Archives for posts with tag: Golem

Equalizer

Denzel Washington stars as the title character in The Equalizer – a superhuman bundle of Robin Hood, Barack Obama, Angus MacGyver, and Jason Voorhees rolled into a single American hero. Perhaps the most preposterous film in which Washington has yet appeared, The Equalizer concerns an ex-CIA spook who comes out of retirement to save filthy, greasy-lipped prostitute Chloe Moretz from the clutches of the oil-and-pimping syndicate run by ridiculously named Russian gangster “Vladimir Pushkin” (wink, wink), played by Vladimir Kulich.

Washington’s genius allows him to improvise endlessly inventive and cruel methods of dispatching his enemies, frequently by means of split-second calculus – cogitations conveyed cinematically by extreme close-ups of Washington’s all-seeing eyeball – and always directed at Caucasian men. The Equalizer is silly, offensive, inorganic, and way too long at a run time in excess of two hours, but those who suffer the full duration of its unending equality mandate will at least be treated to an awe-inspiring rap by Eminem.

3 out of 5 stars for the unintentional humor. Ideological Content Analysis indicates that The Equalizer is:

6. Pro-torture. Enhanced interrogation be da bomb.

5. Black supremacist, pro-immigration, and anti-white. The titular hero, living up to his name, disburses the villains’ ill-gotten gains among a group of Asian immigrants. Juxtaposed with the brilliant, polite, well-read, and fastidious Washington – an extraordinary specimen of Africanus cinematicus – white men appear as boorish ogres who mistreat women. Washington scolds a white co-worker for his foul language, and one scene even shows a white criminal in a hoodie robbing minorities at gunpoint. In still another scene, he literally uses a book to disable a Caucasian. “Change your world,” the Equalizer advises, a recommendation that screenwriter Richard Wenk seems to have taken to heart in depicting lifeforms on this planet.

4. Anti-police. Boston cops – white ones, of course – are on the take and extort protection money from minority businesses. In a lame reversal of the famous scene in Dirty Harry (1971), a black man points a gun at a white cop and calls him “punk”.

3. Anti-Russian and pro-war. As in all recent Hollywood output – The Heat (2013), Bullet to the Head (2012), and Pain and Gain (2013) being other examples – Slavic women are depicted as prostitutes. Moretz’s pimp, played by David Meunier, is even named “Slavi” so as to as to scream his ethnicity into the viewer’s ears in case the fact of his being a Russian was not already obvious.

Marton Csokas portrays Itchenko, the iciest and most bestial of the Russians – a character whose name suggests that he is subhuman (i.e., an “it”) as well as being a biological nuisance (an “itch”). Itchenko also has epaulette tattoos on his shoulders, a detail which implies that imperious militarism constitutes a physiologically inextricable aspect of the Russian subhuman’s being. Of “Pushkin”, it is said that “his money and political ties make him untouchable”, which can only suggest that he is somehow connected with Russian government officials – Putin himself, perhaps?

In one scene, an assembly of Russian mobsters refuses Washington’s offer of $9,000 in exchange for a hooker’s “freedom”. “You should have taken the money,” he taunts after murdering all of them. The significance of this confrontation, almost unrecognizably distorted in its filtering of geopolitical reality, is that Russia, by rejecting America’s globalist porno-economic order of capitalo-totalitarian usury, has invited its own extermination. At the film’s conclusion, Washington travels to Russia to assassinate “Pushkin” – and, like a proper slasher movie serial killer, confronts him while he is taking a shower.

2. Pro-N.W.O. CIA officials appear as tender and devoted nurturers. Clearly, the casting of Washington as the hero also carries an onomatological resonance.

1. Anti-Christian and Jewish supremacist. “I will have vengeance,” one hears muttered repeatedly during one of the songs featured on the Equalizer soundtrack. Indeed, it has been some time since this reviewer has seen a movie as viciously and mockingly anti-Christian as this one. Early on, The Equalizer associates and nearly equates Christianity with Russian brutality, with gangsters sporting crucifix tattoos and lounging around a bar with an Orthodox icon on the wall. When Washington intrudes and casually slaughters them, the icon is splattered with their blood.

An early scene that establishes Washington’s character and trajectory draws a parallel with the protagonist of Ernest Hemingway’s The Old Man and the Sea. On the surface, this refers to Washington’s being an older man of former achievement who rises from mediocrity to take on a massive challenge, or catch the big fish represented by “Vladimir Pushkin”. So blatant is The Equalizer’s hatred of Christianity, however, that the significance of the fish allegory is multiple. At the deeper level, Washington is the personification of Judaic vengeance, the golem, the butcher, and fisherman who has finally, triumphantly, reeled in Christendom. The script, at the moment of Washington’s summary of the novel, warrants quotation:

Old man tied the fish to the side of the boat, had to row back to shore. The fish bled in the water, sharks came, and ate the whole fish till there was nothing left. [. . .]  The old man met his greatest adversary when he thought that part of his life was over [. . .] Came to respect it the more it fought.

Asked why the fisherman refused to relinquish the fish, Washington replies that, “The old man’s gotta be the old man. Fish gotta be the fish.” The big fish is Christendom, its bleeding either the vivisection of Christ or the degradation and rot of the West by corrosive culture-disease. European man, in the allegory, is Jewry’s big trophy catch – and neither, if it is to be true to itself, can ever give up the struggle against the other’s all-or-nothing efforts.

In the climactic scene, the hissing and superficially civilized Itchenko is transfixed in a ritual sacrifice by Washington, whose sadistic choice of a nail gun to do the job is the key to understanding the movie’s subtext. Here, for America’s rooting enjoyment, is a thinly disguised Christ-snuff film framed as a thrilling adventure in which ZOG saves the world again from crypto-tsarist-fascist bigotry. For the cherry to top the cloying Jewishness of the whole tawdry abomination, in an earlier scene Washington even subjects Itchenko to psychoanalysis before committing a massive act of industrial terrorism to spite him.

Rainer Chlodwig von Kook

Jack_Ryan_Shadow_Recruit

Jack Ryan: Too Sexy for His Shirt

Determined as the Jews and the military-industrial complex are to resuscitate Cold War tensions with Russia, what could be more appropriate than a reboot of the Jack Ryan spy franchise for the post-9/11 mindfuckorama? Chris Pine stars as the studly economics student who, after witnessing the WTC attack (i.e., the Mossad’s false flag), joins the Marines like a good, obedient little goy and eventually gets recruited by the Central Intelligence Agency and transformed into a super-spook. The clear and present danger this time out is Putin’s plot to crash the American economy with a terror attack on Wall Street. (Not kidding, this condescending crapola is actually the plot.) Ryan’s CIA handler Harper (Kevin Costner, making amends for playing a sympathetic Jim Garrison in JFK) sends him to Moscow to foil Russian businessman and intelligence asset Viktor Cherevin (Kenneth Branagh, who also directs), with events eventually spilling messily back into the United States. Jack Ryan: Too Sexy for His Shirt is suitably tense and action-peppered, a serviceable entry in the espionage genre marred only by its necessarily diametric opposition to truth. In fact, to have some idea of what is actually happening in the world, the viewer need only believe the opposite of every assertion made by this blatant propaganda film.

4 out of 5 stars. Ideological Content Analysis indicates that Jack Ryan: Too Sexy for His Shirt is:

4. Anti-Christian. Russian sleeper agents meet in a church in Michigan. Cherevin lights a candle in a Russian cathedral and vows that “America will bleed” as a men’s choir sings behind him. St. Basil’s Cathedral, meanwhile, “looks like ice cream.”

3. Pro-N.W.O., glamorizing the image of the CIA blot on western civilization. The Agency with its S&M freaks “makes sure we don’t get hit again.” Jack Ryan gets a job at a bank as cover for investigating the secret funding of terrorist networks, but no explanation is given as to why he and the CIA never investigate the put options indicating advance knowledge of 9/11. Instead, Ryan’s pryings lead him to a Russian plot, so that the film misleads its viewers into accepting a false continuity between the al Qaeda terror threat and present tensions with Putin. The only honest connection, of course, is that both have been favorite bogeys in Zionist media hype.

2. Zionist. One scene makes the specifically Jewish grudge against Russia obvious. In a church where Russian conspirators meet, the minister’s sermon includes the following lines from Lamentations: “He has torn down the strongholds of the daughter of Judah. He has brought her kingdom and its princes down to the ground in dishonor.” The Russians presumably see themselves in the God role here in their fiendish intention to humble Israel by thwarting its loyal golem America. Yahweh naturally teaches these presumptuous goyim a lesson, smiting them with the wrath of His righteous CIA counterterrorism.

1. Anti-Russian. Russians, as always in Hollywood movies, are sleazy, dishonest, and brutish. Russia, not America, is the aggressor in all international relations. A Russian diplomat, for instance, attempts to squash the development of a Turkish oil pipeline that would threaten a Russian “monopoly”. Russia is described as “the Wild West”. “They’re still ideologues,” furthermore, “but the new ideology is money.” And more sinister still: “They’re not a country, they’re a corporation.” Unlike good old exceptional America. Positively no corporate mentality here! America is motivated by patriotism! Russians, not Jews, stage geopolitical coups with terror attacks in New York City. And poor little innocent U.S.A. would never wage economic jihad against Russia’s economy. Those dastardly Russians are the only ones who would ever perpetrate a villainous financial Holocaust like that.

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“.]

Assassin

An intriguing feature of Assassin (1986), an enjoyable TV movie written and directed by Amityville Horror screenwriter Sandor Stern, is that it may, in some aspects, serve as a metaphor for Zionist-controlled news and entertainment media, whether this is the film’s intention or not.

Stern, who in recent years has written unimaginative liberal diatribes (“Dear Republican Friends . . .”) at SuicideGirlsBlog, is no friend of gentiles and not likely to have designed his film as a cautionary allegory about Zionist disinformation for the benefit of his audience of action fans; but is it not possible that, perhaps from some sense of arrogant mischief, veteran television writer Stern has facetiously encrypted his film with insights into his medium’s motives?

Sandor Stern

Sandor Stern

Assassin‘s Terminator-inspired plot has CIA operative Henry Stanton (Konrad Robert Falkowski, alias Robert Conrad) coming out of retirement and teaming up with a feminist cybernetics specialist, Mary Casallas (Night Court alumnus Karen Brammer, alias Karen Austin) to stop a renegade government android, Robert Golem (Richard Young), from living up to the title by assassinating all of the figures on its secret hit list.

“The ‘Robert’ I can understand; it’s close to ‘robot’,” Stanton observes. “But who dug up the ‘Golem’?” “Folklore,” Casallas explains. “There was a zealot rabbi in sixteenth century Prague. He created a clay creature, called it ‘Golem’. Brought it to life to protect the Jews from persecution. Ironically, it turned on its creators.” Is Assassin a model of entertainment-media-as-Golem, and has it, too, playfully turned against its masters by giving away something of their game?

assassin2

Robert Golem’s creator is Philip Dewberry, described as an impersonal cipher of a man. “He had no sense of humor,” Casallas recounts, and lived only for experimentation. “How can you work with a man six or seven years and not know him any better than the inside of a television set?” Stanton asks her. “It was three years and he was the inside of a television set,” Casallas answers enigmatically.

Robert Golem, like a walking, talking, CIA-approved television set, is programmed with an agenda and even has a plug that it can stick into a socket to power itself. Though a soulless, inhuman murderer, Golem is charming, seductive, and furtive – silently invading an apartment as a lonely, oblivious woman (Nancy Lenehan) drinks herself into a stupor and watches a romance-oriented game show. As to how something as seemingly harmless as television plays at assassination, just consider the mainstream media’s treatment of “tinfoil hat” (i.e., antiwar) candidate Ron Paul. Robert Golem’s targets, like those of the Zionist news media, are opponents of the military-industrial complex.

The android-Golem, despite being monstrously powerful and virtually impervious, does, fortunately for Agent Stanton, have one physical weakness – its belly. And fortunately for those who abhor what the Zionist-controlled television networks have done and are doing to western civilization on a nightly and unrelenting basis, TV, too, also has a weakness at the center of its nourishment – in that it can be switched off.

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

A Vote Will Never Negate Nature...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

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

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

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