Archives for posts with tag: Jews

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.
Advertisements

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!

Richard Spencer and Mark Brahmin discuss James Cameron’s films The Terminator (1984) and Terminator 2: Judgment Day (1991). Readers may want to compare this pair’s very insightful commentary with my remarks on Terminator: Genisys (2015).

Rainer Chlodwig von K.

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.

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.

The Alternative Right

Giving My Alt-Right perspective

The Logos Club

Theoretical Exploration towards practical application

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

Author of Good Books about Bad People in Strange Times

Bre Faucheux

News, Thoughts, & Tangents

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

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!

Floating-voter

A topnotch WordPress.com site