Archives for posts with tag: Jewess

The Rewrite

Hugh Grant, never an actor this critic particularly liked, has become more palatable with age – tarnished, less handsome, and hence more accessible. These qualities are on fine display in The Rewrite, which reunites the leading man with Music and Lyrics writer-director Marc Lawrence. Grant is Keith Michaels, a has-been screenwriter who, failing to find new work, takes a job as a writer-in-residence at an unglamorous public university.

Irreverent and a womanizer, Keith finds a capable foil in snooty and arch Austen scholar Professor Weldon (sexy over-the-hill performer Allison Janney), who does what she can to bring his sojourn at the school to an end. Complicating Keith’s private life are amorous coed Karen (Bella Heathcote) and single mother Holly, the latter part enlivened by an astonishingly well-preserved Marisa Tomei, who exhibits wonderful chemistry with Grant.

Certain supporting characters, particularly among the students, may be too broadly drawn for all tastes, but each serves a purpose and is more or less amusing. Whiplash’s monstrous J.K. Simmons demonstrates his remarkable range here by essaying the instantly lovable role of Dr. Lerner, the avuncular head of the English department, while still-boyish Get a Life clown Chris Elliott turns in the expectedly funny turn as the university’s dweeby Shakespeare specialist.

A touching and sharp romantic comedy that transcends the ghetto of its genre, The Rewrite ought to appeal with equal charm to discriminating men and women moviegoers alike. Consistently interesting and rewatch-worthy, this one is highly recommended.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen's body of work, drawing the scandalized glares of bystanders in the process.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen’s body of work, drawing the scandalized glares of bystanders in the process.

5 stars. Ideological Content Analysis indicates that The Rewrite is:

10. Drug-ambivalent. Weed seems to be okay – with Keith, if not with Dr. Lerner – but the film’s attitude toward alcohol is more nuanced. Proving true the adage “in vino veritas”, Keith is overly frank in unfriendly company, and Holly feels obligated to drive him home in another instance. He is described as “trying to fill a spiritual vacancy with alcohol.” Fraternity hazing leads to the hospitalization of sci-fi nerd Billy Frazier (Andrew Keenan-Bolger). Notwithstanding all of this, a tipsy Hugh Grant remains very charming.

9. Pro-gay. “Are you a lesbian?” Keith asks Holly. “I wish,” she responds.

8. Anti-gun. “I was hoping you were pro gun control,” Keith says to Dr. Lerner.

7. Irreligious. Heaven is “a fairy tale designed to make a five-year-old boy go to sleep.”

6. Anti-slut. Keith’s brief fling with sexually experienced student Karen leads to disaster.

5. Anti-Semitic! 9/11 criminal Michael Chertoff’s body scanners, Keith suggests, are merely “cancer-causing cash conduits”.

4. Family-ambivalent. His wife, Keith says, was “smart enough to divorce me”. Karen hates her father. Balancing the story’s failed relationships, however, is Dr. Lerner’s lachrymose domestic bliss with his wife and several daughters.

3. Egalitarian. At stake is Keith’s initial conviction that talent cannot be taught – an assertion that the people-loving Holly intends to challenge. Falling on the side of nurture as opposed to nature, The Rewrite to this extent lends itself to the programs of leftist social engineers.

2. Pro-miscegenation. Keith, tasked with selecting his students based on the strength of their screenplay submissions, instead looks at their online profiles and stocks his roster with a bevy of multicolored cuties including an Asian, two negresses, and a Jewess. The viewer is given to understand at the end that an unexpected Jew-congoid hookup is imminent.

1. Sexist! Dr. Lerner diagnoses icy bitch Professor Weldon as “elitist, lonely, [and] miserable.” Keith, meanwhile, earns major Nazi shitlord points with this drunken faculty cocktail party rant:

Forgive me, but I’m just a little bit tired of female empowerment. […] Well, just, honestly, though, everything seems to be about female empowerment nowadays, you know. Any meeting I go to in Hollywood, someone says, “You know what we need? A kick-ass girl, that’d be a great twist.” Except every movie has a kick-ass girl, you know, some martial arts CGI slow motion woman who kicks the crap out of every man in her path. Can I tell you what would be truly innovative? A movie without a kick-ass girl, or better yet, a movie where a woman gets her ass kicked.

Rainer Chlodwig von Kook

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Golem Poster

Proto-psychedelic Golem advert

(Are You Gentiles Experienced?)

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

Paul_Wegener

Director, star, and effeminate smoker Paul Wegener

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

Golem ghetto

In the Ghetto

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

Golem Florian Miriam

Miriam lets Florian cop a feel

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

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

Drescher beckons

Jewish whore archetype Fran Drescher

Francock

Drescher gapes at the sight of a cock

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

Golem Astaroth

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

Golem

Golem – Shogun Assassin

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

Golem star

Ghetto Superstar

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

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

Golem Wandering Jew

Wandering Jew stops for directions

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

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

Golem as Atlas

Golem raises the roof

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

Golem Famulus

Hater and beta Famulus wearing a big symbolic zero

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

Golem Girl

Talmudic studies

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

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

ADL BOMB 4

Golem footprints, NYC

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

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

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