Archives for posts with tag: cinema
Cure

“Help! Let me out of this shitty movie!”

I’ve developed such an iron stomach when it comes to digesting rotten movies that it really says something when it takes me multiple sittings to make it all the way through one, as happens to have been the case with A Cure for Wellness. This plodding Judaic dud concerns a corporate creep (Dane DeHaan) who travels to Switzerland to retrieve an insane executive who is reportedly recuperating in a mysterious clinic. Switzerland essentially being a piece of Germany, the place is naturally being run by crypto-Nazi perverts with all sorts of deep, dark European secrets. Boringly perverted director Gore Verbinski and his collaborators are so determined to give the setting and characters an air of coldness and clinical inhumanity that these qualities, unfortunately, end up attaching themselves to the film itself, making it about as appetizing as a gore popsicle. Even the effort to liven things up with would-be shocks like sadistic dentistry, eels in a toilet, masturbation, and incestuous rape only make the movie more of a yawn-inducer. Even the Blu-ray menu is irritating, with its horror movie cliché of a little girl’s monotonous singing. Throw in the fact that this is yet another mean-spirited production of Israeli intelligence asset Arnon Milchan (opening with a shot of skyscrapers, to boot) and A Cure for Wellness goes straight into the biohazard bin.

2 out of 5 stars. Ideological Content Analysis indicates that A Cure for Wellness is:

3. Assimilationist, showing the inspiring ability of blacks and Indians to ape European dress and mannerisms.

2. Judeo-capitalist, casting a financial criminal as the protagonist.

1. Anti-white and pro-miscegenation. Early in the movie, a white woman makes a reference to a “twelve-inch” black penis, suggesting congoid sexual superiority. The pathology of a racially homogeneous community is conveyed by icy-eyed Europeans whose sterile paleness is amplified by their all-white wardrobe. National Socialist notions of racial hygiene are parodied as a form of isolationist inbreeding. The protagonist learns that the clinic occupies the property of a nobleman who determined that the only woman pure enough to bear him a child was his sister. Sad to report, we have now actually plumbed the cultural depth at which audiences are sufficiently debased to tolerate the casual horror of a father (Jason Isaacs) sticking his hand up his daughter’s crotch and then sniffing his fingers for the camera. Hitler is never explicitly referenced, but the entire backstory of fiendish medical experiments and fields full of emaciated corpses are intended to evoke the specter of the persecution of the Jews. A Cure for Wellness functions as “Holocaust” revenge porn, with the viewer expected to exult in the sight of a sheltered European girl (Mia Goth) cleaving her father’s skull with a shovel and riding into the night on a bike with the evilly grinning New York crook who has rescued her from the Swiss ethno-dystopia.

Rainer Chlodwig von K.

Shallows

Blake Lively plays Nancy Adams, a medical student who, following her mother’s death from cancer, treks to the same beach in Mexico that her mother visited while pregnant with her. Hoping to enjoy a little sentimental surfing, Nancy instead finds herself the victim of a shark attack and ends up stranded off the coast on a rock as the hungry monster circles her. The Shallows is an okay survival movie and goes by pretty quickly, the dramatic limitations of its essentially one-person story notwithstanding.

3.5 out of 5 stars. Ideological Content Analysis indicates that The Shallows is:

7. Propertarian! A would-be thief is physically removed by the natural order.

6. Pro-gun, if a flare gun counts.

5. Christ-ambivalent. Both good and bad Mexicans are shown with crucifixes.

4. Green. Sony Pictures hopes for “a greener world,” according to an end credits statement. Thinking of the environment rather than herself, starving Nancy opts to help an injured seagull rather than eat it. A hook lodged in the shark’s mouth could be interpreted as an indication that a revenge is being exacted by nature against humanity for some previous wrong.

3. Feminist. Nancy survives on her own, with little to no help from men. The film’s director, in one of the Blu-ray extras, claims that the shark is female; but the creature’s connotative presence onscreen is that of a predatory male, a giant, angry phallus pursuing a woman against her wishes. Poisonous jellyfish, with their dangling tentacles, mimic a threatening swarm of sperm cells that Nancy must avoid. End credits appear over shots of reddened surf, the menstrual coloring celebratory of the avoidance of pregnancy. Instead of raising a family, she will pursue a career as a physician. Her mother, it may be worth noting here, has been punished with cancer and death for procreation. Alternately, The Shallows can be read as a torture porn film masquerading as a women’s empowerment trip. Nancy’s tattoo and bizarre earring mark her as a typically damaged and self-mutilating young woman of her generation – and her carefree display of her body is sure to incense the girlfriendless members of the audience.

2. Anti-racist. The viewer is teased into fearing for Nancy’s safety as she rides in the company of a Mexican stranger, Charlie, on her way to the beach. So friendly is this man that he even refuses to accept money for the ride. Likewise, two young Mexican surfers are employed as red herrings of a sort. They make no attempt to molest the beautiful, solitary gringa, and her brief apprehension that the pair might steal the bag she left on the beach turns out to be unfounded. The only negative portrayal of a local in the film is a drunkard who does, in fact, intend to make away with her belongings. Recent news out of Mexico suggests that The Shallows is probably overly kind in its depiction of this Third World country’s hospitality.

1. Anti-white. The “shallows” of the title are, of course, the waters around the beach; but this word could also refer to those naïve, bumbling Americans who, like Nancy, expect there to be Uber service in rural Mexico. White is associated with death. The antagonist in the film is a “great white”, and the stinging jellyfish glow white at Nancy’s approach. An exception is the wounded seagull, whose company Nancy comes to enjoy. Weak, dysfunctional whiteness, it seems, is the only acceptable kind.

Rainer Chlodwig von K.

57th Annual Writers Guild Awards - Show

Nice tie

Some of the guilty feel compelled to give the game away, as it were. Zionist Wag the Dog (1997) screenwriter and playwright David Mamet happens to be one of them. Yesterday I watched his early movie House of Games (1987), which is concerned with a group of Seattle conmen, and followed it up by listening to his audio commentary with actual hustler and sleight-of-hand manipulator Ricky Jay, who plays one of the flim-flam men in the film. Mamet, who has a pronounced affection for shysterism and cons, would return to the theme in The Spanish Prisoner (1997) and other screenplays. Just like Lindsay Crouse’s character Dr. Margaret Ford, who has a fatal “tell” and inadvertently gives herself away by making repeated Freudian slips, David Mamet also feels compelled to say too much. He and Jay, he says, “spent many, many years talking about the similarities between drama and the confidence game – that what you’ve got to do is distract the person in order to get them to do something they wouldn’t ordinarily do. For example, to distract them so they don’t say, ‘Wait a second. Elephants can’t really fly, this movie’s a bunch of nonsense.’” Jay concurs that “the power of film in general is one of the biggest cons.” Profanity merchant Mamet’s greatest revelation is still concealed up his tuxedo sleeve, however. Remarking on the character of the conman played by Mike Nussbaum, Mamet says, “One of the great rules of life – I made it up – is never trust a Jew in a bowtie.” Just remember, readers, that it was the racist, anti-Semitic, Holocaust-denying, conspiracy-theorizing bigot Mamet who said that – not me.

Spielberg

Oscar-worthy apparel

Rainer Chlodwig von K.

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

Transcript here.

Laurence Merrick 2

Life imitating art?

One of the many unusual figures whose life trajectory intersects with the Manson Family saga is Laurence Merrick, an Israeli Defense Forces veteran who, as critic Bryan Thomas relates at Night Flight, was sent to the U.S. in 1960 “to speak in support of Zionism, and while he was fundraising in New York City, he met his future wife, a dark-haired aspiring Broadway showgirl and wannabe actress named Joan Huntington.” From there the pair “came out to the west coast, and set up the Merrick Studio, located at 870 N. Vine St. in Hollywood, California, and for a time it was an inexpensive place for actors” – including Vietnam veterans – “to learn lessons about their craft.”

The Merricks were subsidized by the government, too, which enabled them to make a lot of money running the school. They bought a nice house in Beverly Hills and then decided to put their studio profits towards making their own movies, which they could then cast with students from the school, a win-win situation for everybody.

Laurence Merrick

Merrick, Thomas writes, is “probably best known for co-directing the legendary 1972 documentary Manson with Robert Hendrickson, which […] ended up garnering an Academy Award nomination for Best Feature-Length Documentary.” The Israeli “was also well-known in Hollywood […] for the fact that one of his students, Sharon Tate, would later be killed by members of Manson’s Family, during August of 1969, the same year he spent fourteen days directing [the biker film] Black Angels.” Note the interesting choice of words, too, when Thomas relates that Huntington viewed her husband’s movies as “training exercises”.

A 1977 UPI article states that “Merrick became interested in the Manson Family because actress Sharon Tate, who was murdered with four friends by the group, had been a student at his school” – implying that Merrick only took an interest in Manson after the killings had taken place; but Merrick and Hendrickson had begun conducting interviews with Family members “before and after the shocking murders that rocked the nation in 1969,” Thomas indicates (italics added). As his account of the making of Black Angels tantalizes, the totality of Merrick’s involvements with this movie, Tate, and the Manson Family strains the limits of what can be dismissed as mere “synchronicity”:

In fact – in yet another example of the parallels that existed between Southern California’s biker and hippie countercultures – members of Manson’s Family would occasionally drop by Paramount Ranch, located at 2813 Cornell Road, in Agoura, California, and visit the set while Merrick and his cast and crew were filming scenes. […]

Merrick’s script focuses on two biker gangs at each other’s throats, a white motorcycle gang called Satan’s Serpents — led by Chainer (once again played by Merrick’s favorite leading man, Des Roberts) — and a black motorcycle gang, called the Choppers (their leader was played by Bobby Johnston, whose biggest role previous to this one was as a prison guard in In Cold Blood).

The film’s title, Black Angels is actually the name attributed to the highway patrolmen who observe the two rival biker gangs from a distance, waiting for the race-motivated war for turf to explode.

Merrick recruited a real black biker gang to play the Choppers in order to provide authenticity.

The main plot concerns one “Black Angel” in particular – a lieutenant for the highway patrol named Harper (Clancy Syrko, who also edited the film) – who wants to see all of the biker gangs wiped off the face of the earth, and he plots to pit the two gangs against each other so they will end up in a race war leading to both of them being destroyed. […]

Black Angels

It’s interesting to note that this film’s concept of pitting white against black in a race war, in the year 1969, is very similar in some respects to Manson’s concept which he called “Helter Skelter”, an apocalyptic war arising from racial tensions between blacks and white, which he believed was foretold in Chapter 9 of the book of Revelations in the bible (as well as hidden messages he believed he heard in the Beatles’ “Revolution #9”).

Makes you wonder what kinds of conversations they were having at Paramount Ranch between members of the cast and crew and some of Manson’s followers.

There were also many interesting cameo appearances, including a real member of Charles Manson’s gang, Mark Ross (he plays “Singer”), who later claimed to write a theme song for the film that was never used […]

The film’s tagline “God forgives, the Black Angels don’t!,” incidentally, was borrowed from the hugely successful 1967 Italian spaghetti western, God Forgives… I Don’t.

Another tagline – and perhaps another reference to Manson? – was “A portrait of the family.”

Speaking of Manson and his family, again, it was during the film’s production that Merrick was invited to head over to Spahn Ranch, with a 16mm camera, in order to film the Manson family on their own turf.

Merrick also shot footage of them at Devil’s Canyon, their Barker Ranch hideout in Death Valley, and then later – during the Manson trial – at the Hall of Justice in downtown Los Angeles, in addition to other locations.

Los Angeles County Deputy District Attorney Vincent Bugliosi, who did as much as anyone to shape the public’s perception of the Manson Family mythos, participated in the production of Merrick and Hendrickson’s documentary and appears onscreen.

Guess What Happened to Count Dracula

Des Roberts as Count Adrian in Merrick’s Guess What Happened to Count Dracula?

Merrick’s previous movie, Guess What Happened to Count Dracula?, concerns the occult, mind control, and, at least subtextually, acknowledges Jewish power in Hollywood – and it only intensifies the Tate-LaBianca resonance of Merrick’s work, even featuring a minor character named Sharon. Thomas continues:

The movie featured several of Merrick’s students in key parts, and chiefly concerned what happened to Dracula’s son, Count Adrian (Des Roberts, who plays the vampire while sporting a wicked John Carradine-style goatee). Roberts and his musical partner, Andy Wilder, also provided the film’s musical score.

The film was shot at the Magic Castle in the Hollywood Hills, a mansion built in the 1920s which had been renovated for performances by magicians.

One of Merrick’s students owned the place, and had invited Merrick and his wife over for dinner, which left a lasting impression, and when the couple began thinking of locations where they could shoot their Dracula movie, they both remembered the Magic Castle, which was just about to undergo a renovation. […]

The movie also contains a subplot straight out of the then recent box office smash Rosemary’s Baby, when one character — an actor named Guy (just as John Cassavetes’s character was in Roman Polanski’s film), played by John Landon — is all too willing to sell his soul in return for being given a successful acting career.

It’s also interesting to note that Merrick’s film features a “surprise” ending that was clearly inspired by Polanski’s previous film, 1967’s The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck, when Polanski’s future wife Sharon Tate sprouts fangs in the film.

According to Horrorpedia, “more obscure X-rated edits of the film [Guess What Happened to Count Dracula?], with an emphasis on male gay sex, were released as Does Dracula Really Suck? and Dracula and the Boys.”

Adding to the mystique of Merrick’s Manson documentary is the fact that it features Lynette “Squeaky” Fromme caressing a rifle and explaining, “You have to make love with it; you have to know it […] so that you could pick it up any second and shoot.” This interview took place several years before Fromme was convicted of (supposedly) having attempted to assassinate President Gerald Ford in Sacramento. Merry Prankster and founding Yippie Paul Krassner claims that Manson sent him a letter instructing him to get into touch with Fromme around 1971:

I called, and we arranged to meet at her apartment in Los Angeles. On an impulse, I brought several tabs of acid with me on the plane. […]

The four of us [Krassner, Fromme, and her roommates Sandra Good and Brenda McCann] ingested those little white tablets containing 300 micrograms of LSD, then took a walk to the office of Laurence Merrick, who had been associated with schlock biker exploitation movies as the prerequisite to directing a sensationalist documentary, Manson.

Squeaky’s basic vulnerability emerged as she kept pacing around and telling Merrick that she was afraid of him. He didn’t know we were tripping, but he must have sensed the vibes. He may even have gotten a touch of contact high. I engaged him in conversation about movies. We discussed the fascistic implications of The French Connection.

Was Fromme “afraid” of the Merrick from the effects of the LSD – or did she have other reasons? This brief encounter, whatever its meaning, in combination with Fromme’s participation in Merrick and Hendrickson’s Manson constitutes another Israeli connection to an eccentric piece of American political assassination drama following the various Jewish and Zionist intrigues surrounding the murder of John F. Kennedy.

Bizarrely, Merrick himself was murdered in an outrageous episode further dissolving any distinction between reality and theater. Bryan Thomas relates the bizarre incident:

Dennis MignanoThen, in 1977, Merrick’s life would intersect fatally with a potential acting student named Dennis Mignano, who – much like Manson himself – had really wanted to have a music career, but when that didn’t pan out, the struggling rock singer decided to take acting lessons.

That decision had led him straight to Merrick Studio – which by now was teaching classes in acting, directing and cinematography – where he applied to be a student.

He believed that Merrick – due to his association with Manson, bikers, and magic – was the perfect person to help him launch a successful acting career (Mignano had reportedly been obsessed with magic as a child).

Mignano filled out an application to be a student, and then was told he was eligible for government assistance to pay for his tuition, but he had to wait for three weeks for the application to be processed.

Mignano grew irritated and felt like the delay was yet another setback and a disappointment, but he waited, and while he did so he watched episodes of a 1976 TV mini-series called Helter Skelter, which just happened to be re-airing on TV.

The TV series may have played a small part in reminding him that his life was now intertwined with Merrick’s and he then became obsessed with the idea that Merrick had actually placed a curse on him.

On January 26th, 1977, he went to the school and waited in ambush for Merrick to appear in the parking lot for a few hours and then pulled out a pistol and shot 50-year old Laurence Merrick in the back.

Mignano then fled the scene, and much like the opening scene of Richard Rush’s 1980 action film The Stunt Man – which, and get this, starred actor Steve Railsback, who had played Charles Manson in the Helter Skelter mini-series – he, by pure chance, happened upon a movie being shot mere blocks away, on Willoughby Ave., and the killer blended in with the crew (just as Railsback’s character did), pretending to be part of the film production team.

Merrick, meanwhile, staggered into his office at the studio, telling his students “Some son of a bitch shot me and I don’t even know why!” Some of the students thought they were witnessing an impromptu acting exercise, but quickly realized that their teacher was dying in front of them.

Merrick was rushed to Hollywood Presbyterian Hospital, but he was pronounced dead within an hour. Students at the Merrick Studio Academy of Dramatic Arts said that Mignano had been hanging around the building all morning, asking them questions about Merrick and his Manson documentary.

Mignano confessed to the crime in 1981 and was confined to a mental institution. Six months after his murder of Merrick, Mignano’s sister Michele, a topless dancer, was also murdered – a case that remains unsolved. Questions about Merrick remain, as well. Why was his actors’ studio receiving government funding? Did his work on behalf of Israel end after he left New York for Los Angeles – or did it continue in some capacity as he interacted with the Manson Family and completed his films?

Rainer Chlodwig von K.

Nomads

John McTiernan, director of Hollywood blockbusters Predator (1987), Die Hard (1988), and The Hunt for Red October (1990), began his movie career rather more humbly with the flawed and eccentric but nonetheless entertaining debut Nomads (1986). Notable as McTiernan’s only credit as a screenwriter, Nomads was eviscerated by the critics when first released, and still has only a 13% green splat at Rotten Tomatoes. “Was there any sense in it?” asks leading lady Lesley-Anne Down in an interview included on the Nomads Blu-ray. “I don’t think there was very much sense in it at all for anybody.” Is Down correct in dismissing the film as a shallowly offbeat curio – and were the critics who panned the movie motivated only by an objective assessment of its merits?

Nomads stars Pierce Brosnan as a French anthropologist, Jean Charles Pommier, who in the opening sequence dies in the care of Down’s character, Dr. Eileen Flax, in a Los

Down

Lesley-Anne Down freaks out in John McTiernan’s Nomads.

Angeles hospital. He appears in a beaten, bloodied, and seemingly insane state, and his enigmatic last words initiate what will be a strange paranormal ordeal for Flax, who over the course of the film will both investigate and experience what befell Pommier, with most of the story told in flashback. The anthropologist and his wife (Anna Maria Monticelli) had only recently moved to the U.S. and purchased a house that, as it turns out, has a horrible history attached to it. Soon after moving in, the Pommiers discover Mansonesque graffiti on the garage door and more graffiti inside: “Gutman’s a Hero”. The home, they learn, was the site of a horrific child murder, and a band of elusive antisocial misfits who live out of a van have adopted the house as a holy site.

Pommier, being an anthropologist, follows the titular “nomads” around Los Angeles with the intention of documenting and studying them in order to gain a better idea of the threat he faces and to understand “what kind of people could think of a murder as some sort of shrine.” He determines that none of them have employment and watches them from a distance as they laze at the beach, party, and generally terrorize people. The nomads become aware of Pommier’s surveillance after he witnesses them murder a man and put the body in a dumpster. After first being pursued by them and escaping, Pommier again works his way into proximity with the group – at which point they seem to accept his presence and stage an impromptu photo shoot, with one of them, Mary, played by Mary Woronov, doing an exotic dance. When Pommier develops the film, however, he finds that none of the nomads appear in the exposures, which invites a comparison with vampires – although the nomads, who have no problem frolicking in the daylight, are clearly not vampires at least as conventionally depicted.

These quasi-vampires – vampire lore comprising a traditional understanding of the eternal Jew – are nomads, or what Pommier, drawing on Eskimo legends, describes as an urban variety of Innuat. As related in the film, “It has to do with wandering the desert. […] It’s all the same. Nomads live in deserts, whether it’s a desert of ice or sand or whatever doesn’t make a difference. […] They were supposedly hostile spirits. According to the myth, they were capable of assuming a human form” and traveled from place to place, bringing ruin and madness with them wherever they went. As Pommier tells his wife:

None of this may mean anything. None of it at all. […] But I may have found people who are living outside – outside any structure. They do not participate. No exchange, no constraints. They resort to violence with no provocation and then get away with it. It is as if to the official world they did not exist.

All of this rootlessness, in combination with the confluence of ritual, child murder, the reverence for a killer with the Jewish name Gutman, as well as the general depravity and destructiveness, contributes to an accumulation of clues that the nomads may be the Jews. Curiously, composer Bill Conti mentions during his Blu-ray interview that the soundtrack includes what he describes as a “Middle Eastern sound” – though to this reviewer’s untrained ear such a flavoring is difficult to detect in the synth-and-guitars music cues.

Adam Ant Nomads

Adam Ant portrays the leader of the titular band of roving marauders.

“You must not try to fight them,” a sinister nun (Blue Velvet’s Frances Bay) tells Pommier. This encounter takes place in a dilapidated cathedral where, in a sequence of nightmarish phantasmagoria, a flock of satanic women in habits is seen running through the halls in masks, one of them flashing her bare breasts at Pommier – all of which points to a faith corrupted. Dancing Mary, the nomad portrayed by Mary Woronov, wears a cross that glints in the sun, and later, when she is seen at night, she wears an even larger crucifix so that the viewer can hardly help but notice it as she cavorts like a stripper. Are these Christian elements ironic and indicative of cultural subversion, or have these been added as fig leaves to hide the almost naked Jewishness of the menace? Woronov’s features, it must be noted, are rather evil and arguably Semitic-looking.

In a key moment toward the end of the film, Pommier says to his wife with an air of wistfulness as they survey the Los Angeles skyline from a rooftop, “We are so very far from home, you know. All of us.” He laments his “bourgeois” life in a “civilized” world – in short, bemoans his condition of rootless cosmopolitanism. Both he and his kindred spirit the doctor, another childless middle-aged professional in the process of moving into a new and foreign home, have agricultural surnames, Pommier (“apple tree”) and Flax, that betray their simple origins and relatedness to the earth – Flax also connoting blonde and distinctively northern European looks – that set them apart from the dark, mysterious wanderers who move in their midst. Pommier’s polyglot cosmopolitanism, peripatetic ways, and sophistication nevertheless present a thematic parallel with the lifestyle of the nomads, so that it comes as no surprise when Pommier finally succumbs to them. The horror of Nomads is loss of a sense of belonging to a place and one’s own native culture – the horror of an alienated world in which, for instance, Dr. Flax’s colleague Cassie Miller (Jeannie Elias) complains about the “meshuggenah lunatics” who people the city. Whatever the meaning of the film, it may be worth observing that it is set in the entertainment capital of the world and that the final nomad antagonist Dr. Flax encounters is unable to pursue her beyond the California state line.

Rainer Chlodwig von K.

Bre Faucheux

Identitarian | Alt Right | Alt Media | TradLife | 27Crows Radio

DESERET NATIONALIST ASSOCIATION

NATIONALISM | POPULISM | IDENTITY | HERITAGE

Historical Tribune

The Factual Review

The Roper Report

Billy's Balkanization Blog

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

Norður

“We must secure the existence of our people and a future for White children.” — David Lane

ProphetPX on WordPress

Jesus-believing U.S. Libertarian Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!

Floating-voter

A topnotch WordPress.com site

Two Hundred Years Together

A History of the Russians and the Jews

maddoggbuttkickingbrown's real truth!

Getting at the truth, whole truth, and nothing but the truth!

MountainGuerrilla

Nous Defions!

Tyrone Trump

Fourth Reich Molestation. Phallic Entitlement. Simian Supremacy.

Ronald Thomas West

Intelligence agency snafus, corruption exposés, satire & general irreverence