Archives for posts with tag: beta male

road-to-the-well

Laurence Fuller plays a frustrated beta male desk jockey, Frank, who discovers that his girlfriend has been having an affair with his boss. Serendipitously, an old friend of his, handsome drifter Jack (Micah Parker), breezes into town and convinces his buddy to meet him for a few drinks at a night spot, where he also goads Frank to approach a woman (Rosalie McIntire) who catches his eye at the bar. From here, Frank’s life takes a left turn down a darker avenue than he ever knew existed, with Road to the Well developing into a fantastic, albeit eccentric, little thriller sustained by painful tensions and moments of unexpected strangeness. Only one superfluous scene broadly and condescendingly characterizing conservatives as “bigoted trash” taints what is otherwise a recommendable film, and writer-director Jon Cvack is to be commended. Barak Hardley is also worthy of mention for his portrayal of spoiled millennial man-child Chris, while Marshall Teague, glaring out of the screen from the other end of the masculinity spectrum, is also highly effective. For those interested, Road to the Well was recently released on DVD and VOD.

Four-and-a-half out of five stars. Ideological Content Analysis indicates that Road to the Well is:

8. Anti-capitalistic, with prostitution furnishing the film’s model of free enterprise. Undignified Frank continues to work for his company (in order to “build a cushion,” he says) even after learning his boss has cuckolded him. He despises his erstwhile friend Chris, however, as a “hoity-toity yuppie” – but it is possible also to read the envy hiding behind Frank’s feigned contempt for Chris’s material security. Jack is utterly dismissive of regular employment, and encourages Frank to call in sick. “I don’t work anymore,” he says.

7. Anti-war. An implicit parallelism emerges during a scene between a murderer and a military man. One character understands something about the other’s experience.

6. Judgmentally anti-slut. The wages of sin is death!

5. Pro-gay. A corny anecdote is told about a homosexual adolescent who shot himself after being bullied. A homophobic redneck landlord who makes light of his own son’s participation in the bullying is intended to represent the low standard of sophistication prevailing among opponents of sodomy. Frank’s exaggerated reaction to this insensitivity is, one assumes, meant to establish his character’s moral credentials.

4. Manospherean. Frank, over the course of the film, is taught by his experiences to man up and assert himself. “Everything is fine as long as you got some money and a nice piece of pussy” is Jack’s philosophy.

3. Anti-Christian. A chaplain (Teague) has lost his faith and become suicidal. “My faith? What the hell is that?”

2. Anti-marriage. “It’s like marriage is this weird construct we’ve made up for ourselves and handed down from generation to generation,” moans Chris, who is soon to be married. “It’s meaningless, right?” A committed relationship is “not exciting”.

1. Antinatalist. “It’s like they’re these tiny little animals and I’m responsible for ‘em,” Chris frets, imagining the prospect of fatherhood. “If I don’t change their diaper, then they just, what, sit in their shit all day? Or, like, if you touch their fontanelle, you’re like, touching their brain, and you got a dead baby. […] No thank you.”

Rainer Chlodwig von K.

Magic in the Moonlight

With Magic in the Moonlight, degenerate Jewry’s auteur laureate Allan Konigsberg (alias Woody Allen) returns to his beloved Jazz Age and to the theme of the enchantment in life and love that began to preoccupy him sometime around A Midsummer Night’s Sex Comedy (1982) – as well as to the contested existence of God, a subject that has obsessed him throughout his career. Colin Firth plays a celebrity illusionist invited to debunk spiritualist Emma Stone. The results, pleasantly enough, are quintessential Woody – witty, romantic, and generally wonderful. Blu-ray was invented to showcase Emma Stone’s immaculate, strange, and exquisite face. Highly recommended.

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that Magic in the Moonlight is:

6. Anti-family. Stone’s father abandoned her.

5. Class-conscious. “Unlike you, we’re members of the working class.” Emma Stone’s character comes from a much humbler background than those who patronize her services as a spiritualist.

4. Racist! Firth refers to Stone’s “confused black little criminal’s heart”. Konigsberg is hereby sentenced to make amends by appearing in Tyler Perry’s next Madea vehicle.

3. Anti-Semitic! “Hoodwinking is what we do,” confesses the hero’s trusted Jewish magician colleague Burkan (Simon McBurney), who presents himself as an exposer of hoaxes but turns out to have been a conman himself and a traitor to his friend. He is motivated, he concedes, by “envy and resentment”.

2. Redpilled. Stone rejects fawning, ukulele-strumming beta male suitor Hamish Linklater in favor of masculine, dignified Colin Firth.

1. Agnostic. “I think Mr. Nietzsche has disposed of the God matter rather convincingly.” Or has he? Maintained throughout is a tension between protagonist Firth’s rational understanding that spirituality is a fraud “from the séance table to the Vatican and beyond” and his simultaneous longing for some transcendence. Is it true that “happiness is not the natural human condition”? Is willful ignorance really bliss? “You were much happier when you let some lies into your life, Stanley,” Konigsberg seems to want to suggest with Magic in the Moonlight.

Rainer Chlodwig von Kook

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Golem Poster

Proto-psychedelic Golem advert

(Are You Gentiles Experienced?)

Paul Wegener’s film The Golem: How He Came into the World (1920), in addition to being one of the standout examples of expressionism in the silent cinema, serves as a sadly, humorously revealing commentary on Jew-gentile relations in modern times.

Paul_Wegener

Director, star, and effeminate smoker Paul Wegener

The Golem (at least in the version available from Kino) opens with whimpering violins over a strange night sky, the constellations foretelling misfortune for Prague’s Jews. The augury proves to have been all too true when Florian (Lothar Muthel), a knight-emissary of the Emperor (Otto Gebuhr), makes known to the Jews a decree of imminent expulsion on account of their traffic in black magic and disrespect for the host people’s Christian observances. An urgent convocation of the ghetto Elders is held.

Golem ghetto

In the Ghetto

Then, as now, Jewish women’s exotic wiles are drafted into battle on behalf of Jehovah’s Chosen. Miriam (Lyda Salmonova), a rabbi’s sultry hussy of a daughter, is encouraged to seduce Florian so as to promote amicable relations and buy the Jews some time to get a good plot into action.

Golem Florian Miriam

Miriam lets Florian cop a feel

As Lasha Darkmoon explains in her essay “Sex and the Jews” at The Occidental Observer,

In all the great European cities, a certain type of prostitute was always to be found: exotic and semi-Asiatic in appearance. She was Jewish, and she was very much in demand. The word “Jewess” therefore entered the language as a loose synonym for “Jewish prostitute”.

Drescher beckons

Jewish whore archetype Fran Drescher

Francock

Drescher gapes at the sight of a cock

The United States of America not having come into being yet, the Prague Jews have no imperial lobby with which to marshal the gentiles into internecine and international conflicts. This being the case, wise Rabbi Low (Albert Steinruck) does what comes naturally, dons his conical sorcerer’s cap, and calls up an ugly demon, Astaroth, to help him procure the primitive medieval equivalent of a weapon of mass destruction – a Golem! – in this case played by director Paul Wegener.

Golem Astaroth

The demon Astaroth – what would a rabbi do without him?

Golem

Golem – Shogun Assassin

Astaroth gives Rabbi Low a magic word, which, when written on a piece of paper, stuffed into a pentagram broach, and attached to the Golem’s chest, brings the hulking clay figure to life, transforming it into a potentially terrible instrument of Judaic vengeance.

Golem star

Ghetto Superstar

In the beginning, though, the rabbi just has the thing chopping wood and running errands for him, the Emperor’s decree of expulsion seeming to have lost some of its urgency momentarily. But after awhile, the rabbi decides to take the Golem with him to the Emperor’s court for a demonstration – the entertainment industry being just as much a focus of Jewish thirst for power and prestige in the sixteenth century as today.

Having wowed the gawking goyim with the novelty of his Golem, Rabbi Low hopes to gain their sympathy by giving them all a lesson in the history of Jewish suffering. To this end, he conjures up a supernatural vision, the medieval wizard’s equivalent of Schindler’s List, depicting the Wandering Jew and masses of ancient brethren trudging sorrowfully through the desert sands.

Golem Wandering Jew

Wandering Jew stops for directions

Unfortunately, the flick is a flop, the Emperor’s court erupts into laughter, and Rabbi Low, furious now at having cast pearls of pathos before such gentile swine, decides to “pull it” and – in a microcosmic application of the Samson Option – bring the palace down on their heads, complete with courtiers leaping 9/11-style out of the windows as pillars topple and the roof collapses.

The Emperor, fearing for his life, implores the Rabbi to save him, promising to protect the Jews’ status in his land if the sorcerer complies. Satisfied, the rabbi commands the Golem to stop tearing the place apart, and the creature supports the crumbling ceiling with its powerful arms.

Golem as Atlas

Golem raises the roof

The ghetto is saved – but only briefly. Rabbi Low’s associate Famulus (Ernst Deutsch), jealous at finding Florian in Miriam’s room, unleashes the angry Golem on him.

Golem Famulus

Hater and beta Famulus wearing a big symbolic zero

In a sequence of events prefiguring similar situations in Frankenstein (1931) and King Kong (1933), the Golem throws Florian from a tower and leers lustfully over Miriam before blundering out into the world on its own, setting the neighborhood on fire, and eventually having a tender, vaguely pedophiliac encounter with a small gentile child outside the ghetto gates. Ironically, it is this little girl who finally brings the big brute’s rampage to an end when she peels the pentagram battery off the Golem’s chest.

Golem Girl

Talmudic studies

Rabbi Low and the Elders, who have been frantically searching for the Golem all the while, are immensely relieved to discover its immobile husk outside the gates. Demonstrating the double-edged sword of Zionist conspiracy, the Golem has very nearly brought its own people to ruin. Had it been allowed to wreak too much havoc outside the gates – had it, for instance, been caught butchering or molesting a child – the Prague Jews would have faced the riled gentiles and been driven out or destroyed.

And so, just as expeditiously as the Ground Zero crime scene was swept under the rug, with evidence destroyed and shipped as scrap metal to China by the 9/11 culprits, the Elders quickly whisk the Golem back into the ghetto, where the secrets of their satanic technological arts will remain occult.

ADL BOMB 4

Golem footprints, NYC

Politics aside, The Golem: How He Came into the World is a remarkable specimen of silent fantasy cinema, its warped, expressionistic sets warranting special mention. Even its relatively rudimentary special effects – with, for instance, lightning simulated by squiggly lines scratched directly onto the film – are inventive and charmingly picturesque. Both as a historical revelation and a work of art, The Golem is a film that deserves to be seen by Semite and anti-Semite alike.

[For further Golem-related reading and viewing, see “Assassin as a Metaphor for Broadcast Zionism“.]

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