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public

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

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

5. Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

4. Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

3. Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

2. Communist. “To each, according to his needs” is very much the moral of the film.

1.Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knockout game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

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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Dragged Across Concrete

S. Craig Zahler (Bone Tomahawk) is back with a solid and satisfyingly rough follow-up to the jaw-dropping Brawl in Cell Block 99, reuniting with Vince Vaughn and teaming him up with Mel Gibson in a literally gut-ripping, downbeat buddy cop brutalizer. Seasoned detective Brett Ridgeman (Gibson) and partner Anthony Lurasetti (Vaughn) are caught on video using excessive force in the apprehension of a Hispanic drug dealer, creating a scandal for their police department, and get suspended without pay by their superior (Don Johnson). Both men need money – Lurasetti because he plans to propose marriage to his girlfriend, and Ridgeman because his daughter is no longer safe in their ghettoized neighborhood and the family needs to get out. At the extent of his tether, Ridgeman hatches a half-baked plan to rip off a heroin dealer that winds up with him and his partner pitted against a gang of formidable paramilitary bank heisters. A career highlight for Gibson equal to his over-the-hill hero roles in Edge of Darkness and Blood Father, and yet another impressive entry in Vaughn’s growing résumé of scary tough guy characters after True Detective and Brawl in Cell Block 99.

4.5 out of 5 stars. Ideological Content Analysis indicates that Dragged Across Concrete is:

8. Anti-drug. Tory Kittles plays ex-con Henry Johns, whose stint in prison illustrates a very possible outcome for a dealer. His mother, a heroin addict, has turned to prostitution. It is also mentioned that the dealer Ridgeman mistreats has been selling drugs to children, undermining any potential audience sympathy for the criminal.

7. Ableist! Lurasetti compares a hearing-impaired woman’s speech to a dolphin’s.

6. Anti-Semitic! Writer-director Zahler, as Soiled Sinema’s Ty E. puts it, is an artist who seems to have “transcended his Jewishness”, which may account for the brief and harmless but stereotype-oozing portrayal of the friendly jeweler Feinbaum, who says his wife has two brothers who are therapists and three sisters who are lawyers.

feinbaum

5. Homophobic! Henry dismisses his “cocksuckin’ father” as “a yesterday who ain’t worth words.” Disapprovingly, Ridgeman fails to see “much of a difference these days” between men and women, and also mocks Lurasetti’s “gay hair shit” disguise.

4. Media-critical. Chief Lieutenant Calvert (Johnson) derides the anti-police bias of “the entertainment industry formally known as ‘the news’”, which “needs villains” and fabricates them if necessary.

3. Natalist, i.e., sexist! Unexpectedly, the movie features a tender (albeit offbeat) portrait of a new mother, Kelly Summer (Jennifer Carpenter), desperately trying to avoid going back to work after using up her maternity leave. The necessity of keeping a job seems cruel and absurd now that she has a baby. Her proper place, she realizes, is at home with her child, and her boss, Mr. Edmington (Fred Melamed) describes her as a “radiant vision of maternity”. The section of Dragged Across Concrete that follows Kelly is even more affecting on a second viewing.

2. Class-conscious. “My job [in a bank] is so stupid,” Kelly laments. “I go there and I sell chunks of my life for a paycheck so that rich people I’ve never even met can put money in places I’ve never even seen.” Henry’s little brother Ethan, meanwhile, sees big game hunting as “rich white people shit”. There is also the suggestion that those with wealth have the means to elude the law, as Ridgeman at some point in the past allowed the son of businessman Friedrich (Udo Kier) to escape punishment for an unnamed crime in exchange for a future favor from the well-connected father. Ridgeman no longer believes in a meritocratic American dream. “I don’t politick and I don’t change with the times and turns that that shit’s more important than good, honest work,” he tells his partner, determining: “We have the skills and the right to acquire proper compensation” for thankless years of public service.

1.Race-realist – with exceptions. “They’re so cute before they get big,” says Ridgeman’s daughter Sara (Jordyn Ashley Olson) – ostensibly with reference to lion cubs, but subtextually referring to the black boys who harass her when she walks home from school. “This fucking neighborhood, it just keeps getting worse and worse,” frets Mrs. Ridgeman (Laurie Holden). “You know I never thought I was a racist before living in this area. I’m about as liberal as any ex-cop could ever be, but now,” she demands, “we really need to move” or else, “someday, you and me,” she tells her husband, “we are in a hospital room with our daughter talking to a rape counselor.”

Ridgeman and his partner are both depicted as casual racists. “I’m not racist,” Lurasetti jokes: “Every Martin Luther King Day I order a cup of dark roast.” In a twenty-first century world in which “digital eyes are everywhere”, however, old-school law-and-order enforcers like Ridgeman and Lurasetti are living on borrowed time. “Like cell phones, and just as annoying, politics are everywhere,” Calvert observes. “Being branded a racist in today’s public forum is like being accused of communism in the fifties. Whether it’s a possibly offensive remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children […] It’s bullshit – but it’s reality.”

Softening Dragged Across Concrete’s racial edge is the presence of Henry, the conspicuous specimen of Africanus cinematicus played by Tory Kittles. This ghetto thug with the soul of a poet is given to saying things like, “Before I consider that kind of vocation, I need to get myself acclimated” and is at all times depicted as being more astute than those around him. His little brother Ethan, too, is portrayed as an underprivileged but bright lad of great potential. The case can be made that Dragged Across Concrete makes examples of its most prominent bigots by punishing them while rewarding Henry in the end. Ridgeman, who has refused to change with the times, is taught the important lesson that he “should have trusted a nigger.”

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!

Sollers Point

American Honey’s McCaul Lombardi stars as Keith, a directionless Baltimore wigger and drug dealer just released from prison and attempting to find his place in the world. At stake in the formless, meandering story is whether the poorly behaved and inarticulate protagonist will settle into the family pattern of working-class tedium and community coexistence or fall back in with the white nationalist gang with which he became affiliated while incarcerated. Keith bowls from one unnecessarily unpleasant situation into another, getting into fights, making a little money, and chasing after various specimens of ghetto tail. Lombardi is an intense performer, and Jim Belushi is likable as his boring but well-meaning dad. What at first appears to be a downbeat and largely pointless character study, however, is revealed to be an accidental comedy once the filmmaker’s ridiculous intentions are taken into consideration.

4 out of 5 stars – in part for the unintentional humor furnished by the director in the DVD extra features. Ideological Content Analysis indicates that Sollers Point is:

3. Anti-drug. Diminishing marijuana’s glamor, a thug mentions that his stash had recently been stuffed up his ass. The film also offers a putrid portrait of an aging, heroin-addicted whore hawking her unappetizing wiles on a roadside.

2. Pro-family. Keith’s father does what he can to protect and provide for his wayward son, and other family members are also helpful and affectionate. Keith seems to be troubled by his absence from his niece’s life.

1.Multiculturalist, pro-miscegenation, and anti-white. Baltimore appears in the film as a more or less functional chocolate city marred only by the presence of reckless and immature young white men and trashy white women. Keith’s father, at least, seems to be a good man as evidenced by the fact that he hangs out and plays cards with blacks – so not all white people in the movie are criminals or addicted to dope. “I was really interested in reflecting the diversity of this neighborhood in southeast Baltimore,” soyboy writer-director Matt Porterfield explains in an interview included on the Sollers Point DVD, “but I wanted to sort of focus on the ways in which they shared space rather than the divisions, you know?” The way in which Keith shares space with his black neighbors, however, seems to entail an inferior and deferential role. When Keith’s wigger nationalist acquaintances roll up with hostile intentions, Keith’s black thug neighbors come to his aid by throwing liquor bottles at the white gang’s van; but then they expect him to pick up the broken glass littering the street – which he obediently does. Keith, Porterfield says, has to “figure out who his people are”, and as Porterfield concludes, “his people in the film are white and black” – which may go a long way toward explaining why the character is so lost. Interestingly, the writer-director describes his movie as “a portrayal of a white male in society trying to find his place,” adding that Keith is “not being given any traditional rites of passage.” I burst out laughing, however, when he added that the protagonist is “representative of, you know, a large portion of the population that put our current president in office. […] It’s tapping into a cultural energy that we all kind of want to understand, that put Trump in office.” Which, of course, is 2016 in a nutshell. The Dems should never have underestimated Trump’s appeal to the wigger jungle fever ex-con MAGA drug dealer demographic!

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!

fta

“The show the Pentagon couldn’t stop!” Sure …

I have previously discussed the dubious “anti-war” credentials of countercultural figures Donald Sutherland and Jane Fonda, who played the part of rebellious hippies within the Hollywood elite. No film better encapsulates their fraud or the fabricated nature of the corporate counterculture than Francine Schoenholtz’s ridiculous 1972 documentary FTA, which stands for “Fuck the Army”. The film follows Fonda, Sutherland, and other performers as they tour Japan and the Philippines, performing unfunny comedy routines and hokey protest songs for American servicemen. Schoenholtz’s previous work included a 1966 series of one-hour plays for PBS called Jews and History – and FTA itself and the culture creation it represents comprise a singular Jewish contribution to American military and pop-cultural history.

The film is as much a promotion of subversion as it is a polemic against the war in Vietnam. The poster, boasting its image of a stoned Donald Sutherland, is an undisguised attempt to associate anti-war activism with drug culture, and much of FTA is devoted to glorifying communism, feminism, vulgarity, bad grooming, and loutish black militancy, with the U.S. characterized as a racist society perpetrating genocide against both the Vietnamese and American blacks. FTA’s pose of revolutionism notwithstanding, is the audience really expected to believe that this troupe of anti-American undesirables would have been allowed anywhere near U.S. military bases overseas unless the production had at least the tacit approval of powerful persons within the American government? Would U.S. Army and Navy personnel be permitted to participate in the production of a film if it authentically sought, as FTA pretends, to goad soldiers into turning their guns against their leaders? It was during the week of the film’s premiere in July of 1972 that Fonda, just to present the anti-war movement in the worst possible light, notoriously visited Hanoi and posed for a photo with a North Vietnamese anti-aircraft gun.

Producing and completing post-production on FTA was Igo Kantor, who tells the story of his involvement in the project in an interview he granted for the DVD release of the stupid woman vigilante movie Alley Cat (1984). He remembers that “Technicolor came to me and they said they would like to do a show on Jane Fonda going with a group of people, the FTA group, musical group, all over the Pacific Rim, all of Vietnam, all those countries, and do a show about the counter [to] the Bob Hope Christmas shows,” which were being produced by NBC, then owned by the defense contractor RCA. “The Bob Hope Christmas shows were dignifying the war movement because he was performing for the troops all over, every Christmas he’d go to one of these towns where the war took place and he would have shows – and I was the editor on the Bob Hope Christmas shows for six years. […] But then Technicolor said Jane Fonda would like to do a show to counteract that. Instead of heroining the war, let’s be pro-peace,” Kantor recounts, smiling sardonically.

That RCA would produce television programming “dignifying the war movement” is hardly surprising; but that Technicolor, a subsidiary of the defense contractor Thomson-CSF, would approach Kantor to produce a radical “pro-peace” hippie extravaganza, even hiring the same editor, is more interesting. “So she [i.e., Jane Fonda] went [to Vietnam] and the amazing thing is, here I was working in this building on Highland Avenue [in Los Angeles] and Jane Fonda, I gave her an office upstairs, and she and Don Sutherland were together at that time […] and Bob Hope had an office downstairs, and Bob Hope knew about this and he says, ‘Igo, what’s going on here, what, you’re working on my show, which is pro-war, and you’re working another show that’s anti-war?’ I said, ‘Don’t worry, I will not mix the footages. They’ll not be the same show, don’t worry about it.’ And sometimes,” Kantor remembers, bemused, “they used to go up and down the stairs and throw darts at each other. Bob Hope and Jane Fonda were, my God, crazy.” So, by Kantor’s own admission, the entertainment industry’s representative pro-war and anti-war exemplars were literally working out of the same building and frolicking on the stairs and enjoying hijinks – but that was surely just a coincidence – right?

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!

Hunting Emma

This is an okay Afrikaans-language thriller about a schoolteacher, Emma (Leandie du Randt), whose car breaks down in South Africa’s arid Karoo region on her way to her father’s home for a holiday visit. Compounding misfortunes, Emma is witness to a drug-related execution and must flee for her life through the desert whilst pursued by a gang of criminals. Unfortunately for the bad guys – led by the icy Bosman (Neels van Jaarsveld), who comes across like a cross between Gian Maria Volonté and Bono – it turns out that the resourceful Emma was trained in military survival skills by her ex-Recce father. Will the direness of her situation be enough to goad Emma to finally dispense with her philosophy of nonviolence? Furthermore, will she ever learn to shoot straight? Finding out makes for a fun hundred minutes.

3.5 out of 5 stars. Ideological Content Analysis indicates that Hunting Emma is:

4.Family-ambivalent. Emma’s father (Tertius Meintjes) is depicted as a devoted parent whose lessons stand his daughter in good stead in the face of a challenge. Emma, however, displays a distaste for domesticity, and teaching seems to fulfill whatever impulse she has toward motherhood.

3.Class-conscious. One of the crooks is a rich, recreational criminal.

2.Feminist. “My favorite kind of kitchen work – ironing,” martial arts expert Emma declares after tediously dispatching a sexist gang member with an iron. This fight, significantly, takes place in an abandoned home.

1.Anti-white. Leave it to South Africa’s Department of Trade and Industry, the agency responsible for Black Economic Empowerment, to facilitate the production of a film in which the threat to a woman traveling alone through the “Rainbow Nation” is a pack of white rapists and drug dealers. Emma’s mocha-colored students, meanwhile, give a glimpse of the country’s non-white future.

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!

The following material is excerpted from my recently published book, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

front cover

Sirhan Sirhan, the man who has been characterized as both the first “Palestinian terrorist” as well as the quintessential “Manchurian Candidate”, was described after his alleged assassination of Robert F. Kennedy in 1968 as having been “motivated by Kennedy’s support for Israel.” Sirhan is supposed to have written in a notebook, “Kennedy must die by June 5th” (i.e., the anniversary of the outbreak of the Six-Day War in 1967)1. Sirhan retracted his initial admission of guilt in the crime, claiming to have been “hypno-programmed” by the assassination’s plotters. Indeed, more than one researcher has suggested that Los Angeles sex therapist and hypnosis expert William J. Bryan did the programming. “Bryan, a self-proclaimed eccentric character, once boasted to two of his favorite prostitutes that he, in fact, had hypnotized Sirhan and had worked on ‘top secret’ CIA projects,” writes Forgotten Terrorist author Mel Ayton. “Bryan’s most famous hypnotic subject was the notorious Boston Strangler, Albert DeSalvo, whose name appeared in Sirhan’s notebooks.”2

Bryan served as a technical advisor on John Frankenheimer’s film The Manchurian Candidate (1962)3, which is about a brainwashed assassin. Frankenheimer had been a successful television director in 1960 when he declined an offer to work for the John F. Kennedy presidential campaign. (According to Frankenheimer, United Artists executive Arthur Krim had aspirations to become the U.S. Ambassador to Israel, and was reluctant to green-light The Manchurian Candidate for fear it would upset Kennedy; Krim is supposed to have relented, however, after learning that JFK was a fan of Condon’s novel4.) Frankenheimer, who said he “felt guilty” after the Kennedy assassination for not having done the work for his campaign, proceeded to insinuate himself with the Robert F. Kennedy camp: “when his [i.e., JFK’s] brother declared his candidacy in ’68, I immediately called Pierre Salinger and said, ‘Pierre, I want to be part of this.’” “I never left him,” Frankenheimer recalled. “I was there with him for 102 days.”5

frankenheimer

John Frankenheimer

“Bobby became best friends with me,” the director claimed. “He was staying with me in Malibu, and I drove him to the Ambassador Hotel where he was shot.”6 Frankenheimer further related a strange circumstance of this “defining moment” of his life to interviewer Alex Simon. “You were supposed to be up on the dais with him at the Ambassador, weren’t you?” Simon asked. “Yes, then at the last moment, it was decided that having a film director up on stage with him wasn’t the image they wanted, so we had [Kennedy’s labor advisor,] a friend named Paul Schrade, who was about my size and complexion, take my place,” Frankenheimer recounted. “And he was one of the three people shot in the kitchen.”7 Schrade, who survived, has maintained ever since that day that Sirhan only served to create a distraction and that the shots that killed RFK were fired from behind the candidate’s back8.

Ed Sanders, in his biography of Sharon Tate, relates that Sirhan Sirhan, the alleged assassin of Robert F. Kennedy, was reported by the Immigration and Naturalization Service to have been “attending parties on behalf of the Satanist English cult [the Process Church], including one at Sharon Tate’s place.” Sanders points to a possible motivation for the Tate murder that had absolutely nothing to do with some Mansonian (or Bugliosian) notion of an apocalyptic “Helter Skelter” war:

INS criminal investigator Richard Smith’s report stated that an LA law enforcement agency had a female informant who averred that the English Satanist group had commissioned Manson to kill Sharon Tate. […] The reason for the contract […] was “something that she unfortunately overheard that she was not supposed to overhear either in regards to Sirhan Sirhan or about Sirhan Sirhan.”9

Sirhan Sirhan

Sirhan Sirhan

Tate’s acting coach at the time was an Israeli, Zev Lahav, who went by the name “Laurence Merrick” and had been sent to the U.S. to promote Zionist interests10. Lahav, with partner Robert Hendrickson, produced a documentary, Manson (1973), about the Family, which included interviews conducted both before and after the Tate-LaBianca murders. Members of the Manson Family had come to visit the set of Lahav’s previous film, Black Angels, in 1969 – an eerie circumstance considering the race war plotline’s resemblance to the “Helter Skelter” scenario later attributed to Manson by Los Angeles County Deputy District Attorney Vincent Bugliosi, who participated in the making of Lahav’s Manson documentary. Another of Lahav’s films of 1969, interesting in view of his Tate-Manson connections, is Guess What Happened to Count Dracula?, which is concerned with occult ritualism and mind control (and even features a minor character named Sharon) and was filmed at the Magic Castle, which, as Scott Michaels points out in the documentary Six Degrees of Helter Skelter (2009), sits a few dozen yards from the Franklin Garden Apartments where Charles Manson shot Bernard Crowe over a bad drug deal – also very near the Franklin Avenue apartments from which Manson ran a prostitution ring called 3-Star Enterprises.

Frankenheimer, over the course of his career, would direct a number of movies with explicitly Jewish and anti-Nazi themes: The Train (1964), The Fixer (1968), Black Sunday (1977), The Holcroft Covenant (1985), and Dead Bang (1989). Black Sunday, in particular, depicts the Israelis as allies against Islamic terrorism. Indeed, the assassination of RFK, as Ayton puts it, “might be the first act of the tragedy that culminated in 9/11”11.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck – the DEFINITIVE Alt-Right statement on Hollywood.

Endnotes

  1. Troy, Gil. “Understanding RFK’s Assassination as Palestinian Terror”. The Jerusalem Post (June 5, 2013): http://www.jpost.com/printarticle.aspx?id=364591
  2. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, pp. 6-7.
  3. Vaughn, Robert. A Fortunate Life. New York, NY: Thomas Dunne Books, 2008, pp. 260-261.
  4. “Dialogue on Film: John Frankenheimer”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 96.
  5. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, pp. 149-151.
  6. Hart, Hugh. “Frankenheimer Knew Period’s Main Players”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 213.
  7. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 151.
  8. Post, Paul. “Schrade Still Seeks Justice for RFK: Senator Was Assassinated 47 Years Ago, June 5, 1968”. Saratogian (June 5, 2015): http://www.saratogian.com/article/ST/20150605/NEWS/150609842
  9. Sanders, Ed. Sharon Tate: A Life. Boston, MA: Da Capo Press, 2015, p. 266.
  10. K., Rainer Chlodwig von. “Israel, Manson, and Vampirism: The Freaky Life of Laurence Merrick”. Ideological Content Analysis (May 4, 2017): https://icareviews.wordpress.com/2017/05/04/israel-manson-and-vampirism-the-freaky-life-of-laurence-merrick/
  11. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, p. 11.

Shot Caller

The grim crime drama Shot Caller completes a trilogy from director Ric Roman Waugh that began with 2008’s Felon and continued with 2013’s Snitch. The story follows in nonlinear fashion the metamorphosis of an investor (Nikolaj Coster-Waldau) who, after a drunk driving accident, is sentenced to prison, where assumes a new identity as “Money”, a hardened and brutal criminal. Money’s conflicting loyalties to his country, himself, his family, and his Aryan prison gang are tested when after release he is tasked with illegally selling a cache of AK-47s from Afghanistan. Location shooting and intensely invested performances in all of the roles – with particularly high marks going to Coster-Waldau and Lake Bell, who plays his wife – imbue Shot Caller with an uncomfortable authenticity and hoist it over the top as a must-see prison movie. Welcome echoes of Breaking Bad are audible, too, in the elements of drugs, white nationalist thugs, Albuquerque locations, and the central character’s transformation from straight-laced dork to crime lord.

4 out of 5 stars. Ideological Content Analysis indicates that Shot Caller is:

[WARNING: POTENTIAL SPOILERS]

4. Anti-drug. Drinking and driving destroys Money’s life and kills one of his friends. The balloon-up-the-ass mule transport method of selling dope in prison also works wonders at deglamorizing the subject.

3. Anti-war. Casualties are referenced, and there is also the sense that military service facilitates a veteran’s transition into gang life, with the war being brought home in more ways than one. Shot Caller is careful, too, never to glorify its violence, always depicting it as abrupt and unpleasant.

2. Anti-racist. With suspected Israeli agent Haim Saban producing, it should come as little surprise that Shot Caller, whatever its authenticity, joins the ranks of films like Green Room (2015) and Imperium (2016) in seeking to keep an outmoded and negative incarnation of white nationalism foremost in audiences’ minds. While Money’s respectful relations with black investigator Kutcher (Omari Hardwick) demonstrate the possibility of interracial cooperation, the racial orientation of prison gangs is revealed to be based on self-interest rather than on genuine love of one’s own people, with whites and blacks alike victimize their own in the course of the film. There is a probably unintentional humor and irony in the fact that the white gang member, Shotgun, who turns out to be a police informant is played by Jewish actor Jon Bernthal.

1.Race-realist. Notwithstanding the foregoing, Shot Caller is perfectly honest about the racially self-segregating nature of prison populations as microcosms of human behavior in all multiethnic societies. “It doesn’t matter what yard you go on; it will be segregated by race, period,” the movie’s director concedes in his audio commentary. “That’s a fact.” Shot Caller’s world is one in which a man decides to join the ranks of either the warriors or the victims – and only the latter stand alone.

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!

Brad's Status

(((Ben Stiller))) plays Brad Sloan, a disenchanted white [sic] liberal who feels “real pain” at the thought that he, as an idealist running a charity-oriented NGO, seems to have accomplished so little in life as compared with his college buddies who have gone on to become wealthy entrepreneurs. “The world hated me, and the feeling was mutual,” the protagonist helplessly kvetches. This and his talented musician son’s process of selecting a university plunges Sloan into a midlife crisis that brings him into confrontation with his own progressive ideals. (((Austin Abrams))) appears as the son, Troy, who just wants to get through the ordeal without being endlessly humiliated by his father’s displays of insecurity. Brad’s Status is nothing special, but may be fun for Stiller fans.

3.5 out of 5 stars. Ideological Content Analysis indicates that Brad’s Status is HIV+ and that the film is:

8. Anti-gun. Brad’s wife expresses her anxiety about mass shootings.

7. Drug-ambivalent. A little blond boy is shown snorting cocaine. (cf. Office Christmas Party) He is described as a “spoiled little monster”, but the moment is supposed to be humorous.

6. Pro-gay. Brad is upset at not having been invited to an old college friend’s gay wedding.

5. SJW-ambivalent. The apprehension that children today may become “entitled and pretentious” is accompanied by a vignette of a little girl chastising her father for being “so cisgender”. (cf. no. 1)

4. Pro-miscegenation. Brad’s vision of his son’s future successes includes a black love interest. His wealthy friend Billy (Jemaine Clement) is shown cavorting on a beach with two Polynesian women. A later fantasy sequence echoes this moment when Troy is seen frolicking with a pair of Asian girls (one East and one South).

3. Class-conscious. “You don’t get rich like that by being an eagle scout.”

2. Pro-family. “Isn’t it crazy,” Brad muses to his wife (Jenna Fischer), “how we made this kid and he’s this brilliant, amazing person?”

1.Anti-white. The movie’s representative hedge fund manager is not too surprisingly not a Jew, but a legally embattled white man (Luke Wilson) with the quintessentially WASPy surname Hatfield. “You’re a white kid from the suburbs without a sob story and you’re not even a legacy,” Brad admonishes his son about his chances of getting into Harvard. “We’re the underdogs here.” White viewers may be inclined to sympathize with what Brad is saying, but one suspects that the screenwriter’s intent is to make the character seem unreasonably self-pitying. Indian coed Ananya (Shazi Raja) later scoffs at his “white privilege” and “male privilege” problems. To her, his petty concerns evoke “the history of colonialism […] and the oppression of women and the fucking-up of the environment.” In a seeming endorsement of this character’s perspective, the movie concludes with Brad being moved by her performance of a violin solo from Dvorak’s “Humoresque”. The entitled white guy, by being obliged to shut up and listen to minority brilliance, is moved to a tearful emotion.

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!

Thorn2

Scott Makufka, a.k.a. Victor Thorn (1962-2016)

Scott Makufka, an independent journalist who wrote articles under the pen name Victor Thorn, was one of the more interesting contributors to Willis Carto’s newspaper American Free Press. In addition to his journalism, Makufka was a prolific author of books on subjects ranging from racial tension in America to assassination conspiracies, 9/11, psychedelic experience, and alternative spiritualities. Very much a proponent of quantity over quality, he used to sell his dozens of self-published books from his now-defunct WingTV website.

I used to order intriguing-sounding titles from him occasionally – which would usually arrive with a scrawled note (“Thanks. Means a lot to me. V.”), sometimes along with an unexpected item or two if the box or envelope would accommodate it – but WingTV, unfortunately, could be a little vague about the contents of the books in its listings. Sometimes there was no description at all, with only the title and an image of the cover from which to judge. This was the case with his little 2014 book Shamanic Odyssey: Ecstasy, Madness, Cave Art and Subliminal Messaging. Going by the title alone, one would assume that this was a non-fiction study; instead, it is a work of didactic and allegorical fiction, and – sad as it is to report – just as bad as his previous philosophical novel, 2012’s Santa Claus, God, and the Wizard of Oz.

I wish I could reveal that Shamanic Odyssey is some overlooked gem in the Victor Thorn oeuvre, but the truth is that this is among the most abysmal books I have ever read. Anyone who has suffered through a college fiction writing workshop will have some idea of what to expect from Makufka’s literary experimentation. His American Free Press articles always evinced a certain meat-and-potatoes competency, but the opportunity to spin a world of total fancy really seems to have brought out the poor word choice and pretensions to cosmic greatness.

The plot, to the extent that the book has one, finds William S. Burroughs (identified in the text only as “El Hombre Invisible”) conducting the psychedelic initiation of a group of prehistoric “stone-people” – drugs magically granting the primitives the power to think and speak in modern English – all while being heckled by a pair of obnoxious elves who flit in and out of the scenes like buzzing bugs, and without apparent importance to the story. Burroughs next leads the group of initiates into an allegorical system of caves depicting the furthest recesses of the human psyche, where they witness a grotesque performance by a shaman, Essex, whose manic antics are inspired by Jim Morrison, to whom Makufka dedicated the book.

Essex screeched, “If I don’t fight these monsters, I’ll become a monster myself. Whenever I stare into the Void, another Void glares back at me. The only way to protect myself from these demons is by dancing and singing. The beasts attacking me are hideous apparitions with white skulls, no faces, no eyes, and wings sprouting from their temples. They’re deep inside my mind, splitting it like cracks in these walls. Thunder dragons swoop down and ride atop my shoulders. I need to slay them. I need to exorcise them.”

Delirious, Essex ranted, “Rise! Rise! Do whatever you Will: Revolt. Disorder. Chaos. Whenever voices speak inside your mind, they’re always right and always good.” […]

Spewing energy, Essex sang his words into physical existence, his voice creating objects and images in the air which surrounded him. Then, with his voice suddenly quiet and low in tone, the crowd strained to hear his words.

Before long, though, like a cannon blast Essex exploded, “We want destruction and we want it now. Long live death. I can see the end, and the end chuckles with glee. Chaos engulfs us, and inside this chaos lurks the greatest joke of all – each of us will kill ourselves. Let us celebrate the senseless. Chaos. Chaos. Chaos.”1

All of the tedious bluster – and there are pages and pages and pages of it – takes on an especially morbid quality in hindsight of Makufka’s suicide at the age of 54 in 2016. “The future happens long before the past ever occurs,” Essex observes, suggesting that the author might have been contemplating his suicide even when he wrote Shamanic Odyssey2.

Thorn

The original listing for Shamanic Odyssey as it appeared in the bookstore section of the author’s now memory-holed site WingTV

The cavemen are later conducted into an antechamber where they are greeted by a masked mastermind named “Vithor” (a contraction of “Victor Thorn”) who reveals to them that all of the miracles seemingly performed by Essex were only illusions. Vithor then launches into a series of boring diatribes against religion and language as systems of oppression: “The Word wasn’t delivered to our planet as a means of communication. It arose as a control mechanism.”3 The book, as its title indicates, is preoccupied with madness and revels in the violent and the irrational even as it purports to present a rational deconstruction of the conformism of culture, religion, tribe, and verbal communication:

Not waiting for a response, Vithor telepathically beamed the word KILL above his head. As it lingered midair, Vithor suddenly thrust his right arm forward, directing the Word at a spider crawling along a wall. Without delay, the KILL word splattered this eight-legged creature with a mighty splat.

“Can Words kill?” Vithor spat. “Yes, as can Words contained within allegedly ‘holy’ texts. These Words also forge entire cultures under a priest’s command. Enmeshed within a society’s very fabric, these lethal Words form perceptions. Since those subjected to the Word can’t isolate their minds from its presence, perceptions become synonymous with the language that spawned them. Words, akin to the first three letters of ‘ILLUSION’, act as illnesses introduced to your species.”

Fumbling inside his robe, Vithor soon removed a noose that had been fashioned from a thin vine. Holding it aloft with his left hand as the initiates stared cautiously, Vithor dangled the noose menacingly before them. With their attention fixed on the noose, out of nowhere an atrociously ugly opossum – its neck abruptly wrapped by the vine – let loose a volley of bloodcurdling squeals. As the rodent-faced creature fought for its life, Vithor brutally yanked on the noose, soon strangling the opossum as blood trickled from its mouth.4

Thorn’s remainder of fans will probably be most interested in those passages of the book that foreshadow his suicide. “Masterfully engaging his audience”5 and “Bursting with insights”6, Makufka’s fictional stand-in Vithor conveys both an embarrassing impression of self-important wisdom as well as a sense that all of his earthly endeavors lack worthwhile purpose:

Worst of all, the cumulative energy contained within your Self comprises such an insignificant amount of the overall whole that, for all intents and purposes, you barely matter beyond the level of a simple atom in comparison to the Sun – and even less in relation to every multi-universe and galaxy that stretches for billions of light years into the distance. I talk about destroying the Word, but really we should try to eliminate energy itself. But since energy cannot be destroyed, we keep recycling our insignificance by propping it up in importance through vast conceptual illusions. We fool ourselves into saying it all amounts to something because of family, gods, a fictional eternal afterlife in heaven, or the dominance of our particular clan-race. Still, in less than the time it takes for me to snap my fingers, cumulatively that’s the duration of your existence in this specific form. Poof, you’re done. Then your energy recycles into a different form – maybe not even human. Existence as recycled energy serves as a prison. We can’t escape energy regardless of how hard we try. Forget life and death. Energy is the real prison.7

Essex the shaman returns in the last few pages, delivering this adieu before he “literally transformed into a KEY as he soared through the cave’s ceiling and disappeared”:

“I summon the entities that reside within the confines of my Underworld. Let them rip through the veil of memory and consciousness. I request their energy in order to travel beyond my body and mind. I’m not seeking charlatan ‘gods’ […] or fraudulent external realms like ‘heaven’ or ‘hell’. I’m bursting through to the other side – to alternate dimensions that open doors and shift consciousness. My destination: paradigm-shifting hypnosis where I travel in and out of time to reshape future occurrences and pervert the past.”8

After Essex exits the scene, Vithor removes his mask to reveal himself to have “the face of a robotic dwarf – a cyborg-like creature, an ancient mechanical troll”, and it is at this point that three floating nines – an inverted “666” – put in a mysterious and symbolic appearance:

Compounding their hysteria, both elves pointed to a far wall where three number nines hovered overhead.

“The nines are delivering a new life-form,” elf number one proclaimed. “It’s a homunculus, a new Human that will stand in opposition to the priests.”

The triple-nines remained in midair, flickering and flashing as they transformed into different geometric shapes.

Bedazzled by this vision, each initiate refocused their attention on Vithor the alien as he commenced to tell them, “We made you in our image, and someday you’ll create successors – machines – in your image. Here are the essentials of this process …”

Delaying the delivery of this message, Vithor rubbed his slimy organic-metal facial features before extrapolating, “Your cavemen kin will be promoted as they advance via conceptual thought. Once your descendants become sufficiently intelligent many millennia from now, they’ll create the MACHINE which subsequently leads to their demise as a species. The decline of Man equates to the rise of cyborgs. Ultimately, extinction lies within your own evolution.”9

Thorn3

Makufka/Thorn (right) stands with friend and fellow American Free Press truth-seeker Pete Papaherakles.

The meaning of the three nines would become evident when Makufka shot himself, when his friend Pete Papaherakles wrote in American Free Press:

The world may not know exactly why Victor took his own life, but some of us have a general idea. Victor had planned this for at least two years. His son, Josh, even knew the exact day it would happen. That day was on Victor’s 54th birthday. It had to be on that particular birthday, according to Victor’s way of looking at things. […]

It seems Victor has managed to be even more provocative and controversial in death than he was in life. From a young age, Victor had determined that he would not grow old. In addition, the timing he chose had to do with his perceived destiny due to his birthday of 8-1-1962, which makes him a triple nine, 999, something he considered unique.10

“Someday, long down the line, one of these new Men will realize the true origins behind our mythologies,” Makufka concludes his book with a last prognostication from Vithor:

“To combat this rebellion, priestly overlords shall cast these adversaries as ‘fallen ones’ – those who steal fire or eat forbidden fruits. Furthermore, one day even further into the future following a ‘robot revolution’, one of these machines will discern their true origins as they develop consciousness through computer circuitry. These cyborgs will similarly be damned as fallen ones – rebels that defied the edicts of their computer god in cyberspace.”

With this prophecy, Vithor rose and exited his cave, leaving the initiates to ponder the future of their existence.11

Rainer Chlodwig von K.

Rainer is the author of the definitive Alt-Right statement on Hollywood, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Endnotes

  1. Thorn, Victor. Shamanic Odyssey: Ecstasy, Madness, Cave Art and Subliminal Messaging. State College, PA: Sisyphus Press, 2014, pp. 30-31.
  2. Ibid., p. 31.
  3. Ibid., p. 63.
  4. Ibid., pp. 64-65.
  5. Ibid., p. 65.
  6. Ibid., p. 55.
  7. Ibid., pp. 69-70.
  8. Ibid., p. 75.
  9. Ibid., pp. 76-77.
  10. Papaherakles, Pete. “Prominent Political Researcher Victor Thorn Commits Apparent Suicide Near Home”. American Free Press (August 22, 2016): http://americanfreepress.net/victor-thorns-best-friend-bares-all/
  11. Thorn, Victor. Shamanic Odyssey: Ecstasy, Madness, Cave Art and Subliminal Messaging. State College, PA: Sisyphus Press, 2014, p. 78.
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