Perceiving Aryanism and National Socialism

I can imagine that one day long ago when a system of mathematics, that eventually became one of Persia's greatest achievements in the form of algebra, started to play a key role in various transactions and this made certain sneaky merchants angry as it is harder to lie with numbers than it is with simple sleight of hand. Perhaps many of these dishonest merchants saw the logic of mathematics as "evil" since their schemes were now easily disprovable.

An analogous situation occurred in Germany when Adolf Hitler rose to power and very quickly started to push out all the Jewish schemes from the economy. Hence, National Socialism has been branded as "evil," since it caused trade, culture and society in Germany to be truly of the people and by the people thanks to its revolutionary new system. Those who did not wish to participate in, as well as those who sought to subvert, the new order were detained and set on course to be re-educated in camps. Hitler knew the dangers of subversion as it was such actions that caused the German defeat in the First World War... a war during which not one shell impacted German home territory. Marxist organized strikes, engineered class conflict, crafted hate of the intelligentsia and ethnic groups in addition to other subversions caused rampant chaos in Germany and in the newly created eastern nations of Czechoslovakia and Poland - strife in the Sudetenland and uprisings in Silesia as people felt displaced or left out from where they wished to be. No doubt that the sloppy Treaty of Versailles was meant to cause all of this. If it wasn't proven before, it was proven now - the masses are asses.

Enter Adolf Hitler. He had been carefully watching events unfold since his first sojourn as a student in Vienna - the futility of the parliamentary system, the dishonesty of the Press, the decaying of culture all at the hands of puppeteers who relished in chaos amongst the Goyim for it allowed them to implement their own selfish solutions and appear to be like geniuses and saviors - a perfectly fitting solution for the Jewish ego.

He saw what needed to be done

Out of chaos cannot come an order, but rather an order must be made from the chaos, for the chaos was Germany herself. Hitler wasn't seeking to advance the country, but first revert it back to a stage from which it can successfully advance - he believed in the Original Nobility of the Germans.

However, he also displayed a belief in the Nobility of other nations, namely the Slavs, who at the time were a great nuisance to Germany. Russia was overrun by Judeo-Marxists, the Czechs and Poles were aggressive about their new borders and the regions from Pomerania down to the Sudetenland saw ethnic strife, but most critically, the Soviets had already launched a war, barely after the conclusion of the giant preceding one. The Bolshevik onslaught was pushed back by the Poles after going as far as the outskirts of Warsaw. From this the Poles saw the USSR as their enemy, but also, in one of their greatest blunders, didn't see their German ally who had put forth conditions for the co-existence of Poland (as well as the Czechoslovak state) next to Germany as a joint buffer against Judeo-Bolshevik terror. The wise Hitler recognized his nation's real enemy and the enemy of all nations of men: it was the Jew who out of the chaos of the Great War was still busy creating more and more chaos on all fronts - social, geopolitical, economic.

The sleight of hand of the ancient dishonest merchant had grown to horrific proportions. The ancient herder's manipulative tactics had adapted into an intimidating and complex force.

Adolf Hitler didn't back down in cowardice of it all, he wasn't baffled into fear by the sheer scope of it, he wasn't selfish and thus didn't keep the solution to himself for his own gain.

THE ANSWER

"I have no hesitation in saying that in those men who seek to-day to embroil the patriotic movement in religious quarrels I see worse enemies of my country than the international communists are." ~Adolf Hitler

It applies to every country and international relations.

Revert the mess of society back to this:

Thus, making it possible to progress forward to this:

The key perception that we must see is that National Socialism is as German as Algebra is Persian or Geometry is Greek. Each has its source and will forever be known as hailing from there, but the applicability of each is so universal that it should be absolute standard. Algebra and Geometry are standards, however, National Socialism is not. Algebra's application, though, has been corrupted by the Jew who is at the ridiculous point of pulling numbers out of thin air, or simply typing them into a digital interface, so as to push forward his false transactions - it's the same old lying merchant and manipulative herder at work.

The result:

Confinement

Aryanist solution and continuation of Hitler's Kampf:

FREEDOM

The Irony of "Conspiracy"

The word "conspiracy" is most often heard today as being on the fringes of the information sphere. This is largely due to the nature of what a conspiracy is, something deliberately not made public, however it is also a way to prove arguments wrong: "it's just a conspiracy theory."

Very odd then, that a film about the Sacred Cow of mainstream information, one that fully supports all of its absurdities, myths, fabrications and the like, all the while attempting to sell them off as perfectly feasible and even logical, is called Conspiracy. I am referring to the 2001 HBO production about what is commonly known as "the Wannsee Conference" where the "Final Solution" was said to have been concocted.

The very first frame of the film is the first oddity, it is the title card of the film. The letter "o" is also the wreath held by the Imperial Eagle on the NSDAP Emblem. My best guess is that the title "Nazi Conspiracy" would have sounded a bit lame, too much like pulp fiction, so they snuck in that notion with a small bit of graphics work. However, the thing that seals the deal with this film is the opening narration, which soon starts, and which states that "only one record of what was said and done here survives." Thus, within less than a minute the film admits to being highly speculative at best.

The next thing that happens is the third and final oddity, which is the entire rest of the film: the whole catalog of "evil Nazi" stereotypes. It is really quite amusing in a weird way. HBO is a major company and network, they hired some fine Shakespearean actors for this film and the production design is very good quality for a historical film; however all that is all just distraction from the sheer absurdity of what they talk about. You are supposed to be taken in by the dramatic performances so that you don't, by chance, happen to think that you could go and verify by yourself the information presented. The sights and wonders of good actors at work is supposed to be all that is required to convince viewers, and sadly, for the most part, it does.

NS Stereotypes
They were pretty unoriginal with them here. Adolf Eichmann, the man said to be responsible for scheduling all the trains to "death camps" as they are known by ZC, is shown to be a cold-faced, stingy bastard who is annoyed by the slightest mistake in order. We can see this right away as a kitchen worker drops some plates causing them to shatter. Immediately Eichmann barks in anger and orders that the cost of damage be taken from the worker's next paycheck.

The saying, "Heil Hitler," is used ad nauseam as the arriving NSDAP officials greet each other. They shout it repeatedly despite being indoors and each time they whip out the accompanying salute. Literally, the lobby of the mansion feels like a parade ground during this scene.

The most ludicrous, and also the most generic, stereotype is the portrayal of Gerhard Klopfer, who was a slender man, but in this production he is portrayed by the quite obese Ian McNeice. The actor plays his role as a perverse, gluttonous slob and the film's speculative nature begins to partly fade and be replaced with the sense of "deliberately misleading." In fact, the here fictional Klopfer very much resembles the real Ariel Sharon who is a bigoted war criminal, albeit with an efficient public relations department that covers up his and his fellow Zionists' crimes against the Palestinians and other groups. The film's portrayal of Reinhard Heydrich also bears a key element of ZC Propaganda - in the film Heydrich is shown as being blonde and blue eyed, the so called "Aryan ideal" of the Third Reich. The real Heydrich was blue eyed, but he wasn't blonde as many readily available colorized photos of him show. Even from the black and white photos we can see that his hair appears as too dark to have been blonde.

Racism and Bigotry
In compliance with ZC, the film portrays the officials meeting as quite racist. This comes in the form of intermittent spouts of bigotry. Many of these are anti-Polish. I found this odd, since the National Socialists of Germany were said to have hated everybody (but especially the Jews) so why do they seem to insult the Poles more than other groups? The answer is a simple Jewish manipulation. Poland had a large Jewish population and many Poles were put into the internment camps along with Jews where they suffered from the same typhus epidemic, many of them dying. Thus, when the Zionists pitched the "6,000,000 figure" the Poles were among their easiest to lure goys. The Jew had nestled his way into winning sympathy for fictional atrocities. The film's dialog just continues that myth: "You Poles should hate the Germans just as much as we do since they were trying to kill you too." To keep this myth in line, stories of dedicated soldiers like Herbert Kaminski and Gerhard Michalski are totally ignored in the mainstream sphere. Both men were ace pilots in the Luftwaffe and identified as Germans, but their names clearly show them to be of mixed extraction, thus exposing "German racial mania" as fiction. In a great irony, practically all of this German anti-Slavic bias is actually a Jewish creation; a false flag to gain support for policies and campaigns. I, as an ethnic Slav born in Poland, have never been discriminated against by Germans despite having come into contact with many over the years. I have, however, been insulted on basis of heritage by Jews from Russia and they were the only group to have spit bigotry in my face. This is also in contrast to ethnic Russians who have never directed any such remarks toward me.

It is also worth noting that the Wehrmacht was incredibly diverse on an ethnic scale. Many times more so than the Allied and Soviet armed forces.

In the film, the Germans at the table discuss all sorts of ways to isolate Jews and prevent them from mixing with ethnic Germans. They rant about statistics and fractions and "preserving race" and "not polluting blood" and basically everything that the Jews condone and actually do themselves today! They invented the Nazi myth to downplay the Israeli reality.

Excerpt from this IHR interview with General Otto Ernst Remer:

IHR: Is it true that the Germans referred to the Russians as "subhumans?"

Remer: Nonsense! The Russians are human beings just like everyone else.

Your question, whether we called the Russians "subhumans," is nonsense. We had a first-class relationship with the Russian people. The only exception, which was a problem we dealt with, was with the Soviet Commissars, who were all Jews. These people stood behind the lines with machine guns, pushing the Russian soldiers into battle. And anyway, we made quick work of them. That was according to order. This was during a war for basic existence, an ideological war, when such a policy is simply taken for granted.

There was sometimes talk about the so-called Asian hordes, and ordinary soldiers sometimes spoke about subhumans, but such language was never officially used.

General Remer was a top ranking NS official who knew Adolf Hitler very well.

Now, some words from influential Jews:

"One million Arabs are not worth a Jewish fingernail."
~Rabbi Yaacov Perrin, Feb. 27, 1994 (NY Times, 2/28/1994, pg 1)

"The nation of Israel is pure and the Arabs are a nation of donkeys. They are an evil disaster, an evil devil, and a nasty affliction. The Arabs are donkeys and beasts. They want to take our girls. They are endowed with true filthiness. There is pure and there is impure and they are impure." ~Rabbi David Batzri, head of the Magen David Yeshiva in Jerusalem (Israeli newspaper Haaretz, 3/21/2006)

So there you have it. Thoughts on racism from a top NS official and from top Jewish Rabbis. Predictably, the racism comes from the Jews.

The Big Deal
As with any "Holocaust" movie, the big thing here is the "gas chambers." These are also the film's biggest gamble, since if one manages to disprove this issue, then the whole films goes from highly speculative to definitely false.

Soon after the fictional film Nazis finish with their obligatory racist ranting, the "logical" conclusion of the evil Nazi mind is reached: extermination. This is ZC's key tool of attack in this film. First, they provide a slightly more sophisticated surface picture of the NS personnel, however the core of film's message it is just the same thing as Wolfenstein 3D. It is a clever move so as to make the demonization of the Nazi ideas and not the Nazis themselves. The more plausible than usual surface of this presentation makes for a greater chance that the audience will swallow the underlying falsehoods. Even if these are taken in subliminally, the job of the film to deceive is done.

Additionally, the film also says that "it is not the Germans that are bad, just Nazis who could potentially be of any ethnicity." It is a subtle distinction, more of a grey area really, but in demonizing ideas and not people, ZC effectively broadens its range of attack, yet hones its accuracy as well. For the most part, the guilt tripping of Germans is only a part of their propaganda, the biggest part is guilt tripping anyone who dares to think positively about National Socialism.

The irony is that in doing so, we can see that ZC fears that more and more people are realizing that National Socialism is not just a German thing. This means that they have effectively acknowledged the universal applicability of NS! Now, people just have to see through the morbid Jewish fiction, which comes next.

In the film, Eichmann states that with the building of a new camp at a location called Auschwitz, they will be able to kill 2,500 Jews per hour and 60,000 Jews per day. Many of the members at the meeting react in shock, except for the blonde, blue eyed fictional Heydrich who smiles coldly. The figures amount to just over 21,000,000 dead per year, according to the film. The shock is, of course, a positive and happy surprise as the fictional Nazis then proudly say that it will be like an assembly line to which Heydrich responds that "the clever Americans have taught us that one!" This particular line is nothing other than a stab at Henry Ford who wrote The International Jew and distributed The Protocols of the Elders of Zion after he saw how much of the text was reflecting what was really happening in the World at the time.

The film's discussion about gas chambers amounts to just sneering and throwing big numbers around, which is effectively just sensationalist entertainment and shock value. One should find it odd that the men in the film don't discuss where they'll get the equipment and how they'll construct it. They go into much detail about many other things, like the aforementioned racial issues, yet this key aspect of the film is totally ignored. It is as if they say: "I got it! Gas Chambers!" The End. The reason for this is quite simple once one has found where to look.

These photos are a start:

Note the caption: it's in German.

A German company's advertisement for industrial gas chambers:

Yes, that is an actual advertisement for a German company's product, which makes it something that Adolf Hitler would have had unlimited access to if he wanted. This is particularly true after Germany went into "Total War" with all of the country's production geared for war efforts, which supposedly included a "war on the Jews." Yet, never in any "Holocaust" movie do we see any of these REAL GAS CHAMBERS. Nor are they in any of the camps. I have been to Auschwitz and Majdanek and nothing of the sort pictured above can be seen there. "Holocaust Denial" is NOT the refusal to admit a painful truth, but the refusal to accept a lie.

Historian Friedrich Berg has compiled an excellent online library of information about this and other subjects from the Second World War. The above images are from his site.

One should also note this article that acknowledges that the "gas chambers" were built after the war under Soviet supervision (read: gun-point).

With all this in mind we can see the greatest irony at play here: it is the film itself that is the "conspiracy."

Let's take a look at the meaning of that word, it is defined as such:

con·spir·a·cy
n. pl. con·spir·a·cies

1. An agreement to perform together an illegal, wrongful, or subversive act.
2. A group of conspirators.
3. Law An agreement between two or more persons to commit a crime or accomplish a legal purpose through illegal action.
4. A joining or acting together, as if by sinister design: a conspiracy of wind and tide that devastated coastal areas.

This film production perfectly fits with #1 - it is wrongful and subversive. The filmmakers and the Allied and Soviet propagandists (with many Jewish racists on both sides) are #2. The Allied and Soviets are all guilty of #3 - accomplish a legal purpose (prosecution) through illegal action (with fabrication and falsehood). This process continues today with films like this that justify the previous lies. Lastly, these actions, and Jewish actions today, are most certainly a "sinister design" - they know that they are wrong and that is why they fear revisionist investigation. That is why the "Holocaust" is protected by law, because it cannot stand by itself, it needs a witch hunt to frighten people into believing it.

"As long as people believe in absurdities then they will continue to commit atrocities." ~Voltaire

Certainly we can see as that being the case with Israel, the self-proclaimed Jewish state, in today's world. Dropping illegal chemical weapons, in the form of white phosphorus, on innocents. Detaining people without trial. Lobbying their biggest guard dog, the USA, to shelter them from all international criticism and prosecution.

Conclusion
The film's epilogue is rather interesting in that it states that many of the men were released for "lack of evidence." This, once again, shows that the film is speculation for if solid evidence did in fact exist about the matters said to have been discussed here, then all involved would have been arrested and jailed if not executed. However, even after the supposed "one record" was found in 1947 (by that point Germany had been under occupation for 2 years by the Allies and Soviets) nothing changed in the men's fates. For one, Klopfer lived and worked freely until 1987!

There is an interesting anecdote at the end that Kritzinger tells to Heydrich: it's the story of a young man who detests his father so much, that when eventually the man dies, the son breaks down in tears, because his life is now empty of all purpose after having directed all of his energies into despising his father. This is Kritzinger's warning about the hatred that Heydrich and the Nazis feel toward the Jews. The brief story amounts to nothing more than yet another short chapter in Judeo-arrogance. The Jews cannot help, but place themselves in the center of everything. The study of World War 2 will soon simply be reduced to the sentence, "The time when 6,000,000 Jews were gassed." National Socialism will become, "The belief that all Jews should be killed via gassing." Etc, etc...

It is rather pathetic, but a rather perfect example of the self-centered nature of the Jewish mind, the morbidity of its beliefs, the aridity of its ideals and the parasitic persuasion that affects non-Jews and gets them to spread the Jews' lies. And it all goes back to the herder archetype.

A related essay HERE as well as a close analysis of the Wannsee Conference Protocol HERE.

Tunnel Vision over at the Occidental Observer

Avatar, James Cameron's feel-good adventure story is wholly unoriginal on the Storytelling Front, but very imaginative in the visual department. Since it was a such a huge production with the highest budget thus far allotted for a movie project and the biggest box office intake as of this date with some $2.5 billion in Worldwide earnings, it speaks a good deal about what today's audience likes: elaborate sights and sounds with simplistic story arcs.

The BS Gentiles at The Occidental Observer reviewed this film and that was really just a continuation of their fixation on white race preservation as can be read in this review of the blockbuster film. Replace "white" with "Jew" and you'll have a typically racist, rabbi written op-ed.

In the article, Kevin MacDonald writes: 

"So, in a nutshell, Whites from Earth are colonizing another planet whose indigenous wonderful hominids with primitive technology but great butts and neural connections to plants and animals, are in the way of The Company which wants its precious mineral called Unobtainium. (This was the only in joke in the movie I think.) There are a couple of social workers trying to get the natives to move and save Precious Life. They are of course outmaneuvered by the capitalists who want their unobtainium and start to bulldoze the magic forest."

If all MacDonald can observe about this film is that certain white characters are greedy and unpleasant, than he is missing much of point due to his skin-pigmentation fixation. He also misses the satire on Judeo-economics... "unobtanium" is quite the way to put it.

In the film, there are mixed characters on both sides. Good humans aren't all white and neither are the evil humans. Though, the commander of the mercenary unit deployed to protect The Company is white, as is the main representative of the evil corporation, and it is from these two bits that MacDonald's main concern springs: evil white people. Odd that a professor of psychology would evaluate character's based on their skin-color. How about delving into their... *ahem* ....psychology? Meaning, looking at the characters' intentions, goals, means to achieve these things, and the like. From this we can see that the commander and the corporate officer are slimy, arrogant bastards and deserve no sympathy from noble people.

Practically all of the main Zionists in Israel have light skin that could be called "white," so does this mean that MacDonald sympathizes with those war criminals? And does he find any news report that points out Israeli criminality as offensive, since it criticizes "white" people? It would seem so. MacDonald decidedly prefers the shallow end of the pool. His allegiance to his "white" skin is like the Jews' allegiance to the Law of the Rabbis - what's good for (my group's name here) is good in all senses of the word.

More from MacDonald's article:

"So, the Good pseudo-native , like in The Last Samurai, goes native and war is begun with the CapitalistImperialistWhitePigs. Spectacular battle scenes with the Good natives mounted on the backs of flying Teradactyl like birds beating the White Man’s machines. As in Tarzan movies, the animals also come to the aid of the natives, after having sensed that the White Man is a greater danger.

In the battle, the chief Bad Guy is a jarhead (Marines) colonel who wants to kill all the Good Natives. Blue eyes and a very White Marine, he of course, is beaten by bows and arrows and big scary animals (a la Tarzan). As he is about to kill our pseudo-native hero, who has of course betrayed the mission of The Company, the colonel yells, “How does it feel to be a race traitor?” With that, two arrows from the love-interest native female sink into his chest."

MacDonald's race-themed defensive posture is virtually identical the ever-apologetic Jew, who will always find a way to mask or excuse his deeds - from cries of "anti-Semitism" and "blood libel" to the quintessential racist attitude of "We're the Chosen People." The BS Gentiles at TOO simply substitute "White" for "Jew." In their eyes, criticizing whites is "anti-White" or maybe "anti-Occidentalism."

By the time the reader reaches this part of the article, it comes as no surprise that MacDonald chose to end his piece with the most overt racism - a saving the "best" for last sort of thing via the BS Gentile mindset.

"Like Bladerunner’s replicants, the natives are more human than homo sapiens — Whites that is. The few other folks who help the natives are Earthlings — Blacks and browns, who of course, side with the natives. They recognize a brother when they see one."

Oh boy. Quite the absurdity, in addition to the racism.

At no point in the film is it so bluntly said that the Na'vi (the "natives" from Avatar) are "more human" than the humans. What is said, via the story, is that they are less overcome by greed and material desire. This makes them more noble and thus they are the story's good-guys.

"The material interest of mankind can prosper only in the
shade of the heroic virtues. The moment they become the primary considerations of life they wreck the basis of their own existence." ~Adolf Hitler

The human mission on planet Pandora is primarily concerned with material interests, while the Na'vi are heroically defending their homeland. That is why the humans and their corporation loses. However, by the end, a few humans, the noblest stock, joins the Na'vi. They do this to pursue ideals and probably didn't consider "race." In fact, in the film, it is only the bigoted Gentiles that bring up "race" and such terms. They cannot see past the end of their nose.

I do agree with MacDonald that Avatar paints a pessimistic portrait of humans, however, unlike him, I am not at all surprised. Just look at the day's news, mainstream source or not: there's violence, treachery, greed and hate that comes from people of all colors. Oddly, since MacDonald is so Euro-centric, he only sees the media point out evil white men and takes offense to this. That sort of arrogance and ignorance hand-in-hand is very Jewish.

The fact is, all peoples suffer and all peoples are to blame. The state of the World is decayed, decadent and filled with drudgery. The popular films that come out simply reflect this. Complaining about such a film is like complaining to a mirror for showing you a scar on your face - it's not the mirror's fault! You did something that gave you a scar and the complaints won't help heal it.

"Man has become great through perpetual struggle." ~Adolf Hitler

And he can become great again, but this means primarily proactive effort. This means seeing your own faults in addition to those of others, and this is something the Gentiles lack.

Taking a look at this essay is a good start for them to steadily veer away from simplistic bigotry and tunnel vision.

Alternate version of the rebuttal HERE

On Talmudic Methods as Tactics: Occidental Observer

The Boromir Syndrome (BS) is rampant over at The Accidentally Talmudic Observer. They recently published this article in effort to seem sound on the issue of violence. Little do they know, they are using definitions from history's most nefarious book and thus continue to spin in their goy wheel.

On Violence as a tactic
By Kevin MacDonald

A correspondent concerned about the connotations of some of the commentary on this site sent the following:

Some patriots, especially the young, become frustrated and angry and want to take direct action. That is understandable because we are facing a life-and-death threat to our national existence and our political class is demonstrably failing to show leadership; indeed, major elements are leading the attack on the American people. But it is both morally wrong and tactically counterproductive to advocate or practice violence.

SoE: So "taking direct action" and "advocating or practicing violence" are the same thing? If you are a BS Gentile than they sure seem to be! That illusion is part of the Paradigm Prison, which is ZC approved definitions for everything. Going by them will never lead to progress, they are designed to be ineffective.

The mentioning of "patriots" and "threats to our national existence" and other assorted tribalist vocabulary makes the failure of this article all the more plain. Failure when dealing with Zionists that is. Technically, the goal of this article is to present Babel, and in that, it succeeds.

Reasons:

Moral.
The rule of law is critical for the maintenance of civilization. In many ways, it IS civilization. We might not like some of those laws but unless we limit our protest to legal means, we contribute to the slide to barbarity that has done so much harm.

SoE: Again, they are trapped in the Paradigm Prison. The Aryan State (the true remedy for Jewish corruption) does not use the law as a "maintenance of civilization," but rather to progress civilization towards an ideal. Law, by itself, is in no way the actual civilization. By appealing to the corrupt laws that have allowed Zionist crime, how does MacDonald hope to stop it? Maybe next he'll recommend that an organized crime syndicate aide the police in catching a big time mobster, who may or may not be their boss.

Tactical.
Violence or its advocacy would allow our enemies to call down the full power of the state apparatus upon us. Even if we were strong and had a chance to win elections, it would be fatal to become outlaws. Many many Whites would feel compelled to withdraw their support. A movement that had taken decades to build would be dismantled overnight, its assets liquidated, its leaders jailed. And even if violence had a good chance of accelerating victory, going down that path would soil the vision of our New America. We want the freedom we seek to last; we want to set an example to other Western peoples and to other civilizations that will make our liberation permanent by setting it within a compatible international order. We can only do that by appealing to the highest personalities, to the natural aristocracy of other countries. Only then will they gain the moral courage to act in their people’s interests. We can only do that by being demonstrably decent, by being the sort of people they want to be. This is one of the practical implication of being a cultural Christian.

SoE: The bold faced emphasis (added by me) is MacDonald's solution. Close, but no cigar, MacDonald. "Aristocracy" not only has elitist and un-Aryan connotation, but the current ruling classes, to which MacDonald suggests that his readers appeal to in order to find a solution, are the ones most likely to be most corrupted by the current system. MacDonald does not offer radicalism (the Aryanist definition) and seek allies outside of the current establishment, thus the ones most likely to have true Noble motivation.

The only thing that MacDonald gets right is by saying that those who want to enact change should be decent, but he doesn't lay out how they can also be effective and thus this is another TOO dead end.

Programming Language

"Ctrl-Alt-Delete" is Restart, not Revolution.

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

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

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

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

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

Two major scenes with Perkins:

First scene is in the beginning of the film

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Not your typical action flick

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Part II
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Fatherland: An Alternate Version of Popular Absurdity

In 1994 a made-for-TV movie called Fatherland was shown on HBO. It was based on the "alternate history" novel of the same name by Robert Harris, which had been published two years prior. The film adaptation has many differences, but the general story arc, along with all of its tired Nazi cliches, is quite the same. The movie also takes the ending one step further and this is the film's most absurd moment. It is so ridiculous that it actually works as a satire on the Mother of all 20th Century lies.

The Alternate Version of History
The main story of the film takes place in 1964 in days prior to Adolf Hitler's 75th birthday celebrations, but the introductory sequence gives an overview to the film's alternate history.

We learn that the Normandy Landings in June 1944 were a disaster for the Allies, which caused Eisenhower to resign in utter shame and for the US to pull out of the war. This left the UK to be overrun by the Axis Powers, but Churchill had managed to flee to Canada. With the western front secure, the Wehrmacht turned its full strength to the east and steadily took back lost territory, eventually making it to Moscow. Though, Stalin had fled to an undesignated hiding spot and continues to rule a Soviet rump state. There is also a seemingly endless guerrilla war going on the Urals between the Wehrmacht and pockets of Soviet soldiers and/or Russian partisans.

In Berlin, however, there is peace, though an uneasy one. Albert Speer had built his long planned Volkshalle and the grand Arch of Triumph to commemorate the victory in 1945. The SS is now a police force under jurisdiction of the Gestapo, which is shown to be a typical dystopian police, power-hungry and ruthless. The book gets into more details: Reinhard Heydrich (having survived the mid-1942 assassination attempt that in reality had killed him) is now the SS Reichsfuhrer after Heinrich Himmler perished in a plane crash. It is strongly suggested that Heydrich had the crash orchestrated so that he could become head of the Schutzstaffel.

Germany, now called "The Empire of Germania," which is something that Hitler never had planned; he planned on giving Berlin the title "Welthauptstadt Germania" once Speer's architectural projects were completed. This film version of "Germania" is hollow and cynical, it is shown to be just like an Orwellian Dystopia. There is even a "Ministry of Information" that tightly controls all the media - this mirrors 1984's "Ministry of Truth."

Portrayal of Adolf Hitler
Hitler is shown in a typically approved and wholly ZC way. Early in the film, there is the notion that Hitler wants Germans to abandon all religion and worship him instead. Xavier March, the main character, notices this when his son doesn't say Grace at the table, but a lyric about the Fuhrer. Considering that the actual Hitler had a whole personal library that he amassed over many years, with many books on religion, this notion is sheer nonsense. That article is from 2003, while the film from 1994, but Adolf Hitler never hid his religious views. Mein Kampf makes it clear that Hitler considered the metaphysical just as important, if not more, than the physical.

The scene where Hitler appears in the film makes him seem like a blabbering robot as he repeatedly shouts "SIEG!" to the crowd, which then replies "HEIL!" This goes on and on and on. In fact, in this highly fictional Germania, people don't even seem to say "hello" anymore, just "Heil Hitler." The culture conscious Hitler would have never allowed this to happen. It also makes it seem like all Germans were devoted party members, when in actuality NS Party membership totaled at around 6,000,000 out of a population of 80,000,000 in the Greater Reich. State and Party posts were also separate, thus not that many people wore a black uniform with SS Totenkopf and red Swastika armband. The Nazi Emblem may have been a pervasive visual in NS Germany, but it's not like every corner was a decorated military parade ground.

A lenghty interview with Heinrich Himmler discussing the NSDAP and its functions in Germany in this Institute for Historical Review article.

The portrayal of Hitler as an old, arrogant and cold-faced man is also wholly false. In fact, this fictional Hitler in the movie is an apt reflection of the Jew who cannot bear to look at his own ugly nature and tumbles into a fury over criticisms of his people's historically documented crimes. The Jew simply paints over the mirror in front of him and says, "see that's your enemy, through that window!" And even today most of us are tricked into looking with disgust at one of history's greatest men as we chase ZC created phantoms into the mountains of Afghanistan.

Authentic Hitler
“None of our projects of a practical nature will be completed in less than a period of ten to twenty years. None of our tasks of an ideal kind can be completed before fifty or a hundred years have passed. I started the National Socialist Revolution by bringing the movement into being, and since then I have guided its actions. I know that none of us will live to see more than the very beginning of this great revolutionary development. What then could I desire more than peace and tranquility? But if it is said that this is merely the desire of the leaders, I can reply that if only the leaders and rulers desire peace, the nations themselves will never wish for war.” ~The Real Adolf Hitler. 

Leader. Hero. Legend.

The self-centered nature of the Jew is also apparent in the way he writes history, always putting himself in the center. Hitler didn't care about Jews as much as he cared about the German people. He wanted to get the Judaic mindset out of them, their society and their culture. The Jews were definitely not at the center of Hitler's efforts, though they love to see it that way. Hitler did what many people have done before him: shut the Jew out, along with all of his manipulations, so that society can be free and so that culture can be unblemished. Hitler's focus was reform in Germany. The Jew was but one obstacle in the way.

Film Plot Overview
The plot of Fatherland is a rather simple thriller/conspiracy plot, just with cartoonish Nazis as key players. Xavier March, an SS officer and homicide detective, is investigating an unusual murder which leads him to smell a cover-up. The dead man was a formerly prominent NS Party member who had retired. The Reich is in general excitement as Hitler's 75th birthday is coming up as well as a visit from the US President, which will hopefully ease the Cold War between Germania and the USA. March's investigation uncovers some startling information after he meets with a US reporter who hopes to cover the story of the Fuhrer meeting with the US President. Maguire, the American reporter, had received some mysterious information from a man named Luther who asked to meet her. She warily accepts and Luther gives her evidence of a horrible crime that took place during the war.

March's investigation ends up becoming linked with the many other murders that have recently taken place and he realizes that the Gestapo is secretly killing all those who attended the Wannsee Conference in early 1942 - they are trying to forever bury all evidence of the "Final Solution." Naturally, March turns "true patriot" when he realizes the crimes his country has committed and out of the blue decides to defect to the USA! Maguire sneaks her way to where the Fuhrer and US President are to meet and hands the President the "evidence." And so once the "secret" is out, the USA severs relations with Germania and Hitler's empire collapses.

Yeah, ok.

Unintended (or ingeniously subversive) Satire
It is worth noting that the main character, an SS Officer and Kriegsmarine veteran, is named "March," which is not a German name. He also doesn't speak with that cheesy Hollywood German accent, but guess who does? The "evil" Nazis do! So German sounding people are bad, but Anglo sounding people are good? Ok, right.

This becomes most apparent when Maguire conveniently hears the confirmation for all the "evidence" - a slimy voiced lady with a thick German accent tells her all about the "resettlement" program - "vee resettled dem... een to ze air!" This lady is said to be an actress who didn't find success in Hollywood due to all the studios being "run by ze Jooz." We are supposed to think that this is just another sterotype, yet Jews themselves boast about this fact. Also, given her profession, acting, she wouldn't have as thick of an accent in a foreign language as, say, Xavier March, but since March is good and she is bad, the "evil German voice" must be spoken by her.

After that incredibly useful and spontaneous confession (known in screenwriting as "a plot device") we get to what just might be the best H'c0$t satire ever. Note that in the scene "where the truth is finally revealed" takes place at a huge ceremony in the middle of an empire's capital city with the leader and an all important international visitor present, thus security would be very strict and with good reason. Yet, Maguire manages to run through the crowd, through the rank of soldiers keeping the crowd in line, through the US Presidential limo's security, and right up to the US President and Ambassador to whom she hands an envelope, which they take and get back in the car without even looking at it or with a greater reaction from the "security." This would be just another lame plot device, but it gets better. The President then looks at the few muddy photographs of dead people and this convinces him of the awful truth.

The genius of this moment is that this is exactly how the "Holocaust" has been "proven." First, there was "testimony" and "confession" - parodied with the slimy accented lady's impromptu war crime confession dialog. Second, there were plenty of muddy and staged photographs that "prove" every single claim of Axis crime - parodied in the opening of the envelope with the few pictures. The film first mentions the "evidence" as "documents, photographs and signed orders." But they only end up showing some photographs, since that is the only "evidence" that actually exists! This is because photos can be taken out of context very easily, while with documents this is not so easy to do on such a wide scale. Documents have a trail, classification, stamps, signatures, etc... However, with a photo of typhus victims, it can just be said: "Look, dead people! PS: the Germans killed them all."

Really? Dead people? After a war that lasted 5 years and starved an entire continent? You're kidding right?

Other Issues
Germania is said to utterly collapse after the US severs relations. Pure fiction, since the real Hitler had made his country economically self-sufficient, by releasing Germany from the death grip of Jewish usury and by putting together a very sound economy that was based on work and progress, rather than pure profit and funny money. Thus, March is simply the stereotypical "good German" who loves the Jews, despite the fact that they raped his country economically.

Early in the film, as March first goes into the Police Headquarters building, some of his colleagues are discussing a sexual crimes arrest: "a pure Aryan woman and a Polack caught right in the act." So the woman gets resettled and the man gets 10 years hard labor. This brief scene serves the classic lie that "Aryan" means "ethnic German," as well as underscores the National Socialists' supposed race/biological obsessions. One only needs to look at the roster for the Waffen SS to see that the Nazis were more tolerant of different ethnicities than the American Armed Forces, which were segregated along racial lines. Also, Hitler may have encouraged cultural purity and thus discouraged mixing (in all cultures, not just his native German culture), but it is hard to believe he approved laws condoning draconian punishment for what may as well have been teenagers having a romp. In fact, from the start he was encouraging a sense of austere and if this film is supposedly about a Germany 29 years after it won the War, there would have already been at least one generation raised completely on those values.

This bit also serves as a good example for that fact that NS Germany is not so much outright lied about, but rather it heavily distorted via strawman arguments:

Aryanist: "Aryans seek to re-create the ideals of the Aryan Race through unity and nobility."

Jewish Strawman: "Aryans like Hitler want to breed a ‘Master Race’ based upon racial ideology."

Hitler's goals were rooted in much more in social order than in manipulating genetics. Though, Hitler's plan for a healthy society would inevitably affect genetics in the long term.

On the flip side of things, Dresden is mentioned and 100,000 Germans were said to have died there. That only begins to show the truth: in reality, at least 300,000 people died in Dresden - they were burned alive, a literal "holocaust." Also, this scene mentions that Germany threatened to drop the A-Bomb on the USA: Germany having the A-Bomb is not unreasonable in this alternate history, however Hitler made it clear that he didn't want war with the West and offered the UK seven peace offers which the stubborn Zionist lapdog Churchill did not accept. Similar conditions were offered to Poland's leadership, but Marshal Rydz-Śmigły was as much of a dupe as the rest of his Allied counterparts. So, in reality, it's the Allied Powers who wanted war. Or, since they were dupes, maybe it is more accurate to say that they were manipulated into war to bring down Adolf Hitler. That is no excuse for their crimes, but as Carl Jung said, “The greatest and most important problems of life are all fundamentally insoluble. They can never be solved but only outgrown.” Thus, it is the duty of all honorable people today to not only learn the truth, but to join the movement to spread it and abolish the established lies.

The ending of the book is slightly more ambiguous than in the film. Maguire is on her way and escaping Germany by fleeing to neutral and still independent Switzerland as a step in getting the "evidence" into the US Government. March distracts her pursuers by leading the Gestapo tail to where Auschwitz once stood. There is nothing there, but he finds some overgrown bricks. The end. Gas chambers, as that is what I presume the book is hinting at, were for the most part not made from bricks - Degesch, a German company, made metal gas chambers and US gas chambers from that era were very similar. Both were used to fumigate cattle cars to prevent disease, but smaller versions, such as in Dachau, were used to fumigate clothes. Also, the small brick building in Auschwitz that has the most Zyklon-B stains has been determined to be a more primitive fumigation chamber. It was built that way, since resources were very tight and virtually all metal was going towards production of military equipment.

There is also a scene that condemns the evils of euthanasia and sterilization as practiced by the Nazis on the sick and crippled. The problem is that they forget to mention that every Western nation did that at the time and many continued to do so well after Nazi Germany had been defeated. In fact, Jews themselves are willing separatists: they see themselves as different and superior. Such blatant and outright supremacist arrogance that leads to hate and violence on a Worldwide scale is praised by Jewry. They really do just look into the mirror and can't bear to see themselves, so they paint over the reflection and call it a "Nazi" so as to get the rest of the World to destroy the best remedy is has against all the aforementioned Jewish poison.

Conclusion

So overall, this is just a film that hates you. It's pure nonsense. Or what I call "Historical Escapism," since it effectively departs from reality as much as the James Bond movies, which are popular "escapist entertainment." The closing narration even bashes "holocaust deniers" and this closing narration (same voice as the opening narration) is revealed to be March's son, Pili, who escaped to the USA. He is proud of what his father has done and is happy that he can "follow his father's example" as all boys want to do. Thus, we have the final ZC Propaganda point - "honor your father by believing in the H'c0$t."

I will not be doing any such thing, thank you. Never.

Traces of Aryanism in a Heavy Metal Song

In my post on the Storytelling Front of the ongoing Aryan Kampf, I mentioned that littles bits of Aryanism can be seen in many places and, perhaps, even in greatly unexpected places. Films and television programs are perhaps the easiest place to look as they are both very popular and, in general, very available mediums. However, I'd like to introduce another medium here: music. Most people tend to enjoy music like they do movies, on a simple level. This means that they don't explore deeper themes that surely the creating artist must have been aware of or even outright intended to convey.

Metallica have been a popular band ever since their debut album from 1983 entitled Kill 'em All was released. On a surface level examination, they write pretty standard heavy metal music with all the fast riffing, blazing solos and pounding bass and drums that heavy metal fans get a kick out of. However, their enduring success seems to suggest that there is something more about them and in particular their music. Many bands come and go, many are just one hit wonders, and even many of those that have a lengthy career rarely reach as many people as Metallica. Surely luck plays a part, but it can't explain all of Metallica's success. There is a profound artistry to many of their songs, especially from albums before 1991, that most heavy metal bands never even come close to achieving.

Guitarist, front man and main song writer, James Hetfield, was raised in a strict Christian household and religious motifs can be seen in his lyrics. Songs like "The Four Horsemen" may be obvious, but many more contain much more universal spiritual and metaphysical aspects. It's an element of Metallica's music that most headbanging heavy metal fans probably don't pick up.

Here are the complete lyrics to the song "...and Justice for All." Read and Listen.

Halls of Justice Painted Green
Money Talking
Power Wolves Beset Your Door
Hear Them Stalking
Soon You'll Please Their Appetite
They Devour
Hammer of Justice Crushes You
Overpower

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price You Pay
Nothing Can Save You

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

Apathy Their Stepping Stone
So Unfeeling
Hidden Deep Animosity
So Deceiving
Through Your Eyes Their Light Burns
Hoping to Find
Inquisition Sinking You
With Prying Minds

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price You Pay
Nothing Can Save You

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

Lady Justice Has Been Raped
Truth Assassin
Rolls of Red Tape Seal Your Lips
Now You're Done in
Their Money Tips Her Scales Again
Make Your Deal
Just What Is Truth? I Cannot Tell
Cannot Feel

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price We Pay
Nothing Can Save Us

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

The song has obvious political themes as it describes corruption in the justice system. The line that stands out the most is the first line of the chorus, it is repeated three times throughout the song: "The Ultimate in Vanity." Does that by any chance remind the reader of a particular group often discussed here? From that view point, doesn't the rest of the song seem to make a profound sense? Like in They Live there is no direct and obvious connection to the International Jew, but isn't it interesting how well these lyrics describe him?

The lines "apathy their stepping stone" and "inquisition sinking you with prying minds" are also particularly relevant to the reality of the Zionist crime network, which proceeds if people are apathetic to their parasitizing of the World, though invariably most people are simply not aware of it. This means that few are actually fighting against Zionism and thus the aforementioned "inquisition" can readily "sink" them with "prying minds" - mearly disagreeing with the ZC approved version of history is a crime in many nation states.

Note that the third time the chorus is repeated, there is slight change in the lyrics. The "I can't believe the price you pay" becomes "I can't believe the price we pay." This is precisely what is "so grim, so true, so real." Everyone suffers and apathy is effectively suicide by way of sloth.

The song is the title track to Metallica's 1988 album. Note the cover art:

Just who is pulling those ropes?
And who is overloading those scales with funny money?

The cover art has a dual meaning, as the falling statue can also be seen as the fall of art and culture from excessive commercialization. After all, it is a classical marble rendition of Lady Justice. The album name in the corner looks as if it was spray painted and that is essentially blunt vandalism, but given the wider themes in the image, it is vandalism of not just justice, but also of art, of culture; in short vandalism of vital aspects of Nobility.

Overall though, Metallica's music, as well as that of any other band in the mainstream, is not genuinely Aryan. The traces of Aryanism are likely just general attempts to convey honor and to look at corruption, but given the rock and roll lifestyle - Metallica's nickname for a while was "Alcoholica" due to their drunken reputation, even on stage - these musings amount to basically just wishful thinking. A typical slave wants to be free or richer or anything to improve his present state, but what does he really do? He just keeps on working so as not to get beaten. Wishful thinking doesn't accomplish anything by itself. Metallica have never been activists nor have they deserted from the formation put together by their corporate masters to pursue the messages in their songs, thus it must be asked, do they actually believe in them?

Music can be a very powerful medium and I propose that a Pan-Aryan anthem be composed. Perhaps an update of "Die Fahne Hoch" the classic NSDAP anthem to which I translated and updated the lyrics. However, that work is a piece of history and the anthem suggested above may very well be a new composition altogether. Though an updated musical arrangement/remix of the classic "Horst Wessel Lied" would be great! I suggest consulting the main theme to the Aryan themed film Cutthroat Island (I also wrote about the film on this blog) to see just how powerful music can be. The many versions of the NSDAP anthem that I have found online do not come very close to matching the musical power of this piece. This Aryanist thinks that it's about time that changed.