy that he saw, which included monks buying sex and a glimpse of Papal pomp. In the scrubbing scene, after his mentor’s bit of humor, Luther hoists himself up from the floor and then while still kneeling he is framed to match a tall sun lit window in the back and the floor he scrubbed shines bright. It is a brief scene, but a very telling one in that it gets to the essence of Luther’s struggle: it is the effort that counts, not the money. Luther sought to teach that Christians can make themselves free from sin by emulating Christ, through the effort of faith and the rejection of materialism like indulgences and idol worship.

After he makes his ideas officially public with the famous 95 Theses, Luther is slapped with excommunication and a bounty is put on his head, but one of his friends from a high place gives him sanctuary. Luther then goes on to translate the New Testament from Latin into his vernacular German. This great effort would go on to help standardize the German language as well as add refinements to the science of translation.

Luther starts a populist wave, of sorts, with his bringing of Scripture into the vernacular. Much to his dismay this brings its share of violence and madness, but in the end, his teachings catch on and garner intelligent followers. The film, especially, by the end, becomes a rather romanticized and idealized version of Luther’s story, but how can three tense decades be compressed into two hours without such storytelling devices? They really cannot.

The film ends in 1530 right after the Diet of Augsburg when a now happily married Luther learns that Roman Law no longer looms over Germany.

Almost Aryanism
The overall portrait of Martin Luther as seen in this film can be described as humanist. He is shown as a warm-hearted man who is disgusted with Vatican hypocrisy and sets out to counter it. There is a theme of "freedom" in the contemporary liberal sense of "giving it to the people" as Luther seeks to make the Bible available to commoners. That's not an ignoble goal, but critically short of Aryanism. The overarching notion here is similar to the end of the Lord of the Rings film adaptation, which has that critical deviation from the source novel, and that is: someone capable will bring good to the world, all you have to do is "have faith." This theme can also be seen in comic books as superheroes fight super-villains, while ordinary people look on in terror and awe knowing that they could never rise up to such feats. It's a rather prevalent form of mass pacification.

The intensity of Luther's struggle is also toned down. During the months when he was translating the Bible into German, Luther suffered from various ailments that caused him great pain - these are only mentioned in passing in the film and the character on screen looks more like a book worm or nerd as he notices a subtlety in the translation process - something most others would find trivial - while sitting on the floor in a room with papers strewn all over. That must have been part of the struggle, however, the key part was Luther's spiritual battle. The will to overcome a grand corrupt scheme, one that has propaganda and blindly loyal enforcers nearly everywhere. There are some scenes of this inner battle, most notably right before the Edict of Worms is passed, but it is a shame that this wasn't made into one of the film's key themes or had a series of scenes throughout the film and each one would progress. It was with such sleepless nights and brainstorms that must have brought Luther's revolutionary ideas into action. Being driven as such as he was could have only meant a treacherously rough ride.

The limited budget excuse doesn't cut it here. It was a theme that should have been developed from the very beginning of the film project, screenplay statge, and then wound up as a key aspect of the whole story. However, this watering down isn't nearly as deceptive as another aspect of the film. This particular part wasn't censored in anyway, it was just completely avoided.

Key Omissions
Anyone who knows the general story of Martin Luther right down to his biographers knows this: Luther hated Jews. The preceding three words are the biggest possible simplification that one can make on this controversial aspect about the founder of the Lutheran faith, but those words remain true. By delving deeper into this subject we can plainly see why it was avoided.

Firstly, there is the simplest reason: this aspect of Luther came at the end of his life. The film ends in 1530, while Luther's writings about Jews are from after 1537, the last nine years of his life. Thus, this was not included in the film as the core of what Luther had brought into the World had already been discussed.

That would be an acceptable reason, however take a look at the film's closing text:

"What happened at Augsburg pushed open the door of religious freedom. Martin Luther lived for another 16 years, preaching and teaching the Word. He and Katharina von Bora enjoyed a happy marriage and six children. Luther's influence extended into economics, politics, education and music, and his translation of the Bible became a foundation stone of the German language. Today over 540 million people worship in churches inspired by his Reformation."

It seems that the filmmakers just wanted to show a good-hearted humanist hero, one with heart of gold, as they saying goes. This could be for market value, but seeing that this was an independently produced film, in Europe (thus, no Hollywood), they were not too concerned with the profits of a potential huge hit. They made the film exactly as they intended: a humanist hero. Notice that this is also a common way to show Christ, Gandhi and other spiritual teachers. Yet, what do the two aforementioned spiritual leaders have in common with not just each other, but also with Martin Luther: they held a negative view of the Jews. All their writings and teaching have passed through the ZioSieve, so don't expect to read about any of this from any politically correct sources. PC is just a tentacle of ZC.

Secondly, with this in mind, let's return to the quote above. Now with an Aryanist understanding, "religious freedom" and "preaching and teaching the Word" means pointing out the vicious and hypocritical nature of Judaism as that is precisely what Luther did in those last years! It is not the information that ZC tries to hide, but a certain and vital understanding of it. Facts can be twisted and even made up, while a profound insight is practically untouchable.

There was another movie from 2003 called Hitler: The Rise of Evil (yes that's the actual title), which had similar manipulations of its historical main character. In a film about Hitler it is impossible not to mention Jews, even the 2004 film Der Untergang has a forcefully tacked on title card at the end with the "6 million figure" though it makes no references to Jewry otherwise. Due to this impossibilty of convenient omission, they mention Jews in a way that agrees with mainstream myth. The opening scenes show Hitler still as a child and we can see that his mother occasionally spouts something unpleasant about the Jews. This attempt at "honest" portrayal and the delving into the psyche of Hitler seems to suggest that hate is picked up from a poor upbringing. That Hitler was just a product of a World hateful to the Jews. This is pure folly.

In Mein Kampf - Hitler's own words - the first mention of Jews in on the bottom of page 42. I am referring to the downloadable PDF document on Aryanism's Main Site. This puts Hitler's first mention of Jews well into the second chapter in which he describes his life and work in Vienna. The first chapter is about his family and clearly from Der Fuhrer's own words he did not learn to hate the Jews from being exposed to bigotry at a young age. It wasn't racist propaganda that was engrained in his mind and then exploded in rage when he was an adult. That is what the Jew would like the Goy to think.

The fact is that Adolf Hitler and Martin Luther both started to despise the Jew from observation of their World and what Jewry does to it. Jews are not hated simply because they are Jews, that's irrational. Jews are despised for the most rational reasons possible: people eventually see what Jews stand for, believe in and seek to accomplish. Most critically, people eventually see what the Jews do in order to get their way. That is what gets people to detest Jews.

Martin Luther's treatise, On the Jews and Their Lies, was written in 1543, three years before his death. Luther's life was a struggle against corruption, materialism and hypocrisy - and he wound up despising Jewry with precise reasons as to why and that is no coincidence. It is men of such persistence who make such inevitable observations and it is them that the Jews hate the most. Luther's writing are a silver mirror. So are Hitler's. The Jew fears such things.

Hiding in the Dark
This film is also part of a general theme of "questioning Christianity." Movies repeatedly come out that raise such questions, most notably The Da Vinci Code and its source novel. Now, I do not believe the Christian faith is perfect and neither was Martin Luther, whose aforementioned treatise contains a fair bit of anger and advocates violent force to be used against Jews. I understand his anger, but do not condone nor advocate such courses of action.

What I do advocate is questioning all religious faiths, even picking apart the many absurdities in Judaism, which always seems to get a pass. The Talmud Code, anyone?

Such a project wouldn't get off the ground in the mainstream, Judeo-monopolized sphere, since the only people that can discuss such matters are Jews, whilst hiding in the dark, though, for imagine if someone saw Judaism as intrinsically absurd! We can bet that they would very quickly be labeled as an "anti-Semite." The accusations of heresy that were directed at Luther were pretty much the same; from the same kind of mindset, anyway.

Conclusion
When the full history of Martin Luther is considered we can see that one man's lifelong quest for truth and honor in spirituality leads him despise Jews. In the part of the film where Luther tells a woman that the indulgence she bought is "just paper" can be directly applied to the Fiat money scheme of today - money is literally "just paper." Further investigation will uncover who is really behind such things and a dedicated investigator will likely despise Jews even before he finds out authentic solutions to the problem.

The selling of indulgences was, in fact, a way to get people psychologically and spiritually hooked on a money-swindling scheme. Today's financial news that praises Judaized economics and economists for all their hard work in solving "crises" and other things works much the same way - combining fear and wonder the scheme rakes in loyal followers who will soon not even be aware of anything beyond it.

Note the Aryan definition of "Zion" - a sustainable system of slavery in which internal rebellion is no longer possible. Why is rebellion no longer possible? Likely not due to fear, but due to ignorance. Zion is a "mind-monopoly" where the prisoners can think of nothing other than serving Zion. Thus, even if anything else exists (like the Zionists' elite standings and luxuries) it becomes irrelevant by the system default. The horror is that the only possible setting in this system is "default."

To prevent such a nightmare from becoming reality, the story of Luther shouldn't be the main inspiration, but definitely one of them - a little stone to be inserted into the mosaic that is the Aryan Kampf.

A related essay HERE.

Stanley Kubrick: A Limited Exception

Stanley Kubrick is one of the most fascinating filmmakers to have ever helmed a camera. His work was very meticulous; from the script and initial research all the way to filming and editing, Kubrick would ensure that all of his precise vision not just made it into the film, but that it was composed just the way he wanted. This makes Kubrick films quite unique and by the time the major part of his career took off, he already had defined much of his signature style. Preferring long takes, carefully composed camera angles and increasingly elaborate sets and themes, by the time his career ended with his death in March 1999, Kubrick had created a limited, though unmatched, series of works.

Many reviewers have noted that Kubrick's works contain not just the obvious plot line, but also hidden and practically subliminal narratives. It was into these carefully crafted and camouflaged story elements into which Kubrick inserted not just a psychological underbelly for his story, but also some daring political themes. In fact, in looking at these hidden themes we can see that Kubrick was very much concerned with politics - he must have thought about it a lot and studied it at length. However, Kubrick was very reclusive - he rarely gave interviews, refused to fly, always filmed in England - huge sets were build to stand in for Vietnam in Full Metal Jacket and for New York City in Eyes Wide Shut - and he also had a secretive production method of not allowing anything released about the movie without his approval. Some would call him a genius artist with a grand vision, while others a would just settle for "control freak."

Kubrick's view on power can be seen throughout much of his work: powerful entities are usually dangerous. These can be the Hotel in The Shining, the secret government project in A Clockwork Orange, the war zone in Full Metal Jacket and others. Kubrick repeatedly showed the innocent as small and the evil as much bigger. 2001: A Space Odyssey seems to be an exception to this as it is a story about spiritual ascent, but there is a greater exception here as well: that would be Kubrick himself.

The Exception and The Rub
Kubrick disliked power. His wife, Christine Kubrick, whose uncle actually worked for Goebbels, and who survives him said this in an interview with "The Guardian": "All Stanley's life he said, 'Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.'" Certainly, for one with such an attitude to be somewhat of a recluse is no surprise. Kubrick was also a Jew and there's the rub - his vision, though unique, was limited.

All of Kubrick's criticisms of power and imperialism, even themes against the Fiat Money conspiracy, in The Shining seem to end with Anglo ruthlessness, as this quite fascinating review by film analyst Rob Ager shows. Now, as a reviewer, Ager was only analyzing what Kubrick had to communicate, so it is really Kubrick's fault for conveniently omitting the fact the entire Fiat money scheme is a product of the Jew - from Warburg and Rothschild to the current large bankers like Blankfein and Bernanke, they're all Jews practicing what is appropriately called "Israelite usury" or "moneychanging" - precisely the type of people that Christ drove out the Temple with a whip - precisely the type of nefarious scheme that Mohammed taught his followers to criminalize and enforce laws against. Precisely the type of thing that Hitler took political action against in the 1930s. Kubrick sees the crime, but not the true perpetrator. And he definitely doesn't see the remedy. Or perhaps he is denial as he never pointed out the intrinsically immoral aspects of the Talmud and Zionist beliefs that all people, other than their exclusive elite, are "goyim" - meaning "cattle" that can be rightfully exploited to serve Jews.

Other very in-depth writings on the The Shining also fail to see the Jewish factor:
Mstrmind's analysis
Jonny53's analysis

Jonny53 even mentions the Devil as being present in the form of Lloyd the barman, yet what is "the Devil?" Why, it's Yahweh - the Jewish idol who is described as having "two monstrous serpents below the torso - and wielding a whip." This is precisely what Tolkien pointed out in The Lord of the Rings with the Balrog and the Dark Lord Sauron who both bear many similarities to Baphomet who just happens to be a spot on description of Yahweh.

In A Clockwork Orange, which aforementioned film writer Ager also reviewed at length, Kubrick even shows us the "evil Nazis" and this is perhaps the clearest example of his limited vision - he cannot see the National Socialists from Germany as anything but pure evil. Ager interprets that Kubrick actually saw them as puppets to some greater sinister forces, but then why after such keen observation and thorough research that Kubrick always put into a project, doesn't he see that Hitler actually then broke free from the scheming finances of the International Jew? Why doesn't he see that Hitler's grandest achievement of making Germany economically self-sufficient was precisely the reason why Judea actually declared war on Germany and not the other way around? The reason is painfully simple: Kubrick was a "clockwork orange" himself. He was a limited exception to the typical sheeple types as he was clearly much brighter and more inquisitive, to a degree. However, as far as the mainstream paradigm is concerned, he was still a prisoner - just because you stick your arm through the prison bars, doesn't mean you're out.

Consider the Ludovico Treatment sequence in A Clockwork Orange: the protagonist, Alex, is given a nausea-inducing serum and is then shown a movie montage of violence. This is meant to make him associate his ill-feeling with the violence so as to reform him from his previous reckless and criminal activities. The sequence includes prominent National Socialist imagery of an NS rally at Nuremberg and Alex screams in terror and/or pain when a close-up of the Swastika finally appears. Ager claims that Alex is realizing his own vicious nature, yet it makes much more sense to think that Alex is being conditioned against National Socialism. This sequence is actually much more applicable to reality as a satire on the Jewish owned mainstream media that ever spouts their favorite bit of horror fiction: the "Holocaust" and "evil Nazis." If you're sick of being fed the same old regurgitated cud then you are not alone, but you must realize it for what it is and leave the herd - will yourself out of the paradigm prison.

Predictably, Kubrick was a believer in the Holocaust myth and actually had a project in the works called Aryan Papers that he abandoned after the release of Steven Spielberg's Zionist propaganda piece Schindler's List. Quick to believe the mainstream lies on the Third Reich, yet totally ignorant (or in denial) to the truth about the racism of Judaism, which is the one truly race and biology obsessed system of twisted beliefs and not Hitler's National Socialism, which was based on folkism.

Despising versus Mistrusting
This is another one of Kubrick's faults when it comes to the established power paradigm. He may have kept his distance and repeatedly shown that it is dangerous, yet he never seemed to offer a solution. This is because Kubrick simply mistrusted those in power and thus lived by a libertarian/anti-statist set of values. He mistrusted power, since the only power he knew was the corrupt ways of Jewry - he was a paradigm prisoner.

Kubrick's own thoughts about A Clockwork Orange were:
"Man isn't a noble savage, he's an ignoble savage. He is irrational, brutal, weak, silly, unable to be objective about anything where his own interests are involved—that about sums it up. I'm interested in the brutal and violent nature of man because it's a true picture of him. And any attempt to create social institutions on a false view of the nature of man is probably doomed to failure."

This basically means that Kubrick is completely blind to, and ignorant of, Aryan nobility and ideals.

Michael Herr, with whom Kubrick collaborated on Full Metal Jacket, wrote in his memoir:
"Stanley had views on everything, but I would not exactly call them political... His views on democracy were those of most people I know, neither left or right, not exactly brimming with belief, a noble failed experiment along our evolutionary way, brought low by base instincts, money and self-interest and stupidity... He thought the best system might be under a benign despot, though he had little belief that such a man could be found. He wasn't a cynic, but he could have easily passed for one. He was certainly a capitalist. He believed himself to be a realist."

And this essentially boils down to the certainty that Kubrick was a paradigm prisoner, though he we was ironically ignorant of his predicament. He was his own breed of Lone Wolf, a survivalist that likes a world where he makes all of his own rules and has no duties other than to himself. He may have disapproved of tribalism and elitism, but the Lone Wolf is essentially a self-tribalist, thus does not speak out against or offer solutions to those problems and schemes of exploitation. Kubrick did just that, he painted an image of perpetual trouble, while lacking the radicalism to implement genuine solutions, which can only be done by those who truly despise the tribalism and elitism and Zionism.

This bit of merely not trusting makes Kubrick a contributor to a key of Jewish propaganda: the treadmill with no-purpose or a "goy wheel." Comic book superheroes are a Jewish invention (e.g. - Superman fights Lex Luthor, whose name literally means "Law of Luthor" since Martin Luther proposed laws to keep Jews from running their schemes) and these heroes persistently fight evil, yet they never end it. There is always another issue or episode or sequel and the fight continues with no end in sight. Jews in real life engineer a very similar playing field that these heroes are essentially imprisoned in as part of their own aimless struggle just like the people they "protect." They're all just stuck in a loop of fight and keep fighting, but never actually realize any ideals - a spinning goy wheel. Kubrick's pessimistic view of mankind was much like this: he mistrusted mankind, so he retreated to his own personal mansion after acquiring enough money to live a secluded life, and then went on to make movies about how largely hopeless the struggle for mankind to improve is. He was trapped in his own goy wheel, though, he must have thought that by removing himself from the mainstream he was somehow "free."

The film 2001 may initially appear as an exception to this, as it clearly has a story arc of spiritual ascension, but it also has a clear lack of Aryanism and Kampf: there is a theme of overarching fate. The humans don't ascend via their own hard work and struggle, it just sort of happens because some sophisticated alien being(s) decide to contact us and nudge us along. With 2001 Kubrick repeated his notion that man is just an "ignoble savage" but apparently we don't have anything to worry about as some divine-looking entity will save us! Despite that it is a well made movie, a serious ground-breaker for its time on a technical level, but the story just reeks of what Carl Sagan had to say about the Cosmos.

Stepping on Toes
Each one of Kubrick's films from Dr. Strangelove and on seemed to be another jab the World elitist power structure in one way or another. This culminated with the 1999 film Eyes Wide Shut which shows a secret society, that is said to consist of socially powerful people, to be a decadent orgy that even gets away with murder. Four days after he presented the film to studio executives, Kubrick died of a heart attack in his sleep and the film was subsequently re-edited out of his hands before being released. Kubrick was 70 at that point and theories abound as to the exact reasons for his death. Was he finally compromising the boundaries of the forced and false paradigm? Or did the elitists finally have enough of his constant prodding? Or maybe he just died naturally? Certainly a heart attack at that age isn't anything unusual given Man's overall state-of-being these days, but neither is lethal subversion by Zionist scum who will readily kill their own to perpetuate their parasitism.

"He-Man" was a Nazi - Part II

I remember bits and pieces of He-Man and the Masters of the Universe from childhood. One of the first comic books that I remember owning was one with He-Man. The show was being re-run at that point and this re-airing must have not lasted for very long, as I did not remember too much of the show. However, I distinctly remember watching G.I. Joe, which had numerous toys, games, re-vamps, and made-for-TV movies, as well as an overblown Hollywood movie in the summer of 2009 as part of its franchise.

However, due to YouTube and the official He-Man channel there, I was able to rediscover this show and I must say that it is a real hidden gem amongst the piles of garbage that can be found in TV land. Not surprisingly, the show ran for only 130 or so episodes, while other programs that had no intention of providing good social messages and/or teaching about ethical positives, tend to go on for season after season. He-Man also had its share of short-lived re-incarnations, but none caught on as well as shows like The Simpsons or South Park, which were of much better quality when they first aired, but have steadily slipped down into a fester-pot of tired unoriginality and blatant scatological humor. The latter goes double for South Park that is best described as an "equal opportunity ridicule machine" - the creators of the show, Trey Parker and Matt Stone, just pick up on mainstream media hot-topics and ridicule them into the ground. Many of the people they tear to pieces probably deserve it, but that doesn't mean that the show serves any useful purpose. By now the show is pretty much the equivalent of a dog passing gas - it only matters for a second and only a few other dogs will ever bother to notice. Pretty much all of mainstream TV is deserving of this anti-accolade.

For now, enough ripping on the media, let's take a look at some of the first episodes of He-Man and the Masters of the Universe.

The Cosmic Comet - Skeletor attempts to use a magic comet against the good beings on Eternia. The job of stopping such a powerful force is too much for He-Man alone, so he seeks helps from an old wizard. The "evil comet" doesn't end up destroyed but paired with another magic comet and this stops it from wreaking havoc. This plot element is very interesting as it shows that He-Man and the good-guys on Eternia do not seek to destroy evil, but rather to ameliorate it. The magic comets, are perhaps more aptly described as some sort of celestial beings or life-forces, that have taken comet form. Skeletor attempts to use this power for evil, while He-Man for good. This doesn't mean reining in the comet-being, but rather letting it make its own choice, and once it sees that Skeletor is using it for his own ends, it stops serving him.

This episode is a good display of one of the show's major themes and over-arching conflicts: Honor - symbolized by He-Man - versus Dishonor - symbolized by Skeletor. He-Man uses his magic, namely his sword, to be able to directly deal with the enemy and he never initiates violence with it. On the other hand, Skeletor constantly schemes with magic to be able to get an upper hand and to avoid dealing directly with his enemies.

The Shaping Staff - Evil-Lyn, one of Skeletor's closest allies, uses a magic staff that can change someone's appearance in order to sneak her way into the Eternian Royal Palace. This is a very direct continuation of the scheming with magic theme. This plan also allows for the planting of a parasitic advisor as Evil-Lyn, posing as a traveling magician, makes King Randor disappear and reappear, but this was just a quick ruse to replace Randor with Beastman (another one of Skeletor's key allies) who is in the semblance of the King due to the staff's magic. This move is really a combination of the parasitic advisor and Manchurian candidate tactics.

In this episode, Skeletor also creates a being in the semblance of He-Man so as to fool the Eternians, which is just another parasite-placement tactic; they are literally the mainstay of Skeletor's battle with He-Man and Co. The creation of mindless servants to do his bidding also mirrors the golem from Jewish lore - it is an example of avoiding direct conflict by orchestrating puppets.

The Disappearing Act - The subversive tactics of Skeletor continue in this episode as he kidnaps Prince Adam and sets him as bait with the hope that He-Man will rescue him. Of course, Skeletor has no idea that Prince Adam is actually He-Man. Other than Adam, only Man-at-Arms, Orko and Cringer the Tiger know of this warrior alter-ego.

This episode demonstrates that without trustworthy allies, even the strong He-Man would not be able to effectively fight - camaraderie is essential for a Kampf to go forward and succeed. This notion also effectively makes He-Man antonymic to the Lone Wolf archetype that seems to be so popular in most superheroes - he is not arrogant, not a loner, nor does he project his eccentricities (when he is Prince Adam) - He-Man is pretty much the essence of honor, helping anyone and everyone without expecting anything in return. He possesses many traits that can be seen in the stories of Christ, Mohammed and Buddha.

Man-at-Arms (whose name is actually Duncan, but he goes by his title for the most part) is head of the Royal Palace guards. The plural of that title, Men-at-Arms, could be seen as a translation of "Schutzstaffel," which means "Protective Echelon" and the SS was set-up as a guard unit for an authoritative and militarist leader, Adolf Hitler. Note, Man-at-Arms's helmet design.

Freies Eternien!

He has two S shaped Bolts on either side of his helmet and the same type of helmet is worn by all Eternian Royal Palace Guards. The S-bolts often seem like one band that stretches around the back of the helmet, but in several close-ups Man-at-Arms can be seen looking down or turning around and this always reveals that it is actually two identical bolt shapes.

Diamond Ray of Disappearance - The ever scheming Skeletor has cooked up another plan to subversively take over the rule of Eternia. He has found the long lost gem of the episode's title that causes all who look into to it to be transported into some other dimension. Once again, this is all to avoid direct engagement with his the Noble Eternians. In one scene of this episode, Skeletor even brings rocks to life and they take a humanoid form and this is yet another golem summoned by the main antagonist.

Oddly, Skeletor is shown as being quite muscular, yet he almost never uses his physical strength, which suggests that these muscles are just another illusion. He looks intimidating and strong, but the fact is that his power is actually quite easily sapped, since it has no real foundation - just smoke and mirrors.

Each He-Man episode presents a relavant lesson at the end. This is always seen in the form of a brief scene that brings the episode's events into real World context. These coda scenes were one of the show's main ethical positives and they are something that practically all contemporary TV programs lack. The one presented here is about how quick routes to riches and power are almost always wrong. Thus, He-Man stands for honest work so as to provide honest results.

The She-Demon of Phantos - This episode contains some very interesting images. Skeletor has decided to subvert Eternia's weapons production by infiltrating the refinery in Phantos where Man-at-Arms acquires the metal needed for his workshop and forge. Skeletor hides behind a curtain and it is revealed that the supplies that the Eternians just bought are a fraud - worthless and frail ore - and that Skeletor blackmailed the Queen of Phantos, Elmora, to get his way.

Back on Eternia, Man-at-Arms has made some weapons, which includes a shield with an Iron Cross design, much like He-Man's breastplate. The fake metal soon becomes apparent when the newly forged weapons fall apart. Our clever heroes soon figure out Skeletor's newest parasite tactic and the coward antagonist immediately folds in fear as he is found out.

The interesting thing is that the spell that Skeletor puts on Elmora makes her see her friend, He-Man, as her actual enemy, Skeletor. This is really interesting, as Elmora knows that Skeletor is her enemy, but he just uses misdirection here and doesn't at all try to hide his guilt, just deflect attention away from it. The criminal Jew does this the same way by making Adolf Hitler seem like a mass-murderer when it is actually the Jew and his puppet Gentiles that are to blame.

Teela's Quest - This is an interesting episode in that it provides a side-track to the main storyline. We learn a bit about the background of Teela, whom Man-at-Arms raised as his own daughter, but she is actually adopted. Skeletor hardly plays a role in this episode, he just sends out Mer-Man to capture Teela as she travels to an oracle.

There is also a great scene that shows He-Man for the honorable warrior that he really is. He-Man actually saves Mer-Man, a sworn enemy, from certain death after the villain loses control over an ancient beast that he had magically reined, but soon it broke out into a rampage.

"In this war – as almost always – the unjust are known by their arrogance, their pride and their bullying nature. In this war – as almost always – the just are known by their honour, and by their noble behaviour." ~David Myatt

He-Man, most certainly, possesses the honor of which Myatt speaks. Letting Mer-Man die would have been an unrighteous act, but one that could easily be written off as a convenience. This is such a favorite tactic of the Jew, that he has gone so far as to orchestrate these kinds of "conveniences" as well as having a whole brigade of public relations officials that help pave over the resulting criminality.

Aryanism in He-Man
It is an unmistakable set of parallels that He-Man and the Masters of the Universe shares with National Socialist Germany. However, He-Man also fits as a part of a much grander mosaic - that of Aryanism. He-Man's appearance has been described as "Germanic" and this is quite appropriate, since historically, out of all the European peoples, it was the Germans who were the best example of Aryanism, particularly after Germany had become united in the later 19th century. Other nations only had the odd Aryanist individual here or there. However, German thinkers like Martin Luther, Arthur Schopenhauer, Friedrich Nietzsche and eventually Adolf Hitler all spoke out, in their own way, against everything that Jewry stands for.

The Jew is well aware of this and it is no mistake that one of the leading Zionist apologists had this to say:

"Every Jew, somewhere in his being, should set apart a zone of hate -healthy virile hate- for what the German personifies and for what persists in the German." ~Elie "I might have survived exactly four or five death camps" Wiesel

If you think about it, that makes sense from the Jewish point of view. The German has repeatedly advocated against every major Judaic poison - Luther against the corruption of Christianity, Schopenhauer and Nietzsche against materialism, and Hitler was essentially a grand culmination of all this. He took it to the next exponential level - a nation-wide re-Germanization of all major aspects of society, and this was to then permeate down into each household and family member. He addressed both general concepts and took direct action. Essentially, Hitler held out a nice big silver mirror to the Jew, who then saw his own ugly character right in front of him. And it is for this that the Jew will never forgive Hitler. Not with the Talmudized ego that he possesses.

Today, Hitler’s concepts are being studied by members of practically every ethnic group and those people are seeing how Der Fuhrer’s ideas apply to their own nation. Perhaps this is why the Jew is becoming increasingly volatile in his actions, but often just plain old careless. War crimes, such as those in Gaza (a small piece of land that is essentially being used as an "internment territory") are being harder and harder to defend - shamelessness is no longer enough!

Story Dyanamics
This publicity image for He-Man shows some of the main story dynamics.

On the edges we have the animal-like characters: One bad - a crude beast. One good - a graceful bird with divine knowledge.

Then, the women-warriors, note that their breastplates and collars are very similar. The bad uses magical schemes to fight. The good uses her own wits and weapons in battle.

This is taken to the next level with the male warriors. The bad, Skeletor, creates many of the schemes and magical devices used by his allies, and he also summons golems to fight. The good, Man-at-Arms, forges weapons and commands actual troops in battle to help his allies. Orko's placement right above Man-at-Arms is accurate as he is the good side's magician, thus both these characters form the opposite to Skeletor. Orko also provides much of the show's humor and makes his friends laugh, while Skeletor's laughter usually comes when he feels like one of his schemes will work, it is a self-serving laughter.

Then, the apex of power is only attainable to the good, though the bad try and clamor up there every chance they get. He-Man is the ultimate combination of magical power and physical fighting ability. This is a dangerous combination, so only a few are privy to it, the noblest stock of Eternia. Ironically, this doesn’t include the King, but King Randor is highly respected and gives orders to Man-at-Arms who works closely with He-Man. Thus, the titular hero is like a secret guardian angel - all effort, no reward, and it's all fine by him - a true Ubermensch and even an Arhat.

Part I was a reply to that one particular video, but with this much closer examination of the show's content, I must correct my previous statement that the show "contains allusions to National Socialist ideas, though just on simple level" -- the allusions are not so simple! They actually permeate the show and reflect NS ideals close enough to make the show a good element on The Storytelling Front.

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He-Man and the Masters of the Universe fan site
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SEE ALSO: ThunderCats review