Archives for posts with tag: anti-Semitism

death

Will this animated adaptation of DC’s 1992 “death” of Superman storyline please those old enough to have read it when it first appeared? Considering that grown men still sufficiently juvenile to persist in taking an interest in comic book characters must have rather low standards for keeping themselves entertained, one assumes that it probably will. In between automobile-chucking super-brawls, personal drama involving the Man of Steel’s tense relationship with Lois Lane keeps this feature-length production from becoming overly monotonous – but, as with most superhero sagas, the ethnic subtext remains the most intriguing aspect.

3 out of 5 stars. Ideological Content Analysis indicates that The Death of Superman is:

5. Anti-Russian. Lex Luthor mentions having enjoyed a “private performance by the Bolshoi”, connecting Russia with supervillainy in audiences’ minds.

4. Anti-gun. A police officer’s passing reference to assault weapons highlights the danger to law and order posed by private firearm ownership.

3. Feminist. Strong, sarcastic, frowning women abound.

2. Black-supremacist, with blacks disproportionately represented in prestigious and powerful positions. The mayor of Metropolis is black, as are the two top scientists at S.T.A.R. Labs.

1.Judeo-globalist and anti-white. Superman, whose creation was a Jewish response to the Nazi concept of the Aryan superman and whose Justice League receives funding from the one-worldist United Nations, represents a confident Jewish self-concept, with Kal-El (interpreted by some as meaning “Voice of God” in Hebrew) being a Kryptonian (i.e., a crypto-Jew) who conceals his power behind the nerdy façade of the WASPy-sounding “Clark Kent”. Significantly, “Kent” occupies a position of influence in the media through his job at the globalism-evoking Daily Planet (although DC obfuscates Jewish control of the media which in this series is “White” via the newspaper’s editor-in-chief Perry). Kent/Superman is an effective arbiter of truth and justice as long as kryptonite is not utilized against him – i.e., as long as his enemies do not confront him with his secret Jewishness. Lex Luthor – whose name echoes history’s second-most-notorious critic of Jewry – almost seems to be explicitly criticizing Jewish influence when he decries “obsequious cretins who worship aliens, believing them to be the agents of justice. But I have seen the alien’s true face,” he explains. “I understand his threat.” Luthor’s subtextual anti-Semitism is then emphasized when he employs the German word “ubermensch”. It is moral exemplar Superman, however, who selflessly saves his archenemy when Doomsday comes.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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Wonder Wheel

I have mixed feelings about Allan Konigsberg. Revelations about his sexual proclivities as well as my own awakening to the director’s participation in a massive tribal project of hostile culture distortion make it impossible for me to like “Woody Allen” the way I did when I was younger; but it would be dishonest of me to pretend that his body of work did not influence my intellectual development. Coming from a blue-collar Midwestern background, Konigsberg’s stories of New York sophisticates were exotic and illuminating. His movies made me want to become a literate person so that I could be witty and impress complicated women. And – as much as I dislike to concede it – he has continued to produce worthwhile entertainment well into his decrepit years.

Wonder Wheel is no exception, and offers exactly what those familiar with the writer-director’s filmography have come to expect. Its tawdry tale of two shiksas – older, married woman Kate Winslet and naïve stepdaughter Juno Temple – who both fall for sophisticated and handsome Jewish aspiring playwright Justin Timberlake contains a great deal of Hebraic wish-fulfillment, particularly with Jim Belushi portraying the boorish and slovenly goy alternative. Set in the bustling Coney Island of the 1950s, Wonder Wheel is both a rather painful melodrama and a comfortable nostalgia piece, evoking fondness both for America’s past and for Konigsberg’s, so that the whole experience seems like old times.

4.5 out of 5 stars. Ideological Content Analysis indicates that Wonder Wheel is worth seeing if viewers can do so without putting any money into the filmmaker’s probably candy-filled pockets. Also:

4. Anti-drug. Looming over Ginny (Winslet) and Humpty (Belushi) throughout is the specter of alcoholism which threatens to reassert itself over their wills in times of stress. Ginny embarrasses herself in a drunken state at the end of the film.

3. Borderline pedophiliac. Juno Temple, like previous Konigsberg muses Mariel Hemingway and Christina Ricci, evinces a childlike presence despite her experience. The word “Toys” is visible in a shop window in a scene in which Mickey (Timberlake) picks up Carolina (Temple) to give her a ride, slyly emphasizing her youth.

2. Anti-family, anti-marriage. “Don’t ever have kids,” Ginny advises. Marriage, too, is “scary”. Ginny is only “going through the motions of lovemaking” while she has “so much to give” to a smart and beautiful Jewish boy. Ginny also insinuates that Humpty has incestuous inclinations toward his daughter when she accuses him, “You treat her like a girlfriend.”

1.Anti-white. Carolina rejects the “dull, colorless, boring [i.e., WASPish] guys” her father would have preferred she marry. Instead, she falls in love with a tribesman. There is a sort of malicious glee in Konigsberg’s decision to name the head of the household “Humpty”, presenting the American father of yesteryear as a gruff and abusive but fragile figure destined to fall and never to be restored to his previous station. Humpty distrusts the influence of movies and radio – i.e., the Jewish-dominated mass media – on his family, calls psychology a “phony head doctor” racket, and is probably therefore suspect in Konigsberg’s imagination as a potential anti-Semite. Ginny’s son (Jack Gore), meanwhile, is a little pyromaniac – symbolic of the potential of every goy boy to grow up to perpetrate the world’s next Holocaust. Sadly, waitress Carolina must endure the indignity of serving “redneck clowns” in her clam house – representing the ever-present threat posed by rustic deplorables infiltrating and crudely stinking up the nice, respectable, kosher stronghold of New York City.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Lady Bird

Greta Gerwig, an actress for many years, reveals herself to be a talented writer and director with Lady Bird, a standout coming-of-age story starring the excellent Saoirse Ronan as a mischievous, unappreciative Catholic schoolgirl with a “performative streak”. Lady Bird is the rare teen film that will be just as enjoyable, if not more so, to parents as to younger viewers, and the film’s development of its protagonist’s relationship and interactions with her parents, her sweet and vulnerable father (playwright Tracy Letts) and especially her stern but big-hearted mother (Roseanne’s Laurie Metcalf), is finely textured and affecting. Occasional grossness fails to ruin an overwhelmingly touching and funny film experience.

Five stars. Ideological Content Analysis indicates that Lady Bird is:

6. Pro-gay. Lady Bird, at first disgusted to discover that her boyfriend (Lucas Hedges) is gay, ultimately feels sympathy for his situation.

5. Populist. Lady Bird, at first ashamed of living in Sacramento, comes to accept her attachment to “the Midwest of California”. Gerwig set the film in 2002 and 2003, she says during her commentary, to mark the period she identifies as a key moment in “the erosion of the middle class”, with 9/11 and the Iraq War referenced as contributors to middle America’s decline. “Is this a joke?” the protagonist asks on seeing a picture of Ronald Reagan hanging in the home of a more well-to-do family. In a refreshing break from typical suburbs-bashing fare like Todd Solondz’s Happiness, Gerwig concedes that American suburbia is “in my bones”, and this affection communicates itself through the tempered and never obnoxious sentimentalism on display in Lady Bird.

4. Drug-ambivalent. Students share a rumor that their teacher Father Leviatch (Stephen Henderson) had a son who died of a drug overdose, but the overall tone of Lady Bird toward recreational substances is more permissive. “Her mom clearly knows that they’re high,” Gerwig observes of one scene in which Lady Bird’s mother encounters her daughter with a group of her friends. “She’s not gonna do it [i.e., reprimand them]. She’s gonna just leave,” Gerwig approves. Lady Bird’s grandmother, on the other hand, is said to have been an “abusive alcoholic”.

3. Race-ambivalent. Catholicism appears in Lady Bird as a successful model for peaceful coexistence of races, but the existence of sub-rosa racial tensions is also acknowledged, as when Lady Bird suggests that her adopted mestizo brother Miguel (Jordan Rodrigues) got accepted by a competitive university primarily because of his ethnicity and he in turn accuses her of racism. It is interesting to note that Miguel and fellow non-white adoptee Shelly (Marielle Scott) are usually framed separately, so that they never seem to be fully integrated members of the McPherson family. Mild moments of anti-white bias occur in Lady Bird when the protagonist is shown copying answers from an Asian girl during a test and when comparatively well-behaved Miguel and Shelly have to scold unruly white girls for wrinkling the magazines in a grocery store, where Lady Bird is also shown shoplifting. Her Asian boss at the coffee shop where she later gets a job also has to reprimand her for flirting on the clock – a second juxtaposition of oriental seriousness and work ethic as opposed to white American frivolousness.

2. Anti-Semitic! Lady Bird vomits after drunkenly kissing an atheistic New York Jew named David at a party. “We don’t have to constantly be entertaining ourselves, do we?” Lady Bird’s mother objects at her daughter’s fiddling with the car radio. Who but a hate-filled anti-Semite would object to a non-stop saturation diet of popular culture?

1.Christianish. Writer-director Gerwig had a Catholic upbringing and brings both an affectionate familiarity and an irreverence to her depiction of a Catholic high school, acknowledging Catholicism’s “theatricality” and making light of the superstitions associated with transubstantiated wafers and such. At the end of the film, however, the protagonist abandons her concocted identity as “Lady Bird” and embraces her given name of Christine, a marker of her identity as a Christian. In addition, after moving from Sacramento to New York, she feels herself drawn to the comforting beauty of a cathedral service with its choir. She returns, says Gerwig, to “the place that is home to her”.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Wild Card

Revenge for a raped prostitute might sound like less-than-thrilling motivation for an action hero, but it works nevertheless to propel this uncharacteristically character-driven Jason Statham vehicle. The Expendables star here plays Nick Wild, a skid row Las Vegas “security consultant” in Simon West’s quality realization of a thirty-year-old William Goldman screenplay. A British special forces veteran who can take care of himself, Nick is also a self-destructive compulsive gambler and drinker who has to grapple with his own shortcomings as well as the gangsters who want him dead. Something of an odd couple dynamic comes into play when Nick is befriended by a nerdy software millionaire (Michael Angarano) looking to be initiated into the world of danger and excitement. Some of the exchanges between these two have a rather phony and forced cleverness; but the script, on the whole, is highly engaging and full of fun and surprises. The cast of familiar faces includes Stanley Tucci, Hope Davis, Anne Heche, and Jason Alexander in minor roles.

4 out of 5 stars. Ideological Content Analysis indicates that Wild Card is:

6. Misandrist. An abused woman (Dominik Garcia-Lorido) threatens to sever the penis of a cocky misogynist (Milo Ventimiglia).

5. Corporate. A big-titted Latina (Sofia Vergara) squeezes in a quality plug for the junk food complex when she orders a Diet Pepsi. Putting in a good word for the usury industry, Statham’s credit card comes in handy when he uses it put a gash on a bad guy’s head. He also mentions eating Wheaties as a source of energy.

4. Anti-Christian. Set against the tacky blinking backdrop of one of America’s sleaziest, most Judaically resonant metropolises, Christmas is a hollow observance with no meaning. Simon West, in his commentary, relates that “the Christmas theme in the movie meant that I wanted to get some actual Vegas at Christmas footage, but […] unfortunately Vegas doesn’t seem to celebrate Christmas that much.”

3. Anti-Semitic! “You’re not supposed to like Vegas,” Nick explains of the city that Bugsy Siegel built. “It’s just this creeping virus people catch sometimes.”

2. Anti-gun. Nick rejects firearms, demonstrating instead how simple objects like silverware and ashtrays can be used to debilitate armed assailants.

1. Pro-miscegenation and anti-white. Most appallingly, Wild Card contains a scene of flirtation between Nick and an unappealing black hotel maid (Davenia McFadden). “Too bad you got all that British blood in you,” she teases him. “If you was black, I’d bed you good and fast.” “You can make believe,” Nick encourages her. “Nah,” she replies. “Don’t think this is racial or anything, but I never feel like you people are clean. This is a housekeeper you’re talking to, remember? I can tell if a Brit’s been in a room [snaps] just like that.” This dialogue suggesting that Brits are unclean makes little sense until one listens to Simon West’s commentary. “In the original script, the [Nick] character was actually Hispanic,” he reveals, “so we had to change the racial stereotyping.” Mexicans can no longer conscionably be depicted as dirtbags, but Englishmen are apparently still fair game. Three decades ago, when the screenplay was written, the occasional spot of political incorrectness was still permissible at the multiplex; but, fortunately for public morals, Wild Card was filmed in the current year, so to speak.

Rainer Chlodwig von Kook

As Above So Below

Perdita Weeks appears as a female Indiana Jones, an obsessive scholar and archaeologist of the history of alchemy in As Above, So Below. Convinced she has learned the whereabouts of the legendary Philosopher’s Stone, she convinces academic colleague Ben Feldman to accompany her into the labyrinth of catacombs beneath Paris. Unfortunately, as they descend, they find that the tunnels they take are mysteriously closing behind them, compelling the expedition into ever deeper recesses of this subterranean world. Even worse, they are not alone. Directed by John Erick Dowdle, who co-scripted with brother Drew Dowdle, As Above, So Below is a first-person footage film in the long line of Blair Witch imitators and is fine by the standards of that genre; but the tale tends to lose its mystique to the degree that the Dowdles insist on depicting their rather mundane vision of Hell onscreen.

4 out of 5 stars. Ideological Content Analysis indicates that As Above, So Below is:

Pro-miscegenation. Weeks and Feldman, the film suggests, are perfect for each other.

Relativist. “As I believe the world to be, so it is.”

Feminist. Weeks is intrepid and unafraid to the point obsessive insanity. Hinting at the Jewishness of the feminist plague, her character is revealed to be an expert in the Israeli “self-defense” techniques of Krav Maga.

Pro-immigration. Non-white Parisians are depicted as fully assimilated citizens. If anything, it is Africans who are at risk of attack from strange Frenchwomen.

Neoconservative. As Above, So Below is full of Judaic resonances that are never articulated. The film reinforces the engineered impression that Jews and Middle Eastern mythology hold mysterious keys to understanding the universe. Weeks ostensibly makes the decision to bring Feldman along because he knows the ancient Jewish language Aramaic. The remains of six million corpses, the viewer learns, reside in the catacombs, with the number six million triggering audiences’ associations with the “Holocaust” and the history of alleged Christian persecution of Jews. The characters’ subsequent descent into Hell, then, may be understood in this context. The film’s title finds a visual expression in a variation on the Magen David that appears on a wall next to a door on the path to the underworld. The underground realm in which the characters move is revealed to be physically inverted, so that those determined to attach an allegorical meaning to the journey might consider the possibility that, in order to atone and to come to grips with their criminal history of “anti-Semitism”, the goyim must endure the ordeal of having their world turned upside down. Gratuitously endorsing the neocons’ Jewish foreign policy, Feldman berates Weeks as “a crazy lunatic” for traveling to Iran.

As Above So Below Star of David

“As I believe the world to be, so it is.”

Rainer Chlodwig von Kook

Prick Cadillac

Oozing down the street, indeed. Make no mistake, fellow social justice warriors: Bruce Springsteen is pure, unadulterated pink slime.

[Ideological Content Analysis is both pleased and privileged to bring readers this thought-provoking and patriarchy-challenging guest post by Rokuro “Rocky” Roth-Hideyoshi, roving pop correspondent for Beat/Down: A Journal of Queer Quriticism and Aural Experience.]

Does any circumstance better illustrate the unrepentant heteronormative and intra-racial supremacy of corporate radio than the fact that “Pink Cadillac”, Bruce Springsteen’s hate-saturated 1984 B-side to the disturbing “Dancing in the Dark”, continues to receive occasional airplay on nominally non-Aryanist networks and to be hosted on YouTube and other popular websites without censorship or content disclaimers? As Kevin Ransom writes, it is one of those “songs that have practically been pounded into cliché by super-heavy radio rotation.” Springsteen’s ersatz protestations of anti-racist commitment are never convincing – a case, one suspects, in which, as Hamlet would put it, “the hater doth protest too much” – and even assuming the “Boss” has the best and most progressive of intentions, his social justice eruption insurance premium is always going to be on the high side in view of the unforgettable wreck that constitutes his “Pink Cadillac”.

An unabashed paean to European-American sexual exclusivity as well as a puerile celebration of priapic chauvinism, “Pink Cadillac” concerns the leering interest of its self-aggrandizingly amorous protagonist in the “back”, i.e., posterior, of a womban’s “Cadillac”, or objectified, dehumanized, commercialized, and customized “crushed velvet” body – conceptualized in this instance as an empty vehicle-vessel requiring a licensed (i.e., privileged) driver – which is, of course, to say an owner. “But my love is bigger than a Honda, it’s bigger than a Subaru,” he insists, betraying his insecurity while at the same time perpetuating the adolescent cruelty of the miniature Asian male sexual organ stereotype. Springsteen is one of those white men who only feels adequate when he has succeeded in making the other – in this case, the “yellow man” he fantasizes about killing in “Born in the U.S.A.” – feel small and marginalized.

The economic context, one must also remember, found the American worker and music consumer – Springsteen’s primary audience – uncertain about the future of their country’s industrial base in the face of Japanese electronics and automotive competition after nativist propagandists had largely succeeded in riling white Americans into a paranoid frenzy about global trade and the opportunities this presented for economic development in an increasingly interconnected and justice-seeking planetary order. The butt-wiggling braggadocio of the “Boss”, then, must have provided a powerful salve to the chafed egos and bruised sexualities of a generation of self-absorbed and privileged white males in desperate need of perpetual reassurance. Losing at one game, he plays another: reproductive protectionism.

Bruce Springsteen

In 2016? Really?

“Honey, I just wonder what you do there in the back of your Pink Cadillac,” he declares, hovering hairily over the listener, who feels herself almost compelled to detect the beer that is undoubtedly on his breath. He positively belches a pushy, intrusive curiosity about the sexual history of an unnamed female-gendered person, and one is left to glean from the rapist protagonist’s later reference to Eve that Springsteen is addressing a womban. Invading her mental and physical space, he commands her to “come on over here and hug me” in an attempt at projected volition so as to facilitate his intention of sexual assault and simultaneously implicate the victim as an accomplice in his own act of non-consensual violation. His invocation of Eve, too, serves to shame the target of his transgression into complicity by establishing a useful correlative with the temptress of myth.

The song, which Springsteen wrote in its first version under the rapey title “Love Is a Dangerous Thing” in 1981, took on anti-Semitic and white supremacist overtones as it devolved into what would become the honky-tonk clunker “Pink Cadillac”. In an erratic aside, the “Boss” – knowing he has the undivided attention of his impressionable audience – actually interrupts the assault to address his male listeners specifically, wishing to issue a warning to them about an imagined Jewish peril. “Well, they tempt you, man, with silver, and they tempt you, sir, with gold,” he rants, going on to espouse the canard about how the Joooooooz also “tempt you with the pleasures the flesh does surely hold.” Honestly, Mr. Springsteen? In 1984? The “Boss” confirmed for the world the depth and grossness of his anti-Semitism and sexism when he forbade peerless diva Bette Midler to include a cover of “Pink Cadillac” on her 1983 album No Frills.

Springsteen also revealed his frightening adherence to the white supremacist beliefs of the Christian Identity cult when he prefaced a live 1984 performance of “Pink Cadillac” with these contextualizing remarks: “Now, this is a song about the conflict… between worldly things and spiritual health… between desires of the flesh… and spiritual ecstasy… now, where did this conflict begin?… well, it began in the beginning in a place called the Garden of Eden… now, the Garden of Eden was originally believed to have been located in Mesopotamia… but the latest theological studies have found that its actual location was ten miles south of Jersey City, off the New Jersey Turnpike… now, understand, in the Garden of Eden, there were none of the accouterments of modern living… I mean they didn’t have no Laundromats, they didn’t have no like, like little toasters you could put your Pop-Tarts in and then watch Johnny Carson on TV…”

Relocating the Garden of Eden from the geographical Middle East to some presumably pristine white enclave of the American imaginary when it was still free of the tacky consumerist dreck and mass media “brainwashing” peddled by the stereotypical Jewish merchant caricature of anti-Semitic propaganda, Springsteen casts Adam as the progenitor of the Aryans, whom he believes to be the living embodiment of Israel. BDS activists have attacked Springsteen for the singer’s apparent willingness to tour the Zionist state this summer; but these misguided crypto-racist neckbeards miss the point entirely. Springsteen, if the dark history of “Pink Cadillac” is any indication, is venturing to Israel not to entertain the evil Joooooooz, but to conquer and occupy what he, in the fever of his sweaty, race-crazed delusions, regards as the rightful lebensraum of the Aryan Nations of Jersey.

No wonder a 2012 study found that listening to Bruce Springsteen music for seven minutes can turn normal people into racists!

Rokuro “Rocky” Roth-Hideyoshi

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No One Lives Forever BCI

Grab it while supplies last … or not!

Included in the ten-feature action film collection No One Lives … Forever!, released in 2002 by the now-defunct BCI Eclipse DVD label, is an obscure 1999 Israeli oddity, Full Circle, directed by one Bernard McWilliams. The story concerns Boaz Golan, a Mossad agent sent to New York City in 1990 with the task of preventing a shipment of arms from reaching Saddam Hussein’s Iraq.

Golan is psychically scarred by the dual traumas of seeing his mother raped when he was a child and the adult experience of gory warfare in Lebanon (which, the movie deems it necessary to note, caused the hero to soil his pants). An early scene in Full Circle has Golan fantasizing about raping his female analyst, to whom he tells the blackly comedic war anecdote of discovering the bodies of a couple who had been unceremoniously killed in the middle of a blowjob.

Once he arrives in the United States, women find it difficult to resist Golan’s Hebraic charms, and a neighbor woman enthusiastically throws herself at him, enjoying a sex session on top of a table. Hilariously, the woman grabs a handful of what appears to be tapioca pudding and smears it across the Israeli’s ass in the heat of passion. Also true to the movie’s ethnic origin is a perverted scene in which the woman’s daughter discovers the mother’s vibrator and uses it as a toy airplane.

Full Circle Yuval Ovadia

Israeli superspy Boaz Golan in Full Circle (1999)

Being a spy and a Jewish one at that, Golan thinks nothing of lying to people to get whatever he wants. “I may be moving to New York to study engineering,” he gives as his reason for coming to America. He is also eager to demonize Saddam Hussein and to champion Israel as the ally of the U.S. “Saddam Hussein is crazy. He’s capable of doing anything,” Golan claims. “You know, if the Israelis hadn’t bombed his atom shell, he’d be using it right now against the United States.”

The action is stupidly pedestrian, with Golan depicted as a superhuman who is able to swing on a rope like Tarzan and have a fistfight even after being shot in the abdomen. A goofy scene of a dweeby Mossad asset being mowed down by a woman with a machine gun hidden in a baby carriage earns the movie some extra unintentional humor points, however.

The dull presence of singer-songwriter Richie Havens in a supporting role does nothing to enliven Full Circle, although his sassy girlfriend is an entertaining character, an anti-Semite who can smell an Israeli. In another scene indicative of Israeli attitudes toward American gentiles, Golan warms himself by a bum’s barrel fire, but becomes unnerved and flees when a vagrant approaches and giggles with a maniacal look on his face. This, no doubt, is intended as some sort of evocation of the eternal specter of the Shoah that hovers above all Jews.

The dialogue, typically Judaic, is filthy, with characters calling each other insulting names like “dickless piece of shit” and saying repugnant things along the lines of, “Wake up and smell my asshole.” Also quintessentially Israeli are soulless scenes of sleazy sex, meanness, and torture.

Whether or not Full Circle was designed primarily for American consumption is difficult to say. If so, the decision to leave more than one scene of this otherwise English-language film in untranslated Hebrew was poorly considered. Ludicrously, the end credits are interspersed with disingenuous anti-war messages like, “Instead of fighting one another we should fight those who make us fight.” A “special thanks” credit acknowledges the Broadcast Services of the Israeli Consulate for assistance in producing the film.

Yuval Ovadia

IDF veteran and Full Circle producer Yuval Ovadia

So far as this writer has been able to ascertain, the film has no listing at the Internet Movie Database, but the America-Israel Cultural Foundation website’s biography of one of its producers, Yuval Ovadia, gives information about a film titled Orphan of War which also seems to describe Full Circle:

Yuval Ovadia was born in Tel Aviv, Israel in October 31, 1965.

After serving 3 years in the Israeli army he flew to New York, planning to study filmmaking and acting in the best schools he could find.

In NY he studied at Lee Strasburg [sic] Institute, where he studied acting, singing and dancing. Later on he continued his studies at HB Studio, where he spent a long time under the late, famous Herbert Berghof and Bill Hickey. Then he studied all aspects of filmmaking at NYU Film School.

By the years 1996-1998 Yuval worked on a feature film called “Orphan Of War” – a 90 min, 35 mm Action/Drama, co-starring the legendary singer from Woodstock “Richie Havens” [who actually has only a tiny role]. In addition to co-producing this film, Yuval had starred in it, co-wrote the screenplay, edited, and came up with a music album called “Peaceful Circle” – based on songs from the film, which he produced together with Mr. Richie Havens.

[…] Yuval decided to go back to his roots and in 1999 he moved back from New York to Israel, were he got married and is having now 4 beautiful kids.

Full Circle, in short, seems to be as elusive as those notorious “Dancing Israelis” (creepily, Ovadia’s email address is listed as visual911911@gmail.com). The fact that the film is devoted to vilifying the Iraqi government, which would be overthrown by the Jew-puppeteered Bush administration in 2003 with September 11th utilized as the fraudulent pretext – in combination with the circumstance that the doomed Twin Towers make an appearance in the film along with a deck of tarot cards – adds up to Full Circle being a rather unsavory home theater experience. It may be worthwhile, however, for those with an interest in shitty action movies.

Rainer Chlodwig von Kook

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Between gigs as the smirkingly hip host of the “Weekend Update” on Saturday Night Live in the eighties and his present occupation as a soullessly carnage-enthused neocon radio maniac, Dennis Miller appeared in a handful of movies, one of which is the entertaining Tales from the Crypt Presents Bordello of Blood (1996), which followed Tales from the Crypt Presents Demon Knight (1995). Miller plays sleazy Jewish private dick Rafe Guttman, who is hired by prim Christian career woman Katherine Verdoux (Erika Eleniak) to find her brother Caleb (Corey Feldman), who has gone missing after visiting a whorehouse that doubles as a funeral home.

Bordello of Blood coverVampires, as this writer has discussed in further detail here and here, are symbolic stand-ins for the Jews; and Bordello of Blood, written by A.L. Katz and Gilbert Adler, who also directs, evinces a definite knowledge of this traditional understanding. Before being enticed into the vampires’ den of immortal vice, the mischievous Caleb is already doomed to a horrible fate. He does not share his sister’s Christian values, and wears a little Star of David patch on the back of his leather jacket. It seems to indicate that Caleb has been marked for death and foreshadows his later conversion into a happy-go-lucky parasite.

A further indication of the Jewishness of the vampire plague in Bordello of Blood is the choice of giving the name Lilith to the vampires’ queen (Angie Everhart). Lilith, in Hebrew mythology, is Adam’s rebellious first wife, the world’s earliest feminist, who told her husband, “I will not lie below” (i.e., with a man on top of her). In later elaborations of the Lilith myth, she has vampiric traits, and superstitious Jews feared her as a demon who preyed upon boys. In Bordello of Blood, a midget explorer (Phil Fondacaro) in the tradition of Indiana Jones restores Lilith to life, and hopes to keep her under control by means of a charm or “key” decorated with Stars of David. This prop, appropriately enough, is the key to understanding the film.

When Guttman goes to the whorehouse, posing as a horny customer so as to pick up some first-hand intelligence, he finds himself face to face with a vampire in dominatrix Tamara (Kiara Hunter), who of course intends to suck his blood. As Guttman begins to remove his shirt, she is horrified by what she at first mistakes for a crucifix, but is relieved to discover is only a Star of David pendant, to which vampires are clearly immune – another of the film’s indications of the affinity between Jews and vampires. Guttman, however, has no patience for Tamara’s sexual pushiness and succeeds in turning the tables on her and making his escape. During a later adventure, Guttman tracks the gore-gobblers to an abandoned factory, where he remarks, “I’m gettin’ some really bad juju off this place” – which is, of course, to say “Jew-Jew”.

Bordello of Blood key

The “key” to Bordello of Blood

Another interesting feature of Bordello of Blood is Lilith’s relationship with a sleazy televangelist, Reverend Current, played by Fright Night’s Chris Sarandon. (The casting of an actor most closely associated with a vampire role as a Christian minister is itself highly provocative and intentionally insulting to Christians.) “You know, I can’t decide what to do with you,” the bloodsucking super-Jewess tells him in words that seem to resonate with a broader relevance to Jewish attitudes toward Christianity. “Should I kill you or let you live, make you my dog?” – by which she presumably means turning him into a John Hagee type of groveling Christian Zionist Shabbos goy. Lilith settles on the latter. “I want this sanctimonious shit to watch what happens now that I’m free,” she declares, referring to the sadistic, vampiric pleasure her kind derives from watching Christians squirm under the onslaught of the cultural rot inflicted upon them by the very ethno-parasites they revere as “God’s Chosen People”.

i_109_K57Current, though a corrupted man, is reluctant to acquiesce to such evil, and decides to stage a last-ditch effort to stop the vampires in their lair. “I, uh, I know I can’t fight you all, so I’ve come to join you,” he says – but just as no Jew can trust a Christian, no matter his protestations of good will, the vampires see through him and so the battle of the bordello commences, with Current and Guttman dispatching the Judaic creatures with holy water. The preacher, after containing his anti-Semitism for so many years, seems to experience a cathartic thrill in setting the vampire sluts ablaze, consigning them to the flames of a veritable whore-Holocaust. This sequence, significantly, plays out to the tune of the Sweet’s glam rock song “Ballroom Blitz” – the word “blitz” carrying a strong association with a certain European anti-Semitic initiative.

During the final confrontation with Lilith, which takes place in the TV studio where Current does his Christian crusade program, Guttman uses a laser to scorch a cross into the vampire bitch’s back, after which Katherine impales the hag with a populist pitchfork. A rabbi (Robert Rozen) then “consecrates” Lilith’s remains – this mumbo jumbo, one assumes, is some sort of “good Jew-Jew” – after which Guttman and Katherine are free to commence interfaith miscegenation – one of Bordello of Blood’s obligatory concessions to cultural Marxist expectations. A further surprise awaits the viewer, but this writer does not intend to spoil it.

Rainer Chlodwig von Kook

Read more about Jewish movie vampires:

Monsters We Do Not Need

The Vampire Elite

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Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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